Scottish singer and arranger Mary Ann Kennedy (Màiri Anna NicUalraig) celebrates her hometown, Glasgow and her Gaelic roots in ‘Glaschu’ (Glasgow in Gaelic). ‘Glaschu’ brings together captivating song, insightful poetry and superb Celtic music from the Scottish and Irish traditions, featuring bodhran, whistles, and uilleann pipes.
Gaelic is spoken by an estimated 60,000 people in Scotland and Mary Ann Kennedy is involved in the promotion and safeguarding of the language. She sings beautifully in Gaelic throughout the album and the CD booklet includes the lyrics in Gaelic and English.
Mary Ann Kennedy goes beyond Celtic arrangements and instrumentation and incorporates classical chamber music elements, blues, mesmerizing folk ballads, evocative jazz (think of ECM), urban sound effects, and poetry readings.
‘Glaschu’ is a masterfully crafted recording enclosed in exquisite packaging. It is a tribute to the melting pot of Glasgow where various musical traditions and religions have coexisted for years. A wonderful place where Gaelic roots meets urban life.
St. Patrick’s Day. How exactly did the Catholic patron saint feast day of the the people of Ireland, a relatively small island in the North Atlantic, evolve into a worldwide celebration? With festivities and parades in communities large and small that traverse from United States to Australia from Germany to Argentina from Japan to South Africa, the logical answer of course is the ability of the Irish to pick up and move to wherever the road takes them with all the mitigating factors of migration mixed in like famine, disease and oppression. By why this extravaganza of green? Some might point to mass marketing with promises of barrels of beer, a good time party and a lively parade in those dark days that mark the lull between Christmas and the genuine start of spring. The spread of St. Patrick’s Day by way of the cross pollination of culture seem so reasonable, so rational, so plausible.
But the Irish in me wants it to be us. The Irish in me wants it to be our storytelling, our music, our dance. Yes, the Irish in me wants it to be the utter surety that “if you knew us, you’d like us,” which I’m not sure if it makes us charmingly likable or just a wee bit obnoxious. Those not quite spring days of March seem a good time for us heathens in the Northern Hemisphere to settle in with a pint against the backdrop of a sweet tune and listen to someone’s Da tell a story that couldn’t possibly be true, but then again it just might. See, I have no doubt that there’s a Irishman out there, right now, that’s looking at a lovely woman and saying, “Ah, Mo stoirín, you remind me of a girl …” before weaving a fantastical tale. Perhaps that’s the real lure of St. Patrick’s Day.
To lure you in further let’s find some music for your St. Patrick’s Day and there is indeed some fine music this year to tempt you.
There’s the standard St. Patrick’s Day fare of Celtic Thunder’s Celtic Thunder X with tracks like “Sons of Light,” “Toora Loora Lay” and “The Wild Rover.” While a little overblown and a bit more commercial pop than I personally prefer, their version of “Lannigans Ball” is lively.
The late 2017 releases of Voice of the Celts and The Voice Within by Dulaman follow along the same vein, but “Dulaman,” “On Raglan Road,” “Sally Brown,” “The Sally Gardens” and Na Ceannabhain Bhana” are worth a listen. Also, Celtic Woman has put out Homecoming – Live From Ireland for Susan McFadden, Mairead Carlin, Eabha McMahon and Tara McNeil fans.
The Gap of Dreams by Altan is certain to set your Celtic heart all aflutter. The stunning bright and beautiful recording is full of the goodness of Mairead Ni Mhaonaigh’s vocals and fiddle, Ciaran Curran’s bouzouki, Daithi Sproule’s guitar and vocals, Mark Kelly’s guitar and vocals and Martin Tourish’s piano accordion. They threw in Tommy McLaughlin on keyboards just for kicks. On The Gap of Dreams fans get a dose of “The Gap of Dreams/Nia’s Jig/The Beekeeper,” “The Month of January,” “Nion a’ Bhaoigheallaigh” and “The Tullaghan Lasses/The Cameronian/The Pigeon on the Gate,” as well as “Cumha an Oileain” and the sweetly simple Mark Kelly composition “Port Alex.”
Equally delicious is the third offering Stri by Gaelic singer Maeve Mackinnon. Fans will want to check out this for tracks like “Iomaraibh Eutrom,” “Roisin Dubh,” “Dh’fhalbh Mo Run air an Aiseig” and “O Mo Cheist am Fear Ban.”
Fiddle fans will want to check out From Within by fiddler Eric Ryan-Johnson. This artist self release is packed with goodies like “Jigs: The Beginning/A Boy & His Dad/The Yelping Dog,” “Air: The Farmer of Florence,” “Reel: The Morning Cup,” “Air: February 23” and “Reels: The End Is Near/ Bound to Break.” And if that wasn’t enough sweet Celtic fiddle goodness for you, he’s also got The Wonderful Day on tap with treats like “Hornpipes: The Wonderful Day/The Bee’s Wings,” “Jigs: Knights of St. Patrick/Hast to the Wedding/Father O’Flynn’s,” “Air: Melody for Meredith Keefe,” “Reels: Bag of Potatoes/Blacksmith’s Reel/Castle Kelly” and “Reel: Coffin Ships.”
There’s Celtic Crumble’s Echos of Ireland with tracks like “Carry Me Home,” “The Rocky Road to Dublin,” “The Twins of Ballina” and title track “Echos of Ireland” to tempt fans.
Perhaps, a mixed bag of tricks will tickle your fancy. Well, then you might want to try out ARC music’s Discover Celtic Music. There are some real treats here with Aryeh Frankfurter’s “The Morning Dew,” Golden Bough’s “The Wren Boys/Gavin’s Hornpipe/Honeysuckle,” Noel Mclourghlin’s “The Hills of Connemara” and Mary Ann Kennedy’s “Air Leathad Sleibhe.” There’s also Gwyneth Glyn’s “Cwlwm,” Yvon Etienne’s “Si j’ai le courage,” Os Rosales’s “Muineira a Gatuxa” and Sian James’s “Mwynen merch.” Good stuff.
Pure Records has released Avenging and Bright by Damien O’Kane. Don’t let the goofy cover photo of Mr. O’Kane scare you off because this Northern Ireland singer and musician goes down silky smooth like the perfect pint on offerings like “Boston City,” title track “Avenging and Bright,” “All Among the Barley,” January Man,” and “Dancing in Puddles.” Mr. O’Kane’s vocal against piano, guitar and tenor guitar makes for some fine contemporary fare.
Perhaps one of my favorites has to be the Danny Diamond’s Elbow Room. This fiddler extraordinaire has played previously with Slow Moving Clouds and Morga, but on Elbow Room Mr. Diamond wows listeners simply by the shape and breadth of his own solo fiddler’s soul. Whether you’re a newbie listener or a seasoned Irish fiddle devotee, it’s easy to fall under the spell Mr. Diamond weaves on tracks like “Maureen from Gibberland,” “The Pinch of Snuff,” “Watching the Evening Grow,” “The Blackbird” and “Johnny Cope.” This is truly a fiddler’s delight.
The String Sisters have out Between Wind and Water. Irish vocalist and fiddler Mairead Ne Mhaonaigh, Norwegian Hardanger fiddler Annbjorg Lien, the American fiddler Liz Knowles, Shetland fiddler Catriona MacDonald, the American fiddler Liz Carroll and Swedish fiddler and vocalist Emma Hardelin have turned out some fine tunes on Between Wind and Water with jaunty tracks like “The Crow’s Visit,” “Hjaltland” and “Late Night in Forde.” Fans get morsels of sweetness like “Wind and Rain,” “Det bor I mina tankar” and “Mo Nion O.”
Another stunning fiddle recording is An Choill Uaigneach by Theresa Kavanagh. Hailing from Donegal, Ms. Kavanagh dazzles listener with the bright wildness of the fiddle on such tracks as “The Wild Swans of Coole/The Abandoned Meadow,” “Jocelyn’s/Grainne’s Jig” and “The Sword of Light/Secrets of the Willow,” and title track “An Choill Uaigneach” or “The Lonesome Forest” is elegant.
For Celtic fans looking for a little something off the beaten path might want to check out Plantec’s Live at the Festival Interceltique Lorient. These Breton Celtic rockers dole out a ferocious performance on this recording. Full of Breton bombard, guitar and synthesizer and programming, this is a definitive kick in the pants to any sweet version of “Danny Boy.” Recorded at the 2017 Lorient Inter Celtique Festival, Plantec’s Odran and Yannick Plantec and Gabriel Djibril kick some Celtic rock ass with tracks like “Croissant de letiez,” “Speedwell,” “Koun” and “Feulz.”
Another off the beaten path choice might be Celtic Rock Opera series recording “Excalibur IV The Dark Age of the Dragon” with music, lyrics and concept by Alan Simon. If you need a backing soundtrack for your noble quest down the highway or to the grocery store, well, here’s your music. Recorded with the Bohemian Symphony Orchestra Prague, this recording rocks out with electric guitars, drums and keyboards, as well as mandolins, Celtic harps and big bold vocals. It features Moya Brennan (Clannad), John Helliwell (Supertramp), Martin Barre (Jethro Tull), Michael Sadler (Saga),and Bernie Shaw (Uriah Heep).
Brona McVittie’s We Are the Wildlife is a lovely contemporary Celtic folk collection. Her sweet vocals on “Where the Angels Wake You,” “The Flower of Magherally“ and “Molly Brannigan” are intimate and mesmerizing. Add in Myles Cochran on “The Vast and Vague Extravagance That Lies at the Bottom of the Celtic Heart” and you definitely have a winner.
If atmospheric and ethereal is what you are looking for you might want to check out the Irish harpist Aine Minogue’s In the Name of Stillness Celtic Meditation Music. Ms. Minogue set us a serene loveliness from opening track “In the Name of Stillness” and through tracks like “Home of Belonging,” “In the Name of Solitude” and “Quiet Absence.”
Mary Ann Kennedy has An Dan: Gaelic Songs for a Modern World out on the ARC label. The Scottish singer has tracks like “Seinn, Horo, Seinn,” “Sith na Coille,” “Iain Againn Fhin” and “Air Leathad Sleibhe” on tap for listeners.
If Ulileann pipes, bouzouki, bodran, fiddle, flute and cello are on your wish list for the season, then you might want to take a listen to John McSherry’s The Seven Suns. A 2016 release that some how passed us by is bold and infectiously delightful. With tracks like “Dance of the Siog,” “The Atlantean,” “Sunrise at Bealtaine,” “The Golden Mean” and “The Cloghogle,” Mr. McSherry, along with fellow musicians Sean Og Graham, Niamh Dunne, Michael McGoldrick and Sean Warren, will have you and yours feting until the wee hours.
Another 2016 out on the Compass Records label that somehow also passed us by that is well worth a listen is Doolin‘ by the band of the same name. Doolin’ is a fine time and rollicking good fun with tracks like “Mary’s Jigs,” “Sailing Across the Ocean,” “The Road to Gleanntan,” “Wind Her Up” and “The Galway Girl.”
There’s also The Irishman’s Finest Collection by John Duhan. Starting out his career at the age of 15 as the front man for Limrick’s 1960s rock group Granny Intentions, Mr. Duhan would later turn to his own writing and solo recordings like The Voyage, Just Another Town and To the Light, as well as having some of his songs recording by heavyweights such as Christy Moore, The Dubliners and Mary Black. On The Irishman’s Finest Collection, Mr. Duhan lays bare the Irish soul by way of tracks like “Just Another Town,” “The Voyage,” “All I Need” and “The River Returning.”
Should musicians like Irla O Lionaird, Caoimhin O Raghallaigh, Dennis Cahill, Martin Hayes and Thomas Bartlett mean anything to you then you should drop whatever bit of nonsense you are doing and run around in a circle of delight. A bit of girlish screaming and arm waving wouldn’t go amiss either. If you hadn’t guessed these five musicians have out on the Real World label The Gloaming Live at the NCH . And let me say this recording is lovely, lovely and even more lovely. Be prepared to be entranced by the opening fiddle lines of “The Booley House,” through the sweet charms of Iarla O Lionaird’s vocals on “Cucanandy” and “The Sailor’s Bonnet” to the very Celtic magic of “The Pilgrim’s Song” and “The Rolling Wave” and all the way to the very end of “Fainleog.” You want this CD. You need it. Your very connection to all that expresses the sweetly joyful sorrowful Celtic soul depends on it.
Recorded at Dublin, Ireland’s National Concert Hall, The Gloaming Live at NCH is breathtakingly good, so good it’s hard not to feel a little giddy over this elegant work of voice, piano, Hardanger d’Amore, guitar and fiddle. You don’t even need to think about, just get it.
Finally, let me say that in regards to St. Patrick’s Day that I’m glad to know that we Irish aren’t hoarders of the holiday. There’s enough Irish to go around. That frothy pint doesn’t care a whit if you are saint or sinner. The fiddle tune doesn’t care if your are ferocious or feckless. You could be fool or faerie folk and you would still be welcome for what the Irish call comhaltacht – fellowship. So, settle in and listen to some good music and maybe somebody’s Da will tell you a story.
It is a long time since I have contributed reviews to this site. The reasons are many, varied and not a matter of public record. They’re also quite boring, so you wouldn’t want to hear about them in any case. My tendency had been to write reviews in groups united by some sort of genre, style or perceived common-ground theme. But I presently find myself so far behind that the disconnected overview I am about to subject you to is the only approach that will effectively close the gap. Apologies, and away we go.
As a longtime fan of Afrobeat music, I was greatly interested when I heard that Chicago Afrobeat Project would be collaborating with drummer Tony Allen. Allen, after all, was the man behind the kit for all of Fela Kuti’s groundbreaking records and was just as instrumental (pun absolutely intended) in creating the Afrobeat style. What Goes Up (Chicago Afrobeat Project, 2017) does not disappoint. Allen’s militantly polyrhythmic drumming is as spot on as ever. He also brings the experimental feel of his recent works, so the album isn’t simply formulaic Afrobeat but rather an effective blend of contemporary textures (including measured doses of rap) and traditionally-grounded grooves.
Horns, stinging keyboards and no-nonsense vocals (largely female) share most of the upper mix with Allen’s drums, while bass, guitars and percussion provide covert menace beneath. The lyrical unrest typical of Afrobeat is very much present in songs that address racial and gender inequity, political nonsense, media trickery and the belief that the high and mighty will be toppled sooner or later. None of the tracks are even five minutes in length (another departure from the once-usual Afrobeat template) and lest you think it’s all message-laden heaviness, “Afro Party” will handily prove otherwise. If this is the current state of Afrobeat, it’s in a healthy state indeed.
While Afro-Cuban, Afro-Brazilian, Afro-Colombian and Afro-Peruvian music have all been getting their due of late, Afro-Venezuelan music hasn’t fared as well. Perhaps the level of upheaval in that nation has some bearing, but now there’s a degree of redress to be found with Loe Loa: Rural Recordings Under the Mango Tree (Odelia, 2017) by Betsayda Machado and Parranda El Clavo.
Percussion and vocals are all you hear on this field recording (albeit captured with modern technology), and given that Betsayda and her many-strong ensemble are descended from escaped slaves who lived in hidden village communities, the drumming and call-and-response voices ring with an air of both celebration and defiance. This is thunderously rousing music, binding in its spell and guaranteed to raise your spirits to the highest heights. Alan Lomax is surely smiling from the Great Beyond.
Similarly, Transmision En La Erita Meta (Sendero Music, 2017) is all about drums and voices, though the drums here are more than instruments. They are a trio of sacred Cuban bata, vessels of sound created to invoke and seek the blessings of the deities known as orishas, belief in which originated among the Yoruba people of West Africa and survived the slavery era. The worship system of Santeria was later syncretized with the saints of Catholicism, but purer forms of orisha worship endure in Cuba and elsewhere.
Spoken testimonies are interspersed among the 21 tracks on the CD, and if your understanding of Spanish is as non-existent as mine, the hypnotically complex pulses of the double-headed, bell-festooned bata and reverent vocal chants are all you’ll need to connect to the Divine. The disc comes with an extensive booklet that tells in great detail how the story of the particular drums used fits into the overall tradition that inspired their use. It’s as absorbing to read as the drumming is to listen to. Curl up and absorb yourself in both.
Keeping close geographically as well as covering more music that came about in the age of slavery, Darandi (Real World/Stonetree, 2016) by Honduran Garifuna master musician Aurelio, captures him at his raw best. Following a performance at the U.K. WOMAD festival, he took his band to the in-house studio at Real World Records and recorded a dozen live-and-direct tracks that are a kind of greatest hits from his three previous studio albums.
Acoustic and electric guitars, bass and a pair of snare-buzzed traditional hand drums provide the accompaniment to Aurelio’s nimble voice and the glorious wraparound of his three backing vocalists. The African roots of Garifuna music resound in the highlife-like guitar chiming and feverish drumming, but Spanish and Central American indigenous elements are just as present. I’ll leave it to you to research the Garifuna origin story if you don’t already know it. I’m too busy listening to this excellent music.
The liner notes of A Je (Riverboat Records/World Music Network, 2017), the latest by Monoswezi, describe them as “African-Nordic jazz alchemists.” And who am I to argue? Such wording makes my task of describing their music that much easier. I’m fairly sure this is the group’s third album, and the most immediately striking addition to their sonic brew is the harmonium, that hand-pumped organ so central to Pakistani Qawwali devotional music. The instrument gives a penetrating mystical edge to Monoswezi’s already very fine fusion of Mozambican, Norwegian, Swedish and Zimbabwean sounds. As before, I’d peg the rhythmic side of things as mostly African, though melodically it’s the punctuation of instruments like clarinet, banjo and the prior- mentioned harmonium that add the welcome Scandinavian chill and outward reach.
New to the lineup is Sidiki Camara, a calabash and ngoni (lute) player whose name I’ve seen in the credits of many a West African music album and who brings an extra layer of spark to this one. A Je is Monoswezi’s best yet, full of propulsive, hands-on percussion, adventurous but mutually perfect combinations of lead instruments (such as banjo and mbira plucking happily side-by-side) and vocals that sound like jelis singing tales of recent trips to Arctic zones and beyond. Consistently great listening through and through, so count it a must-have.
Closer to the African mainland (just to the west of it, specifically) we find the latest up-and-coming singer from Cape Verde, Elida Almeida. She scores on Kebrada (Lusafrica, 2017) which despite her young age finds her fully adept at the heart-stirring nuances of singing in familiar Afro-Portuguese styles like funana and coladera, mixing things up with some Latin and Caribbean inflections. Nothing revolutionary, just great music for the many out there who love the sounds Cape Verdeans have brought to the world. The fact that one of the contributing musicians is recently deceased Malagasy accordion master Regis Gizavo makes it even greater and more than a little bittersweet.
Sometimes three pieces are all you need. Such is the case with Stringquake, whose album Cascade (Stringquake, 2016) blends Amelia Romano’s harp, Misha Khalikulov’s cello and Josh Mellinger’s percussion into instrumentals that range from intimately moody to absolutely grand. The two stringed instruments complement each other to perfection, an intertwining mesh that trades leading roles of tonal beauty while keeping pace with a percussion backdrop that includes cajon, frame drum, tabla and steel pan. You can rightly call some of this chamber music, some of it jazz fusion (like the cover of Don Cherry’s “Guinea”) and some of it world music in the not-otherwise-easily-classified sense. But it’s all beautifully, passionately rendered and stands up to repeated listens that continue to impress.
If an unconventional musical foursome is more your speed, check out Astrid Kuljanic on her release Riva (One Trick Dog Records, 2017). Her band, comprised of accordionist Ben Rosenblum, bassist Mat Muntz and percussionist Rogerio Boccato, is called the Transatlantic Exploration Company and her own background of having been born in Yugoslavia, studying music in Italy and Manhattan and finding inspiration on the Adriatic island of Cres makes the name perfectly fitting. And not surprisingly, the music fits the moniker as well. Kuljanic’s swooping, versatile vocals make her sound at home singing reconfigured traditional Croatian songs, scatty jazz pieces, samba-inspired charmers, a quirky original or two and a completely unique take on Dizzy Gillespie’s “A Night in Tunisia.” She and her players sound like they’re having a blast and the music is again hard to classify, but the whole thing is head-spinning good. Available from www.onetrickdogrecords.com
Lovers of sevdah, the often-melancholic traditional music from Bosnia and Herzegovina, will rejoice in Divanhana’s Live in Mostar (ARC Music, 2017). The band sports instrumentation that only bows partly to tradition (accordion, electric piano, electric bass, drums, percussion and violin) and livens up their “Balkan blues” with jazzy breaks and klezmer-like seasonings. The achingly gorgeous lead vocals of Naida Catic (particularly on the unaccompanied “Daurko Mila”) are clearly a major asset, but the entire band rises to the occasion.
Given how crystalline the sound is, you might easily mistake the disc for a studio album until the audience reaction reminds you that a lucky bunch of folks were able to enjoy this live and direct. And the CD comes with the next best thing to having been there: a DVD featuring live performances and interviews. Get this and savor a double dose of sevdah at its progressive best.
If your collection of Cuban music isn’t complete (and whose is?), pick up Cuba! Cuba! (Putumayo, 2017). The various artists here are mostly in classic sound mode and some are younger artists carrying the torch for that classic sound. Still, the Putumayo folks like to throw in a wild card or two, and one surprise here is the unearthed instrumental “Guajira” featuring legends Alfredo Valdes Jr. on piano and trumpeter “Chocolate” Armenteros, recorded in Peru in 1964. That track serves as a kind of guidepost for the other fine singers and players on the disc, including veterans Roberto Torres and Armando Garzon (the latter with the ever-venerable and hypnotic “Chan Chan”), Miami-based young traditionalists Sonlokos and the always invigorating Jose Conde y Ola Fresca. This one’s got sizzle to spare.
“Chan Chan” is also the opening track on Mista Savona Presents Havana Meets Kingston (17 North Parade/VP, 2017), a brilliantly realized Cuban/Jamaican fusion in which son meets one drop, congas patter away alongside nyabinghi drums, Spanish-accented troubadours trade off with Trench Town chanters and both sides nice up the party. Some songs are more one locale than the other and employ a key element (like deejay chatter or regional horn riffs) that make the connection, while most are seamless mashups that are simply thrilling, like veteran guitarist Ernest Ranglin joyously picking his way through “410 San Miguel” with pianist Rolando Luna nimbly matching the vibe (and that’s before the dub effects even kick in).
Some of the other participants on the album are Sly and Robbie, Barbarito Torres, Changuito, Bongo Herman, Julito Padron and a chorus of notables that includes Leroy Sibbles, Lutan Fyah and Price Alla. That’s just the tip of things. No other written words will do justice to this landmark release recorded at Havana’s Egrem Studios under the guidance of producer/arranger/keyboardist Jake Savona. Highly recommended.
Grandly combining Italian traditional music with jolts of contemporary Western pop, Canzoniere Grecanico Salentino strike a tasty, dance-ready balance on Canzoniere (Ponderosa Music Records, 2017). CGS are one of those bands that can seemingly do it all, mixing accordion, uniformly rhythmic clatter and a reggae feel on “Ientu,” infusing “Moi” with a start-and-stop techno stomp that dramatically punctuates the traded vocals, builds simplicity into complexity in nothing flat with help from guitarist Justin Adams on “Aiora” and erects walls of sound throughout using instruments and voices that are organically and electronically symbiotic. I’m not sure if the term “mind-blowing” is still in the accepted lexicon, but this album fits that description in a most satisfying way.
Scotland’s Mary Ann Kennedy gives us An Dan: Gaelic Songs for a Modern World (ARC Music, 2017), and a very nice lot they are. Her voice is grand and soaring and the arrangements, heavy on strings and Kennedy’s own piano, match to near-perfection. The lyrics are from a combination of literary sources while the musical arrangements are again Kennedy’s work, so the whole thing has an air of tradition mixed with vision.
Those who appreciate the familiarity of Gaelic music will be spellbound even as subtleties like the South African melody that underpins “Song for John MacDonald” ring true from a world beyond. For pure beauty, you can’t beat this.
Mary Ann Kennedy, daughter of singer Kenna Campbell was born and brought up in Glasgow in a house where Gaelic was the language of the home and in a community where speaking two languages was the norm even if not everyone spoke the same second language.
Mary Ann trained as a classical musician alongside Radio Scotland ‘Grace Notes’ presenter Jamie MacDougall and remembers accompanying him on the clarsach on many occasions while he was still a sweet-voiced angelic boy soprano. Her first love though is the traditional music that has surrounded her all her life and after several years in the BBC newsrooms she has returned to freelance broadcasting and performing choosing to base herself in the Highland capital city of Inverness.
One of a select number of singers to have won both Gold Medals at the National Mod, she is also twice winner of the International Celtic Harp competition in Lorient Brittany. Mary Ann was given a Saltire Award for Lasair Dhe the finale of the 1999 Highland Festival involving Cliar and Gaelic choirs from all over the Highlands and Islands. She is a member of the band Cliar hailed as ‘one of the most beautiful sounds in 21st Century Scotland’ and is a partner in the Skye-based record label Macmeanmna (Gaelic for imagination).
In 2019, Mary Ann Kennedy released an excellent album titled Glaschu . It is a tribute to her hometown, Glasgow. Glaschu combines Gaelic vocals, Scottish and Irish folk music influences, poetry and contemporary acoustic arrangements.