Ocean Terminal Summer Party, Ocean Terminal, Edinburgh

ASHLEY BEEDLE, BACARDI STAGE, OCEAN TERMINAL, 28 JULY

The pace set by The Reel People is beautifully maintained by Ashley Beedle. Fully aware the crowd's feet and brains are still buzzing, he acts accordingly: a warped bassline slowly pumps out of his amp. Some heads turn. As his set reaches its plateau, he drops in a sound everyone knows and likes. Ethereal keyboard lines float over our heads, lifting us up out of our surroundings, onto a real natural high, before we're brought firmly back to ground by the frenetic, funky drum machine sounds which batter their way through the web of noise. The set reaches a joyously alarming crescendo, wherein the web unwinds amidst a series of out-there speech samples and we all stand there, grinning at each other, lost in the moment and trying to work out exactly what the man's done to our heads. (3 SKINNYS)

DIRTY SOUTH, MAIN STAGE, OCEAN TERMINAL, 28 JULY

Dirty South come on to a shower of quiet beats, which catch the ear, without quite turning all the heads on the dancefloor. The band remains shrouded in blackness. They get steadier, more insistent and stronger, as though feeding off the crowd's growing reaction to them. Live drums are added, giving venom to the air, which gets more feet moving and hands waving. The dancefloor fills and bass-heavy guitar sounds drill our feet. Someone next to me says "any minute now, it's gonna go off!" Drums suddenly explode. The dancefloor becomes a seething mass of body and sound, as though everyone's feeding off the rhythm. It's a truly joyous occasion; we know that this moment can't last and soon, all sounds are smoothed down into one and we come back to earth. All in all, a superb set. (4 SKINNYS)

REEL PEOPLE SESSIONS, OCEAN TERMINAL, 28 JULY

Of all the sets being aired tonight, The Reel People's is arguably the most mainstream, combining a soulful house vibe with smooth basslines. The urge to dance becomes irresistible as guitar lines break up. A few vocal scats, laid down from the (very wired) female vocalist, who takes great delight in encouraging the audience to sing along and feet start moving. The crowd picks up on the vibe, recognising samples from their favourite songs, while getting off on the mix of beats and basslines. A mellower tone comes in with keyboards about halfway through, the set reaching a plateau before the final build-up, for which dancers and dancefloor are drilled to their bones by a head-on collision of pummeling basslines and razor-sharp keyboard lines, which takes one's breath (and ribs) away. All in all, a hell of a kick-off. (4 SKINNYS)

ERICK MORILLO, OCEAN TERMINAL, 28 JULY

To a waft of hypnotic beats, the evening's star takes to the stage. Shoulders slung low and a cocky grin lighting up his face, Erick Morillo waves and dusts off the crowd's ecstatic cheers and whooping. Teasing our tastebuds, he kicks off with some liquid beats and sparse vocal samples. This is going to be a slow build-up, he seems to be saying. All eyes are on him and slowly, all feet start moving. Something has to give very soon and suddenly the sounds fuse, exploding through the speakers in one punchy, urgent, funky blitzkrieg. The master himself asks at one point "is it loud enough out there?" A communal scream puts his mind at rest. Slowly, the explosion levels and we all breathe out, exhausted but hugely elated. A truly stunning headline set. (4 SKINNYS)

Read Alex Burden's review of Ocean Terminal Summer Party