It’s one of those rare moments, those magic occasions, where everything clicks to absolute perfection with an apparent simplicity that’s positively stunning to behold.

Objectively, there’s a curiously random character to the chronology of events which have led Clannad to the dizzy heights of international pop success. In reality, the performance of ‘Harry’s Theme’ in scaling the British charts in a matter of two weeks inspires a sense of utter rightness, of a band suddenly finding their true poise just at that precise moment when the great record-buying public is most receptive to their collective charms. Seldom if ever has there been a more heartwarming Irish success in Britain.

That sense of rightness is reflected in the almost absolutely unanimous approval which the record has elicited from a widely diverse selection of observers, from the word go. Not only did it fit in the context of ‘Harry’s Game’, Gerald Seymour’s extended Yorkshire Television play on Northern Ireland, but it emerged immediately as a piece of music capable of taking on a life of its own. This it has done with a vengeance, crashing into the BMRB charts at 46 in its first week in the shops, before leapfrogging, by last Thursday, to a remarkable Number 11.

It’s the kind of meteoric momentum which has number one written all over it – which defines the much-abused music biz ‘with a bullet’, no irony intended. It’s also the kind of meteoric momentum which leaves record companies even more breathless than it does even the band of first-timers themselves – a fact which was borne out by Clannad’s subsequent immaculately professional and spell-bindingly impressive appearance on Top Of The Pops. It was a hazardous mission which had the potential to upend them mid-flight, and as a result to stunt the intensifying crescendo of their acclaim. Untutored in the nuances of the London School of the Pose, they were highly vulnerable: in the context it was the ultimate tribute again, that so many would agree, that not only did they emerge unscathed but rather that they seized the moment, radiating a sense of self-confidence and cohesion which could only add lustre to their claims to greatness.

With that performance under their belts, the band could look towards the number one spot with justified equanimity. Holed up in the plush Kensington Hilton at the expense of RCA, under whose corporate banner ‘Harry’s Theme’ has been marketed in the UK, the band’s manager Dave Kavanagh tempered his elation with a necessary dash of realism.

‘In many ways we’d prefer not to go to No. 1 next week," he stated "if we do then we’ll find it very difficult to maintain that position."The point being that once the pinnacle has been scaled, radio plays have a tendency to taper off. Shops don’t have time to stock up properly in anticipation of peak sales and there’s only one way you can go. "To settle nicely at five and then go to one would suit us best", Kavanagh says, and he’s right. But practically speaking, when the ball breaks for you, you run with it before the pack starts to bear down on you. With new singles by the Human League and Duran Duran on the market, one from The Jam on the way and experienced chart toppers like Michael Jackson and Paul McCartney (as a duo!) and Marvin Gaye looking mighty dangerous, no one’s going to carp if the jackpot comes up.

The indications are positive. "We outsold Eddy Grant today, (Friday), Kavanagh reports. "And he’s the number one single. If the same happens tomorrow, which is the biggest sales day, then we could have it."

In the context of the expectations typically placed on the shoulders of a band at this juncture, Clannad bassist Ciaran O’Braonain is typically unruffled. "It’s been a very hectic three days," he says simply, "but it’s good for us."

So how do a group of established traditional credentials like Clannad find the circus of Top Of The Pops? "We were always interested in the possibility that something like this would happen – it’s still fascinating. It’s early days yet but I suppose you could say that I believe in it because of the way it’s happened" Ciaran adds, referring to the sense of universal accord that’s greeted the single. Its success is based on its musical persuasiveness, it’s as plain and simple as that. Not an ounce of hype, no heavy duty advertising push, just a piece of music which has captured the public imagination.

This reaction is characterised by Ciaran in two instances. It was a promotional executive from RCA who confided in the band, "I didn’t think I’d be into this, but I am", and in doing so pinpointed just how successfully Clannad have crossed the musical boundaries and transcended prejudices.

Ciaran elaborated on a second encounter which took the group by surprise – "When we were on ‘Pebble Mill’ the other day, Dame Edna Everage – you know Barry Humphries – was there. We did the single, and when we were finished, the whole room stopped. And he came rushing over to say how good he thought it was. We were really taken aback."

This wave of enthusiasm has penetrated the music biz itself sufficiently to ensure that ‘Harry’s Theme’ won’t be treated as a once-off, never-to-be-repeated fluke, based solely on its impact with an ethnic group. Clannad are in the enviable position of being signed to RCA for the one single only, leaving them free to negotiate with all-comers for an album deal.

RCA invariably led off the bidding, Bill Kimber the head of A&R there expressing the opinion that while Clannad mightn’t follow through with further hit singles, they would have a "very substantial album market to follow" , according to Dave Kavanagh.

"There’s absolutely no problem with RCA," Dave explains "we’re getting on fine, and as far as we’re concerned they’ve done their stuff with the single. But other companies have come into the running with extremely attractive offers."

CBS are certainly committed to bidding for the band, while the grapevine also has it that Phonogram are likely to put in a challenge. It’s a situation which has worked beautifully to Clannad’s benefit. If they can pick and choose between the three most attractive majors in the British context, then the door to enduring success must be wide open. Paul Charles of Asgard, who has taken on the band’s agency work for Britain, is convinced that their potential audience connects with Van Morrison, Jackson Browne, Dexy’s Midnight Runners or Dire Straits. "People who are into classic good music" he says. "There’s still an audience out there for it."

The significance of their achievement for Irish music could be enormous: even if others don’t follow in their footsteps, ‘Harry’s Theme’ represents another proud testament to the musical genius of a nation-pure, undiluted, musical magic and not a leprechaun or Donie Cassidy on the premises.

But with Neil Jordan’s debut feature film ‘Angel’ being heaped with superlatives following its British opening and Peter Sheridan’s ‘Diary of a Hunger Striker’ also impressing theatre critics in London, there’s a concerted, if totally unorchestrated, statement of intent down for public consumption.

Our politicians may make asses of us but our artists and musicians are doing us proud by producing work beside which much of what’s being touted as significant in Britain pales. It’s the finest blow that could be struck for Irish freedom. To Clannad…slainte!