Review: Julie Fowlis + Laura Wilkie & Ian Carr

The closing concert of Edinburgh TradFest 2024 pulled out the big guns. Headliner Julie Fowlis has been a towering figure in traditional music for almost two decades, and needs no introduction; neither does her band. Fiddling composer, Duncan Chisholm has a strong claim to be the most prominent player of his generation, whilst Éamon Doorley‘s skills with the bouzouki have taken him around the globe. Completing the band was Tony Byrne, long-time member of Julie’s band, and guitar maestro in his own right.

The chances of this band of world-class musicians giving a poor performance were minimal, however, first came their support.

Now, supporting said world-class band of musicians has to be a task as desirable as it is daunting to any chosen performers. With Fowlis on hand to fill the Edinburgh Assembly Rooms, the pressure’s on, and the crowd’s expecting. It turned out the perfect slot for in-demand, and continually rising fiddle star Laura Jane Wilkie and her regular collaborator, guitar genius, and musical pioneer, Ian Carr.

“The chances of this band of world-class musicians giving a poor performance were minimal, however, first came their support.”

Given it was still light outside at 8 pm, it’s safe to say the stars came out early on Monday night! Adding a further frisson to proceedings Laura revealed this was only their second live gig together, the first having been the night before! Bravo!

Their set began by plucking from Wilkie’s upcoming album, ‘VENT’, her fiddling interpretations of centuries-old women’s waulking songs. From ‘The Sailor has Good Chat’ to ‘Today I Saw the Wonder’ (approximate translations from the Gaelic), she brought a sensitive, sparkling touch on the violin, whilst Carr created wonderful, dynamic accompaniments.

Carr’s Scandinavian-influenced ‘Fiskmås’ subsequently offered something a little different, hedging closer to a tone poem and evoking the soaring, gliding seagull for whom it was written. The pair closed with a blistering jig, played with huge aplomb, which was met with raucous applause. Encores would have been demanded except for the act waiting in the wings.

Said band promptly took the stage and blew the audience away. Every titan in every field has a bad day at the office, but for Julie Fowlis, and her tremendous band, this was not one of those.

She held the packed Assembly Rooms in the palm of her hand from the first haunting notes of ‘Òran an ròin’ – The song of the seal – and didn’t release them back to their lives until the final echoes of barnstorming rendition of Runrig’s ‘Fuaim A Bhlair’ faded from the air.

It’s fairly pointless to talk of highlights when the word is apt to every number in the show. Presumably everyone on stage has done their 10,000 hours, because masterful is the word.

“She held the packed Assembly Rooms in the palm of her hand from the first haunting notes…”

Before the set was finished (far too soon, though it wasn’t short), Julie even had the mainly-English speaking audience singing harmonised praise to the Clan McDonald with ‘Smèorach Chlann Dòmhnaill’. Her band also had ample opportunities to earn their laurels, though no one felt the need to show off excessively. You don’t have anything left to prove when you’re at the top of the game.

I’m not sure Julie Fowlis can sing without raising the hairs on the back of your arms. There’s a spine-tingling quality built into her voice that cannot be taught or acquired through industry. Take ‘A Ghaoil, Leig Dhachaigh Gum Mhathair Mi’, wherein a young girl negotiates her freedom from a Kelpie. Speaking Gaelic is simply unnecessary to understand and bathe in the wonderful phrasing, and meaning-laden intonation.

However, the set wasn’t all heart-felt romance and heartbreak. A few cheery dives into the mouth music plus a generous dose of fabulous jigs and reels certainly got toes tapping. From the irresistible fun of ‘Fear a’ Bhrochain / Dòmhnall Binn’ to each time Julie brought out her whistle, celebration was woven through the night.

Being kind to the lowlanders, Julie Fowlis and the band were also kind enough to offer a couple of songs in English. Ok so ‘Lon-dubh’, is a mostly Gaelic reworking of the Beatle’s Blackbird, but it’s the Beatles…enough said. Then there was Runrig’s ‘Hearts of Olden Glory’ which Fowlis has long performed better than the original (in my opinion, and I’m welcome to it). Whatever patriotic sentiment walked into that room, it was immediately dialled to 11.

As set pieces go, the closing ‘Fuaim A Bhlair’ is a proven winner, one Julie has brought many a house to its feet with. The arrangement is far more theatrical than the original, building in a gradual swell until Fowlis vanishes off stage only to return with her bagpipes. It’s a ripping way to send a crowd out happy.

Put it this way. If you’re new to traditional music, and Julie Fowlis is playing nearby – book a ticket immediately. Gigs won’t always be as good – genuine genre-defying superstars are rare – but if you don’t enjoy it you can rest safe knowing you’ve seen the best in the business.

Featured Image: Wild Soul Photography