We Are Tonight
30s preview
- BPM
- 128
- Open Key
- 7d
- Energy
- 90/100
- Pop
- 0/100
- Length
- 4:32
- Released
- 2013
- Album
- VONYC Sessions Selection 2013-09
- Genre
- Trance
- Loudness
- -6.2 dB
- Dynamics
- 12.1 dB
- ISRC
- NLF711308862
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Other versions
- We Are Tonight - Las Salinas Remixremix2A · 130
- We Are Tonight - Las Salinas Radio Editversion2A · 130
- We Are Tonight - Club Mixversion2A · 134
- We Are Tonight - Walden Extended Remixremix2A · 128
- We Are Tonightoriginal2B · 128
- We Are Tonight (Radio Edit)version2B · 128
A peak-time tempo trance cut, We Are Tonight sits in F♯ major (2B) at 128 BPM. It reads as dark and driving. It is vocal-led. The master keeps unusual dynamic range for club music (crest 12 dB). A 2013 production that still circulates in sets. More underground than 99% of Paul van Dyk's catalogue. For programming, treat it as a peak-time weapon.
- Tempo:
- slower than 94% of Paul van Dyk's catalogue
- Low end:
- more treble-tilted than 84% of Paul van Dyk's catalogue
- Groove:
- less groove-driven than 78% of Paul van Dyk's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 31%
- Low
- 30-130 Hz
- 28%
- Low-mid
- 130-570 Hz
- 24%
- Upper-mid
- 570 Hz-2.5 kHz
- 18%
- High
- 2.5-11 kHz
FAQ
What key is We Are Tonight in?
We Are Tonight by Paul van Dyk is in F♯ major, or 2B on the Camelot wheel.
What BPM is We Are Tonight?
We Are Tonight runs at 128 BPM, a peak-time tempo track.
What mixes well with We Are Tonight?
From 2B it blends harmonically with 3B, 2A, 1B. Moving to 3B lifts the energy a step.
Is We Are Tonight good for peak time?
With energy 90 out of 100 at 128 BPM, it works best as a peak-time weapon.
Mixes harmonically
2B → 1B · 3B · 2AFrom 2B, 3B (D♭ major) lifts the energy a step; 2A (E♭ minor) settles into the relative minor; 1B (B major) cools the energy down a step.
How to mix it
In 2B at 128 BPM: 3B (D♭ major) — move to 3B to push the floor harder; 2A (E♭ minor) — switch to 2A for a mood change without losing the groove; 1B (B major) — drop to 1B to bring the room down gently.
Pitch range at ±6%: 120-136 BPM — anything in that window beatmatches without sounding stretched.
Key on the fader: without key lock (Master Tempo on CDJs), above roughly +5% it plays a semitone higher, so treat it as 9B rather than 2B; below -5% it reads as 7B. With key lock on, it stays 2B across the whole range.
Programming: a peak-time weapon — save it for the main stretch (energy 90/100).
Similar tempo
Within ±3 BPM of 128 — beatmatch without a big tempo pull.
More trance
More from Paul van Dyk
Full profile
Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 128 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
Every insight on this page, for your own library.
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