Capercaillie's live recording captures the spirit of the group, featuring several of their best-known songs and showcasing the range of styles the group is capable of. Best known for their modern renderings of traditional Scots-Gaelic songs, they do not disappoint. Mouth music, love songs and milling songs are all given up-to-date sounds. Though some traditionalists might cringe at the idea of "waka-waka" guitars backing up mouth music, it comes out surprisingly well.

While always innovative, Capercaillie's respect for the music is apparent. Included is "Coisich a Ruin," part of an EP Prince Among Islands, which made the top 40 in 1992, although the song is entirely Gaelic.

Not to be overshadowed by the Gaelic songs or the beautiful singing of vocalist Karen Matheson, the instrumental tracks are fantastically constructed. Flute, fiddle, accordion, bodhran and various percussion seamlessly blend, creating washes of sound. Instrumental sets are well represented on this album, more so that is usual on most of the group's recordings. The musicians' instrumentation on all tracks is phenomenal, making you wish you could see them live, not just listen to a CD.

With a fairly even mix of traditional and original tunes on the instrumentals, it is surprising to see so few original songs. The group has several talented songwriters, but only three originals can be found and only two are in English. Why this section of the group's abilities was so short-changed is hard to tell. Perhaps it had to with the number of songs that could fit without the recording becoming too long.

The group puts forward a solid performance, recorded live at Celtic Connections in Glasgow. With pieces ranging from danceable and upbeat to traditional and hauntingly beautiful, this album shows the band for what it is: an amazingly talented group of artists, using their abilities to keep traditional Scottish music alive and flourishing.

- Rambles
written by Jean Emma Price
published 17 January 2004

Capercaillie's Live in Concert is over 70 minutes of incredibly pleasurable listening, capturing the true essence of this fine Scottish band doing what they do best -- playing in front of a live (and lively!) audience with huge confidence and creative energy, superb musicianship and fronted, of course, by the excellent Karen Matheson. And, given that ever-sure Capercaillie "Midas touch," old songs become new, for these musicians are never afraid to improvise. This is just as well, because there is not much new material here. The album was recorded at the Royal Concert Hall, Glasgow, in January 2002 as part of the Celtic Connections Festival.

Matheson's vocals are stunning throughout, with musical backing provided by the established band members: Manus Lunny (bouzouki, guitar), Charlie McKerron (fiddle), Donald Shaw (accordion, keyboards), Michael McGoldrick (flutes, whistles, uillean pipes, bodhran), Che Beresford (drums) and David Robertson (percussion).

Capercaillie warms up with a lovely version of "Mo Chailin Dileas Donn," McGoldrick's superlative flute playing interweaving with the vocal, then assails us with a stunning new version of "Finlay's," one of the finest live examples of puirt a beul (Gaelic mouth music) that many will be privileged to hear. Matheson's vocal is awesome here, and she shows that she is probably the finest singer of this genre. But the real surprise comes towards the end, when a complete reworking of the original Beautiful Wasteland studio version allows the band to notch up the pace to bring the track to a vibrant, exhilarating finale. The next vocal track ("Nil Si I Ngra") is beautifully sung. With restrained musical backing, and some lovely fiddle playing by McKerron, Matheson's timing is perfect. This is one of the highlights of the album.

There are plenty of innovative re-interpretations from some of Capercaillie's earlier albums: Delirium (1991), Secret People (1993) and Beautiful Wasteland (1997). "Bonaparte" is injected with new life by Lunny's wah-wah guitar and some great bass, percussion and backing vocals. "The Miracle of Being" and "Crime of Passion" are given similar treatment, with McGoldrick's improvised flute playing wonderful on the latter. There is more puirt a beul with "The Tree," and a superb waulking (work) song, "In Exile," originally performed with Las Hijas del Sol, amazing contributors to the Beautiful Wasteland tour. "Coisich a Ruin," one of the only Gaelic songs to make the British charts (for what they're worth!) is given funky new treatment, and there are two more lovely vocals from Matheson, "Cape Breton Song" and "Iain Ghlinn Cuaich."

As with all good Capercaillie gigs, though, the instrumental sets really stand out -- and here we are richly rewarded with "Kepplehall," "The Weasel Set," "Dr McPhail's Reel" and the "Rob Roy Reels." There's always been something very special about seeing this band play together live. Their timing, judgement, ability to play as one with incredible energy and enjoyment always comes across. This is a great live album, and listening to it is second best to being at one of the band's gigs.

- Rambles
written by Debbie Koritsas
published 17 January 2004