Somebody

At 130 the drums do most of the arguing — layered hand percussion, shakers, and a kick sitting slightly behind the pattern so the tops can chatter. A-flat minor keeps it flat and faintly sour; there's no lift from the harmony, just pressure from the rhythm. The energy reading is pinned at ten from the first bar, which is both the record's character and its limit: no headroom, nothing held back for later.

That makes it a daytime thing more than a peak-time one — open air, sun on concrete, a crowd wanting momentum rather than a journey. The hook is the part that survives the mix, sturdy enough to hang a transition on. I'd use it to lift a set out of a lull, not to close one.