It is sobering to consider what might have gone through the Jacobite Clansmen's minds, as they lined up on the field of Culloden in April 1746, had they known that one of the most enduring pieces of popular culture commemorating the rebel cause  263 years later would be what is mistakenly thought of as a Runrig song.

Loch Lomond, though appropriated by Runrig in their soft rock epic, should not be considered synonymous with pissed Scots and pseudo-Scots bouncing around at New Year.  The origins of this much abused song can be traced to romanticized story of two Jacobite brothers who were held captive, one of whom (the elder or the younger depending on who's version you listen to), gave his life to ensure 
his brother's freedom.

Sinsheen's version restores much of the original sense of dignity and pride which should rightly be associated with such an emotive chapter of Scotland's history.  The sadness which Barbara Dimmock and Christine Kidd infused into an alternative (and better) melody than the accepted classic paid bitter-sweet homage to the ordeal faced by the clans following the destruction of the Jacobite rebellion at Culloden.

When the duo choose material such as this to interpret there can be little argument that they are Scotland's answer to the Silly Sisters.  They are undoubtedly the queens of Scottish folk harmony vocals, although I felt at times did themselves a disservice with some wayward choices of material.

Shameful I know from a Dundee born reviewer, but I have always struggled to come to grips with Michael Marra's somewhat twee melodies. Their set list was understandably Marra-centric (he is involved in the production of their new album "Lift").  While undoubtedly a talented poet re-interpretation of his songs would, for me, need to be wholesale (consider John Martyn's re-interpretation of Dylan's "Don't Think Twice"), to set wonderful lyrics such as "nestling the Billy and the Tim" ("Mother Glasgow") in a ricer musical context than Marra provides himself.

This one critique aside I thoroughly enjoyed the vast majority of Sinsheen's set, with many fresh offerings from the Burns cannon, and a beautifully moving song about whaling from the wonderfully named George Scroggy.  The versatility of the duo is showcased in their classic version of Kanan's Land, within which they slip into the Bluegrass genre with consummate ease.

Throughout, the hallmark of their performance is stirring, effortless and varied harmonies and economic accompaniment on guitar (Kidd) and Bodhran (Dimmock) which does not overpower or detract from two lovely voices which naturally work in harmony without seeming forced. 

The duo even managed to deal with the acoustics of Festival Folk at the Oak – bottles smashing outside, tour guides leading ghost seekers up Robertson's Close under the window – without becoming flustered or losing their professional composure.

A must see!