The tiny Hebridean Island of Colonsay, population circa 120, location, on the left of Scotland in deep water, finally rose as one to give a standing ovation.
The Ceòl Cholasa music festival, now in its 11th year is under new management after 10 highly successful events. New director Keir Johnston, a local shopkeeper and former sound engineer, stepped into his father’s footsteps, he didn’t miss a step, and, with a team of volunteers (actually, everyone is a volunteer), took a huge risk in bringing an English band to the festival for the first time. Not just English, but very English with sea shanties, almost impenetrable accents…did a Scot say that? and, practically no instruments!
But back to the ovation.
Yes, audiences have stood up and clapped, and yes Ceòl Cholasa (Colonsay’s Music) has had its fair share of outstanding performances over the years; I know, I’ve been at them all, but never has an audience consisting of 40 locals and 160’ish visitors risen as one and raised the roof.
And, we have had the best folk has to offer. This year we had “Tidelines” and “Fara” and “Cara”. We’ve had “Lau”, “Skipinnish”, “David Frances” and “Dàimh” and all have raised the roof.
“The Young’Un’s” blew it off.
Over the festival weekend, punters can enjoy 15 concerts, workshops, late-night revelry in the local hotel and bathe, maybe literally…bring your wetsuit, in the unique primaeval, spiritual atmosphere of this ancient Island.
But back to the “The Young’Uns”.
Having arrived on Colonsay on Friday evening after a quite stormy two and a half hour ferry trip from Oban they were on stage by 9:30pm. That concert was excellent; “Ghafoor’s Bus”, “Be the Man”, “Streets of Lahore” to name three highlights, but that was just a taster. The sincerity was there, the harmonies as glorious as always but David Eagle’s nonsense switch was only set to 2.
On Saturday morning they entertained and instructed 30 bleary-eyed, slightly hungover attendees at a harmony singing workshop. Everyone who attended attested to the fun the lads brought to the event.
David’s setting was now at 6.
They then had the rest of the day off to take a bike ride around the Island. (There are only 12 miles of road on Colonsay)
Yes, those of you who are familiar with “The Young ‘Uns”… they did!
The Island of Colonsay has just one Hotel and it is here that the music adjourns to as the formal sessions in the village hall draw to a close. A ten-minute walk from the hall the Hotel lends itself to at least two simultaneous sessions featuring many of the visiting acts meeting up with old friends and producing some astounding music while in an adjacent room the local singers are in full voice.
Saturday evening saw your correspondent ensconced in the pub while the ceilidh raged in the hall. I was giving a passable, I like to think, rendition of “David Francey’s” “Waking Hour” (in the notable company of German/Irish band “Cara”) when the chorus was remarkably enhanced by a three-part harmony.
Fortunately, I was seated.
For the next couple of hours, as more of the professionals joined the fray, “The Young ‘Uns” led the singing, joined in, kept quiet and were absolutely perfect guests. “South Australia”, “The Old Triangle” and “You Can Close Your Eyes” and many more.
By 2 am everyone in the packed hotel was in love with “The Young‘Uns” and 4 pm next day all 200 plus festival goers were in love with the “Young‘Uns”.
1pm on festival Sunday is the graveyard spot. The ferry leaves at 7pm so there is just time for three concerts, the thank yous and a grand finalè.
So who better to revive the slightly jaded, definitely sleep deprived, probably hungover audience than “Cara”?
“Cara” first visited Colonsay in 2013, their first UK gig and have since established themselves as favourites on the festival scene. Leader, songwriter, singer and fiddle player Gudrun is a force of nature. As always, with a smile, she woke us up with some high octane tune sets, made us cry; “Ardkeen Boat Song” and left us thinking it doesn’t get any better than this. Well, sorry Gudrun, much as I love “Cara”…it did!
Cara
Taking the stage 10 minutes early, good time keeping is essential when there is a ferry to catch, “The Young‘Uns” opened with the Billy Bragg classic “Between the Wars”. Not an obvious crowd pleaser in the Hebrides but well received nevertheless; then things just went from good to stratospheric.
David Eagle kept us entertained with a stream of manic, irrelevant, joyfully irreverent asides before reducing us to tears with the stunning “Dark Water”. The ability to switch from high octane comedy to gut wrenching pain is one of the many outstanding features of a “Young’Uns” show.
David Eagle
The ability to judge an audience is another.
They had us singing along, singing in rounds and at one point about thirty of the audience stood up. Most of them were people who had attended the workshop and been primed but a few more stood up just in case! Anyway, “The Young’Uns” was now about 33 for that song, the three part harmonies amplified 11 times.
As the set ran on, professional as always, they were asking Keir how long had they left to play. Just keep going was the reply. He later told me that in the event of Uilean Pipes master “Jarlath Henderson” not appearing for the final show he was just going to wave his cheque book at the “Young‘Uns” and tell them to keep playing.
When they finally got to the end of the concert they sang “Waiting for the Ferry”.
Perfect.
Following the gig a gentleman came up and remarked how wonderful it was to hear them in an intimate setting rather than, as he put it, a huge tent.
And he was right.
When Keir(1) stepped from sound engineer to director we wondered who would take over. No problem, another Keir was found and what a job Keir Long did.
For all the comedy in the “Young‘Uns” shows it’s the observational songwriting, the storytelling of Sean Cooney and beautiful arrangements that linger, long after the show has finished.
This was my fourth “Young‘Uns” concert and the clarity of the sound was mesmerising. Michael Hughes guitar work is understated and beautiful and the accuracy of the vocals was heart wrenching. David Eagle moves from manic, entertaining nonsense “Windows” to sensitive accompaniment on piano or accordion in the blink of an eye, wrecking the emotions of the bewitched audience.
I’m now of an age when I have more time to seek out and listen to music but to hear it in my own village hall on a tiny Island, where I was born is very, very special. To join in a session in the local pub with these astounding musicians is a great privilege and not an experience any of us will forget.
Over the years we have had Kris Drever, Bella Hardy, Kathleen MacInnes, The Poozies, Manran, Blazing Fiddles, Breabach and others too numerous to mention but “The Young’Uns” topped them all.
Many festivals have died, or faded away when the founding members have stepped back.
Not this one.
I was fortunate to attend the after festival party where ideas were already flying around for next year.
Evolution, not revolution?
The “Young‘Uns” were certainly a revelation.
Their songs are of suffering and joy and social unrest but ultimately about the triumph of the human spirit. These sentiments are universal; they ignore borders and cultural differences and guarantee the lads a special place in the history of Ceòl Cholasa.
Ceòl Cholasa 2019 will be the weekend of 15th September.
Staging this festival is an act of love and alchemy and attracting visitors is a challenge but ultimately worth it.
Why not visit next year? after all, I went to Shrewsbury!
For more about this wonderful festival go to www.ceolcholasa.co.uk, and for more about Colonsay www.colonsay.org.
Photos courtesy of Liam McNeill