Festival Music

Martyn Bennett’s ‘Bothy Culture’

Edinburgh Playhouse

Lewis Church

four stars

MARTYN Bennett’s Bothy Culture is a dynamically charming contemporary music display that I believe perfectly encapsulates the flowing traditional excellence of the Celtic fusion musical landscape. The often hopeful, spirited atmosphere that exuded during the performance can be traced back to the turbulent cohesion of every member of the orchestra. Witnessing such a wonderful mixture of characters working in tandem towards a passionate blending of primal pagan sounds and upbeat energy evokes a true sustaining energy within the audience. 

What I found to be an engaging approach to the performance was the orchestra’s ability to produce bright golden, uplifting pieces of music before fluidly transitioning into an eerie, culturally rooted piece like ‘Shputnik in Glenshiel’  that handles a lingering dark undertone and doesn’t necessarily invite you to like it immediately. 

It’s the twinkling percussion, punctuated by adjoining moments of foreign sounds and the interwoven recital of poetry that wholly sets Bothy Culture apart in the best way possible. I frequently found myself totally calmed and hypnotised at the rising vigour of the instruments, emphasising to me the immense passion and emotive impact that has clearly been put towards this deeply rooted, loyal homage to Bennett and Scotland’s culture.

The strong, expressive vocalists supporting the articulation of the almost physically palpable natural symphonies of each and every member of the orchestra demonstrated the unmatched feeling of community and togetherness present made Bothy Culture a genuine experience of Celtic innovation.

Lewis Church is a pupil at Boroughmuir High School and this review was submitted as part of The Herald Young Critics Project with the Edinburgh International Festival, as were those below.

Festival Music

Martin Bennet’s ‘Bothy Culture’

Edinburgh Playhouse

Annie Gillies

four stars

BOTHY Culture can only truly be defined as an expression of Scotland’s diverse musical culture. Bennet’s eclectic style borrows expressions from many different genres of music, ranging from his own country’s Gaelic culture to the music of Islam. Passion and clear emotion was expressed deeply through the rhythm of the music and the highlighting of each individual musician and their unique talents. 

His invitation for audience participation was widely accepted. Numerous humorous interludes were responded to with a chorus of laughter, dancing was encouraged and even attempts were taken when Scottish singing presented itself. This vibrant and light-hearted atmosphere framed the full-hearted showmanship of Bennet and his orchestra.

Each song was taken to with ease and many of the musicians were tapping their feet along to the tune, evidently experiencing the same amount of excitement as those in the audience. Although many songs were unorthodox, they were also revolutionary and brought a unique style of music that has taken time for people to appreciate. This fusion of contemporary and traditional music can be appreciated by those who are nostalgic or for others who enjoy unconventional music that doesn’t adhere to the classical boundaries.

Some of the crowd pleasers were ‘Ud The Doudouk’ and ‘Joik’ however my personal favourite was the thought provoking poetry ‘Hallaig’ which had a strong, clear delivery. The night ended with a double encore, resounding applause and a well-deserved standing ovation.

Festival Music

Martyn Bennett’s ‘Bothy Culture’

Edinburgh Playhouse

Matt Dalyell

three stars

A RECREATION of Celtic Fusion composer Martyn Bennett’s 1998 album Bothy Culture, led by charismatic conductor Greg Lawson, this show definitely provides some enjoyable Celtic music, but is not without its faults.

For most of the show, the impressive orchestra of around 100 musicians, including strings, brass, and an assortment of instruments from around the world do well, playing the traditional Celtic folk arrangements in an engaging way, exciting many members of the audience.

However, the instrumentalists are overshadowed by the choir and vocalists that come to the stage for the second portion, providing both a haunting, ethereal backdrop and a powerful melody over it.  I almost wish that the group perhaps would have taken more liberties and incorporated these elements into more of the show.

That’s not to say the main show wasn’t worthwhile though. The atmospheric brass and bagpipe lines of ‘4 notes’ and the accented, driving ‘Joik’, a loving parody of traditional Celtic vocal styling serve as enjoyable highlights.

Unfortunately, one criticism of the performance was that it felt more like a traditional Celtic folk gig with the occasional element of other scenes and cultures rather than the melting pot I expected. It also suffered from a cramped stage presence, though the additional performers and scenic effects apparently provided at Glasgow shows potentially improved this.

Overall, a solid showing with some excellent musicianship that unfortunately suffers from something of a limiting feeling.

Festival Music

Martyn Bennett’s ‘Bothy Culture’

Edinburgh Playhouse

Olivia Smith 

THE Grit orchestra’s performance of Martyn Bennet’s Bothy Culture was unique to anything I have attended in the festival; not just because of the programme but due to the general atmosphere. While some halls can feel stuffy and sombre with audience members not daring to make a peep, this event felt relaxed and more energetic with audience members never being shy in showing their great appreciation for the performers, even trying to recreate some of the peculiar vocal stylings used on stage…though failing miserably.

The very first piece told us what we were in for: an evening of weird, wacky and wonderful music, with clear Scottish and Irish folk and Turkish inspirations. The first piece was fun and rousing, with some brilliant melodies on the pipes, creating a joyous feeling amongst the listeners that continued till the end of the evening.

The rest of the programme proved to be just as intriguing with each piece being different from the previous; most notably the second feature which included a voice-over of a telephone conversation so that above the music you could hear “aye…hmm…oh aye”, and the fourth piece which featured a recital of a poem set to beautifully atmospheric movement.

Probably the most impressive part of the performance was the way that the performers took all the different elements that in all logic should have clashed but brought them together to create a spectacular symphony of noise that although was reminiscent of Gaelic and Islamic folk music still had a sound all of its own.

Festival Music

Martyn Bennett’s ‘Bothy Culture’

Edinburgh Playhouse

Holly Hayward

five stars

AN ode to the Earth, poetry and music alike, Bothy Culture is a monumental musical landscape of intrepid genius, not only instrumentally but visually.  Vigorous violin bows undulating like ship sails transport you around the world on what could be described as a musical voyage.

The congregative energy generated by the sensational Grit Orchestra was almost tangible and created a satisfying sense of Scottish pride and identity among the captivated audience. We were treated to almost two hours of ballsy, unadulterated sound, with the odd charming interlude of explanation from composer Greg Lawson. In the run up to the finale, the performance took an ecclesiastical turn with a touching rendition of Bennett’s most notable piece “Blackbird” from the orchestra, accompanied by members of the Glasgow Chapel Choir. 

It would be an insult to music to say that Bothy Culture is just another successful Edi Fest gig, but that much is obvious by the reception from the audience alone- the performance was met with a full house, and multiple standing ovations throughout the show.  This was a large part of what made the show so delightful- the buzz, the unashamed in-seat dancing, even the frequent (but wholesome and supportive) heckler.  

Bothy Culture is a bold and refreshing experience that encapsulates the spirit of the festival, and is a must-see for anyone with a love of Scotland or an interest in world music.

Festival Music

Martyn Bennet’s ‘Bothy Culture’

Edinburgh Playhouse

Rowan Gallacher

four stars

AS someone that doesn’t have a keen interest in Bothy Culture, I couldn’t help but feel somewhat captivated throughout the course of the show. With the ambient indigo and green lighting, and the fusion of a dazzling orchestra, kitted with a booming rhythm section - a merry atmosphere remained present during the majority of the set.

The sharp and angular strings kept the audience on the edge of their seats, leading us through a vibrant musical landscape, with bright yet dark tones flourishing throughout. Thanks to the conductor, the audience received an overwhelmingly dynamically interesting orchestra, with brisk turning points showing us the wide array of styles within the Bothy genre.  Though it was the two full drum kits and bagpipes that kept the set driving along for me, setting a brisk pace along with the dancing string section - bouncing from song to song.

A real sense of community could be felt due to a plentiful amount of audience interaction – with the conductor sharing humorous stories about the Bothy culture in between songs and the main ‘singer’ (or mumbler) attempting to get the crowd to mumble along with him. Unfortunately, the crowd as a whole was not quite intoxicated enough to go along with this, although it still made for several funny moments.

Despite a few longwinded speeches from the conductor and the set feeling like it dragged on for just a couple too many songs, Martyn Bennet’s ‘Bothy Culture’ made for a rather refreshing and enjoyable evening. 

Festival Music

Martyn Bennet’s ‘Bothy Culture’

Edinburgh Playhouse

Alicja Turek

four stars

THE influence that the GRIT Orchestra has is explicit as it overwhelms and inspires us to either dance within our seats or pick up an instrument as soon as we’re home. The sheer musical talent that is spread across the stage, ranges from bagpipers to flautists, celloists to violinists, percussionists to singers.

Martyn Bennet’s work fuses an array of instruments that defy the conventional combination and achieved a mix of traditional Celtic with a little techno. So much so, at times it can be difficult to differentiate between what is simply a sound coming from the audience and what is coming off stage. Nevertheless, we wonder how sharp and creative one must have been as each sound seems to compliment another.

While the GRIT Orchestra performs Bennet’s 1998 album ‘Bothy Culture’, it is notable however, that Bennet appears to have used a structure in his music: we hear a new equilibrium follow the climax, time and time again. Consistent this may be, it does make you more susceptible to a slight degree of boredom, regardless of the performance’s initial entertainment.

Despite Bennet’s passing away in early 2005, those on stage do not mask the unfortunate fate of the mind behind the music, but rather, radiate humour and credit Bennet’s work. The magnificently uplifting influence the songs have is conveyed as the room unites for the night. Conversation is engaged between artists communicating in sound and anecdotes, and the audience in applause and laughs.

Festival Music

Martyn Bennet’s ‘Bothy Culture’

Ellen Robson

four stars

THE sense of anticipation before the lights went down was palpable and the audience were not to be disappointed by this captivating four star performance. ‘Bothy Culture’ was originally created in 1998 and is being preformed at the Edinburgh Playhouse as part of the Edinburgh International Festival by the GRIT orchestra. Martyn Bennet’s charming sense of humor is woven throughout; the audience enjoyed the monosyllabic one-sided phone conversation in the appropriately named ‘Aye?’ The late Martyn Bennet not only came to life through the force of his music but also through the amusing anecdotes of his close friend, the conductor Greg Lawson.

‘Halliag’ was a particularly compelling piece, with powerful Scottish narration but a distinctly Islamic sounding rhythm. This encapsulates the dynamic fusion of cultures and genres which are continuously drawn upon throughout. The most profound aspect was Bennet’s ability to successfully harmonize a myriad of musical influences with Celtic cultural references. The evocation of setting was especially impressive ranging from the African plains to the fairy glens of Scotland.

The orchestra preformed energetically under the skillful direction of their conductor bringing the audience to their feet after almost two hours. The standing ovation was a testament to the revival of the keen interest in the work of Martyn Bennet, tragically he never lived to see the high esteem that his work is now held in. ‘Bothy Culture’ deserves it’s place on the world stage at the Edinburgh International Festival.

Festival Music

Martyn Bennet’s “Bothy Culture”

Edinburgh Playhouse

Katie Moore

three stars

ONCE seated time could be took to appreciate the use of stage and unusual lighting. The orchestra, set out in informal rows with each musician in what could be seen as today’s comfy smart causal, were split in apart by warm industrial lights. The overall atmosphere was rather spontaneous, informal and relaxed.

Initial impressions are indeed positive, and as the conductor introduced the orchestra with a few humorous anecdotes the mood relaxed even more.

They started with a rather upbeat number which captured the essence of the whole night. The piece took a modern take on rather traditional Scottish music adding electric guitars and modern drum kits alongside instruments such as the bagpipe and the fiddle. The added use of unorthodox vocals which included a man saying words of gibberish in tune and time to the piece was in my opinion rather off putting. However sometimes poetry was used and even a phone call which was revived better.

The theatre was packed to the rim, not a seat empty. The enthusiasm of their fans filled the room and you couldn’t help but be smiling if not to the music but to the audiences reactions.

The conductor spoke fondly of former composer Martyn Bennett who unfortunately passed before any of his music was able to make money and has left him in debt in which the group are trying to pay off. The emotion that went into the number dedicated to Bennett was clear from both orchestra and loyal fans. It was impossible not to be moved, however the emotion was not of sadness but of the pure joy playing to Bennett’s memory.

Festival Music

Martyn Bonnet’s ‘Bothy Culture,

Edinburgh Playhouse

Ailsa Phaup

three stars

MARTYN Bennet’s ‘Bothy Culture” performed by the Grit Orchestra and conducted by Greg Lawson was an uplifting and unique experience. Visually, the stage lights and sheer number of musicians involved that could be seen performing was impressive in itself. Musically the Orchestra provided a unique compilation of pieces with some Scottish essence and twang, appropriate for tourists wanting a taste of Scotland.

The performance’s opening developed a welcoming atmosphere. This lighthearted and welcoming mood was consistent throughout as the conductor provided a tale in relation to each pieces’ origins, often humorous. The pieces themselves were uplifting, and despite perhaps not being for everyone I believe that anyone can appreciate the talent demonstrated by the many musicians. Although each piece was different they each remained cohesive with the overall tone.

The closing pieces were powerful and differed from the earlier pieces which added variety and a sense of tonal progression. If you enjoy and admire music and Orchestras this may be the performance for you, I do believe however that it is an acquired taste.

Festival Music

Martyn Bennett’s ‘Bothy Culture’

Edinburgh Playhouse

Emily Clegg

three stars

ON the 20th anniversary of Martyn Bennett's album ‘Bothy Culture’ being released, the GRIT orchestra perform a spectacular show of it at the Edinburgh Playhouse. ‘Bothy Culture’ captures the excitement and sense of community within scottish music, conveying this in a new and quirky way filled with imaginative complex ideas.

The first track of the album is instantly captivating. Atmospheric recorded vocal sounds over the top gave a music concrète feel to the opening of the song. A unique and enchanting hybrid of music, it sounded notably scottish in parts but had a definite oriental sound to it as well which provided an exhilarating, engaging beginning.

Track two begins more softly than the first, with acoustic guitars introducing a soft melody. The fiddle players did not only play technically demanding music but seemingly enjoyed themselves on stage as well which added to the warm atmosphere, as there were clearly many fans in the audience, eager to show their appreciation making the whole show feel more special. Characteristic bagpipes permeated the music to maintain a lively beat that you couldn’t help tap a foot to.

Each song was different, creating a unique sound and mood in each. The scottish folk style is fast paced and lively, but there are moments of eerie, high pitched playing that create an entirely different mood, all within a single song.  This eclectic range of music was created masterfully by Bennett, and the instrumentalists performed outstandingly to capture the depth and range of styles in each song.

Festival Music

Martyn Bennett’s ‘Bothy Culture’

Edinburgh Playhouse

Naomi Meiksin

three stars

WHEN the floodlights snapped on to reveal an oddly eclectic gathering of instrumentalists lead by a charismatic, crazy-haired conductor, it became clear to me that the music to come had a strong chance of being just as colourful as the GRIT orchestra’s flashy clothing.

So when the hilarious monologues of the conductor (Greg Lawson) carried over into a very humourful, yet also deeply passionate and rhythmically intimidating style, I found myself split between sitting there, shell-shocked, and jumping up to claim the dance floor. The flashing lights, beating of the drums and dance-like gestures of the enthusiastic conductor even gave the air of a Disco.

The style itself was both exciting and slightly jarring. It sounded like someone had taken a blender and thrown several different cultures into the mix to produce one, gigantic beat-driven symphony; melodies and patterns collided and bounced off of each other, creating a fiery, pulsating music sometimes undermined by the strange whines of a single chanter or bagpipe.

Until the very end it was obvious that the style seeks to grab the attention of an audience and doesn't always expect to be liked - the conductor arguing that the music only wants to tell you the way it thinks; something I unfortunately still didn't manage to get after two hours of listening to its indecisiveness. Yet despite its intention to sometimes make its audience uncomfortable (which completely succeeded in my case) its driving beat never failed to captivate its audience.

 Festival Music

Martyn Bennett’s ‘Bothy Culture’

Amy Hepburn

four stars

Martyn Bennett’s ‘Bothy Culture’ performed by the Grit Orchestra and Greg Lawson was an extremely unique and exuberant orchestration. With Edinburgh’s play house completely packed with an exhilarated crowd I feel very privileged to have been there although I would have not placed myself there had it not been for the compulsory English trip.

Straight away there was a very comfortable and laid back atmosphere between the audience and conductor Greg Lawson; who consistently delivered his performance with great passion clearly showing how much it meant for him to be up on stage enlightening the world to Martyn Bennett’s creative and intriguing work. The opening number was a triumph, particularly driven by the buzz and anticipation of the audience. All throughout, the music was powerful and touching, reeling me in as if it were telling a beautifully emotional story.

The music of the bagpipes evoked a sense of patriotism and pride in me thus making it an excellent phenomenon for tourists as they’d have got to experience classic Scottish culture but with an interesting new twist. Another thing that must be mentioned is the way Greg Lawson talked so fondly of Martyn calling him a “hero” and drawing in appreciation from the audience for Martyn’s memory, it is clear that all he has worked for has been to honour Martyn. The orchestra managed to capture this love and emotion on stage with the help of the Glasgow University Choir which was the highlight of the night. 

Festival Music

Martynn Bennet's 'Bothy Culture'

Edinburgh Playhouse

Mairi Robertson

three stars

AS someone who had not yet heard of ‘Bothy Culture’ I can definitely say that it was not what I hadexpected! The performance at the Playhouse was an eclectic mix of orchestral instruments andtraditional Scottish bagpipes, complimented by atmospheric lighting and some interesting vocals.

To start, there was some good-natured back and forth between the audience and the conductor thus establishing a positive tone which continued throughout the performance. The conductor’s charisma acted as a diffuser to make a perhaps more serious orchestra setting into a lighthearted performance, encouraging an extremely positive response, and multiple standing ovations, from the audience. As regards the music, fusion of these musical genres made for a very interesting performance: the music was very upbeat, encouraging a great deal of ‘seat dancing’ as recommended by our conductor. This genre of music was somewhat unique and unusual, however, it does appear to have a great following and this particular performance was enjoyable for someone who had not before heard Bennett’s work. As the performance came to an end, the orchestra was joined by a Glasgow choir who gave a great performance before the evening ended on a seemingly very popular finale song.

Overall I very much enjoyed the pieces and the ambience, however, my criticism would be that an interval is perhaps necessary to maintain the viewer’s (or at least my own) attention.