Tom Esselle delivers a confident EP that balances heads down drive with soulful release, alongside a candid conversation about community, growth and dancefloor moments.
There is a natural ease to Tom Esselle’s return to WOLF Music. Following his 2022 Praise Bes EP and a recent appearance on Rhythm Section, this new four tracker feels less like a comeback and more like a continuation of an artistic relationship that simply makes sense.
Across the EP, Esselle refines the sound he has been quietly developing over the past few years. It is dancefloor music rooted in feel rather than formula, with groove doing the heavy lifting and musicality providing the emotional pull.
Opening track Livewire wastes no time. A UK garage informed rhythm drives the track forward with a heads down energy that feels tailor made for late night floors. It is functional but never flat, locking into a rolling groove that DJs will instinctively trust.
A side closer Don’t Have To offers a contrast without breaking the flow. Luscious keys and a sweet vocal line bring warmth and lift, creating a soulful peak time moment that connects instantly. It is the kind of track that can change the mood of a room without shouting for attention.
On the flip, Small Talk leans into character, pairing a quirky vocal sample with an undeniable groove that keeps things playful yet focused. Closing cut Spaced Out dives deeper still, unfolding emotive chords that feel reflective and spacious, rounding out the EP with real depth.
Taken as a whole, this is a release that oozes quality. Four tracks, no filler, and a clear sense of a producer hitting his stride. To mark the release, we caught up with Tom Esselle to talk about WOLF, South East London roots and what really matters on a dancefloor.
Hi Tom, thanks for taking some time out to speak to KOTT. Where in the world are you right now?
Sunny South East London.
WOLF Music was the label that really put you on the map with the Praise Bes EP in 2022. Looking back, what did that release represent for you at that stage in your career?
Haha I still feel like I’m map-adjacent. That whole process was a massive learning curve. Having Stu and Matt trust in my music was massively validating but the journey was quite humbling as I realised my understanding of mixing was sub-par at best. I’m still getting to grips with it but that release definitely marks the turning point in me becoming a self-sufficient producer, and gave me the confidence to get my stuff off the hard drive and out to labels.
This latest four tracker feels right at home on WOLF, balancing deep, soulful moments with tougher, dancefloor ready grooves. How much does the label’s identity influence your writing process?
To be honest, not at all. I just make the music I make, and I sometimes feel like I don’t have much control over what my tracks end up sounding like. The direction they go in reveals itself in the process. I’m fortunate enough that so far they’ve all aligned so nicely with WOLF.
Tracks like Livewire and Don’t Have To highlight two different sides of your sound, from UK garage informed drive to rich, soulful house. Do you see that contrast as central to how you see your sound evolving?
I don’t deep it that much. I really just want to make music that makes people feel something and move them to dance, and there are many different ways to do that. Sometimes you want to wig out to some bleeps and bloops, others you want a hands in the air moment to connect a room.
What other artists are really taking your notice right now, particularly in the house music scene?
It changes from week to week but right now I keep coming back to weird, tech housey, bassy stuff. Artists like Ben Hixon and SHOUK are great, or get on some Sobolik if you want to push the BPM a bit faster. Henzo’s album from last year was a stand out for me.
Your roots in South East London, through the Wholemeal collective and YAM Records, run deep. How does that community led background align with WOLF’s long standing focus on scene driven house music?
It’s all about community. I wouldn’t be doing what I’m doing now if it wasn’t for the connections I made throwing parties with Wholemeal or running YAM, and those connections still run deep today. With nightclubs closing all the time and investor backed mega clubs ruling the roost, community is the only thing keeping the spirit of dance music alive. To paraphrase Theo Parrish, throw more house parties.
After multiple releases on the label now, do you feel this marks a new chapter in your relationship with WOLF Music, or is it more about continuing a natural progression?
I’m just focussing on making the next EP. Once that’s done, I’ll think about where it could live. If it ends up on WOLF again I’ll be more than happy.
Finally, when this EP lands in a DJ’s bag, what kind of moment do you imagine it creating on dancefloors?
I just hope it makes people get a move on. I’m a huge advocate for finding your spot on the dance floor, closing your eyes and getting your head down so if someone has a moment like that to my music then I’ll be happy.
With this EP, Tom Esselle reinforces exactly why WOLF Music continues to be such a natural home for his sound. Grounded in community, driven by groove and focused squarely on the dancefloor, this is a release that feels both assured and quietly exciting. One to lock into and let roll.
You can buy the new EP on WOLF Music here.
