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One of Britain’s best-known and, indeed, best-loved house DJs, Cox actually began his career in hardcore and rave in the eighties, where he commanded crowds at iconic clubs that included Heaven in London and The Hacienda in Manchester. His charisma and personality guaranteed him several radio jobs during his nineties heyday, including on Radio 1 - where had a monthly residency - as well as on Kiss FM. He’s released four solo albums to date - 1996’s ‘At the End of the Cliche’, 1999’s ‘Phuture 2000’, 2005’s ‘Second Sign’ and, in 2011, ‘All Roads Lead to the Dancefloor’. He’s put out a slew of single over the course of his career, too, but he’s best known for his live work.
His main focus these days are his two record labels, Intec Records and 23rd Century Records, but he continues to perform live; he curates a night at Manchester superclub the Warehouse Project on an annual basis, and also has his own stage at Ultra Music Festival in Miami, Florida, Electric Daisy Carnival in New York, and the world’s biggest dance festival, Tomorrowland in Belgium. The free reign he's given over the curation of a stage at these huge festivals tells you everything you need to know about his revered status in the dance world.
Carl Cox has been on the DJ scene for many years, starting his journey in the industry as a hardcore rave DJ. This section of his career saw him performing regularly at popular nightclubs, for BBC radio in a regular slot, and being hired out for prestigious events. Cox achieved enough success to form his own record label and continue producing his own music along side.
I was lucky enough to catch Cox at Ibiza DJing one of the main parties, and it really was the best DJ set I’ve ever seen. It really makes you appreciate the skill and talent needed to mix and perform live when you witness it first hand. He played through tonnes of mixes of his own, and also mixed up some covers and collaborations from other big artists. He played an adapted version of Dirty Bass, and everyone went mad, dancing and jumping around, jamming along to the incredible mix. He’s got a great stage presence and vibe when he’s performing, and his banter between and over the top of tracks kept everyone entertained and cheering for the music. I don’t think we stopped dancing from beginning to end, and the house music with catch hooks begged us to stay on our feet. If you want a good dance, Carl Cox is the DJ for you!
The music was brilliant, insane set. ☺
However, the venue was over crowded at some point we were unable to catch a breath or even move to a spot with less people because the whole club was full. Hope grand factory would take this into consideration.
Yes, Alan Fitzpatrick looks a little bit like a builder and it’s slightly incongruous to see him behind a set of decks looking out over a sea of ravers losing their collective minds but in a way, that’s the beauty of DJ-ing. How successful one is at it is based pretty much entirely on skill and dedication. It’s nigh on impossible to fake your way into being a top level DJ by looking the part the way it’s very much possible in most other music scenes in the world. If you’re not willing to work hard at the craft you’re shit out of luck, and Alan Fitzpatrick has worked harder than most to get where he is, and one can see how handsomely it’s paid off in every live set that he does. Managing to take samples from sources as disparate as spoken word records and The Beatles (a few of his sets begin with a subtle sample from Tomorrow Never Knows unless I’m very much mistaken) and fuse them seamlessly with influences from funky house to minimalist techno is no mean feat, it’s even more impressive when one considers the almost rapturous reaction he gets with every set he plays. Anyone up for a master class in crowd pleasing with integrity, this is the man to see as soon as possible.