It is a universally accepted truth that some roots bands transcend the traditions that birthed them. Celebrating their twenty-fifth anniversary at Edinburgh Tradfest, Session A9 proved they remain one such unicorn. Rather than resting on the laurels of a ‘heritage’ act (the guys will love me for using that term), they delivered a masterclass in dynamic, full-bodied musicianship that proved exactly why they should be experienced live. There is no post-production to hide behind here—though whoever was on the sound desk that night was in fine form, to say the least.
Almost as crucial as the music, the merry band set a bantering atmosphere up immediately, inviting the audience into their long friendship for a couple of hours. This surfaced straight out of the gate through a deadpan Brian McAlpine, dryly opining from the piano stool on the intense cardiovascular demands of the opening numbers on older bones, before his bandmates gleefully offered eye-opening insights into his singular approach to home decor.
Meticulous Ensemble Play
Jokes (and recovery aside), they wasted no time proving their mettle, launching into the colossal ‘The John Duff Set’. Comprising tunes penned by members Adam Sutherland, Charlie McKerron, and Gordon Gunn, the suite functioned as an object lesson in tension and release, building relentlessly toward a spectacular string-based needle drop.
The tour’s four-strong fiddle section—Kevin Henderson, Sutherland, Gunn, and Ross Couper, who stepped in seamlessly for an absent Henderson—delivered impeccably timed unison playing. This acoustic wall of sound was tightly anchored by Marc Clement’s choppy acoustic guitar and David Robertson’s precise percussion, setting a rigorous standard for collective performance.
It is a universally accepted truth that some roots bands transcend the traditions that birthed them. Celebrating their twenty-fifth anniversary at Edinburgh Tradfest, Session A9 proved they remain one such unicorn.
While drawing heavily on their 2024 studio release, The Magic Roundabout, the breadth of their live repertoire quickly became apparent. Session A9 are simply superb when it comes to the stylistic pivot. When not dazzling with their instrumental might, Clement’s clear, confident vocal on Tom Waits’ ‘The Heart of Saturday Night’ introduced a distinctively transatlantic groove, while a smart arrangement of Robbie Robertson’s ‘Twilight’ successfully stripped away the reggae-lite lilt of The Band’s original recording, drawing out deeper, wistful melancholy.
Shifting Gears
When not mining reflective Americana, they kept busy shifting gears. A swing set linking ‘Rachel’s Graduation Day’ to McKerron’s ‘Tenor Reel’ hinted at something closer to Scottish indie-pop, driven relentlessly by McAlpine’s piano, which acted as the guiding harmonic constant throughout the night.
They proved equally adept at downshifting; Gordon Duncan’s sedate, classical ‘The Sleeping Tune’ traded acoustic force for harmonic sensitivity, demanding technical control from the massed strings. (It’s amazing what a BIG band sound this 7-strong outfit can conjure!)
While drawing heavily on their 2024 studio release, The Magic Roundabout, the breadth of their live repertoire quickly became apparent. Session A9 are simply superb when it comes to the stylistic pivot.
The easy persiflage peppering proceedings was in full flow when introducing the towering ‘C Set’, with Sutherland regaling the room with the Hitchhiker’s Guide to the Galaxy origins of his composition ‘Eroticon VI’ (Look it up for the full original title). Winding complex interlocking structures through ‘Umbri’, ‘Mali’, and ‘Adventure Reel’, the suite finally exploded into ‘Eroticon VI’ itself, a heady, driving original where the fiddlers cast tight, swirling harmonies whilst having a great deal of fun.
A Barnstorming Finish
Trad music audiences naturally expect a rigorous finish, and the ensemble obliged with strict-tempo precision. The sprawling transition from the historic strathspey ‘The Miller of Dron’ into ‘Patsy Reid’s Visit to the Alvie Bothy’ proved their ability to pivot on a dime, whilst the ‘Wedding Polkas’ provided the requisite late-set adrenaline.
Returning for their 25-year milestone encore, they delivered a lovely, grounded rendition of John Martyn’s ‘One for the Road’ before a final, rousing medley of reels and jigs left the audience with little choice but to take to their feet. Operating at the peak of their considerable powers, Session A9 rounded off this year’s festival with remarkable vigour, power, and an undeniable sense of mischief. Live performance, in my experience, is rarely a bad thing, but some nights remind you why there’s nothing quite as life-enriching as a couple of hours spent being blown away by good music – and this was one of those.
Featured Image: Session A9 – Edinburgh Tradfest 2026 – Image by Will Quinn
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