St Andrews in the Square, Glasgow, 16 January 2010

Blair Douglas

UNDER the exquisite white and gold plasterwork, Corinthian orders and elegant brass chandeliers of St Andrews in the Square, a breath of the Gaeltachd blew into Glasgow and magically transported the entire church, Tardis-like, to Eilean Sgitheanach… .

Or at least, that’s what it felt like to this reviewer, arriving in a state of slightly breathless punctuality only to find that the evening was running on Highland time. Starting a good few minutes late, without ceremony or fuss, a backdrop of projected photos by Cailean Maclean of Skye in all seasons strengthened further the illusion that this was a village ceilidh, not a Celtic Connections concert.

Arthur Cormack had invited a beguiling assembly of Sgiathanachs to celebrate the island. Blair Douglas accompanied Cormack in a song he had learned from his teacher at Portree High, Catriona (daughter of Sorley) Maclean.

This, in typical Gaelic style, imagined the death of a loved one on a cold moor. “As you do..,” added Douglas, accompanying Cormack’s singing with some beautifully delicate piano work, before moving to the accordion for some marches. “Two in 2/4, one 6/8; that equals… a barndance”, he quipped.

Kenna Campbell was introduced fulsomely by Cormack. “Ach, what a bletherer,” she responded, affectionately. It is 50 years since Campbell became a Mod gold medallist, but her voice still rose pure and clear, especially in a sorrowful lullaby sung by a father explaining to his children that their mother has died.

Were there a world market in dirges, the Gaeltachd would dominate it effortlessly, mining that rich, seemingly endless canon of songs which range from sad to soul-searingly tragic. Perhaps it’s because all sorrows are so easily expressed that Highlanders and islanders tend to be so happily philosophical about life.

Cherry on the Cream, two young musicians from Skye and one from Glenelg, raised the tempo with some spirited jigs, reels and marches on pipes, fiddle and guitar, and Darren Maclean, whose bell-like voice has already won him medals and titles galore, sang beautifully.

After a quarter of a century of the Feis movement, we take it for granted that young musicians will take up traditional instruments to sing and play traditional tunes in their own way, keeping Highland culture alive and growing, but we shouldn’t. It’s a marvel.

© Jennie Macfie, 2010

Links

• Celtic Connections
• Jennie Macfie