Davy Spillane

Celtic Connections January 15 - February 2, 1998 Glasgow, Scotland By Lahri Bond

When planning a mid-winter vacation, Scotland might not be the first location that leaps to mind. But while other people are microwaving themselves in the Bahamas or spending quality time with Mickey and Goofy, many Celtic music fans have discovered that "the happiest place on the Earth" might just be Glasgow in January during its annual Celtic Connections Festival. With over 100 separate acts performing over a three-week period and encompassing nearly the entire spectrum of Celtic music, the festival might explain why Scotland is the place where cloning was finally perfected. Some would argue that the real initiative was not to pioneer new frontiers in genetics but simply to maximize the available time, enabling one to see all the artists who performed at the festival.

Robin Williamson

The 1997 festivities, which included many daytime workshops and master classes, were held in seven separate locations, all conveniently located within a moderate walking distance from each other. In the heart of Glasgow's city center, its many museums and stores illustrate why it was honored as "The European City of Culture" in 1989. Among the festival's more unusual venues was The Piping Centre, an incredible museum devoted entirely to bagpipes, where one could catch an early evening concert by Celtdom's master bard, Robin Williamson; a rousing nighttime show by Reeltime; or an afternoon workshop on diddling by Scotland's Sheena Wellington. Elsewhere, Emma Christian, the lovely Manx harper and singer, played a special candlelit concert at the exquisite 10th-century Glasgow Cathedral.

Many of the evening concerts were held at The Fruitmarket, a huge old building that was once one of the central areas of the town's agricultural trade. The building had been converted into a great club, with the original signs and facades preserved and two bars, a balcony and a main stage added. The nightclub atmosphere of the place played host to a wide variety of acts, including the snaking Celto-House rhythms of Shooglenifty, Quebec's La Bottine Souriante, Ireland's premier piper Davy Spillane, impressive newcomers Rock, Salt & Nails, and Wolfstone (who played a rousing "farewell" set).

Each night, after the usual five to seven shows had ended, it was customary to gather into the wee hours at the Iona Festival Club in the majestic old Quality Central Hotel, a few minutes' walk from any main event. Sessions were held from 10 p.m. till whenever, and both musicians and audience members gathered to socialize and raise a glass in one of the hotel's many pub rooms and jam in the hallways. The club is hosted by folk veteran Gibb Todd. Musicians who played or were about to play the main stages came to this small intimate site to perform warmup and showcase sets. On any given night, La Bottine Souriante might be joined by the foot-fueled percussion of Sandy Silva [Open House], or the legendary Alan Taylor might make his only festival appearance. Future festivalgoers should be forewarned, however, that such delightful impromptu jams often didn't end until six in the morning.

Many of the Festival's main events took place in the beautiful Glasgow Royal Concert Hall, on Sauchiehall Street. The venue featured a nearly acoustically perfect main auditorium, with the halls used for art exhibits, such as the splendid paintings by The Welsh Group, gorgeously rendered black and white portraits of folk musicians by Craig MacKay, and concert photos by Heidi Pearson. The venue also houses on its second floor the folk club-sized Strathclyde Suite. The superbly designed building allowed for two rather loud concerts to go on without the sound ever leaking into either room.

Deaf Shepherd

The 1997 Strathclyde Suite shows featured many newer acts, including Dervish, Sin-É, Flook, Deaf Shepherd, David Allison, and the Brendan Power Band, along with crowd favorites Waterson:Carthy, Dougie MacLean, and Old Blind Dogs. The hall also saw rare performances by the incomparable Fisher Family (Archie, Ray and Cilla Fisher), as well as Savourna Stevenson, June Tabor and Danny Thompson.

Festival Press Officer Ian Bone (who along with Colin Hynd, the festival administrator, helped set up The Celtic Connections Festival organization some four years ago) explained, "One of the things we started this year is to increase the education program. We have a bus going 'round to schools with different instruments and letting children have a wee shot. I think because of the political — with a small "p" — development in this country, there is going to be more concentration on Gaelic, as well.

"There's quite a big drive to teaching Gaelic in schools. I think people are conscious that they have to work very hard to keep the language from dying out," Bone offered. "One of the more positive things of late is that the government and the local city council have begun to set up Gaelic speaking schools — there's two now in Glasgow — and parents can decide if they want to send their children to one of these schools. The problem is that the parents don't speak Gaelic, and it hasn't been able to be reinforced. I suppose that in the long term, when those people who are being taught Gaelic now mature and have kids of their own, then it will strengthen. But we're talking 20 years before we get a solid base." Of course, with Gaelic being taught as part of a countrywide move to embrace its culture, there will be a fair amount of "standardizing" of the language's many district dialects. "It's unfortunate," agreed Bone, "but it's generally agreed that it's better to loose some of the dialects than lose the language. I think there [are] five, and some academics would say six, true dialects, and it's not practical to support that. As a result, the language that is being taught has become more standardized to the type of Gaelic spoken in the islands and north of Ullapool."

The Celtic Connections is perhaps the most comprehensive, impeccably produced and professionally presented program of Celtic and Celtic-related music, dance and culture that one could ever hope for. Performers lined up for the 1998 season include: Dougie MacLean, The Poozies, Old Blind Dogs and Drever MacKenzie. Special festival-long and group packages are available, and inquiries to both the festival and the Scottish Tourist Board can aid in planning this essential experience for any serious Celtic music lover.