Sara Landry is listed by Insomniac in Techno. Sara Landry’s captured release history contains 67 dated entries, spanning February 26, 2018 to September 4, 2026. The newest is “Interesting - Single,” a single. 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 26 captured entries. Sara Landry & Alt8 is credited on 5 entries, including “Hands Up - Single” (2026). Sara Landry & Alex Farell is credited on 3 entries, including “Angel Dust - Single” (2026). Sara Landry & Godtripper is credited on 3 entries, including “Hekataia - Single” (2026). 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 “Interesting - Single” reads “℗ 2026 HEKATE.” An earlier reference, “Chasm - Single” (2018), lists “℗ 2018 Sirup Music GmbH (PinkStar Black Records).” 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. Spotify displayed 1.2M monthly listeners on September 8, 2026. This is a platform audience snapshot, not a total fan count. The sample contains 10 entries dated within the 365 days ending September 24, 2026, compared with 15 in the preceding 365-day interval. Recent reference points include “Tomorrowland Belgium 2026: Sara Landry at Mainstage, Weekend 2 (DJ Mix)” (July 26, 2026); “Angel Dust - Single” (August 7, 2026); “Interesting - Single” (September 4, 2026). Counts reflect this captured catalog, so they should not be read as a complete production total or a measured change in popularity.
Sara Landry’s captured release history contains 67 dated entries, spanning February 26, 2018 to September 4, 2026. The newest is “Interesting - Single,” a single. 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 9 distinct release years. It includes 39 entries explicitly titled as singles, 9 EPs or other multi-track collections, 2 remix editions and 17 DJ mixes. These categories describe catalog packaging, not a count of unique compositions. Alternate versions and repackaged material can appear as separate releases.
“Sacrifice EP” (2020) provides a longer-form reference point, followed later in this sample by “Spiritual Driveby” (2024). Read alongside the singles, this suggests a catalog built around both individual tracks and larger listening projects.
Shared artist-credit lines appear on 26 captured entries. Sara Landry & Alt8 is credited on 5 entries, including “Hands Up - Single” (2026). Sara Landry & Alex Farell is credited on 3 entries, including “Angel Dust - Single” (2026). Sara Landry & Godtripper is credited on 3 entries, including “Hekataia - Single” (2026). 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 “Interesting - Single” reads “℗ 2026 HEKATE.” An earlier reference, “Chasm - Single” (2018), lists “℗ 2018 Sirup Music GmbH (PinkStar Black Records).” 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 10 entries dated within the 365 days ending September 24, 2026, compared with 15 in the preceding 365-day interval. Recent reference points include “Tomorrowland Belgium 2026: Sara Landry at Mainstage, Weekend 2 (DJ Mix)” (July 26, 2026); “Angel Dust - Single” (August 7, 2026); “Interesting - Single” (September 4, 2026). Counts reflect this captured catalog, so they should not be read as a complete production total or a measured change in popularity.
Sara Landry 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.