Major Lazer celebrates the 15th anniversary of their debut album, Guns Don’t Kill People… Lazers Do. In 2009, the DJ and producer group, then composed of members Diplo and Switch, released the album that spawned one of the biggest songs of the year, “Pon De Floor,” featuring the recently released from prison Vybz Kartel.
Major Lazer, the genre-blending brainchild of Diplo and Switch, emerged in 2009 with a mission to fuse dancehall, electronic and global beats into a sound uniquely their own. Their breakthrough arrived with “Pon De Floor,” a frenetic, percussive track from their debut album, Guns Don’t Kill People… Lazers Do. The song’s hypnotic rhythm quickly became an underground anthem, establishing the duo as pioneers in reimagining dance music through a global lens.
The track’s infectious energy caught the attention of Beyoncé, who reworked its pulsating beat into the foundation of her 2011 smash, “Run the World (Girls).” With Diplo at the helm, the reimagining transformed Major Lazer’s club hit into a global rallying cry for female empowerment. This collaboration solidified the group’s reputation as sonic innovators and showcased their ability to shape pop music’s evolution on a global stage.
With the re-release of this album, the group—now featuring Diplo, Walshy Fire and Ape Drums—released a never-before-heard song called “Nobody Move,” featuring Vybz Kartel, in which Switch was also involved.
EBONY had a chance to speak with the group about the success of this album, how much it means to them to have made a significant mark in the world of reggae and dancehall, and where their love for the genre originated.
EBONY: How and when did your love for reggae/dancehall music begin?
Switch: I used to record Tim Westwood’s hip-hop show religiously, and the cassette would always overrun into the next show which was David Rodigan (MBE)(OD). So, I would catch just the first ten minutes of that show which at the time was all Sizzla, Capleton, Buju [Banton] —which would always blow me away because it was so hard yet charismatic and bonkers. I was making jungle tracks, so I took the time to study up and got walloped: hook, line and sinker. I NEVER thought I’d be creating that type of music.
Fast forward to 2009, when “Pon De Floor” took over major airwaves in multiple countries. During that time, Dancehall artist, Vybz Kartel was one of the biggest artists in the world, and to have him on that song solidified him as a crossover artist. Was that strategic?
Switch: I don’t think there was a process so to speak—definitely not a planned one. At that time, we were just trying to make records that fit into our DJ sets. Tracks that would get us attention outside of our domain. That track had the influence of the Dutch, with Afrojack contributing production, as well as Baltimore club and wonky house but Kartel’s vocals linked it all nicely.
I remember seeing a video of Chris Brown playing the whole instrumental and doing a solo dance routine to it at one of his shows, which was one of the first times I think it landed with me that it had managed to grab people’s imagination.
Your music encapsulates a lot of sounds but is often classified as “American Electronic Dance Music,” does that feel accurate?
Switch: I guess there are elements of truth in those four words but they just sound limp when you string ‘em together. I’d call it “WIDE”—a bit of everything, unexpected.
As we are on the topic of the unexpected, we are celebrating the 15th anniversary of your debut album with the previously unreleased tracks, “Where’s The Daddy” ft. M.I.A. and “Nobody Move” ft. Vybz Kartel. What were the reasons for waiting to release these songs?
Switch: We found them on a set of drives that were locked in a safe that I had lost the keys to. That sounds like some sort of marketing gimmick, but straight up that’s where we found them after we broke into said safe.
Leading up to this celebration, the group has seen many members come and go. How have you kept the essence of the group consistent?
Switch: Wes [Diplo] is like a magnet for anything that’s about to happen, so he’s in charge of that. The essence of Major Lazer is still the essence of Major Lazer. I’ve been with the group now for fourteen years, nothing has actually changed in the music or how it feels.
The sole purpose with this Major Lazer thing is to bring back some glory and international exposure for reggae and dancehall. I’m always gonna feel that way. I’m always gonna feel like whatever’s happening in the Caribbean, it’s my duty to bring it to the world – every single time I go into the studio or perform on the stage. Always.
What’s to come next as a group and individually?
Switch: Raid those drives from the safe. There are a few more nuggets there, and we found some amazing Lee “Scratch” Perry (RIP) material that hasn’t been released yet. I’m working on a project called “WAYWARD WORLD”, which is like a world music concept: Global block parties x pop-up street recording session x talent show/audition thing. We’re on the hunt for new talent in places like India, Mexico, Japan, Brazil, China, Iraq, Jamaica and a load of other far-flung territories. Tryna put a super-duper trooper group together, from streets to stage to straight away played.
Walshy Fire: As a group, album soon. Individually, many albums soon, many singles soon. I actually have a jazz album dropping that I definitely want you guys to check out called Be The Good People.
Guns Don’t Kill People…Lazers Do (15th Anniversary Edition) is out on all streaming platforms now.
