James Nesbitt is in the pit, a member of Thin Lizzy is waiting in the wings and hideous novelty Guinness hats are bobbing atop the crowd. The commercialisation of St Patrick’s Day has reached critical mass in the little-known Irish enclave of Islington, and only the arrival of world-renowned anti-Corrs Ash can save the day.
Literally in the spirit of the occasion, the band stride onstage to Tomoyasu Hotei’s stirring 'Kill Bill' anthem and get straight down to business. “Anyone here Irish?” asks frontman Tim Wheeler, a boozy glint in his eye and filthy grin across his face. “Would any of the ladies like a little more Irish in them?” Thank you, Colin Farrell. (To his credit, drummer Rick McMurray bashes out a punchline beat.)
The revellers may have lost sight of the real reason we’re here – and considering doors opened at half-seven and Ash come onstage at ten, sans support, it’s fair to assume many have drunk away the will to live already – but this gig is a double celebration, both of the band’s fourth full-length album "Meltdown", due in May, and the fact that they’ve weathered ten years together. Logos old and new rotate behind them to illustrate the decade, from the cutesy handwritten insignia bassist Mark Hamilton designed at school to the sleekly oriental symbol for 2004, but the most striking change is in themselves.
Even on their 1994 Infectious mini-album "Trailer" it was clear Ash could write songs – "Jack Names The Planets" was proof enough in itself – but their confidence in their own abilities was lacking, the teenaged Tim’s sweet but weak voice never quite having the oomph it needed. With the arrival of additional guitarist Charlotte Hatherley in 1997, to add
harmonies, even more songwriting nous and no small shot of charisma (tonight, her denim micro-skirt luring cameraphones, she quietly radiates cool), they finally began to believe in their own potential.
"Meltdown" tracks debuted, from singles "Clones" (“a song we stole from Slipknot”) and "Orpheus" to newies "Evil Eye", "Starcrossed" and "Vampire Love", bear the influences of Jane’s Addiction and Metallica – they’ve coined metal that’s heavy on the melodies – and the post-pubescent Tim now has the pipes to match. Alongside the much-loved "Girl From Mars" and "Shining Light" the new material sounds harder but no less hypnotically lovely; given the disappointing reception to "Nu-Clear Sounds" in 1998, it seems their growing pains are long gone.
Soaked with sweat and giddy with their own brilliance, Ash encore with the aid of Lizzy guitarist Brian Robertson and deliver "The Boys Are Back In Town" to barely contained hysteria. Robertson’s actually Glaswegian, but no-one seems to mind. But then Ash didn’t just wave a flag tonight, they nailed their colours to the mast.
