So, obvioiusly, the best part of last night's Major Lazer show was when opener DJ Ayres of the Rub gave over a big chunk of his set to an all-Michael Jackson megamix, expertly selected and spliced for maxiumum dance-floor euphoria (not that that's hard to achieve with MJ), a loving celebration of the man's artistic triumphs. After Ayres eventually mixed out of that set—with "Throw Your Hands Up for Detroit" (?)—a DJ friend remarked that the more modern dance music he started playing actually sounded dated. And it's true—Michael Jackson's classic cuts still sound like they could have been recorded yesterday (chalk that up to a combination of no doubt ridiculous studio power and undisputed singular genius).

It was a tough set to follow, although Major Lazer did all right. Last night the Major was represented by Diplo but no Switch, which attendees of Switch's last Decibel performance might not think is that big a deal (the guy's an amazing producer, but not so essential as a DJ—mostly just stops one track, triggers an echoing sample shouting "Switch!" and then cues up the next). Still, his absence was odd. Joining Diplo on the stage was an under-worked MC (DIplo was playing the vocal versions of Major Lazer's tracks, leaving the MC to just add echoing hypemannerisms) and two exotic(ized) dancers. I was surprised at how 4/4 and tech-housey the set was early on, although Diplo worked up to the more dancehall rhythms later; throughout, it was perfectly thumping and bumping and crowd-pleasing. And goofy: Major Lazer's premiere cut, "Hold the Line," was mixed into that ubiquitous surf guitar song from Pulp Fiction which was then mixed into "Wipeout," like Diplo was just unspooling samples.