Stepping through the doors of essaim just before 10 PM Sunday, meant walking straight into an exercise in patient, hypnotic pacing. Arriving early allowed the room’s unique energy to unfold naturally, giving space for the night’s sonic narrative to build from the ground up.
Taking a closer look at the booth, the setup immediately established a tactile, intimate tone. Framed by warm, dim lighting and the signature red glow reflecting off the surfaces, the gear layout looked purposeful rather than ornamental. At the center of it all sat a Can Electric Audio Taula rotary mixer, whose exceptionally warm analog circuitry delivered a sound that sat perfectly between punchy dynamics and smooth warmth. Mated with turntables and anchored by its 3-band master isolator, this configuration invited a deep, physical connection, stripping away digital clutter and keeping the focus entirely on the vinyl, the rotary mixer’s smooth transitions, and the raw mechanics of the mix.
Musically, Jane Fitz delivered a remarkable study in trajectory and mood, drawing deeply on a reputation built over decades behind the decks. Known as a fiercely dedicated vinyl selector with roots in London’s underground, legendary gatherings like Freerotation, and a fearless approach to weaving 90s acid, deep house, and psychedelic techno, her sound signature always feels distinctly different from the standard festival circuit. While she doesn’t play modern, commercial EDM progressive house, she is a massive champion of the genre’s original roots. If you look at her official bios, festival lineups, or her own tracklists, she explicitly files her sound under progressive, psychedelic, trance, and acid house. Rather than chasing immediate gratification, she builds an enveloping atmosphere where every transition feels organic and unforced.
The early hours leaned heavily into deep, dubby textures and sprawling, introspective wormholes that pulled the room inward. The overall sound was remarkably warm and comforting, wrapping around the space and allowing the high-end sound system to breathe as dancers settled into the rhythm.
As the session progressed, however, things shifted into an entirely different gear. The set evolved into the ultimate sweet spot, striking a rare and brilliant middle point between driving techno, squelchy acidity, and a playful, jumpy energy. It avoided the trap of relentless monotony or predictable peaks, instead offering a fluid progression that kept the dancefloor locked in step without ever relying on formulaic tropes.
This was art on the dancefloor, an evening defined by groove, grit, and total immersion, proving that when an artist with Jane Fitz’s deep historical reverence meets an uncompromising space like essaim, electronic music becomes an exercise in pure momentum.