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Cirkut

Cirkut is the professional name of Henry Walter, a Canadian Grammy-winning , songwriter, and based in , . He is renowned for co-producing and co-writing multi-platinum hits across pop, , and electronic music, including multiple number-one singles such as "Unholy" by and (2022) and "Seven" by Jung Kook featuring (2023). Born and raised in , Walter developed his skills in music production during his youth, initially focusing on before transitioning to pop. His career gained momentum in the late after signing with Dr. Luke's production company, where he collaborated on high-profile tracks like "Wrecking Ball" by (2013) and several songs from Katy Perry's album Teenage Dream (2010), including "" and "Teenage Dream." Over the years, Cirkut has worked with a diverse array of artists, including , , , , , and , contributing to albums and singles that have sold millions worldwide. In more recent projects, Cirkut co-produced Lady Gaga's album (2024), which debuted at number one on the , and provided production for tracks like "360" and "365" on Charli XCX's (2024). His contributions have earned him a Grammy Award for Best Pop Duo/Group Performance for "Unholy" in 2023, along with numerous multi-platinum certifications and recognition as one of Billboard's top producers of the .

Early life and beginnings

Childhood and education

Henry Russell Walter, known professionally as Cirkut, was born on April 23, 1986, in , . Walter grew up in a household with no strong musical background, discovering his passion for music primarily through friends who introduced him to during his early teens. At the age of 14, he began DJing, using a Technics 1200 turntable to experiment with '90s hip-hop tracks, which fueled his initial interest in production. By his mid-teens, he developed an aptitude for programming beats on computers, aspiring to create boom-bap style similar to his idols and . After completing high school in , Walter moved to in 2004 to pursue music more seriously. There, he enrolled in the one-year Audio Production program at the Harris Institute for the Arts, graduating in 2006 with foundational training in audio engineering and music production techniques. This formal education complemented his self-taught skills in beat-making, setting the stage for his entry into the Toronto music scene as a DJ.

Initial forays into music

After moving to in 2004 from his hometown of , Henry Russell Walter, professionally known as Cirkut, dove into the city's vibrant music scene, initially focusing on . Influenced by boom-bap pioneers like and , he acquired turntables and self-taught the fundamentals of DJing through hands-on practice in home setups during the mid-2000s. By 2005, Walter was performing as a local DJ in Toronto clubs, where he refined techniques in and mixing, gradually incorporating electronic elements inspired by the local underground. To advance his production skills, secured a brief with Al P, co-founder of the electronic duo , around 2006–2007, exposing him to studio engineering and electronic sound design. This period marked his transition from DJing to beatmaking, using affordable drum machines and samplers in makeshift home environments to experiment with blending rhythms and electronic textures. He produced early demos and for Toronto-based artists in the hip-hop and electronic communities, many of which remained unreleased but highlighted his knack for fusing gritty beats with synth-driven layers, laying the groundwork for his versatile style. Local gigs during this time, including club sets and informal remix sessions, helped him network within the scene while building a portfolio of raw, exploratory tracks. In 2008, co-founded Dream House Studios in with producers Alex Bonenfant and Adrien Gough, transforming a modest space into a hub for collaborative experimentation and further honing his self-taught engineering abilities. Seeking expanded opportunities amid the limitations of the Canadian market, he relocated to that same year. There, he began with freelance engineering gigs in area studios, mixing and assisting on sessions for emerging acts, which provided crucial industry exposure and technical refinement before his breakthrough collaborations.

Professional career

Partnership with The Cataracs

Cirkut's early professional breakthrough came through his collaboration with the production duo and singer . In 2010, after placing a beat with , Cirkut joined a writing and production session with and the duo, resulting in "", 's debut solo single released in November 2010. The track peaked at No. 67 on the and No. 3 on the Hot Dance Club Songs chart, blending electro-pop and elements that highlighted Cirkut's emerging production style. The Cataracs, formed in 2008 by David "Campa" Singer-Vine and Niles "Cyrano" Hollowell-Dhar after meeting through mutual connections in the Bay Area music scene, had already gained traction with their debut album Technohop Vol. 1 in 2006 and early singles. Cirkut's involvement occurred amid the duo's rising profile, including their major hit "Like a G6" with Far East Movement, which topped the Billboard Hot 100 for three weeks in late 2010 and marked their commercial peak with over 4 million digital sales. The group's activities during this period included extensive touring, a label deal with Universal Republic Records, and a creative process where Cirkut contributed beats and production, Dev focused on vocals and lyrics, and The Cataracs handled overall songwriting and hip-hop/pop fusion. This dynamic fostered a vibrant, party-oriented sound that defined their recession pop . The duo went on around 2012 due to creative differences, with Cirkut transitioning to work with ; they reunited for a release with in 2025. Meanwhile, pursued solo projects and Cyrano rebranded as .

Collaboration with Dr. Luke

Cirkut's professional partnership with producer began in 2008 when he signed with Luke's publishing company, Prescription Songs, marking the start of a close creative alliance that spanned the and elevated both to the forefront of production. Building on his electronic production expertise honed during his time with , Cirkut quickly became Luke's primary collaborator, contributing synth-heavy arrangements and innovative to complement Luke's established pop frameworks. Their initial co-productions emerged around 2010, including tracks on Katy Perry's Teenage Dream such as "The One That Got Away," where Cirkut added layered electronic textures to the album's anthemic structures. The duo's workflow centered on intensive shared sessions at Luke's Los Angeles-area studio, often involving real-time experimentation with vocals, beats, and effects to refine hooks and builds. Cirkut frequently handled the electronic and synth programming, infusing tracks with pulsating basslines and futuristic elements that enhanced Luke's melodic pop foundations, as seen in their joint work on 's Teenage Dream (2010). This collaborative dynamic extended to high-profile projects like co-producing "" for (2012), "Roar" and "" for (2013), and "" for (2013), each showcasing their ability to blend commercial accessibility with bold sonic innovation. Commercially, their partnership yielded significant impact, contributing to over a dozen No. 1 hits across artists like and , with "" alone spending four weeks at the top and establishing new records for digital sales. Tracks from 's Teenage Dream and Kesha's further solidified their dominance, generating multiple multi-platinum certifications and influencing the era's electro-pop sound. By the late 2010s, the partnership gradually wound down as Cirkut transitioned to work, departing Prescription Songs in 2018 to explore solo productions; while coinciding with Dr. Luke's legal challenges stemming from his dispute with , Cirkut emphasized that his exit was driven by a desire for creative autonomy rather than those issues. This evolution allowed Cirkut to retain and build upon the polished pop sensibilities developed alongside Luke, shaping his subsequent contributions to artists like and .

Independent productions and recent work

Following his collaboration with in 2010–2012, Cirkut transitioned to independent production, focusing on solo and lead credits while maintaining select collaborations. He established his primary studio in around 2018, equipping it with a hybrid setup blending analog gear and digital tools to support versatile pop and electronic projects. This move facilitated greater creative control, allowing him to discover and executive-produce emerging talents like , for whom he helmed the 2018 hit "," which topped charts in over 10 countries and amassed billions of streams. In the early phase of his independent era, Cirkut contributed to The Weeknd's breakthrough mixtape (2011), co-producing and co-writing the atmospheric opener "High for This," which introduced the artist's dark R&B sound to global audiences. By the , his work emphasized high-impact pop crossovers, including production on Doja Cat's (2020), a funky disco-infused track that reached No. 1 on the and earned a Grammy nomination for Best Pop Solo Performance. He also co-produced and ' "Unholy" (2022), a sultry electronic ballad that debuted at No. 1 on the Hot 100 and won Best Pop Duo/Group Performance at the 2023 Grammys, highlighting his skill in blending vocal drama with pulsating beats. Cirkut's recent output from 2023 onward reflects sustained innovation, particularly in global collaborations. He co-produced Jung Kook's "Seven" featuring (2023), a summery pop-R&B single that topped the for six weeks and became the fastest song by a solo male artist to reach one billion streams. In 2024, he served as co-producer on and ' "APT.," a playful -infused track that debuted at No. 1 on the and earned Grammy nominations for and Song of the Year in 2026, marking a significant crossover milestone. His 2025 contributions include lead production on Lady Gaga's album (released March 7, 2025), which debuted at number one on the , co-writing and producing tracks like "" and "," which garnered multiple Grammy nods, including Producer of the Year, Non-Classical. These efforts underscore Cirkut's adaptability across genres, from electronic pop to hybrids. On the business front, Cirkut signed an exclusive global publishing deal with in 2021, securing administration of his extensive catalog and enabling expanded songwriting ventures, including non-album singles and contributions. This agreement, coupled with his independent shift in 2020, has positioned him for longevity, with ongoing work on emerging artists and high-profile soundtracks as of November 2025.

Musical style and influences

Production techniques

Cirkut's production techniques center on crafting dynamic, hook-driven pop tracks through layered elements, with a signature emphasis on heavy patterns that drive the low end while integrating synthesizers for melodic and textural depth. In productions like The Weeknd's "Starboy," he utilizes lines that interact closely with the kick drum, initially riding it via sidechain compression to create a pulsating rhythm that builds tension and release in drops. This approach allows for seamless blending of bass-heavy foundations with soaring synth leads, often processed to cut through dense mixes without overwhelming the overall balance. A key innovation in Cirkut's work involves the creative integration of auto-tune for pop-rap hybrids, transforming vocals into stylized, melodic tools that enhance rhythmic flow and emotional delivery. On Kesha's tracks such as "Tik Tok," co-produced with Dr. Luke, auto-tune was applied across multiple vocal layers—falsetto and full-voice takes—to achieve a glossy, futuristic timbre that became emblematic of early 2010s pop. Similarly, in The Weeknd's Starboy album, extravagant auto-tune usage on vocals created a signature hazy, otherworldly effect, pushing boundaries in mainstream R&B production. Cirkut's prioritizes rapid and , often starting with artist demos or vocal snippets to construct infectious hooks before expanding into full arrangements. He primarily uses Cubase for its in programming, vocals, and editing, having previously used for vocal work. He has relied on Cubase for over a decade and, while recognizing Ableton Live's strengths, does not favor it for his sessions. His studio setup has progressed from modest home-based rigs in the late 2000s—such as sessions at Dr. Luke's Malibu home studio—to sophisticated facilities by the 2010s, optimized for high-volume output and teamwork. The current configuration features a spacious main room for group creativity, an array of physical and virtual instruments for synth experimentation, a secondary for parallel tasks, dual Universal Audio Apollo x16 interfaces for low-latency tracking, and a dedicated medium-sized vocal booth utilized in about 80 percent of recordings to capture clean performances amid layered processing. This evolution supports his technique of incorporating virtual instruments like software synths for versatile lead sounds, enabling quick sonic explorations without hardware limitations.

Key influences and evolution

Cirkut's early influences were rooted in 1990s and early 2000s and electronic music, drawing from boom-bap producers such as , , , and , whose intricate sampling and rhythmic structures shaped his initial approach to beat-making. He also cited electronic acts like , , , and Mr. Oizo as key inspirations, blending their innovative synth-driven sounds with 's gritty edge to create a genre-fusing style. Additional influences include MGMT, 1970s soul/funk, and . These influences emerged during his formative years as a DJ in , where he honed skills in sampling and drum programming before interning with electronic duo Mstrkrft's producer Al-P. His production style evolved significantly during his 2008-2012 partnership with , where he focused on hip-hop-infused beats for rap tracks, emphasizing layered percussion and melodic hooks that bridged underground rap with mainstream appeal. This phase refined his ability to craft accessible yet complex rhythms, setting the stage for broader commercial success. By the early 2010s, collaborating with marked a pivot to glossy pop production, incorporating polished synths, expansive choruses, and flourishes that dominated charts with artists like and . These partnerships introduced a more radio-friendly sheen, evolving his hip-hop foundations into high-energy, anthemic structures while retaining subtle nods to his roots. In the late and , Cirkut's independent work further diversified his sound, particularly through collaborations with , where he integrated R&B elements like atmospheric synths and emotive vocal layering, refining his style toward more introspective and textured productions. This personal growth highlighted how artist partnerships influenced his refinement, allowing him to experiment beyond pop conventions. As of 2025, his direction has shifted toward genre-fluid productions, evident in tracks blending pop with global influences, such as his work on Lady Gaga's releases and Rosé's crossover hit "APT.," reflecting broader trends in and international fusion.

Discography

Notable singles as producer

Cirkut's production work has been instrumental in shaping several landmark pop singles, blending electronic elements with catchy hooks to drive massive commercial success and cultural resonance. One of his early breakthroughs came with Kesha's "Die Young" in 2012, co-produced alongside and , which peaked at No. 3 on the and earned 6x Platinum certification from the RIAA for over 6 million units sold in the U.S. as of 2024. The track's euphoric EDM-infused party vibe solidified Kesha's status as a pop provocateur during her era. In 2013, Cirkut co-produced Katy Perry's "Roar" with and , an empowering anthem that topped the for four weeks and achieved 15x Platinum status from the RIAA, representing 15 million units in sales and streams in the U.S. as of July 2024 (eligible for 17x Platinum as of March 2025). Its motivational lyrics and soaring chorus became synonymous with personal triumph, amassing over 4 billion views and influencing a wave of hits in . That same year, he collaborated again with and on Perry's "" featuring , which held the No. 1 spot for four weeks on the Hot 100 and earned 2x (20 million units) from the RIAA as of March 2025. The song's trap-influenced beat and viral , featuring Perry as a modern , bridged and , grossing over $3 million in direct earnings for its creators. Also in 2013, Cirkut co-produced Miley Cyrus's "" with and , a raw that reached No. 1 for three weeks on the Hot 100 and secured 9x Platinum , with global sales exceeding 6 million units as of March 2025. Despite controversy surrounding its , the track marked Cyrus's artistic reinvention and highlighted Cirkut's versatility in emotional pop production. Shifting toward R&B and electronic fusion, Cirkut co-produced The Weeknd's "Starboy" featuring Daft Punk in 2016, which topped the Hot 100 for one week and attained Diamond certification (10 million units) from the RIAA as of April 2022. As the title track to The Weeknd's Grammy-winning album, it encapsulated his nocturnal, hedonistic persona and propelled the synthwave revival in mainstream music. In 2022, Cirkut contributed to Sam Smith and Kim Petras's "Unholy," co-produced with Ilya and Shellback, achieving No. 1 on the Hot 100 for one week and multi-Platinum certification worldwide. The sultry, narrative-driven single became a queer cultural milestone as the first song with a transgender artist to reach the summit, sparking discussions on representation in pop. More recently, Cirkut co-produced Jung Kook's "Seven" featuring in 2023 with Andrew Watt, a garage-pop track that topped the Hot 100 for two weeks and set streaming records as the fastest to reach 1 billion streams. Its romantic yet playful energy facilitated K-pop's deeper penetration into Western charts, with over 269,000 global downloads in its debut week alone. In 2024, he co-produced "Apt." with and , alongside and , which topped the for over 25 weeks as of November 2025 and No. 1 in over 20 countries, shattering streaming benchmarks.) The upbeat, chant-like party anthem drew from 1980s influences like Toni Basil's "," becoming a global and underscoring Cirkut's enduring role in cross-cultural hits. Overall, Cirkut's productions have contributed to over 20 Top 10 entries and cumulative sales exceeding 100 million units across his catalog, earning him the No. 3 ranking among top producers of the by based on No. 1 hits. His signature sound—marked by polished drops and genre-blending—has defined party-pop anthems and crossover smashes, influencing the evolution of digital-era hits.

Selected albums and credits

Cirkut's production work extends beyond individual singles to substantial contributions on full-length projects, where he has shaped the sound of key pop and R&B albums through instrumentation, programming, and co-production. In collaboration with , Cirkut co-produced multiple tracks on Katy Perry's Teenage Dream (2010), contributing to its polished aesthetic and historic success as the album with the most number-one singles from a single release on the Hot 100. An early highlight in Cirkut's R&B portfolio came with The Weeknd's debut mixtape House of Balloons (2011), where he provided production on three tracks, including "High for This," influencing the project's dark, atmospheric trajectory through keyboards and recording engineering. Addressing a relative lull in major album credits during the early 2020s, Cirkut returned with notable involvement on Ava Max's (2023), producing four tracks as part of his executive production role, blending electronic elements with the album's framework. He co-produced Lady Gaga's album (2024), which debuted at number one on the 200. Cirkut also provided production for tracks "360" and "365" on Charli XCX's (2024). Beyond production, Cirkut has taken on extensive songwriting roles, co-writing tracks across over 50 albums primarily in pop and electronic genres, often partnering with artists like and to craft hook-driven material.

Recognition

Awards won

Cirkut, whose real name is Henry Russell Walter, has received several prestigious awards recognizing his contributions to music production. In 2014, he won the Juno Award for Jack Richardson Producer of the Year for his work on Miley Cyrus's "" from the album and Robin Thicke's "Give It 2 U" from . This accolade highlighted his role in crafting chart-topping pop and R&B tracks during a prolific period of collaborations. At the in 2018, Cirkut earned a win for Best Urban Contemporary Album as co-producer on The Weeknd's Starboy, which featured his production on hits like "Starboy" and "I Feel It Coming." The album's underscored Cirkut's versatility in blending , pop, and R&B elements to create commercially dominant records. In 2023, Cirkut won the Grammy Award for Best Pop Duo/Group Performance for co-producing and co-writing "Unholy" by and . In 2025, Cirkut contributed production to Charli XCX's , which won Best Dance/Electronic Album at the 67th Annual for tracks including "360" and "365." This award celebrated the album's innovative sound and cultural impact, marking a significant achievement in his evolving production style. Additionally, his production on and Bruno Mars's "APT." contributed to the track's win for Song of the Year at the 2025 , affirming his influence on global pop phenomena.

Nominations and honors

Cirkut has received numerous nominations from major music awards bodies, recognizing his contributions as a producer and songwriter across pop, R&B, and dance genres. His work has been particularly acclaimed in the , where he has earned over ten nominations as of 2026, including six prior to the 2026 nominations, along with two wins. In the (2011), Cirkut was nominated for Best Pop Collaboration with Vocals for co-producing Katy Perry's "California Gurls" featuring , and for Best Female Pop Vocal Performance for "Teenage Dream." In the (2014), Cirkut was nominated for Song of the Year for co-writing Katy Perry's "Roar." In the (2022), he received a nomination for for co-producing tracks on Kanye West's . For the (2024), Cirkut was nominated for Best Dance/Electronic Recording for co-producing Disclosure's "Higher Than Ever Before." For the 67th Annual (2025), he received two nominations: for producing Charli XCX's "360," and for his production on Charli XCX's brat. At the 68th Annual (2026), Cirkut achieved a career-high seven nominations, tying for the second-most of any artist that year. These included Producer of the Year, Non-Classical; for producing Lady Gaga's "" and & ' "APT."; for producing Lady Gaga's ; Song of the Year for songwriting on "" and "APT."; and Best Dance/Electronic Recording for "." Beyond the Grammys, Cirkut has been honored by the , Canada's premier music accolades. In 2015, he was nominated for Songwriter of the Year for his work on tracks including Katy Perry's "Roar," Pitbull's "Timber," and Miley Cyrus' "." In 2016, he received a nomination for Jack Richardson Producer of the Year for producing Rock City's "" and Maroon 5's "." Cirkut's nominations reflect his pivotal role in shaping chart-topping hits, with his productions often blending electronic elements and vocal-driven pop structures to achieve global commercial success.

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