Justin Kan explains the backstory of Titanic’s End, discusses the new record label, and reveals his role in it all.
Titanic’s End has become one of Burning Man‘s most recognizable sound cars, merging cutting-edge technology, beautiful art, and community. Co-founded by Justin Kan, the entrepreneur best known as a co-founder of Twitch, Titanic’s End has evolved way beyond its origins on the playa, showing up at major events like Fisher and Chris Lake’s massive Hollywood Blvd block party. The massive vehicle, which looks like a giant iceberg, is also a platform committed to meaningful change, supporting ocean conservation through its non-profit initiatives.
Now, Titanic’s End goes even further with the launch of Titanic’s End Records, a label dedicated to championing new and established artists within its diverse community. The label’s debut single, “In Your Eyes,” is an impressive collaboration between JK (Justin Kan), Orso (Which Justin is 1/2 of), South African producer Arabic Piano, and three-time Grammy nominated artist Maejor. The track has already gained significant buzz, with early teasers on Drake’s OVO Radio.
We spoke with Justin Kan on Zoom about his journey from tech entrepreneur to DJ, the story behind Titanic’s End and its new record label, and the future he sees for this uniquely community-driven creative collective. Read on below for the full conversation.
Stream JK, Arabic Piano, Orso – “In Your Eyes (feat. Maejor)” on Spotify:
Hey Justin, Thanks for your time today let’s get into it. What first inspired you to create the Titanic’s End art car?
I’ve attended Burning Man since 2011 and immediately fell in love with the art, music, and exploration. After noticing many participants had art cars, I was inspired to create my own. When brainstorming, my Twitch co-founder suggested building an iceberg. He named it “Titanic’s End,” referring to the iceberg that sank the Titanic, and the idea instantly clicked.
What did that first version look like?
Starting in 2014, I learned welding and built the first version, a 30-foot iceberg built around a freezer truck with custom LEDs. It was a fun project that I brought to Burning Man for a few years before taking a break.
How did version two of Titanic’s End happen?
During the pandemic, Burning Man was canceled twice, but a renegade event sparked my interest again. Reconnecting with talented friends inspired us to showcase our community’s creativity, kicking off version two. It was an ambitious project, 70 feet long, 36 feet high, with lasers, 200,000 LEDs, and a powerful sound system, all completed in a 10 month sprint.
Titanic’s End goes beyond Burning Man now. Can you share some recent highlights?
We expanded our presence by appearing at events like Coachella for Framework, Fisher’s show on Hollywood Boulevard, and EDC. We’re also planning our own events, similar to art car communities like Mayan Warrior, and launching additional art projects.
You’re also using Titanic’s End to give back, what does this look like?
From the beginning, we wanted Titanic’s End to support meaningful causes. We’ve partnered with Only One, raising funds for ocean conservation, aligning our art projects with opportunities to give back.
How did your involvement in Titanic’s End lead to your music career and the creation of Orso?
While building the art car, I realized I wanted to DJ. A friend taught me in our kitchen, and later that year at Burning Man when a DJ didn’t show, I gave my debut on the playa, it was really fun to DJ in front of others. This led to exploring music production further, partnering with producer Stryv, and eventually forming our music project, Orso.
Tell us about the launch of Titanic’s Records. How did that happen?
After the successful release of our track “Move” with Adam Port, there was significant interest in our music. To continue with this momentum and highlight community talent, we launched Titanic’s End Records.
Your latest release, “In Your Eyes,” how did it come together?
“In Your Eyes” emerged naturally during collaborative sessions with Stryv. Our studio time produced a strong backlog of music, and this particular track felt special, reflecting our style and creative energy.
What’s the vision and style for Titanic’s Records?
The label currently features afro-inspired house music, aligning with what we and our community enjoy. However, it’s flexible and will evolve as community interests shift. It’s about sharing music from our network, showcasing artists at our events, and inspiring creativity.
How does Titanic’s End community and mission set it apart from similar projects like Robot Heart or Mayan Warrior?
I deeply respect these communities. While sharing similarities, like volunteer-driven passion, we’re particularly tech-forward, creating custom LED software, sound-reactive visualizations, and innovative engineering, often leveraging AI to synchronize visuals and music uniquely. Our community is also open and inclusive. Anyone willing to commit to building and participating can join, fostering genuine bonds through collective effort.
What’s next for you and Titanic’s End?
We’re actively working toward hosting our own full-scale events in California this summer. Additionally, I’m continually exploring music production and releasing new tracks through Titanic’s End Records, celebrating and amplifying the talent in our creative community.
