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Kathleen MacInnes records Scottish Gaelic album at sold-out show

The sold-out show took place on the ninth day of the festival, but MacInnes – one of Scotland's most-loved and leading Gaelic musicians – wasn't just performing a show. She was recording live tracks for her much-anticipated third album. Her debut album Òg-Mhadainn Shamhraidh (Summer Dawn) was released in 2006, with another following in 2012, Cille Bhrìde (Kilbride). From South Uist, MacInnes grew up immersed in the Gaelic way of life with her voice moulded at island ceilidhs and the regular sesh. She only began performing publicly in her late 20s, which meant this performance was incredibly unique. READ MORE: Rhoda Meek: Toffs in tweed flock to the Highlands, but what benefits do they bring? In the packed theatre, the stage was set with a fiddle, keyboard, accordion and guitar for MacInnes to be joined by several musicians – but initially, she came out solo. Her humour was clear from the get-go, with a joke disclaiming she would only be playing 'a very short Gaelic song and then I'm going'. MacInnes opened with a 16th century lullaby – singing a capella – and signalled to the audience 'you are safe here, you can relax'. Although just back from starring in the acclaimed production of Macbeth with David Tennant and Cush Jumbo in London's West End, MacInnes looked both comfortable and nervous on the stage. She was joined by longtime friend and musician Mike Vass to share a Benbecula song about a stubborn cow – 'just like me,' she joked, before chiding herself, 'I said I wasn't going to be like this,' despite the audience loving her informality – and another from South Glendale. The songs were of course sung in Gaelic, save one or two later tracks. As the first few were played, I was transported through time – easy enough to do while listening MacInnes – to when I first heard her voice. I can pin it down to the exact moment in my mind. I had been home from school for a few hours and found myself on the internet reading about the Stone of Destiny as we had been studying it during History that day. I soon found her version of Oran Na Cloiche (The Song of the Stone), which bar my parents sharing Runrig and The Corries with me, was my first solo traverse into the world of Scottish Gaelic music. Ever since, her music, and that of dozens of artists I've discovered through her, has been a constant on my playlists. Vass and MacInnes were then joined by Donald Shaw to play a waltz called Jimmy Mo Mhíle Stór. The depth and release of MacInnes's vocals paired alongside the refinement and control of Vass and Shaw gave the impression of a band which was tight but flowing in their artistry. READ MORE: Scottish festival celebrating green initiatives and grassroots talent The trio were later joined by Neil Sutcliffe — an accordionist, singer, and pianist from Stirling, whom I last saw perform live three years ago in Glasgow. Since then, he has clearly carved out a place for himself as a budding talent in the Gaelic music scene. Being chosen as the support act for MacInnes at an event of this calibre, however, sets him apart entirely. Sutcliffe sang duets with MacInnes as well as perform solo songs, all while playing accordion, and later keyboard, while holding a star-quality stage presence alongside MacInnes's already established stardom. While the four performed a waulking song from Ness, the sound from all playing their respective instruments rounded out to raise the breadth of MacInnes's range to be on full show. A sing-along was had to Matt McGinn's Skin – all about skin – which I do believe you can only sing with a smile. The audience weren't too sure whether to believe it was seriously part of the set, as it came straight after an emotional Raasay tune about a woman's love being lost at sea. After a quick interval, MacInnes went on to dedicate an 1885 Swedish song translated into Gaelic to the newly appointed Pope Leo XIV while the three men then played a couple of reels. Fellow South Uist singer Sineag MacIntyre made a quick appearance towards the end, with the two women treating the audience to a talented session of puirt à beul, as well as a gorgeous rendition of Morag. Concluding the set, we were given not one but two Stone of Destiny-inspired songs. I can only imagine Sutcliffe takes inspiration from the Corries, as if you closed your eyes while he sang The Wee Magic Stane, you wouldn't be able to distinguish his jovial delivery from theirs. MacInnes then sang her much-loved version of Oran Na Cloiche. I personally wanted to remember every second of that performance as well as the whole night which had seamlessly moved between centuries and memories. With MacInnes, a pillar of the Gaelic tradition joined by young musicians on stage, giving us – a sold-out show – an insight into her creative process, while the audience sings along to songs from the 1700s, the night embodied this year's Tradfest theme. The past, present and future of traditional music.