Ash is a lean and clean Power Pop machine and don’t slow down the precision attack once they have launched with Goldfinger, off their classic album 1977.
This was in 1996, which marks them as post Punk.
They came together as three lads in high school in Downpatrick, Northern Island, a few years earlier. Tim Wheeler guitar and lead vocals, Mark Hamilton bass, and Rick McMurray bass.
They had Stiff Little Fingers and the Undertones as certain influences, and of course Belfast Cowboy Van Morrison. He had a snarl to him as well with Gloria.
They did end up in his home recording studio later and got an appreciative growl from him on one of their songs. That is meaningful praise.
A recent interview with Hamilton on Red Raven, gives a little context to their roots.
That album title refers to their birth year. Also, the title of the first Clash single and Punk manifesto. No Elvis Beatles or the Rolling Stones.
Eventually you have to kill your Gods to continue the spirit.
They were here just last year. A lot of people raise hands when asked if they attended. It is packed tonight, and the door sign reads sold out.
Celebrating 30 years on the road and are surfing in behind their new album Race the Night, released a year ago.
The title song and others on that album do sound retro Sixties. Especially Braindead with it’s garage band guitar flash.
Wheeler states they have released a (staggering) 61 singles. A monumental work ethic which has similarities to the Ramones. Essentially, they were a Power Pop band too, immersed in the British Invasion bands which followed in the wake of Beatlemania.
Ash brings the same economy of attack and have attributes of Springsteen and Americana over the long haul. Throw in some classic heavy Rock, avoid Prog, then chop out all superfluous baggage.
The bass guitar is busy and does the heavy lifting. Drums detonate appropriately. Guitar fills colour it all in.
The second song in, Wild Surf, and there is the Velvet Underground guitar drone as heard on the Power Pop Loaded album (even though do have a song called Rock & Roll on it).
The Lou Reed drawl is there, and on Life Less Ordinary, it’s a bratty Jonathan Richman whine.
Reach right back to first single Jack Names the Planet. They replicate the lacerating guitar style of the original.
It’s the singing that tones down the volatility and lets the meshed instruments breach the castle walls. Angel Interceptor explodes with drum thunder, and the vocals are reminiscent of early Blondie.
The Punk net dragged in a diverse bunch of artists, who were able to surf in with their idiosyncratic approaches. It was a revolution of social politics more than music. Bo Diddley claimed to be an originator.
Mink Deville were old- school Soul and Doo-Wop. Spanish Stroll was claimed by Punks because of its street demeanour. When they toured with the Clash, they were virtually booed off the stage by the skinheads.
It culminated in the idiotic and psychotic travesty of Disco Sucks and the burning records orgy.
Prophesised by Godfather Punks the Who, who stated Meet the new boss/ Same as the old boss.
But you and we’ve been through that/ And this is not our fate. Bass anchor Hamilton is passionate about Dylan and Spruce.
Shining Light and Sometimes. I notice the wall of bass.
Kung Fu has the guitar hurtling at break-neck speed. This is the signal for the crowd to get loose and raucous.
The show last year at the same venue was on St Patrick’s Day, a reason to drink and be merry, just like any other day if you’re Irish.
The show tonight was bracketed by Let Her Dance, by the Bobby Fuller Floor (frantic Buddy Holly style), and Twist Twist Senora (it may be Gary US Bonds).
Ash play like they just cannot stop it, and go out on Girl From Mars, Crashed Out Wasted and Burn Baby Burn.
Rev. Orange Peel
Napoleon Baby played the support slot.
Photographs by Marc Peretic
Ash
Napoleon Baby
