Fiddle Rendezvous was an international collaboration that brought together musicians from Scotland, Ireland, Brittany, and the United States, creating a shared musical space where distinct traditions could meet, listen, and respond to one another.
What Fiddle Rendezvous Was
Fiddle Rendezvous grew from a simple but powerful idea. Bring together musicians rooted in strong regional traditions and allow the music to unfold through collaboration rather than explanation. Scotland, Ireland, Brittany, and the United States each carry deep fiddle histories, shaped by language, dance, and local community. This project created a setting where those histories could sit side by side.
The focus was not on blending everything into one sound, but on allowing each tradition to remain clearly itself. What emerged was a conversation. Tunes passed between players. Rhythms shifted. Styles answered one another without losing their character.
The Musicians Involved
The line-up for Fiddle Rendezvous brought together artists with long-standing reputations in their respective traditions. Bruce Molsky performed on fiddle, voice, and guitar, bringing the drive and raw lift of American old-time music. His playing carried both weight and ease, shaped by decades of deep listening.
Mary Ann Kennedy joined on harp and vocals. Her work is deeply connected to Gaelic song and storytelling, and she brought a strong sense of narrative and pacing to the music. The harp anchored the sound while leaving space for melody to move freely.
From Brittany, guitarist Gilles le Bigot added a distinctive rhythmic and harmonic voice. His accompaniment reflected the Breton tradition, where guitar supports dance and song with subtle drive and clarity.
Scottish musicians Mike Vass on fiddle and guitar, and Ali Vass on piano and vocals, brought a partnership shaped by both tradition and contemporary songwriting. Their approach moved comfortably between older material and newer compositions, giving the programme a forward-looking edge.
I took part on fiddle, representing Irish traditional music. My role was shaped by local repertoire and style, while remaining open to how the music shifted in response to the others in the group.
Four Traditions, One Musical Space
What struck me most during Fiddle Rendezvous was how naturally the music travelled between traditions. A Scottish fiddle tune could lead into an Irish set, which might then turn towards Brittany or cross the Atlantic. The details changed. Bowing patterns, rhythmic emphasis, ornamentation. Yet the underlying intention remained familiar.
Traditional music, at its core, is social. It is shaped by people listening to one another. Projects like this remind us that borders are often musical conveniences, not barriers. When players share respect for the source of the music, the conversation becomes honest and grounded.
Where the Project Was Heard
Fiddle Rendezvous was presented in Scotland, including appearances connected with Celtic Connections in Glasgow. Audiences there are deeply tuned into traditional music, and the setting allowed the project to be heard with real attention. It was received not as a novelty, but as a serious musical meeting.
Why This Kind of Collaboration Matters
I have always believed that tradition stays strong when it is confident enough to stand beside other traditions. Irish music does not lose its identity by sharing space with Scottish, Breton, or American music. In fact, its character often becomes clearer.
As a musician, these collaborations sharpen your listening. You become more aware of timing, tone, and how you support others. You bring that awareness back into your own local playing, sessions, and teaching.
A Personal Reflection
Looking back, Fiddle Rendezvous remains a meaningful project for me. It showed how strong music can emerge when the focus stays on trust, respect, and shared curiosity. No one needed to explain where they came from. The music carried that knowledge on its own.
These are the kinds of musical meetings that stay with you long after the final tune is played.