Hartshorn is listed by Insomniac in Hardstyle. The artist’s public profile lists Denver, US as its location. Hartshorn’s captured release history contains 55 dated entries, spanning October 4, 2017 to July 24, 2026. The newest is “Keep on Running - Single,” a single credited to Hartshorn, Jack Star & Div Eadie. This establishes a documented sequence of published work; the earliest entry here is a catalog boundary, not a verified career debut.
Shared artist-credit lines appear on 23 captured entries. Outforce & Hartshorn is credited on 3 entries, including “Come to Life - Single” (2020). Hartshorn & Yukiyanagi is credited on 3 entries, including “The Higher EP PT. Two - Single” (2019). Hartshorn & Giin is credited on 2 entries, including “I'm Just Here Like - Single” (2022). A shared collection credit can represent a collaboration, remix or another credited role; it is not proof that every credited artist co-produced every track. The rights line on “Keep on Running - Single” reads “℗ 2026 PYRO Records (PYRO Enterprises).” An earlier reference, “Across the Shore - Single” (2017), lists “℗ 2017 Go Hard Digital.” Rights credits identify the release’s published ownership or licensing context. They do not by themselves establish an exclusive label signing, management relationship or personal endorsement.
Hartshorn’s captured release history contains 55 dated entries, spanning October 4, 2017 to July 24, 2026. The newest is “Keep on Running - Single,” a single credited to Hartshorn, Jack Star & Div Eadie. This establishes a documented sequence of published work; the earliest entry here is a catalog boundary, not a verified career debut.
The captured sequence covers 10 distinct release years. It includes 53 entries explicitly titled as singles, 2 EPs or other multi-track collections, 0 remix editions and 0 DJ mixes. These categories describe catalog packaging, not a count of unique compositions. Alternate versions and repackaged material can appear as separate releases.
“The Higher Pt. 1 - EP” (2019) provides a longer-form reference point, followed later in this sample by “The Mello (feat. MC Riddle) - EP” (2019). Read alongside the singles, this suggests a catalog built around both individual tracks and larger listening projects.
Shared artist-credit lines appear on 23 captured entries. Outforce & Hartshorn is credited on 3 entries, including “Come to Life - Single” (2020). Hartshorn & Yukiyanagi is credited on 3 entries, including “The Higher EP PT. Two - Single” (2019). Hartshorn & Giin is credited on 2 entries, including “I'm Just Here Like - Single” (2022). A shared collection credit can represent a collaboration, remix or another credited role; it is not proof that every credited artist co-produced every track.
The rights line on “Keep on Running - Single” reads “℗ 2026 PYRO Records (PYRO Enterprises).” An earlier reference, “Across the Shore - Single” (2017), lists “℗ 2017 Go Hard Digital.” Rights credits identify the release’s published ownership or licensing context. They do not by themselves establish an exclusive label signing, management relationship or personal endorsement.
The sample contains 5 entries dated within the 365 days ending September 24, 2026, compared with 5 in the preceding 365-day interval. Recent reference points include “LOSE CTRL - Single” (May 7, 2026); “Come Alive - Single” (June 23, 2026); “Keep on Running - Single” (July 24, 2026). Counts reflect this captured catalog, so they should not be read as a complete production total or a measured change in popularity.
Hartshorn has several recent catalog entries to evaluate as a connected release cycle. The next meaningful test is whether attention persists across subsequent releases, rather than concentrating on one title. Repeat listener measurements, independent DJ support and comparable live-demand evidence would distinguish sustained scene traction from release frequency alone.
This dossier uses public catalog records, artist and promoter profiles, and cited reporting. It is independent music analysis. Catalog history is a bounded sample: its first entry is not necessarily a debut, and alternate editions are not unique compositions. Shared credits do not establish each person’s production role. Release frequency does not measure popularity. Biographical statements retain their source attribution; editorial interpretation is labeled.