THE first half of the annual Celtic Connections piping concert was given by the Bagad Sonerien An Oriant (Lorient) and they delighted with a mix of Breton tunes, all performed by the 40-plus ensemble of musicians on bombard, pipes and percussion. A group of dancers reinforced the links between the tunes and the dances and also demonstrated great athleticism. Their set was well received and once again a bagad has come to Glasgow for Celtic Connections and left with many new admirers.
The start of the second half saw the lights dimmed, as the band quietly entered the stage. The sound of chatter over a police radio crackled through and ‘There’s been a murder’ echoed out followed by ‘It’s time gentlemen please’ and then the most famous pipe band of modern times, Strathclyde Police, could strike in.
The screen high above the band displayed S.P.P.B. 1975 – 2013, and although it had been widely trailed this was to be the final performance of the band under the name of Strathclyde Police Pipe Band, the screen did lend an air of finality to the proceedings.
On April 1, a new national police force, Police Scotland, will amalgamate the responsibilities of the existing regional forces. This has already had some impact on the various police pipe bands with the Lothian and Borders Police Pipe Band (the band that evolved from the famed Edinburgh City Police Pipe Band) disbanded and the Pipes & Drums of Central Scotland Police going the same way, although members have reformed, independently from the police force, as Bannockburn and District Pipe Band.
This is clearly a time of flux for the police bands and of course, the Strathclyde outfit was nearly axed in 2009, a situation that sparked a large volume of protest until it was announced the band would continue.
So although the existence of the world’s oldest civilian pipe band (it was formed as the Burgh of Govan Pipe band in 1883 before becoming the Glasgow Police Pipe Band in 1912 and the Strathclyde Police Pipe band in 1975) would seem to be assured at the moment, their name will change again, to the Greater Glasgow Police Scotland Pipe Band.
If any of this was playing on the minds of the band members as they performed it didn’t show. Instead they demonstrated why they are one of the world’s top pipe bands.
Highlights included a spirited rendition of Blair Douglas’s cracking tune Nelson Mandela’s Welcome to Glasgow, a Gaelic set including Morag Leat Shiubhlainn — a song popularised by Gaelic vocal group Na h-Òganaich — and a delightful version of the Phil Cunningham tune Lightly Swims the Swan, started by Pipe Major Duncan Nicholson on the whistle.
Drum sergeant Eric Ward’s corps gave a very entertaining performance of their fanfare, The Front Row Duck. Indeed, one of the features of the concert was the superb balance between the drums and pipes throughout. This has been a notoriously difficult balance to get right in the concert hall and under Eric’s guidance the drum corps got it spot on.
The solo pyrotechnics fell to five of the band in the now obligatory ‘tag team’ spot, although as was pointed out several times in the pub after the concert, it should only be called a ‘tag team’ if the player coming on joins the leaving player in the last part of the tune — which they didn’t do.
Nevertheless Steven Leask, James Rosie, Sydney Moore, pipe sergeant Ross Stewart and Scott Giffin and all delivered on that most exposed of all platforms. With Alan Henderson (keyboards), James Lindsay (double bass) and Ewan Robertson (guitar) pitching in when required, it was an impressive sound which reached its zenith on the Big Reels Set, where the band romped through eight reels including Sandy Cameron, The Periwig and Sandy Duff, topping and tailing the set with Hé Mandu.
In the band’s final set of strathspeys and reels, closing with a spirited version of Alick C MacGregor, it was clear that ‘The Polis’ are still a force to be reckoned with. •Words by Chris MacKenzie for Piping Today magazine issue 62.
BATTLEFIELD Band have, rather remarkably, been in existence since the late 60s, long before any Celtic Connections. However, performing again at this year’s event the band showcased why they are still at the cutting edge of modern Scottish folk music.
The current four-man line-up have much to live up to, considering the impressive alumni of this Scottish folk institution. This latest incarnation, together for around three years now, certainly did not disappoint on the final day of this year’s festival.
All of the foursome are devilishly talented multi-instrumentalists and there is a clinically pure and uncomplicated sound that is authentic and refreshing. The newest addition, Ewen Henderson from Fort William, learned pipes from Angus MacColl and occasionally played alongside regular piper Mike Katz (whose trademark beard still looks as healthy as ever). Mike dabbled freely on whistles and handily on bouzouki, while Ewen’s skills were also presented through the rare stage appearance of a grand piano but best served on fiddle alongside the accomplished Alasdair White. Sean O’Donnell provides the rhythmic base with a great percussive effect in his guitar accompaniment.
Battlefield Band’s melody-driven instincts kick in and — with the energy from the pipes and guitar, sharp, dynamic fiddle playing and a chirpy warmness from the whistles — the music floats along rapidly. The band’s execution in anything ranging from folk songs, to gentle Gaelic airs or raging Jacobite medleys was of the highest order. Technically flawless and fabulously entertaining. •Words by Fraser Bruce for Piping Today magazine issue 62.
Carlos Núñez’ work shows us clearly the connections between Galician, Breton and Celtic music, and with the orchestra adding a classical and, at times, a medieval feel to proceedings, this superb show once again demonstrated the limitless potential to embrace and combine all genres. Carlos spoke of his friendship with artists like Phil Cunningham, and offered his own hearty congratulations for the festival’s landmark 20th year, thus typifying how the cultured, cross-genre appeal of the Celtic Connections festival has become a magnet for international talent.
There was a surprise in store when a quintet of Highland pipers packed the stage further. Finlay McDonald, Calum MacCrimmon, Lorne MacDougall, John Mulhearn and Ali Hutton seemed to be trying to outdo each other to sport the most outlandish Highland wear, with tweed jackets and Balmoral caps rife.
The sheer showmanship of Carlos — flamboyant body language captivating and communicating his music — is a delight to behold. It was fitting that his signature piece, Andro, a tune that actually originates from Brittany, captured the imagination of the audience, who needed little coercing to commence the traditional conga-like Breton dance around the perimeter of the hall. After a 20-minute encore, the crowd urged Carlos and his glorious ensemble to repeat Andro once more. This time, much of the audience ended up on the stage itself, proving Carlos Núñez to be an irresistible performer who can share and instil passion for music as few others can. •Words by Fraser Bruce for Piping Today magazine issue 62.
