Capercaillie turned in a solid performance at the Queen's Hall on the 19th August which showed in parts why they have been credited with being one of the major influences in bringing celtic music to a wider audience.

The capacity audience were treated to a demonstration of a group of musicians at the peak of their individual and collective powers.

My personal highlight was the dexterous flute, whistle and small pipes playing of Michael McGoldrick.  His flute playing must be up with the very finest in Britain and his melodies added so much to both the songs and tune sets, gilding the vocals of Karen Matheson and harmonising beautifully with the fiddle of Charlie McKerron and the accordian of band founder Donald Shaw.

While I appreciate the adventurous endeavour embodied in Capaercaillie's unique fusion of gaelic and contemporary sounds, I personally favour the more economic and sparse compositions of the likes of Julie Fowlis and Kathleen McInnes as a vehicle for the soul and spirit of gaelic music.  Drums, bass and keyboards, to me, seem out of sync with the ancient culture and landscape of the highlands to which I feel gaelic music (as a non gaelic speaker) should transport me.  I therefore felt Karen Matheson was at her strongest and most transporting vocally (on the gaelic compositions at least) when the accompaniment was stripped back to Donald Shaw alone.  

The highlight of the set was undoubtedly a touching tribute to the late, great John Martyn in a wonderful rendition of his powerful anti-war balland "Don't You Go".  This was accompanied by a fond and humerous introduction by Karen Matheson in which she regailed the audience with an annecdote centred around her nerves when asked to accompany Martyn, and his solution in the form of a bottle of champaigne sent backstage (in true rock 'n' roll style) to assauge her concerns.   

Capercaillie, in their current guise, can clearly lay claim to being one of Scotland's true folk supergroups, and are a must see for any lover of this genre.