There are few single examples of traditional revival as resplendent as When Maggie Gangs Away by the Lori Watson Three. The song manages to evoke its original context and universal quality with an interpretation that is not overtly grounded in tradition. Yet there is no attempt to crowbar in contemporary influence simply for kicks. The song is delivered by a beautifully crafted guitar, a masterfully lilting accordion, and a luxuriant vocal.

Perhaps Lori Watson and her other two represent better than any other folk unit what has been termed a "new folk revival," if indeed such terms are valid. They are obviously and unashamedly young, and have emerged out of a more structured programme of traditional music teaching than Scotland has ever before experienced, yet at points their performance has an almost punk like energy. They seem intent on fusing tradition with new influences, although this is clearly not done for the simple novelty factor.

This was the Lori Watson 3's homecoming gig after a long summer tour in Scandanavia which has clearly matured their unique and tight blend of fiddle, vocal, guitar and accordion. Personally I found Fiona Young's accordion to be the most masterfully played instrument on the stage (and in the context of this trio that really is saying something) a perfect exponent of the “accordion renaissance” and one of those rare occasions when you hear previously unheard sounds from a seemingly predictable instrument. Innes Watson's guitar had one of the best sounds I have ever heard from an electro acoustic guitar with fretwork to match. However they did not seem to be too engrossed in their own talent, and there was a clear realisation that relying on virtuosity does not necessarily create good music.

However, attempting to point out the best musician on the stage that night misses the point entirely, one of the things I found highly admirable about the trio was that they functioned perfectly as a unit, their remarkably dynamic Capon Tree stood out as a perfect example. While the skill of Lori is obvious, she did not seem to take on the dominant role for the majority of the performance. Yet her voice remains amonmg the sweetest, purest and most emotional of any Scottish female vocalist.

The one sticking point in their performance at St Bride’s were the several black holes between the sets that were filled with in-jokes about Swedish insects. The on stage banter was a bit lacking and belied there confidence as performers. Maybe the RSAMD should consider starting a course in this field. In a concert weighted towards the instrumental it is important both to set up a rapport, and to give the music a good context. To be fair however we were all thoroughly engaged in Innes Watson’s search for love by the end of the concert.

The concert included tunes as songs from their debut album, "Lori Watson: 3", as well as a number of facinating new offerings which will appear on a second album due for release in 2008. Any discerning folkie would be well advised to be first in the queue for a copy of the hottest property on the Scottish folk scene.