To the Moon was my first exposure to Capercaillie, so of course, it was what’s generally considered their “crossover” album. This is by no means a negative, or even something that’s very obvious: it’s more apparent in the rhythm patterns, the instrumentation (sorry, but no one is going to persuade me that the bouzouki is . . . → Read More: Musical Matters: Capercaillie: To the Moon
Barb Truex penned this lovely commentary for us.
A few months ago I had my first exposure to music from the Faroe Islands, a small group of Nordic islands that lie between Iceland and the Scottish Shetland Islands. I reviewed three recordings from the group Spælimenninir. Getting to know artists better over time as . . . → Read More: On Kristian Blak and Faroe Islands music
Objectivity be damned, it just can’t be done! When presented with a collection of tracks dubbed Dark Britannica, comprising two CDs that when purchased entitles you to 33 extra downloadable tracks (the equivalent of two more CDs), which collectively prove satisfying time after time — sorry, but all pretence at neutrality must be abandoned. This . . . → Read More: John Barleycorn Reborn
Ahhh, there you are. I saw you sitting over in Falstaff’s Chair by the cheerfully cracklin’ fire on this cold, windy, and even rainy night. I see you’re enjoying your novel… Me? I’m reading de Lint’s Moonheart — perhaps his best known work. Not all great literature comes in the form of the printed page . . . → Read More: Colcannon: The Pooka and the Fiddler and Happy as Larry
The final two days of the 2013 Celtic Colours International Festival were a whirlwind of activity – for us, anyway. On Friday we took a short trip along part of the Cabot Trail and a tiny section of the Cape Breton Highlands National Park before having dinner at the Glendora Distillery between Mabou and Inverness, . . . → Read More: Celtic Colours wrap-up: Oct. 18-19 — In Good Company, Pipers’ Ceilidh
I headed off for this mid-week show with expectations that were not very high. Just goes to show how wrong you can be! By the end of the night, nay by the midpoint, it had become my favorite memory (so far) of the 17th annual Celtic Colours International Festival.
First, the venue. The Louisbourg Playhouse . . . → Read More: Celtic Colours: October 16, 2013 — Louisbourg Crossroads
It was an evening of dance and music from three different cultures – Nordic, Quebecois, and Cape Breton-style Celtic – at the handsome performance hall Strathspey Place in Mabou, a former coal mining center on Cape Breton Island’s north shore. The house was very nearly sold out of its approximately 500 seats for a program . . . → Read More: Celtic Colours: October 15, 2013 — Dance Dance Wherever You May Be
The Cape Breton supergroup called Beòlach was the headliner at a show called “Far Flung Fiddles” at the Judique Community Center in Judique, Nova Scotia, on the evening of the third full day of the 17th annual Celtic Colours International Festival Monday, Oct. 14. And Beòlach indeed brought the near-capacity crowd to their feet more . . . → Read More: Celtic Colours: October 14, 2013 — Far Flung Fiddles
It was billed as “Cape Breton meets Denmark via Boston,” and it was all that and more as the two Celtic Colours 2013 Artists in Residence hosted a fiddling extravaganza Sunday night in Whycocomagh on Nova Scotia’s Cape Breton Island. For the two artists in residence – Danish fiddler Harald Haugaard and Cape Breton fiddler . . . → Read More: Celtic Colours: October 13, 2013 — Whycocomagh Gathering
Fiddler Martin Hayes and guitarist John Doyle brought the capacity crowd to their feet in a spontaneous standing ovation at the conclusion of a stunning set of reels, the climax of an evening of traditional and contemporary music in the Mi’kmaw First Nation village of Wagmatcook Saturday, Oct. 12. It was a wonderful way to . . . → Read More: Celtic Colours: October 12, 2013 — Tee and Tunes, Acadian Celtic Crossroads