One of the joys of going to see Frankie Gavin is you just never know how far the former De Dannan dynamo's vision of Ireland's musical embrace might stretch. There was the bold fiddler in the Old Fruitmarket, introducing Come Dancing favourite Tico Tock as "not an Irish tune at all" - as if it was an exception and the preceding Bach, blues and swing items had come from Kerry. Mind you, the way Gavin, accordionist Derek Hickey, guitarist Tim Edey and pianist Carl Hession had invested them with an Irish brogue, they might well have done.

One of the joys of going to see Frankie Gavin is you just never know how far the former De Dannan dynamo's vision of Ireland's musical embrace might stretch. There was the bold fiddler in the Old Fruitmarket, introducing Come Dancing favourite Tico Tock as "not an Irish tune at all" - as if it was an exception and the preceding Bach, blues and swing items had come from Kerry. Mind you, the way Gavin, accordionist Derek Hickey, guitarist Tim Edey and pianist Carl Hession had invested them with an Irish brogue, they might well have done.

Gavin's latest group is indeed a Hibernian rhapsody, playing with a hard, steely melodic focus but bouncing the music around with a kind of carefree rapture. Jigs, reels, hornpipes and strathspeys (which the Irish appropriated) danced to Edey's tremendously bouyant, flamenco-meets-acoustic-Carlos Santana guitar patterns, while Rick Epping's arrival on harmonica and vocals created an entirely natural Robert Burns-meets-12-bar-blues; a kind of Rattlin' Roarin' Willie Dixon.

Despite oft-expressed reservations, Gavin can find singers - and Michelle Lally, particularly with her beautifully controlled Last Rose of Summer, announced herself as the latest in a long, distinguished line.

The music of Galician septet Berroguetto proved the ideal complement to Hibernian Rhapsody. They, too, have a roving policy, adding French and north African flavours to their native dance rhythms and songs. It's full-on stuff but with loads of interesting melodic twists, and their use of soprano saxophone and hurdy-gurdy alongside fiddles, bagpipes, accordion, cittern, guitar, percussion and keyboards creates a marvellously individual sound. An encore, of a song sung to an insistent five-man percussion corps, was no more than they deserved.