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He started out in a band called "Disque Attack" as the drummer, which was very much a new wave rock band. At 18, Cook went to University to study British Studies. During this time he began DJing on the Brighton club scene.
He had his first solo hit in 1989 called "Blame It on the Bassline", which featured the future Beats International member MC Wildski. It reached 29 on the UK Singles Chart.
In 1996 Cook first took on his Fatboy Slim persona. His first album as Fatboy Slim and second solo album was called "Better living Through Chemistry", which was released with Skint Records. It had the Top 40 UK hit single "Everybody Needs a 303".
In 2000 he released his third studio album called "Halfway Between the Gutter and the Stars", which also became an award winning video. The following year Fatboy Slim won six awards for "Weapon of Choice", which was the most awards won at the ceremony that year.
Cook also produced the single "Mama Do the Hump" for Rizzle Kicks, which got to number two on the charts. He also reached number 3 in the UK charts with his single "Eat, Sleep, Rave, Repeat" in 2013.That same year he performed at one of the open air concerts on Brighton Beach, in front of over 250,000 people.
On 6th March 2013, Fatboy Slim performed at the House of Commons in London for the first time, in aid of the Last Night A DJ Saved My Life Foundation. And in May 2014 he played in Essex at the We Are FSTVL, playing for nearly two hours, the biggest act at the event.
Cook was also awarded a star on the City of Brighton's version of the Walk of Fame alongside Winston Churchill.
With Bristol widely considered the capital of British underground dance music, native Pearce was presented with the ideal environment in which to launch his career as a DJ; he quickly became a resident at the local club nights Ripsnorter and Scream, and was able to secure his first gigs on the continent off the back of that success. He didn’t really rise to any kind of mainstream prominence, though, until 2011, when he signed to Pets Records and released a well-received single, ‘Entrance Song’.
Since then, he’s been a regular fixture at some of the biggest venues and festivals in the dance world - think Creamfields, Fabric, The Warehouse Project, Space and DC10 - as well as crossing over into mainstream festival territory, packing out tents at Glastonbury, Bestival and Secret Garden Party. In addition, Pearce has produced Essential Mixes for BBC Radio 1 at the behest of Pete Tong, and was the first ever resident DJ at new London club XOYO. He’s remixed tracks for the likes of Chicken Lips, Four Tet, X-Press 2, Totally Enormous Extinct Dinosaurs and Jamie Jones, and count count a slew of awards to his name already, too: DJ Magazine’s ‘Best British DJ’ and ‘Best Breakthrough Producer’ among them, in 2012 and 2011 respectively.
Whilst his commercial heyday is likely behind him at this point - if you think about it, You’ve Come a Long Way, Baby basically soundtracked the late nineties - Fatboy Slim remains a compelling live prospect. After all, he’s a DJ by trade, not a recording artist, and his ability behind the decks means that the stage has clearly trumped the studio for him this past decade (not allowing for Here Lies Love, a bizarre concept album with David Byrne about Imelda Marcos, there hasn’t been a Fatboy Slim album since Palookaville way back in 2004). Harking back to an earlier era of EDM, Fatboy - or Norman Cook, when he’s at home - has been focusing primarily on techno in his recent sets; his steadfast refusal to yield to current, dubstep-flavoured trends is admirable. Indeed, anybody suggesting that techno is dead should see the size of the crowd he commanded at the Ultra Music Festival in Miami just last summer; only a choppy remix of Adele’s ‘Rolling in the Deep’ alluded to the present-day. He closed, too, with a reworked version of his classic ‘Praise You’; perhaps a nod that he’s set to move back towards his Big Beat days. After all, as Jeremy from Peep Show once so nobly put it: “Big Beats are the best, get high all the time.”
Joeg_67
This event was amazing and Really wicked. Tobacco Docks is a really great place for events and music by Joris Vorn was incredible and pleasure. Highly recommend it in the future if Joris will be behind the desk.
dolouk
I was lucky enough to see Kolsch perform live with his half brother Johannes Trope, who he DJs with, in the act Artificial Funk. The Danish duo of electronic dance music producers are the kind of DJs that get a room of fans dancing from their first track, and don’t let them stop. When I saw them live, the atmosphere was electric, everyone was incredibly enthusiastic, and their performance was one of the best DJ shows I’ve ever witnessed.
Kolsch opened the show with a solo, Zone One, the drum and badd track that rocketed him to fame back in the 90s, and everyone seemed to be long time fans, so were singing and dancing along like crazy. His brother then came onstage, and they started rocking the decks playing Together, and their huge track, Calabria, which was awesome to finally hear live.
As well as being great disk jockeys and mixers, the duo are entertaining performers. They don’t let the audience forget that it’s a live set which I think is great, and they were constantly calling out for us to dance along, and put our hands in the air. It made the whole show seem a lot more personal which was great. The stage was visually stunning, and it seemed to give both us in the audience, and the DJs maximum energy to have a great show.
yazhow
Incredible experience watching this guy perform at Flash Factory. The venue was great, really enjoyed the whole " cathedral theme". But what really made the night was the man himself. Hot Since brought so much energy and passion, no one in the place could stop dancing. I brought my girlfriend who is not a fan of house music ( or any music that doesn't have lyrics) and she also had a fantastic night. I'd give it a perfect 5/7.
anthony-collard
Eats Everything should perhaps be called Beats Everything. His completely mastery of almost all genres and his ability to tie them together near seamlessly is a skill I envy. Seeing him live was like watching a master artist create a new masterpiece and knowing that never again will you witness something so perfect.
His willingness to embrace new music and different genres make his show unlike any house or other gig you will ever attend. Eats himself dances around his tables with an awkward grace. His movements seem like he is coaxing the music rather than directing it to do his will.
He appears deeply contemplative but was more than willing to talk and joke with anyone coming up to him in the club. A kindly and jovial man Eats has a kind of quiet yet open intensity to himself. The same way that he embraces different types of music he seems to embrace different types of people. He added a lot of funk to some mixes and coaxed wailing beats out of others while keeping a deep, rarely interrupted baseline throughout the entire set. Instead of relying on heavy repetition his mixes seemed to constantly be adding fresh material and he moved through songs like a hot knife through butter.
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