In January of 2020, Ailis Sutherland and Chris Mackenzie were reviewing concerts at Celtic Connections to be published in issue 100 of Piping Today magazine. This became the penultimate issue of Piping Today as the destruction caused by lockdown was awaiting in less than two months from the end of the festival. The reviews from Ailis and Chris and the photos can be found below.
The majority of the piping-related concerts at Celtic Connections 2026 are listed in the article here, with links through to ticket purchases.
A Celebration of Women in Piping
I saw the Celebration of Women in Piping gig in the Strathclyde Suite on the first Sunday of the festival. This was a concert dedicated to pipers who are women in the Irish, Breton and Scottish traditions and was programmed by uilleann piper Louise Mulcahy.
The first half consisted of four uilleann pipers. For me, the highlight was the solo played on a set of pipes pitched in the key of B which belonged to Liam O’Flynn. When I was growing up, the music of Planxty, the Bothy Band, Ossian and Battlefield Band were constantly played on tapes and CDs in the car and while the dinner was being made so when I heard of the passing of Liam O’Flynn, I felt an enormous sense of loss. I had realised that the people whose music had provided the soundtrack to my childhood were not going to be around forever so it was very touching to hear Liam O’Flynn’s pipes being played live for the first time.
We were speaking after the concert about these pipes and about how an instrument, especially one which is as physical as the pipes can be so personal. The human aspect of the musician is almost transferred to the pipes – you can feel where their hands have spent years gradually wearing away the wood on the chanter, where the buckles have been bedding into the leather on the belts and when you actually get to play someone else’s pipes, you hear the reeds from the unique perspective of the piper.
The second half had a slightly different format – more of an individual showcase of the Scottish and Breton pipers. Enora Morice stood out in terms of her technical execution but more importantly for the expression with which she presented the music from various parts of Brittany. Enora explained the selection of dance tunes she was going to play and linked them back to the places they came from. It must also be mentioned that the tone she was producing from the instrument was remarkably good. I particularly enjoyed Enora’s duet with Robyn McKay – the chanters were bang-on!
Without doubt, Alana MacInnes completely won the audience over. Having the ability to play very well is the first given at any festival but to walk out on stage and immediately strike up a brilliant rapport with the crowd is certainly what I remember most about a performer and something that clearly comes very naturally to Alana. She’s famously the heart and soul of the party but it was good to see her putting in a sincere performance and I hope to see her doing more gigs and spreading the joy!
If this type of concert was to be repeated in the future, it would be great to see pipers such as Sarah Muir, Margaret Dunn, Emma Hendry, Sharon Kelly, Anna Murray, Mairearad Green and Andrea Boyd playing a set or two.
Celtic Connections is representative of the cultural, musical and linguistic melting pot of its home city which was summed up in one off-the-cuff punchline after Louise Mulcahy had told the audience the incorrect name of the place where she grew up: “Five days in Glasgow and you don’t know where you’re from!” by Ailis Sutherland
Peoples Ford Boghall & Bathgate Caledonia Pipe Band
Tryst kicked off the first half of the annual lunchtime piping event in the main auditorium at the Glasgow Royal Concert Hall. I really enjoyed Tryst’s set – it was good to see a group of pipers performing in less formal attire and to hear each of them address the audience over the mic. Perhaps this is something they all do without much thought as seasoned professional musicians, but it’s something that more pipers should do when performing. The story behind the tune often carries as much weight as the tune itself.
I really liked the Donald MacLeod set – Donald MacLennan’s Tuning Phrase has always been a favourite and I had goosebumps from the playing on display in the final tune, Donald Cameron’s Powderhorn. The accompaniment, provided by Angus Lyon and Fraser Stone, was minimalistic but very supportive and had a lot of depth which complimented the drones while giving enough space for the chanters to cut through.
Altogether there was a very broad range of material which included a sing-along, a bunch of Gordon Duncan tunes and a very cool Bagad-style harmony section which got the feet tapping.
Boghall and Bathgate Caledonia took to the stage with a nod to Burns as they gave a lovely rendition of Westlin Winds – it was January 25, after all. Their second set had a nice groove and a good tempo – the drumming was impressively dynamic. I heard afterwards that the drumming had come across as being very loud for some but from my seat, I very much appreciated it.
I liked the clever introduction of harmonies in Leaving Ireland which was led by the band’s pipe sergeant Calum Watson. They made an unusual and well crafted entrance about halfway through the part which was pleasingly surprising.
The traditional pipe band attack can become a bit tiresome in a concert setting so it was nice that Boghall had considered this while putting the set list together. Their entrance to the stage after the fanfare was very effective – the drum corps playing the rolls followed by the drones being struck in from the wings, the pipers dropping the E and then going straight into the tune while walking back on from both sides. For a piper, I actually picked up on quite a few of the drumming nuances – I particularly liked the subtle crescendo into the three-pace rolls.
The band sounded good overall and the high Gs were remarkably well tuned and well-blown throughout the slow air in the medley. Pipe major Ross Harvey stepped back to the side once the band were into the jigs, leaving the musicians to play without any obvious conducting – a nice touch.
Ross Harvey was genuine and humble as he thanked the audience for coming along. I know how much work goes into putting on a concert like this – it was very enjoyable and easy listening. by Ailis Sutherland
Breabach @ 15
My first impression of Celtic Connections this year was Breabach’s 15th anniversary in the Main Auditorium at Glasgow Royal Concert Hall. The show began with a multi-instrumental set from Seamus Egan Project which featured Egan on banjo, guitar and whistle with a great line-up, including bass player Trevor Hutchinson of Lúnasa.
Four big strings of lightbulbs decorated the stage and when illuminated, signalled the start of the main event. From my seat just behind the desk, the sound was exceptionally good. In such a big room, the definition could easily have been lost but engineer Keir Long really brought out a full pipe sound with excellent clarity, as though they were acoustic. I have heard Breabach play at Celtic Connections many times before but this gig seemed to have an unusually elevated energy and was altogether an excellently crafted production.
Their opening set was a stormer and it was becoming clear by the end of set number two that this gig was somehow going to keep getting better! Gig Face was a firm highlight – a set which really showcased the band’s dynamic range and individual skill. With everyone in the band playing a good few instruments and not shy to use their singing voices, there is plenty of scope and abundant ability to build up rich rhythmic and harmonic textures which unassumingly catapult you back into the melody. I admire their decision to maintain the essence of the sets they’ve been performing for years with only a few additions. The pipe parts were boosted by pipe corps, Tryst, and the extra string parts bolstered by a nose-scrunching combination of Su-a Lee and James Lindsay on cello and double bass respectively.
The original line-up took to the stage for some classic tracks from their debut album which are as relevant in 2020 as they were when they were first assembled. This is a testament to the repertoire the band have built their foundations on and like the Breabach 15yo single malt they have just released, the music is getting better with age.
The interplay between melody and rhythm sections was, as ever, incredibly impressive and Megan Henderson’s rendition of Òran Bhràigh Rùsgaich, learned from Charlie MacFarlane in Glenfinnan, was a real education in how an old song should be treated. Carefully nestled in a meld of atmospheric sounds, the lyrics and melody were presented to the audience like a precious artefact. Megan’s voice has a similar ‘pure’ quality to that of Julie Fowlis and the recorded version certainly has that magic sheen which reminds me of Dh’èirich Mi Moch, b‘ Fheàrr Nach Do Dh‘èirich the lead track from Julie’s album, Alterum. Éamon Doorley’s influence as producer on Breabach’s latest release, Frenzy of the Meeting, shining through here without doubt.
All five have great stage presence and made the concert hall feel like a wee folk club. One particularly witty comment had the whole place howling with laughter for several minutes – so funny that it took us all a while to get back on track, not least Calum MacCrimmon, the unfortunate subject of the sharp remark! For me, the human connection factor is what makes a good gig and Breabach’s global ethos comes through in everything they do, from the tunes they play to the words they speak.
This band have stayed true to themselves and the origins of their music since 2005 (incidentally, the year I was given my pipes) and this spectacle was simply a milestone in what is turning out to be a musical legacy.
James Duncan Mackenzie’s most well-known composition marked the end of the gig and had everyone on their feet for a second time. After 15 years, it’s quite clear that Breabach are still Smelling (just as) Fresh. by Ailis Sutherland
Ceòlas 25th Anniversary
Ceòlas certainly know how to put on a good show and their 25th anniversary concert was an absolute joy to witness. The line-up was a complete ‘who’s who’ of Scottish and Cape Breton Gaelic artists including house band Dàimh, Kathleen MacInnes, Allan Henderson, Ailean Dòmhnullach, Seonaidh MacIntyre, Mairi Rankin and Frank McConnell.
Every singer, dancer and musician was given a spot in the limelight and everyone was on top form. This was an immaculately-run concert with some truly superb performances, one of the most impressive being Ailean and Seonaidh’s smallpipes duet. The pipes were totally singing and it was some of the tightest playing I’ve heard between two musicians in a long time. It was a really beautiful thing to see this combination of master and apprentice – the transitions between tunes so slick that the people in the balcony were still confidently tapping their feet in reel time as the pair blasted into jigs!
The Ceòlas summer school in South Uist is renowned for being ridiculously good craic – anything goes and everyone there is so keen to learn, share and celebrate the music, language and culture. A couple of years ago I managed to get down for a few of the evening events after my day’s teaching at the North Uist Fèis and it was unforgettable! There was always at least one set of pipes being played. People have the absolute time of their lives at Ceòlas and the tutor house in the early hours of the morning seems like the centre of the universe. When the kitchen’s full, there’s no need to worry – the overspill sessions are just as good – no airing cupboard too small for a tune annex!
There is a deep connection between South Uist and Cape Breton and the way the two strands interact with each other is unexplainable and magical. Everyone involved has an intrinsic understanding of the traditions which have shaped their lives and their characters and this was highlighted by the sheer number of people who were individually and collectively embodying Gaelic culture with such variety on the Fruitmarket stage.
A wonderful evening of music and only the start of what is sure to be another momentous year for Ceòlas! by Ailis Sutherland
Miller, MacDonald and Cormier
The link to Cape Breton has, unsurprisingly, always been a connection celebrated at Celtic Connections, and I doubt that there has been a year in the festival’s 26-year history where someone from Cape Breton hasn’t appeared on the bill.
For their part, the Celtic Connections audience is always highly receptive to the energetic, percussive and driving sound produced from that particular part of Nova Scotia. Given that, and the fact that they have had a couple of highly regarded CDs, it is no surprise then that there was a very healthy crowd in the Strathclyde Suite to see Miller, MacDonald and Cormier ceilidh Cape Breton style.
Despite being from ‘upstate’ New York, piper Ben Miller has taken to both Scottish and Cape Breton music with a passion and in native Cape Bretoner, fiddler Anita MacDonald, he has found a partner to explore the shared roots of the music, add in guitar player Zakk Cormier, from Prince Edward Island, and the scene was set for some rollicking Cape Breton infused music.
The trio wasted no time getting into the groove with a quickstep and jigs and it was immediately apparent that Ben’s Border pipe playing and Anita’s fiddle playing were perfectly synchronised and they stay that way throughout their set. Jigs, strathspeys, reels all flew from the pair’s hands as the sounds of Scotland and Cape Breton melded into one glorious soundscape.
Anita proved her versatility by singing, and getting the crowd to sing along with a Gaelic lullaby, she also threw in some step dancing while playing the fiddle to well deserved applause. The percussive plaudits though belonged to Zakk whose feet did almost as much work as his hands as they produced the distinctive Cape Breton rhythm while he sat playing his guitar. Impressive as his footwork was, the real value Zakk added was with his perfectly pitched support for the main melody. Slow and delicate or fast and raucous as required, he was on hand to provide the rhythmic backbone to the music.
This was a trio in great form and they continued the tradition of Cape Breton bringing superb musicians and music to the festival. One small point, the music was fabulous but we could have heard twice as much of it if Ben had spoken half as much. Building rapport with the audience is important but so is knowing when to just get on and play the music. by Chris Mackenzie
SaMaLuc
The support for Miller, MacDonald and Cormier were the much snappier titled SaMaLuc.
This was another trio of very talented musicians: Sam Mabbett on melodeon, Luc McNally on guitar and Malin Lewis on various smallpipes. Although recently formed, each of the band members has been making waves on their own, and as a trio they have gelled quickly and very impressively. Sam’s melodeon playing sparkled throughout the entire set which allowed Malin to weave pipe sounds around it and to use the full range of the Lindsay System chanter when required.
Highlight of an impressive set was Malin’s tune The Old Inn. Written for the hotel in Carbost, Skye, this had a deliciously chilled feel evocative of a lazy day in Skye.
Malin is perhaps better known for the Two Octaves collaboration with Jarlath Henderson but this trio make some mighty fine music and here’s hoping they continue to do so. by Chris Mackenzie
RURA
A band who have become almost a permanent Celtic Connections fixture in the 10 years since they emerged are RURA. Winners of the Danny Kyle award in 2011, the band are now three albums in, the last of which, In Praise of Home, would be on any list of the best albums of the last decade. They have a dedicated following, many of whom packed into the Fruitmarket to see the band celebrate a decade of making music.
Part of the skill in organising this festival is matching bands to venues and putting RURA on in the Fruitmarket was inspired. It was the perfect venue to enjoy their relaxed Celtic groove and the band and audience revelled in it. With Jack Smedley on fiddle, Steven Blake on pipes, Adam Brown on guitar and David Foley on bodhran and flute, the band took the opportunity to invite along past band members Chris Waite and James Lindsay and to draft in two of the hardest working pipers at the festival, Finlay MacDonald and Ali Hutton. This then was the RURA big band and it was none the worse for that.
All the favourites were played including Catriona’s, In Praise of Home and Day One, with the intro to each greeted by delighted cheers of recognition by the assembled faithful. The band were in cracking form with Jack’s fiddle and Steven’s pipes in perfect concert whether taking things down a notch or rocking the house. RURA have a very distinctive sound that manages to keep a chilled relaxed vibe going even when they are in full pipes up, eyeballs out, footstompin’ mode. RURA are a fully instrumental band these days but there was a huge cheer when they were joined on stage by original vocalist Adam Holmes for a run through his song Mary, from the band’s début album Break It Up. It was undoubtedly the emotional moment of the night as the crowd sang every word along with Adam. Here’s to the next 10 years of the RURA sound. by Chris Mackenzie