[xtypo_dropcap]A[/xtypo_dropcap]fter listening to any of Ash’s studio recordings, it comes as no surprise that you’ll be in for a pretty full on sonic assault live.
That was certainly the case in Edinburgh when Ireland’s finest purveyors of power pop gems took to the stage.
As proceedings kicked off with one of the most exuberant of the new singles Arcadia, there was a dawning sense of reassurance that their experiment to release a download only single every two weeks over the last year has had no adverse effect on the quality of their output.
Ripping straight into early classic ‘Girl from Mars’ sparks started flying everywhere and a mixed generation crowd began jumping around in the packed venue.
Then the great songs just started flowing, and after A Life less Ordinary—with incendiary guitar work towards its climax—one could lean back in the certain knowledge that there was an almost endless supply of finely crafted post punk songs on the way.
There was a particular focus on material from first proper album 1977, a title that sums up the era that they sound like they are from. Whilst there is some passing resemblance to contemporaries Muse and the Kooks, live their style and spirit seems more late 70s new wave.
Ash’s songs have always been clever and rousing and the new material on offer is no exception—it’s just that it additionally explores new musical territory as on the ska inflected Return of White Rabbit.
What makes Ash a cut above is their ability to incorporate subtle and uplifting melodic twists into much of what they do—and it’s probably fair to say that some of that subtlety is not so easily discernible live when the raw energy of their scorching guitar work holds sway.
A feeling of slight disconnect between rhythm and pace on Goldfinger is a case in point—though who can complain when overall the band are tight and the drumming excellent with off beats thrown in on many songs for devastating affect.
The trio are joined on this tour by Bloc Party’s Russell Lissack on keyboard and guitar. Following the departure of guitarist Charlotte Hatherley, he’s a welcome addition to bolster their sound.
Half way through the gig a kind of experimental intermission emerged—a rendition of Sky Burial, a new 10 minute instrumental. Starting slow it built up into some accomplished structured guitar playing—with lots of melody and rhythm – and finished on a high.
Proceedings then went intergalactic all the way with the sonic martial arts that is Kung Fu, first single Jack Names the Planets, Angel Interceptor and a new song Spheres featuring delicate keyboard and intense drumming to build to an atmospheric climax.
Time for one more – this tour de force finished as one might expect with a blitz, on this occasion in the form of Burn Baby Burn.
