The kick lands with stadium-ready precision at 128 BPM, but FitzGerald keeps the architecture airy, letting the melodic lines in A minor breathe instead of suffocating under brute force. There is a sheen here that feels closer to indie-electronica than to warehouse progressive: arpeggios gleam, pads swell, and the energy of nine is channelled into wide-screen uplift rather than claustrophobic tension.
It is a crossover record, no doubt—Double Six's leftfield credibility gives it permission to be this accessible without sounding like a festival cash-grab. I would slot it into the back end of a warm-up or the emotional crest before peak time, where its glossy propulsion can work a room without alienating the heads. Functional, but undeniably pretty.