A tour with solid foundations, a seminal soundtrack for teenagers 2007 onwards still holds up 10 years on.
After cancellation on the final day of the 2017 Ynot festival, my group decided to stay behind. We were stretching our money, a campout in a tent wasteland.
But as all apocalypse stories end, there is always a new beginning. Murmurs on-site that Kate Nash wanted to still perform were quelled by “safety fears”.
Whether baseless or not, the rumour represents the Harrow-born singer-songwriters can-do attitude. She vocally supported the feminist band Pussy Riot, spoke against the music industry’s inept management of talent. Nash, unsigned for five-years is now pioneering the groundbreaking crowd-funded album.
Tracks from the new album, Agenda EP and her Made of Bricks album were played in its entirety on Saturday August 5th at Rock City.
Nash is a tease, a stage presence joy to see. First singing on-stage in a black and white zig-zagged croptop and pants half-way into Oklahoma support Skating Polly’s set. An extra treat for fans who came early to support the alt-rock trio. The band were later to return the favour in helping set up her stage and even cameoing late into Nash’s set.
Nash’s band arrived onto “Come on Feel the Noise”, when everyone expected Nash to arrive, but there was plenty of noise to be felt indeed. The all-girl band opening the rock-twist to Made of Bricks with the short “Play”, backed with studio vocals from Nash.
The hype remained through the album opener, sky-rocketing as the Queen of Confidence arrived appropriately as a voice of her generation in a regal prom-queen flowery dress.
As she twirled, winked and waltzed to her keyboard, the opening chord of no. 2 single “Foundations” became a rapturous highlight.
But coyly playing only one verse and chorus before playing the song just before her encore, breaking the album order was a pleasant surprise and a stroke of genius to treat those who were not as aware of her other songs.
The Goddess of teenage insecurity brought tears from parents who have seen their daughters – like Nash – blossoming into powerful, issueless young women 10 years on.
Recently starring in Netflix comedy G.L.O.W., Nash’s humour peaked during her honest frustrating fem-powering anthem “Dickhead”, where during the bridge she encouraged the audience to put their hands in the air, slowly asking to remove a finger each until revealing the obscene middle-finger gesture. That was after encouraging before the song for the audience softly to “think of the person special to you”.
With the singer-songwriter genre often not needing a band, Nash’s band weren’t always on stage. Instead her social media team would take their place in recording her interact with the crowd. Posing for photos and hugs mid-song was quite the spectacle.
As Nash take’s the tour to the South and Western Europe, I hope her mental health speech remains poignant. “Don’t Stop Being Weird”, followed by a much more dainty Jerry Lee Lewis standing on keyboard finale to the cheese-on-toast fuelled belter “Merry Happy”.
The groupies who held the keyboard grounded were to later guide Nash off stage “Dirty Dancing-style” in a graceful finale to symbolise Nash of today. She doesn’t need a record label with a team all wearing her merchandise, literally there to lend her a helping hand.
This house Made of Bricks is a family that shows no cracks ten years on.