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Artful Dodger/MJ Cole
(Saturday June 24, 2000 4:33 PM )

Gig played on 24/06/2000
Venue: Dance Tent (Glastonbury)

Throughout most of the festival so far, Glastonbury's vast dance tent has pounded incessantly to the dull thud of house music's 4/4. But this festival is special and it couldn't go on uninterrupted for much longer.

So, finally, the sound of the UK's most exciting underground dance phenomenon gets the festival recognition that it was denied at Homelands and Gatecrasher.

MJ Cole and Artful Dodger are the perfect DJs to bring the 2Step manifesto to the campers. MJ is the classically trained, soulful and Talkin' Loud endorsed face of the scene, Artful Dodger the chart crusading producers of Craig David and the track that sent the A&R men into a cheque book brandishing frenzy, 'Rewind'.

MJ kicks off the proceedings with a hard and resolutely populist set, miles from his own polished productions, pushing the bass up to severely distorted levels. MC Danny Vicious stalks the stage, encouraging the crowd to show their love for the DJ as Sunship's rough and pounding 'Cheque One Two' bellows from the system.

Throughout his set, MJ Cole exposes the music's rave roots, pumping out samples that haven't been heard like this since the early nineties Loletta Holloway, First Choice and an anthemic rework of 'Let Me Be Your Fantasy'.

When Artful Dodger arrive we expect them to kick off with one of their own but instead they chose to take things down much deeper. A series of flawless underground dubplates ready the crowd for the inevitable. Then, the first rewind of the night, 'Movin Too Fast'.

After that one goes, they're soon dropping 'Rewind', new single 'Woman Trouble', their own mix of Sisqo's 'Thong Song' and, at the peak of the set, the crowd are treated to the second airing of 'Let Me Be Your Fantasy'.

With quality hip-hop acts like Dilated Peoples and People Under The Stairs gracing the dance tent on Sunday, alongside this triumphant showing, Glastonbury proves that it can even do 'dance' better than anyone else.


by James Poletti

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