Instead, with Hawkins totally off guard and clearly bemused as to why his request isn’t immediately adhered to, a solitary lighter is thrown from the crowd and strikes the singer on the side of his head.

It could’ve been nasty. But with everyone in hysterics, Hawkins laughs and continues his banter with the crowd before introducing the number.

The Darkness are the most popular band in Britain. How they got into that position has been something of a mystery. It just seems to have happened. They’ve been able to obtain the right backing, label support and promotion. When the whole phenomenon is dissected it will be a demonstration of just how a band can be manoeuvred into the big-time. And, believe me, it will only get bigger.

But why them? What’s so great about them that the bands we all know and love from the 70s and 80s, that were never this popular but should’ve been, lacked? Why are certain journalists describing The Darkness as being "absolute f**king genius" when they loathed everything about similar bands back in the day?

With Hawkins suffering from flu – well, probably more the same kind of bad cold I am – and his brother Dan nowhere to be seen, bassist Frankie Poullain and drummer Ed Graham are the chosen ones to accept the 'Fireworks' challenge. For it is this publication I have arranged to do the interview for (and subsequently reproduced here on this site). Some of those pertinent questions will, I’m afraid, have to wait.

Although neither is familiar with the title, they do know about ‘Classic Rock’. And Frankie – who amusingly seems to think the cartoon above my monthly contribution to the latter publication bears a striking resemblance to me (get a grip man!) - reveals a penchant for discovering old issues of ‘Kerrang!’ and ‘Raw’ in junk shops throughout the country. Hopefully, I have established I am not working undercover for the ‘NME’….

That morning the ‘Mail On Sunday’ had reviewed a recent show. The author of the piece had described the group as being: ‘less of the future of rock ‘n’ roll, but more of the past of rock ‘n’ roll….."

"Wankers," mutters Ed.

Nevertheless, whether they are the past or the future, The Darkness – love em or hate em – have been heavily responsible for bringing rock music back into vogue. More importantly, it’s back in the charts.

"I think it’s because we’ve been very thorough," reckons Frankie. "We cover all bases. We’ve got four very different personalities in this band, but the chemistry is perfect.

"In a nutshell, maybe it’s been about talent, balls and personality!

"But, " he admits, "it has been all about timing. We could’ve been signed a couple of years ago and made not nearly as good a record.

"We had a huge collection of songs and opted to take our time, weed out the great from the not so great, to come up with the ones that are on ‘Permission To Land."

Having previously released two independent EP’s (now, naturally, going for outrageous sums on e-Bay), the album, according to Ed, was self-financed and cost 20 grand to make and was recorded in a hectic, two week period.

"There was no room to experiment or relax. We were quite literally working all day every day."

Although lyrically a bit dumb (and then some), The Darkness are competent musicians. They are as competent as Krokus were, as Britny Fox and Kix were, and, indeed, as Rhino Bucket were at slinging out those AC/DC style rhythms. The difference is, of course, Justin Hawkins. His style has been likened to Freddie Mercury, but has anyone ever mentioned Russell Mael of Sparks too? Especially where ‘Get Your Hands Off My Woman’ and ‘Growing On Me’ are concerned!

I was only 12 years old when I first saw Sparks perform ‘This Town Ain’t Big Enough For The Both Of Us’ on ‘Top Of The Pops’. My jaw hit the floor. Who Were these guys? Two brothers (in this instance with very differing, unique looks) backed by a rock band performing decidedly campy rock tunes. They made The Sweet look positively normal.

The Darkness could be the 21^st century’s answer to Sparks, with the difference that their material is more cohesive and far more accessible. Meaning, that it’s not only the kids who are buying the band’s records; it’s the older generation of rock fan too. Those people who grew up with ‘Sounds’ and ‘Kerrang!’. People who have lost count of the number of gigs they’ve been to. People who enjoy their music. People like you and I.

Being an over 18s venue, Rock City is packed with an older clientele. The kids have to go home. The gig, like most on this tour, sold out weeks ago. Tickets are going for £60 outside. I noticed those for shows further on the tour being sold for as high as £200 on e-Bay earlier in the day.

Interestingly, and most unusually, I don’t hear a single person moaning about how bad The Darkness are. Whereas a few guys are delighting their ladies by mimicking Justin’s falsetto vocals (disturbingly well, actually) they are here to be entertained themselves rather than take the piss.

Still, you would think that The Darkness would be at City Hall level by now, rather than playing clubs. But this tour was booked some months before, when the band’s profile was considerably less than it is now. Hell, my buddy Surfpunk recalls seeing the band trying to get people in off the street to see them in Liverpool only a year ago.

"Our biggest ambition is to be the first band to play the rebuilt Wembley Stadium," states Frankie quite seriously. "We could’ve played in bigger venues on this tour. Indeed, a couple of the gigs have been upgraded, but we’re not going to run before we can walk. We are looking to headline some festivals next year though. And that’s where we’ll be able to introduce more pyrotechnics and put on the kind of show we really want to do. The aim is to give the fans something really special

So what about the love/hate relationship people have with The Darkness? Leading up to this interview, the message board of Andrew McNeice’s melodicrock.com website had been blitzed with contributions on the subject. I feel like Marty DiBergi reading Spinal Tap reviews of their old records, as I quote some of the less encouraging comments left by posters. My particular favourite being: "’Permission To Land’….but not in my f**king back garden!"

Frankie laughs.

"There have been sour grapes from a few people in the industry as well," he notes. "One particular individual, a veteran rocker, was very bitter about us at the ’Kerrang!’ awards this year for stealing the show. But things have to change."

"It’s just jealousy really, " chimes in Ed.

"But we used to be like that," Frankie laughs. "We still are, actually!"

"We’ve been called all manner of things, " adds Ed. "One particular favourite was that we were ‘delusional twerps’….

"The NME have said some things too."

But you’re all over the magazine at the moment!

"Oh, they’ve changed their minds, " continues Ed. "But we’re still refusing to grant them an interview. They’re now stalking us like paparazzi."

It’s been quite a change in fortunes for The Darkness in 2003 then. What’s next?

None other than the legendary Bob Ezrin has produced, ‘Christmas Time (Don’t Let The Bells End)’ a single released in the hope it’ll reach Number One and they’ll be hailed as the new Slade.

The Darkness would like to work with the man who has produced the likes of Kiss and Alice Cooper (amongst many others) on their second record, yet that remains some way off. There are other markets to conquer before then, specifically the United States, Australia and Japan.

Having already made tentative steps in the United States and Canada – more recently with three, sold out shows in New York, Los Angeles and Toronto – The Darkness return to North America in the next few weeks for a further eight dates, which seemingly include gigs in Boston and Chicago. They visit Australia, New Zealand and Japan early in 2004.

The Darkness are well aware that the United States will be a tough nut to crack.

"If this album gets to number one in the States then that will be a real accomplishment, " reckons Frank. "But we are aware that there will be a lot of touring involved. Whether that’s as a support act or doing our own shows. Appearing on chat shows, like Jay Leno or David Letterman’s wouldn’t do any harm either."

Names like Kiss, Aerosmith and Jane’s Addiction have been bandied about in the press and on the Internet in terms of touring partners, but there is certainly something of a buzz beginning to occur over there. Johnny Million of Chicago pop rockers The Millions confirms this.

"It’s not a record you can play as background music," he says. "I couldn’t believe Justin Hawkins was singing the way he was until I sat down and listened to it again! It’s like Queen meets Aerosmith meets Thin Lizzy. My bandmate The Fox (Dan Edwards) lost his mind over it! America will love this band!"

After we’ve been subjected to a good half an hour or more of non-stop Thin Lizzy hits through the P.A., The Darkness finally take to Rock City’s main stage at around 10pm.

The Darkness like Thin Lizzy, Dan Hawkins especially. The guitarist sports the band’s logo affixed, glitter style, to his custom made T-shirt. He adopts a Malcolm Young pose from the off and keeps it for the rest of the set as his brother leaps around in spandex that I haven’t seen since I consigned my own to a bin bag in the garage well over a decade ago. Maybe it’s time to retrieve them…. Maybe not.

With Frankie looking like he’s been transported from a Saxon video from the mid 80s, it’s left to drummer Ed to bring some sense of normality to proceedings, thumping the skins in a manner not unlike Phil Rudd or Simon Wright.

Justin Hawkins is the difference though. He maintains a good rapport with the audience that will improve even more with time. He has an aura about him created by the videos, by the press and by his unique vocal style. Like him or loathe him, the frontman has made his candy striped spandex mark on the world and he’s not going to relinquish the hold he has on the music business without a fight.

The second record will be the test. According to Frankie they have no plans to begin recording the follow-up to ‘Permission To Land’ for another year.

"We’re well aware that some people are waiting for the backlash," admits Ed. "Many want it to start tomorrow. But all we’re doing is bringing people together and showing them a good time."

A good time all the time? Hmm….