Last week saw the release of Melt Yourself Down's debut album. The hugely exciting acid-jazz band had been gaining a reasonable amount of traction with airplay on 6 Music, rave reviews in the press and a characteristically chaotic performance on Jools Holland. They decided, as many bands do, to celebrate the launch of their self-titled record with small party, which was also part of a larger national tour. However, unlike many bands that hold similar events, this was a real party – energetic, raucous and a hell of a lot of fun.

I arrived at the venue a little after the support act, Gramme, had started. Already people were getting into the party spirit with Gramme's booty shaking disco-funk. The crowd, even those who weren't shaking their hips, seemed very receptive, which isn't at all surprising given the way this genre has seen a revival this year thanks to Random Access Memories. However, I couldn't help but notice that there was something far more interesting and authentic about Gramme's music – so much so that it made the recent Daft Punk album sound saccharine by comparison.

The rhythm section was fantastic. The lead bassist seemed to play all over the neck and his riffs were funky, yet controlled. The drummer as well certainly deserved praise; his rhythms were complex and really helped hold the music together. The front-woman's vocal performance was more contemporary than the rhythm, as was the guitar and keyboards, and this helped to make the music seem like it was inspired by 70s/80s NYC rather than directly copying it. At times I imagined that this could have been the sound of LCD Soundsystem, if only James Murphy listened to more disco.

Melt Yourself Down @ Electrowerkz, London 18/06/13

With the audience warmed up it was time for the main act to take to the stage. The percussionists Satin Singh and Tom Skinner took their places at bongos and drums respectively and launched into the percussive intro of 'We Are Enough'. After a minute or so the rest of the band entered and suddenly the party dramatically shifted up a gear. Electrowerkz soon took on the atmosphere of a Sauna as the entire crowd lost themselves in the music and started dancing.

This was partly down to front-man Kushal Gaya, who bounded onto stage yelling and dancing and didn't stop for one minute of the band's show. His vocals had the raw feel of punk and his refusal to keep still had him clambering over speaker stacks, hanging from ceiling fixtures, and crawling and dancing his way through the crowd. Their cheers encouraged him further and they continued to dance with ever growing enthusiasm. I'm fairly certain that not one person left that show without sweating a little bit.

The dancing was as diverse as the music. Some young guys threw themselves around as though they were at an early underground punk gig, some women danced and fanned themselves with flyers in a way reminiscent of Cuban jazz clubs and everyone else was pulling shapes, shaking hips and above all enjoying themselves – something of a rarity at many UK gigs these days.

Melt Yourself Down @ Electrowerkz, London 18/06/13

The band was on top form, every single member seemed to give the performance everything they could offer. There was a sense throughout that they wanted to make sure that this was the best that the audience could possibly experience. By the end of the second song founder, and lead saxophonist, Pete Wareham was dripping with sweat and from where I was standing I could see the incredible amount of effort he put into note. For moment I found myself in similar situation to Dean Moriarty, the charismatic, jazz-loving anti-hero of Kerouac's 'On The Road'. I was moving uncontrollably, sweating profusely and willing the saxophone player before me to blow like his life depended on it.

I've loved Melt Yourself Down ever since I first heard the wonderfully ludicrous 'Fix My Life', and it was amazing to see how much energy erupted from their songs when played live. 'Kingdom of Kush' seemed to be warped into a jazz-punk odyssey of ten minutes, whilst 'Camel' started with swaggering sexuality and after a long break-down towards the end of the song, the final moments prompted dance freak-outs as Kushal crawled on the floor through the crowd. It was a fitting end to the main set. 'Fix My Life' was saved for the encore and was accompanied by trippy projections that almost certainly should have carried an epilepsy warning.

The last track brought out the most frenzied dancing and at one point there was even a mosh pit. That was one thing I never expected to see at a gig for a jazz band. Yes, they may be labeled as jazz-punk or acid-jazz and their music may have elements of both as well as a strong middle-eastern influence, but at heart Melt Yourself Down remain a jazz band. They capture the shock and the energy of very early jazz movements, which was perhaps best described by Gil-Scott Heron.

"When asked 'is that jazz' I described it as what I knew it to be – dance music. Dance music from it's earliest beginnings to where it is now…They play jazz, they play music for you to dance by, for you to jump up and down on" – Gil-Scott Heron

Melt Yourself Down @ Electrowerkz, London 18/06/13 Melt Yourself Down @ Electrowerkz, London 18/06/13 Melt Yourself Down @ Electrowerkz, London 18/06/13 Melt Yourself Down @ Electrowerkz, London 18/06/13