Tron Theatre, Glasgow, 29 January 2011

IF THE Tron allowed standing, it would have been standing room only for this contrasting double bill. It’s two years almost to the day since Northings reviewed what was then known as the Lauren MacColl Trio.

It is now the snappier MacCollective, but retains the same lineup of Lauren MacColl on fiddle, Mhairi Hall on piano and Barry Reid on guitar. The main difference is not the name but the added smoothness, assurance and maturity that time has added.

Maccollective, featuring Mhairi Hall, Barry Reid and Lauren McColl

Mhairi Hall is developing into one of the great piano accompanists, reminiscent of Andy Thorburn in her rapport with her fellow musicians and evident pleasure in being onstage, but also sharing with Barry Reid a delicacy of touch combined with the ability to make feet not just tap but stamp when required.

MacColl is fulfilling her youthful promise, both musically and in increasingly confident, clearly articulated introductions and thanks. She has an ear for a great tune, as her forays into old Highland Collections has already shown, supported by the undoubted talent to do it justice.

The well-chosen programme includes her own compositions, favourite traditional discoveries and an interesting selection of works by others, including the Canadian Oliver Shore. Durham accordionist Shona Kipling joined the trio for several numbers, including a sparkling ‘God is an Accordion’. (“Yes!,” says Kipling, punching the air).

As a few MacColl relations leave to accompany her to her next gig at the Festival Club, their seats are immediately filled by supporters of Kathleen MacInnes. She sweeps onto the stage in her “Lewis wellies” (high heeled knee boots) and jeans and wraps the audience in her distinctive warm brushed cashmere voice, launching straight into a cappella Gaelic song.

She’s soon joined by Laoise (pronounced, roughly, ‘Leesha’) Kelly on clarsach, and then Iain MacFarlane, Iain Macdonald and Ross Martin join for a sea shanty or two. Rehearsals the previous day, she confides, soon led to the pub where some chance-met musicians (Angus Nicolson, Megan Henderson and James Bremner) were persuaded to join them for a couple of tunes, and they duly appear.

It’s all amiably chaotic, more like a kitchen session than a formal concert, and none the worse for that. In fact, when the Tron management indicate that it’s time to leave the stage, “Would you all like to come home with us?” asks MacInnes, and “Yes!” comes the emphatic answer from an audience eager for more puirt a beul, sprightly reels, footstomping jigs, heartwrenching ballads, and well timed gags.

Lewis singer Kathleen MacInnes

“I’m pregnant and depressed”, she announces suddenly, which hushes the room for an instant before she giggles at the thought of husband Tommy’s face if she were. No, it’s just another Gaelic song about a barefoot pregnant lass waiting vainly on the quay.

MacInnes has a glorious voice, with shades of Fado or Flamenco heavy in the more passionate tunes, but it’s her open friendliness that keeps her fans coming back for more.

© Jennie Macfie, 2011

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