Celtic Connections 2008, Glasgow, UK
This year's Celtic Connections -- the fifteenth year that the festival has taken place -- ran from 16th January until 3rd February. I was lucky enough to hop aboard for the last three days!
The first gig of my three days a Celtic Connections was Fiona Mackenzie's launch of her stunning debut album, Elevate. The beautiful recital room in Glasgow's City Halls looked like the perfect venue for Fiona's ethereal vocals; a large room painted icy-white with subtle coloured lighting to add atmosphere. Fiona was note-perfect in delivering a selection of the exquisite songs from Elevate, her quivering vocals providing spine-tingling moments on the slower numbers whilst unleashing a wave of power on some of the faster Gaelic songs. It was inevitable that the three-piece band accompanying Fiona were not going to be able to create the same sonic ambience that Calum Malcolm crafted on Elevate, and this may provide Fiona with some problems as she tries to promote this stunning album on the live circuit. Personally, I think the addition of some innovative percussion could go a long way to bridging the gap between the sound of the album and Fiona's live set. I also think that Elevate will appeal to a much wider audience than the traditional folk audience, and Fiona is yet to find this new audience of which her debut release is so deserving.
Next up we headed over to the Classic Grand -- a venue which, even in appearance, doesn't really appear suited to many of the gigs that Celtic Connections offers. It particularly suffers because the bar runs the entire length of the main room, and the throng of people noisily surrounding the bar often meant that the music was little more than a sideshow -- it was easy to hear the music, but difficult to listen. The quality of sound was also far from ideal, sacrificing clarity for volume, which is never going to work for acoustic instruments.
This was a great shame because the first band to take to the stage of the Classic Grand were Fribo, a band who genuinely have something different to offer. Usually comprising the three talents of Ewan MacPherson, Anne Sofie Linge Valdal and Sarah-Jane Summers, tonight they were joined on stage by a percussionist and an additional vocalist, which filled out their sound nicely. Fribo play an effervescent blend of music that embraces both Celtic and Nordic cultures; the beautiful voice of Norwegian Anne Sofie is totally beguiling, Sarah Jane's fiddle playing moves seamlessly between effortless and energetic, and Ewan's striking guitar playing provides a solid rhythmic bass to bind the whole sound together. It really is a wistful, exciting coming together of traditions and you must take the oportunity to catch Fribo playing live if you can!
Next to grace the stage of the Classic Grand were the hotly-tipped accordion group Box Club, featuring the four accordions of Gary Innes, John Somerville, Mairearad Green and Angus Lyon, augmented by the strong and supple bass of Duncan Lyall, the often frenzied guitar-playing of Mike Bryan, and the enigmatic percussion of Martin O'Neill. Box Club received a rapturous welcome as they took to the stage, and it's not hard to understand why they've been winning the affections of audiences with their lively, sparkling performances. Playing a collection of traditional and self-penned tunes on four accordions that would pack enough punch alone, the guitar and rhythm section add formidable muscle and vibrancy, and the result is an almost euphoric experience -- who would have thought accordions could be so much fun!
We left the Classic Grand behind and headed over to the Central Hotel for my first experience of Festival Club. I wasn't quite sure what to expect from this, and maybe my own expectations coloured my opinions of this first visit. Also, to put this in perspective, there were probably more people in Festival Club than there are living in my village, so to say I found it overwhelming would be an understatement! My primary reason for being at Festival Club is to listen to music; it's what I'm passionate about, it's why I've travelled three-hundred mile to Glasgow, it's why I was fighting off sleep to stay up in the early hours of the morning! I felt that festival club just didn't meet these needs, or live up to my expectations. The prime focus for many seemed to be to get as much alcohol down their necks as possible, for as long as possible. When a band did take to the stage you were often lucky if you could hear the music above the drunken din. I don't want to sound like a complete killjoy -- I like a good drink as much as anybody else -- but this element of Festival Club just wasn't what I expected. I imagine part of the problem might be that Festival Club is trying to be all things to all people. I know a lot of the people there are part of the local and wider music scene and they're catching up with people they've not seen for a long time; there was definitely an atmosphere of excitement as old friends were reacquainted and new networks were made or strengthened. There's also a need for the artists to have somewhere to unwind and relax. The best music I heard at Festival Club was a quiet, impromptu session by Bruce Molsky and a few friends in a rare, quiet corner, sharing a few tunes in a very informal, organic manner -- perhaps I was expecting to find more of this going on. Like I said earlier, perhaps my expectations were clouding my judgement, maybe it was all just too overwhelming.
The first gig of Saturday evening found me back in the Recital Room of Glasgow's City Halls, but for a very different gig to that of the previous night. Tonight I was treated to an hour in the company of the legendary Lochaber fiddler, Angus Grant, who has recently released his second album, The Hills of Glengarry, some thirty years after his eponymous debut. Grant's fiddle playing has an engaging, natural sound that is as weathered and full of character as the stories that accompanied many of tonight's tunes. Accompanying Grant was the cello of Christine Hanson, adding depth and resonance, alongside the punchy, rhythmic guitar of Ross Martin. Grant's son, also called Angus, and also a talented fiddler, joined the trio towards the end of the set to really flesh out the sound -- the two fiddles playing in tandem to stunning effect. Grant was greeted by an eager and adoring audience, and his easy, laid-back style was an absolute delight to witness.
In complete contrast, the next gig was in the adjoining but much larger, Old Frutimarket -- a fantastic venue for live music, packed with atmosphere before the music even starts. The main act was one of the world's foremost Celtic bands, Capercaillie, but before this the stage was taken by the Kirsty McGee Hobopop Collective. In another venue, and in the absence of the anticipation of Capercaillie, I might have quite enjoyed Kirsty McGee, but I felt that tonight's choice of support act was somewhat misjudged. Performing in a large venue, to a standing audience who had turned out to listen to the funky Celtic sounds of Capercaillie, McGee's downbeat songs weren't particularly well received and felt somewhat flat and lost in this capacious hall. Towards the end of her set, McGee was joined on stage by some lively friends who really helped to lift proceedings; Corrina Hewat, Karine Polwart, Inge Thomson and Annie Grace all looked like they were having a great time singing their captivating harmonies and ensured that McGee's set finished on a high after all.
Then Capercaillie took to the stage. I've waited fifteen years to witness my first Capercaillie live performance and boy were they worth the wait! The shimmering vocals of Karen Matheson alone are worth traversing the earth to hear -- she sounds every bit as wonderful in the flesh as she has on any recording I've heard. Karen is also, without a doubt, the world's finest player of imaginary percussion! Consummate professionals throughout, the band never missed a beat, be it creating swirling Celtic mysticism, Karen's enthralling puirt a beul, or the bands exhilarating sets of tunes -- every note and nuance was an absolute thrill. An appreciative and adoring audience danced and clapped their way through a phenomenal set, calming for a few brief minutes whilst Karen gave a mesmerising and beautiful performance of "Ailein Duinn," accompanied by just Donald Shaw on the keyboards. A selection of outstanding material from their forthcoming album showed that their powers aren't diminishing, and make it all the more hard to believe that this is a band that is considering winding down.
I approached Festival Club with a little trepidation tonight, but I was pleasantly surprised. The atmosphere was totally different to the previous night and it also helped that my expectations and body clock had somewhat realigned! Notable presence on tonight's stage included Alison Brown and her mind-boggling banjo wizardry, followed by the excellent Lori Watson trio. It was also a great joy to find myself within touching distance of Capercaillie as they took to the Festival Club stage to perform a few stellar numbers, including the staggering puirt a beul, "Pige Ruadh." It was also a little surreal -- by this time it was about three o'clock in the morning!
So I left Festival Club at almost four o'clock in the morning, a whole lot happier tonight, with the exquisite sounds of Karen Matheson ringing in my ears and the ferocious beat of Capercaillie's funky rhythm section still pounding away at my feet!
Today's first gig started somewhat earlier than the previous days, being at one o'clock in the afternoon in the Royal Concert Hall's Strathclyde Suite -- though after last night's exhilarations, this felt like first thing in the morning! As one of the three New Voices commissions for Celtic Connections, Patsy Reid had composed and arranged an astounding set of music where classical, traditional and contemporary sounds fused together to breathtaking effect. Accompanying Reid on stage was a stunning seven-piece string ensemble, a vibrant rhythm section, the sublime piano of Mhairi Hall and the vibrant, exciting guitar of Michael Bryan. Performed in three movements, the audience were treated to innovative arrangements that incorporated a jig, two reels, a strathspey, a march, a hornpipe, two slow airs and a tune in 7/8. The movements were composed to illustrate the contrasts between the seven 'modern modes of music' -- I could quote verbatim from the programme, but the technical aspect of this meant little to me and it would be misleading for me to suggest otherwise! All I do know is that as Reid guided us through these seven modes, I heard some of the most beautiful and uplifting music I have ever witnessed -- the lush melodies of the string ensemble being given a pulsating, vibrant heartbeat by the accompanying guitar and rhythm section. This was exquisite music, performed by outstandingly talented musicians. I just hope that Reid assembles her capable comrades in a recording studio to commit this stunning work to record.
There was a good wait until my next and final 'proper' gig, which is like nothing I've ever been to before and may never go to again! Tonight, the BBC television programme, Transatlantic Sessions -- a programme that has run for three series over the last fourteen years -- was brought to life in the enormous main auditorium of Glasgow's Royal Concert Hall. Featuring a stellar cast of musicians from both sides of the Atlantic, lead by the redoubtable Aly Bain and Jerry Douglas, this was a real, rare treat for anybody who has been enthralled by the three television series. The amiable musical talents (and wicked sense of humour!) of Aly Bain and Phil Cunningham were joined by the luscious dobro sounds of Jerry Douglas. An impressive line-up of female vocalists was immensely enjoyable; Eddi Reader was in mighty fine voice on Robbie Burns' "Aye Waukin O" and a soaring cover of the Willie Nelson song, "Sad Songs and Waltzes". Mindy Smith performed a couple of her own emotion-packed songs alongside her feisty cover of Dolly Parton's "Jolene," whilst Karen Matheson sang some exquisite slow Gaelic songs alongside a punchy set of puirt a beul. The female vocal contingent was rounded off by the robust voice of Joan Osbourne.
Multi-instrumentalist and vocalist Tim O'Brien was dazzling in just about anything he did, and there was a diverse presence of fiddle styles alongside Aly Bain's Shetland tones, courtesy of the inimitable Bruce Molsky and Casey Driesen. Fancy fretwork was provided by Alison Brown's ringing banjo and Russ Barenberg's phenomenal guitar playing, whilst keyboards and accordions were effortlessly traversed by Phil Cunningham and Capercaillie's Donald Shaw. For me the star of the show was immensely talented Kentucky-born singer-songwriter, Darrell Scott -- the combination of his magnificent songs and rich, resonant voice commanding the listener's attention with absolute majesty. This was a rich and varied performance that made three hours fly by in a whirlwind of sounds where several genres collide and combust to spectacular effect.
Then it was time for my final trip to Festival Club, and tonight -- the last night of the festival -- was a much more subdued affair to begin with; the festival fatigue etched on people's faces, summoning up their last reserves of energy for one final fling. The mood soon lifted as the stage was filled by a succession of exciting acts. A new collaboration between Mary Ann Kennedy and Na Seņid (James Graham, Gillebride Macmillan, Norman Macarthur, Calum Alex Macmillan, Griogair Lawrie, Norrie Maciver and Angus Macphail) sounded absolutely resplendent with their rousing Gaelic harmonies, and the exciting, inventive fiddle sounds of Bruce Molsky and Casey Driesen also thrilled the audience. Last to take the stage was an ensemble of some of the finest young session musicians from Glasgow's folk scene. Giving an absolute tour de force performance that included a "traditional" interpretation of Michael Jackson's "Smooth Criminal," the audience were in absolute raptures, and the sense of pride and adoration was palpable.
Other than the stellar cast of outstanding musicians who grace the various stages of Celtic Connections over its three-week run, much of the festival's success has to be attributed to festival director, Capercaillie stalwart, Donald Shaw. It is Donald's energy and canny ability to make the connections across genres that makes Celtic Connections such a vibrant festival, and an event of such importance to the Scottish music scene as a showcase for Scotland's many and varied talents. The help and encouragement that Donald gives to the younger generation of musicians does not go unnoticed and it is his energy and commitment for giving so much back to Scottish music that is such an inspiration to the younger generation. Quite how he continues to look so youthful amongst all this madness is beyond me! So, here's to Donald Shaw and here's to Celtic Connections. I can't wait for January 2009!
