Music Friday, May 6th Words by: Adam Knight

Fatman Scoop, yep that Fatman Scoop, is coming to The Venue

Music Friday, May 6th

Fatman Scoop, yep that Fatman Scoop, is coming to The Venue

 

Mark in your diary, June 3. The Fatman cometh.

“…..BASS DROP.”

He is playing at the Venue. It will be raucous. If you've got long hair, put your hands up. If you've got short hair make noise.

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Scoop is a true hype man of the highest order, revving up NYC crowds long before that word became a way or selling sweatshirts. And, with one song, he is perhaps responsible for more sweat-drenched fist pumps and awkward, joyful jump-dancing than any artist not named Guetta.

Below is Wikipedia's list of the artists he has appeared on stage with. It reads like a roll call for the MTV Base Hall Of Fame. Plus Scooter.

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That said, unless you’re of a certain vintage the words “Fatman Scoop” might not mean a great deal to you.

Scoop doesn’t have a case full of Brit Awards. He doesn’t have the pop star wife or the £82-for-a-white-tee clothing line. Scoop makes shaky mobile phone videos from airport lobbies defending abusive athletes for his Youtube channel. That’s Scoop.

But for a brief moment in time Scoop was God.

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For a generation of teens raised on Apple Sours and Mr Brightside, in Scoop’s Be Faithful* they had an anthem so infectious and confident and star-spangled awesome that even white kids could dance to it.

You could see it happen before you very eyes in clubs like Play or DV8. It would happen slowly at first. Then when the bassline dropped on Scoop’s command, heads everywhere would begin to nod with a building, break-neck enthusiasm until finally they tossed aside their bottles of VK Orange and charged towards the dancefloor, screaming at the top of their lungs “Who f***ing tonight? Who f***ing tonight? Who f***ing tonight? Oh! Oh!”

Fatman Scoop wasn’t what you’d call a wordsmith. His lyrics may have lacked the some of the cutting desperation of Dylan or the languid ambiguity of Bowie. But in 2003, he put together 183 seconds of perfect pop music that, a decade later, would still pack the dancefloors of provincial nightclubs up and down the UK.

And yet, despite the simplicity of his lyrics, Scoop raised as many questions as he answered, questions that the dial-up generation were often too embarrassed to ask their friends.

What was a ‘chickenhead’? Why is he suddenly talking about toy trains? If I’m not black can I say the N-word if I’m just singing along to the track?**

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Never not working, the Fatman recently posed for a selfie with fellow rotund rapper Big Narstie with the promise of new music on the way.

Whether that ever transpires or not to some extent doesn’t matter. His cameo in Missy Elliot’s ’05 track ‘Lose Yourself’ scooped him a Grammy nomination, but in terms of tracks that audaciously raised up and grabbed their place in the pantheon of timeless floor-filling anthems, Scoop will forever be known for one track.

And when that track is that good, sometimes that’s all you need.

Whatever it was in the water in ’02-’03, Be Faithful rightly took its place in a coveted four-track canon of new millennium pop greatness – along with Beyonce’s Crazy In Love, R Kelly’s Ignition and any Nelly/Sean Paul song – that sweaty, rent-a-tune dj’s would plug in as their nightly ‘urban’ section for years to come.

To this day I have no idea why Scoop was so intent on finding out “your Zodiac sign”. I can only assume that one day historians will apply to his lyrics the same theoretical fine-tooth comb they do to works of Shakespeare.

But until that day comes, I will happily settle for bouncing off the walls of a Hereford nightclub while Scoop barks at the crowd to pick it, pick it up, pick it up.

For more information on the gig keep an eye on The Venue’s Facebook page here.

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*Not until writing this did I ever know the name of that track.

**No. Stop asking. Just, no.

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