However, they refused to give up and, helped out by Setanta Records, produced an album almost universally assessed as a triumph: musically, lyrically, and perhaps especially in terms of the band's attitude, as A House refused to compromise their own idiosyncratic standards in the face of such limited commercial success, thereby somehow managing to reawaken music, at least according to some: "[t]he single Endless Art, is quite unlike anything else you'll hear this year, and the title track fairly quivers with indignation.

Remember the days you could feel it, it was almost sexual...'"[4] That title track was "unforgettable ... a systematic, blow-by- blow destruction of the music business and the state of the nation coupled with a dramatic determination not to give in".

[5] Irish music magazine Hot Press observed the underwhelming apathy that had greeted A House's previous efforts, and how often they had been paddle-less up commercial creeks, only to marvel that they had returned "with a record more cohesive and infinitely more glorious than anyone could have hoped ... one of the most cherishable pieces of black vinyl you could ever hope to own", an album which raised the possibility that "A House are the finest band Ireland has produced", deserving of a statue in O'Connell Street.

[9] Tony Clayton-Lea wrote that "some would say A House were the best Irish band of the past 30 years, surpassing the usual suspects list by virtue of their uncompromising nature, provocative lyrical stance and perversely discordant approach" so that, on I Am the Greatest, "even after almost 20 years, the impact of songs as emotionally strong and raw as You're Too Young, When I First Saw You, I Am Afraid, I Lied and the spoken-word title track leave the listener wondering how much more they can take".

Hot Press reviewed the concert as by turns full of umbrage, mellow, uplifting, "visceral and scathing", and "exultant and emotional", the audience as a "baying mob" greedy for more.