Unlike the man’s last visit in 2008, tonight only saw a smattering of bodies (bopping and moving amongst the early onslaughts of the venue’s fog machine) for the one-am arrival of Edu K. The stage had been decorated in mock Amazonian vines and green lights peered out from behind jungle trees. Even further, the promoters had dressed the booth in zebra-patterned material, and it was becoming apparent that the promoters had expected a larger turnout.

The set began with minimal more suited to the bar of a lounge, rather than Oxford Art’s main stage. Still, rather than dance, people seemed content with sitting on the edge of the stage, or leaning against the bar, or just chatting over the generic slaps and loops that characterised the first thirty minutes of the set. Initially appearing slightly off, his mixing began to show signs of promise and cuing in one of his own, Xingu, he sucked cigarettes between pursed lips and the music began to slip towards more aggressive tech-house sounds.

At the best of times, the dancefloor held close to fifty people in a space that was designed for nearly four times that, and one couldn’t help wonder whether the streams of mist and fog were designed to conceal that fact. Regardless, the music rolled on. Driving progressive drops now filled the spaces and people seemed to dig the change. Where once we had waited, now areas were filled with approving smiles and the head bops of Edu K were mirrored by those found below.

Introducing his own remix of Yankee Zulu’s Toma, it felt, for the first time, that the night was heading in the right direction. The slaps and loops had transformed somewhat seamlessly into darker, more consistent tones, and his own tropical influences. Noticeably absent from the night was the song, Gatas Gatas Gatas, which had cemented his position amongst fans, DJs and a pair of producers known as the Crookers.

In choosing not to play the song, it appeared Edu K was delivering another message: that he was not the same DJ that had appeared on our shores in the past. Improvements and progressions had occurred and in the later half of the night it was a delight to hear his new direction.

As the end of the set drew closer, it was refreshing to see a dancefloor that reflected the ability of the DJ at hand. Perhaps even more novel was witnessing a professional who appeared to enjoy the sparse evening just as much as the heaving destruction he had left us with at gigs of yesteryear. And so, with the bass now surely maxed out, shaking around Oxford Art Factory and reverberating to what seemed like the streets, Edu K left the stage with a grin.

Though not his most memorable performance, the man arrived, set down some impressive tracks and made the best of the situation he was given. I, for one, will be seeing him upon his return.