The following are my favorites from the first week of Danny Kyle performances, in no particular order:

The Sally Simpson Trio – Unfortunately, this group does not have any sort of a website. The members are Sally Simpson, fiddle; Michael Ferrie, guitar; Catriona Hawksworth, piano. I loved this group! You can listen to their set here.

Albanach Duo – Classical guitar duo. I was impressed with how intricate their playing was. You can listen to their set here.

Georgia Gordon – This lass is only 16 but she is already exhibiting amazing talent. You can listen to her set here.

Cherry Grove – A very talented trad group that was spot on! You can listen to their set here.

No More Cages – Another trad ensemble teeming with amazing talent. You can listen to their set here.

Laurie Cameron – Lovely singer-songwriter from Perth. There’s a gentleness about her that’s very alluring. You can listen to her set here.

Pauline Alexander – Singer-songwriter hailing from Glasgow. Something about her reminds me of Yvonne Lyon, an extraordinary singer-songwriter from Greenock. I really enjoyed her songs. You can listen to her set here.

Quirky Jade – A delightful trio from western Scotland singing mostly a cappella. You can listen to their set here.

The Deadly Winters – Alt folk group with a soulful sound. A really talented group of lads. You can listen to their set here.

Dorec-a-belle – This group has a fantastic musicality. Their live set hasn’t been posted yet as of this writing, but check this page later.

Adam McCulloch Trio – I have to confess: I wasn’t expecting to like them as much as I did. They are top-notch musicians and have a great sound. Their set hasn’t been posted yet as of this writing, but check this page later.

Do yourself a favor and check these folks out. You won’t be disappointed.

Fiona Cuthill and Stevie Lawrence have been musical partners for a long time, working together in such bands as Whirligig, Canterach, and Rallion, among others.  A Cruel Kindness is their first album as a duo and is a mixture of old friends and new acquaintances. Those familiar with the duo’s work with Rallion will recognize a few of the tracks, which have appeared previously on Rallion’s albums. Here, however, they are given a fresh start with new arrangements and guest musicians.  The melancholy of “Waiting for Dawn” is lightened by Fraser Speirs’ harmonica and Brendan McCreanor helps turn “Back on Track” into an all-out jam.

The real gems of this album, though, are the new compositions. Fiona Cuthill is a truly gifted composer.  Even simply-arranged tunes have an underlying depth and complexity to them.  They have that indefinable thing that commands attention and, at times, takes one’s breath away.  Stevie Lawrence helps bring those tunes to life with his virtuosity, whether on guitar or bouzouki.  Their long partnership has allowed them to really explore the nuances in their music. Together, they create a magic that is greater than the sum of their parts.

The jigs and reels allow them to stretch their legs and hint at their love of rock music.  “Andy D’s Reel” from “The Seven Sisters” set is a rollicking, toe-tapping reel and though “One for Brendan” from “Unfinished Business” may have failed as a pipe tune, it’s a fantastic fiddle tune and features truly top notch fiddling.  However, it is the title track, “A Cruel Kindness,” that is worth the cost of the album alone.  Opening with the sublime harp of Rachel Hair, the throatiness of Cuthill’s fiddle takes the listener on an emotional journey into that well of sadness and hurt created by unintentional words and acts.

A Cruel Kindness is an outstanding debut that shines the spotlight on Cuthill and Lawrence’s abounding musical talent.

To visit Fiona & Stevie’s Facebook page, click here.

I’ve been waiting a long time for Annlaug’s debut album, November, to come to fruition. Demos of sparse fiddle tunes and songs had captured my attention and I was curious to see where it would all lead. November is everything I had hoped it would be and more. It’s sophisticated, engaging and musically diverse.

Featuring a Who’s Who of Scottish folk musicians (Mattie Foulds, Inge Thomson, Martin Green, Aidan O’Rourke and Anna Massie, to name a few), plus string arrangements by Kim Edgar, November delivers a powerhouse of sound and artistry.

Annlaug’s musical versatility is evident in the array of styles presented here. Rock, Americana, folk and traditional flavors are married beautifully on this album. Having primarily heard her fiddle tunes up to this point, I was surprised, and pleasantly so, to discover that the majority of November is sung. Regardless of style, Annlaug’s self-penned lyrics paint an intimate portrait of the songwriter. It doesn’t really matter that the lyrics are in Norwegian (English translations are given in the liner notes) because her voice ably tells each story.

The entire album is brilliant and it was difficult to choose favorites. That said, my favorites are “Hakestad,” which showcases Annlaug’s exquisite Hardanger fiddle playing; “Songen Eg Skulle Ha Skreve,” with its gorgeous strings; and the two traditional lullabies: “Suril Luril” and “Till Till Tove,” which closes the album with a sparse, haunting arrangement.

With November, Annlaug has established herself as a force to be reckoned with on the contemporary folk scene.

To visit Annlaug’s MySpace page, click here.



Joy Dunlop has been a strong advocate of the Gaelic language, both as a teacher and as a performer. Those roles continue on her debut release Dùsgadh (Awakening). Sung in Gaelic, with liner notes in Gaelic and English, Dùsgadh offers listeners a guided foray into the world of traditional Gaelic song.

Though the material is traditional, the delivery is fresh and vibrant, reminding the listener that this is indeed a living language. Sultry jazz grooves, string crescendos, luscious piano and even step dancing layer behind Joy’s crystalline voice. While the puirt a beul and upbeat songs are performed brilliantly, Joy’s real strength is in the songs of love and tragedy. Her voice beautifully transports us deep inside each story. We feel every nuance of love, wistfulness, despair and grief.

The standout song for me is the closing track, “Thig Am Bata,” a take on the Two Sisters tale. It is heartbreakingly poignant and left me breathless. I found it to be the perfect conclusion to this album.

Joy Dunlop’s Dùsgadh (Awakening) is an amazing debut that promises even greater things to come.

To visit her website, click here.

To visit her MySpace page, click here.

Fiona Driver – fantastic fiddler from Orkney who is also a very prolific composer.

Enez Trio [Tristan Le Govic] – Centered around Tristan’s harp playing, they have a full, rich sound.

Seonaid Aitkin – Amazing fiddler who spends most of her time as a classical violinist.

Rachel Sermanni – Really delightful singer/songwriter who performed with a couple of friends.

Parsec – These lads have mad skills! All hail from the University of Limerick.

Kilairum – This group came to my attention early last year. Their music is a blend of trad & jazz.

Lurach – Great trad group that performs Gaelic song & music.

Kirsty and Katie Lawrence – Incredible trad musicians from the Isle of Man. I found their stage presence refreshing and funny.

All of their performances can be found over on Celtic Music Radio in their “Listen Again” section.

Prior to stumbling across this album, I had only heard Gjermund’s work with the traditional Norwegian super-group Majorstuen. I was curious to hear the direction he ventured on his own. What I found was a sumptuously intoxicating album.

A few of the pieces on Ankomst are given a very traditional treatment, especially “Brudemarsj” and the album’s one song, “Sukkersøtt”. However, the majority of the tunes feature Gjermund’s divine fiddling interwoven with gentle jazz piano and bass.

I rarely describe albums in terms of sex appeal, but Ankomst definitely has it. There is a dreamy sensuality, almost a sultriness that runs through this album. The opening trio of tunes, “Arrivals,” “Midnattsdrøm,” and “Regntung Dag” invite you into the reverie, which is really only broken by the bonus track “Kitchenpolka,” a fast-paced, somewhat jarring conclusion to the album.

With the exception of that last track, there really are no weak areas on Ankomst. While each track can definitely stand on its own, I’ve found it a much more fulfilling experience to listen to the album as a whole. This is an excellent album to get lost in at the end of the day.

Those attending the final weekend of Celtic Connections 2010 can see Gjermund perform with Majorstuen on 30 Jan. and 31 Jan. with his trio.

To visit Gjermund’s MySpace page, click here.

If there was one word to describe Awen, Tristan Le Govic’s latest offering, it would be Gentle. In his hands, the Celtic harp laments, dreams and dances its way through this collection of original and traditional music. Included here are slow airs, slides, slip jigs and other tunes from Le Govic’s native Brittany, as well as Ireland, Scotland and even Sweden.

While the jazz-laced tunes “Dans Plin” and “Piz Bihan” show off Tristan’s great technical skill, it’s the gentle, slower pieces that really shine. Here, the true voice and soul of his harp can be heard.

“Le Songe d’Orianne” is the sumptuous lament of a mermaid queen, with layers as deep as the ocean she dwells in.  On another original tune, “Glaz,” the listener is infused with  the soft golden sunlight of the rain-drenched forest that inspired this piece. The album closes with  the traditional “Enez Eusa,” a beautiful tune full of profound longing.

The solo instrument nature of Awen allows the listener to enjoy the breadth of sound the Celtic harp can produce, as well as the intricate nuances. Tristan Le Govic has created a gorgeous tapestry. This album is a “must-have” for Celtic harp fans, as well as those seeking an introduction to the “son Telenn,” the sound of the Breton harp.

To visit Tristan’s website, click here.

To visit his MySpace page, click here.

As is usually the case with such lists, there were more albums than space and, as I came to the last spot, I had to choose between three equally deserving entries. The two albums that very narrowly missed making it into this year’s Top 10 are Annbjørg Lien/Bjørn Ole Rasch – Come Home and Fiddlers’ Bid – All Dressed in Yellow. Which brings me to the one that did make it:

#10  Julie Fowlis – Uam.

Julie’s third album is just as lovely as her earlier works, though this one has a more traditional sound, which really serves to accentuate Julie’s vocals. Uam also features a great duet with Eddi Reader.

Favorite Tracks:  Rugadh Mi ‘n Teis Meadhan Na Mara, Wind And Rain

#9  Yvonne Lyon – Ashes & Gold

This is an album of delightful extremes, from light-hearted & carefree to poignantly dark & intense. I find her songwriting more intimate, more personal, and more mature than on previous releases. Her voice carries an amazing amount of emotion that goes straight to the heart.

Favorite Tracks:  The Reckoning, Hollow Sound

#8  Donald Grant – The Way Home

A spectacular album that fuses a variety of world music styles with Donald’s gorgeous fiddling. It’s a brilliant melting pot of sounds and an excellent showcase of his versatility as a composer.

Favorite Tracks:  Rollerblade Reels, An Gille Bàn

#7  Maggie MacInnes – A Fàgail Mhiughalaigh

Maggie’s voice is incredibly beautiful and she has taken a really fresh approach to this album. Behind the Gaelic lyrics, keyboards & percussion meet pipes, clarsach & fiddles, to fantastic effect.

Favorite Tracks:  Leis An Lurgainn, ‘N Robh Thu ‘Sa Bheinn?

#6  Jamie McClennan – In Transit

This album has continued to impress me the more I listen to it. It is definitely a fiddle album, but Jamie has a really fun, eclectic, funky style that makes it a true delight to listen to. It features some dazzling tune writing, to boot.

Favorite Tracks:  Little Red, Horizontal Living

#5  Martine Lund Hoel – Hidden Shore

There is a wild, exotic energy that runs through this entire album. It’s passionate and utterly intoxicating. It’s very easy to envision the extreme ruggedness of northern Norway when listening to the album.

Favorite Tracks:  Varganatt, Disquiet Hour

#4  Catherine Fraser/Duncan Smith – Rhymes & Reasons

This album features really enchanting takes on traditional tunes. Elements of Cape Breton and American fiddling are woven throughout Catherine’s Scottish style. They are also not afraid to step outside the box and throw in a few surprises.

Favorite Tracks:  Rothiemurchus Rant set, Raoghull Agus Cairistine

#3  Olov Johansson/Catriona McKay – Foogy

This album is the epitome of innovation. It’s vibrant, exciting, and truly phenomenal. Olov, on nyckelharpa, and Catriona, on Scottish harp, come together in an amazing explosion of sound.

Favorite Tracks:  The Foogy Set, 1^st Class to Glasgow

#2  Rallion – One For Sorrow

The thing I love most about this group is that they play their hearts out on every track. The double fiddle lineup adds a wonderful complexity to their rich, charismatic sound. This is a splendid album of warm, gorgeous vocals and driving, exquisite tunes. Fiona Cuthill is, hands down, my favorite contemporary tune writer and Marieke McBean is my favorite traditional folk singer.

Favorite Tracks:  Waiting For Dawn, Cold Haily Windy Night, Fez

#1  Lauren MacColl – Strewn With Ribbons

There are few other fiddlers, if any, that can interpret slow airs as masterfully as Lauren. She somehow manages to crawl deep into the heart of the tune and make it her own. The results are devastatingly beautiful and emotional. After almost a year, this album still has the power to take my breath away. I would have no qualms about adding it to a “Top 10 of the Decade” list. It’s that good.

Favorite Tracks:  Lament For Mr. Thomas Grant, of Glen Elgin, Oigfhear A Chuil Duinn (Young Man of the Brown Hair), The Prophet

Having traveled throughout the world, Donald Grant has taken all of those musical influences and blended them into a simmering fusion of world music on The Way Home. Around every corner is something different – flamenco, slow air, Mexican bolero, jazz – and through it all is Donald’s divine fiddling. Joining him on this adventure is a stellar cast of musicians, among them:  Catriona McKay, Seamus Egan, Karen Matheson, Donald Shaw, and James MacIntosh.

Aside from performance and production, Donald’s tune writing talents are incredibly diverse and mature. The majority of the pieces on The Way Home are self-penned. The most poignant is the Gaelic-language lullaby “Tha Thu Daonnan Nam Smuain (You are always in my thoughts),” co-written with his father and sung by Karen Matheson. It is breathtakingly gorgeous and Karen’s vocals carry it deep into the heart. This gorgeousness is also found on “Chrissie’s”, a touching slow air written for his aunt. It begins gently with harp and fiddle before swelling into a crescendo of full strings. It then finishes as gently as it began.

Donald’s talents aren’t confined to slow pieces. “Reel Valencia” features rapid-fire fiddling over a flamenco rhythm, while “NZ 2004” is a funky, jazz-infused tune that commemorates a trip to New Zealand with friends. One of my favorites is “Rollerblade Reels,” a rollicking set that includes 2 puirt a beul (mouth music) tunes.

The two non-original pieces are worth mentioning here. The first is the stunning Highland slow air “An Gille Bàn (The Fair Haired Lad)”, also known as “An T-Iarla Diurach (The Earl of Jura)”. Donald’s rendition is exquisitely haunting and, for me personally, the highlight of the album. It is an amazing showcase of his virtuosity. The second piece is the Mexican bolero “Noche de Ronda,” a sultry torch song made more so by the smoldering vocals of Sally Doherty.

An old Gaelic proverb says, “The man who roamed furthest from home heard the sweetest music when he returned home.”  Donald Grant’s The Way Home is, indeed, the sweetest music.

To visit Donald’s official website, click here.

To visit Donald’s MySpace page, click here.