Celtic Connections
Tron Theatre, Glasgow
21st Jan, 2026
I was at the cherished theatre venue Glasgow’s Tron last night for some winter fun. If you haven’t been there the sloping chairs were blue, the stage below expectant and music lovers aglow. The evenings programme was for two acts performing to the half full 200-seater which saw the two acts (scores) of one Boo Hewerdine on guitar and the gorgeous Yvonne Lyon providing keyboard in the sound of piano.
This gracious night was an introduction for me of Grainne Brady whose new writing shone at this year’s festival. Grainne played and sang swapping guitar and ukulele, with songs that had every kind of peaceful vibe. The multiple influences were brought together, with Heather who joined her on guitar and soulful harmonising.
The casually well-dressed pair, went through the pages of these new tunes with tenderness, compassion and totally joyous music. Their young presence boded well for this sweet connections gig that we felt grew in strength in every song.
They played the room out for about 40 min, the levels of their stylish and skilful passion, gently sprinkled over us. And so in this ever so tasteful venue, we took an interval break before the very well known, loved and respected talents of the hard and long working Boo Hewerdine were played.
The stage was set for the pair, keyboard, mic, two seats and a large projector screen that appeared from behind them its first image had some German language to it, curious. And to dramatic orchestra music over the PA, places were taken and smiles flew.
This too was fresh writing, and it came after an extensive UK tour in 2025. This coupled music comes from projects in full swing performed and conducted with mastery. They shared material, joked about musical differences, their light-hearted collaborations, and exhumed their plumes of talent for the instruments, for writing and for playing.
Writing songs about their joy’s, sorrows and at every turn became compassionate as artists who are living a full life. Some songs were quicker in pace, more simply composed or were nothing but anthems for the human experience. Carefully written in parts that accompanied the certain spirit of the Connections, who hold up at this time of year artists with such wonderful talent.
The sultriness of their vocals navigated and necessitated a situation for far and wide coverage of lyrical material. We could pick up hints and tones of blues (perhaps of an earlier time), swing jazz, traditional folk, pop, and classically simple lines.
In their French enthused momentous song, the light seemed to dim, as their voices took over. They had a new genre of key changes, the voices danced among the two, flittering together and holding on for each other. All this in only one little evening in Glasgow, an evening for comfort and joy.
They both held us in different ways, extending a courtesy to proceedings that could only enhance the music that was simply very good.
Daniel Donnelly
themumble.uk 