Between Biscayne Fog and Björk's Violent Joy

It opened like a confession whispered to a laptop fan — Adana Twins and Glowal's 'My Computer' doing that slow, knowing shuffle, the kind of groove that tells you the night isn't going to be in a hurry. Deckert and FreakMe kept it subterranean, the room settling into a long exhale.

Then the curtain pulled back. FCL's San Soda re-rub landed like a Panorama Bar memory smuggled through customs, Groove Armada's 'Fall Silent' doing exactly that to the chatter, and Faithless with Dido arriving like a ghost you'd forgotten you loved. By the time Beanie Campbell's 'Cosmic Sundance' shimmered in, the session had drifted somewhere between a Wynwood rooftop and a 2003 afterhours you can't quite place.

The middle stretch was the flex — Christian Smith tightened the bolts, Björk detonated 'Violently Happy' across the broadcast like a firework through a screen door, Dirty Vegas and Aeroplane traded silk for sequins. Tosca's 'Orozco' lingered in the humidity. Mylo's 'Guilty Of Love' felt almost unfair, a pop song disguised as a drug.

Deeper in, the mood went continental and cinematic. Junkie XL's 'Youthful' stretched out its arms. Timo Maas and a rare Gustavo Cerati cut (Melero on the controls) bridged Buenos Aires and Berlin without asking permission. Tiefschwarz, Paul Van Dyk, and then LCD Soundsystem's 'Us V Them' in its sprawling remix form — eleven minutes of cowbell catharsis that the engineer clearly wanted to live inside.

Moby's 'Natural Blues' arrived at the hour of second winds. Underworld's 'Two Months Off' took the whole thing euphoric and vertical. By Jonathan Touch's closer, the sun was doing what Miami suns do, and the session had earned every minute of it.