The headline set of lurching, aggressive, drop-heavy EDM was a powerful end to a day that showcased the breadth of what dance music has to offer. But ironically for someone who has leaned so heavily on futuristic sounds, Skrillex was the closest of the big acts to being retro. Many in the 35,000-strong crowd would have been in the early years of high school when Bangarang reshaped the sonic landscape.

Before the berserk, however, there was bliss. Mid-afternoon had French DJ Petit Biscuit delivering bright, uplifting electronica at the 909 stage competing with Chicago jazz rapper and slam poet Noname on the Atari stage. Noname, aka Fatimah Warner, has won rave reviews for her self-described lullaby rap, and her funky bass lines and smart, touching as her lyrics proved an enjoyable foil for the frenzy to come.

Brockhampton proved they are the band of the moment. The 14-piece hip-hop, alternative R&B; musical collective met on the internet and style themselves as a boyband for a new era. With their latest album at No.1 in the US, they drew in fans and no doubt won over new ones in an energetic display.

As the sun and temperature dropped, the testosterone rose, first with British grime pioneer Skepta who delivered a brutal, feisty set highlighted by the crowd losing it to Shutdown. If anything, he overshadowed collaborator A$AP Rocky, the rap superstar's pyrotechnics were more impressive than his performing firepower. His vocals were lacklustre, and the new songs while more experimental are questionable: Moby's Porcelain is a fine song, and has been for 20 years, but it does belong in a Volkswagen commercial. A long break in the show over a fight killed the momentum.

Those who took the hint and headed for the 909 stage were treated to British duo Snakehips rattling through some of the better pop tracks of the past two years, including their own. They sampled liberally (a Nicky Minaj vocal here, a Drake cover there) and recent hits Cruel and Don't Leave went down a treat.