At 128 the kick is a metronome you stop noticing, which is the point: the groove sits square and lets everything else do the arguing. In F# major the chords come up bright, but there's a shadow underneath the vocal that keeps the happiness from settling — the kind of record that reads happy and sad in the same bar, relaxed in the swing and faintly aggressive in the stab.
Energy pinned at ten, yet it never feels like it's chasing you; the movement is all in the shuffle rather than the force. In a set it works as a hinge — good after something harder, better before something stranger. Play it while the room is still deciding what kind of night it's having.