iDKHOW

About iDKHOW

I DONT KNOW HOW BUT THEY FOUND ME — or iDKHOW if you don't want to type all that out — started as Dallon Weekes' side project while he was still playing bass in Panic! at the Disco. He'd been writing songs that didn't fit the Panic sound, so he teamed up with drummer Ryan Seaman in 2016 and started quietly posting videos online with a fictional backstory about being a lost band from the 80s. The whole aesthetic leaned into vintage gear, retro visuals, and the kind of deliberate mystique that made people wonder if this was real or performance art.

The project gained traction through word of mouth and strategic obscurity. They played small, unannounced shows and let fans feel like they were discovering something hidden. By the time "Choke" started making rounds in 2017, the jig was sort of up, but the momentum was real. That song became their calling card — a punchy, synth-driven track that split the difference between new wave throwback and modern alternative rock. It showed up on their 2018 EP 1981 Extended Play, which basically established their sound: danceable, dark-ish, with Weekes' distinctive vocals sitting somewhere between deadpan and theatrical.

Their full-length debut, Razzmatazz, arrived in 2020 after they'd fully committed to iDKHOW as a main project. Weekes had left Panic at the Disco by then, and the album felt like a proper statement of intent. Tracks like "Leave Me Alone" and the title track showcased their range — from bratty, bass-heavy rock to more atmospheric, melancholic moments. The record didn't reinvent anything, but it demonstrated that the retro aesthetic wasn't just costume jewelry. They had actual songs.

GLOOM DIVISION came out in 2024 and pushed things further into moodier territory. "The Funeral" and "Absinthe" leaned into darker themes and denser production. "Web Weaver" continued their knack for hooks that stick around without being obvious about it. The album suggested they were less interested in being quirky for quirky's sake and more focused on crafting songs that could sit next to bands like Interpol or early Killers without feeling like pastiche.

The live show has always been part of the appeal. Weekes is a natural performer, and the duo setup — now sometimes expanded with touring members — keeps things tight and deliberate. They've managed to carve out a niche that appeals to people who grew up on Bowie and Talking Heads but also listened to My Chemical Romance and Death Cab.

Right now, iDKHOW exists in that space where they're big enough to headline decent-sized venues but still feel like a band your friend told you about. They're not chasing radio singles or trying to blow up on TikTok. They're just making the kind of dark, catchy rock music that doesn't really have a obvious home in 2025, which might be exactly why it works.

Shows are tight and weird in equal measure. Weekes has this detached stage presence that somehow holds attention, while Seaman locks in drumming that hits harder live. Crowds tend toward genuine fans rather than casual listeners, people who actually know the deeper cuts. Lots of singalongs on choruses but it never tips into crowd-service territory.

Known for Choke, Web Weaver, Leave Me Alone, Absinthe, The Funeral

See iDKHOW Live