There are differences expected between a band's live act and what they record in the studio. Still, I wasn't able to concatenate the relationship between what I heard that night and the resultant CD - Wee Blue Man, at first listen. It's a strange thing to explain, but there is something very special about hearing music before it makes it into the package. Before it gets burned into aluminum and sealed in cellophane, music goes through a phase of organic growth. The tracks that made it onto Wee Blue Man had long since been laid down by the time I heard them that chilly March evening, but they still held a little of that newness which says "I am young". I felt this was palpable in Celtic Soul 's performance that night.

Celtic Soul are a band poised on the edge of big things. They have worked hard the last couple of years to hone their craft and come together as a band. The usual questions about influences and what type of band they'd like to be are brushed aside by the unerring honesty of these musicians. Nick Watson sits beside me in a tee shirt and tan leather jacket, his reddish brown hair tossled in a sort of studied irreverence, arching an eyebrow at the plate of food just set before him. There is no pretense with Nick. You can tell right away what he thinks about something. As it is with the food, it is with the music. I ask them about influences, if there is any connection between their tunes and say the ballad tradition of County Donegal. "Nah" says Nick "We just play what we like."

A lack of pretense of itself is not a definition. There is an identity for any mature group. Celtic Soul are precisely what their name implies. There is no grand over-arching scheme, this isn't theme rock, or art rock it's just great Celtic music played with lots of Soul. Lately though, it is music of a high degree of originality. Takin' Down the Half Door did little to inform us of the latent songwriting abilities of Jana Light. Jana's vocals have been an important part of Celtic Soul's sound since the beginning. But now in the era of Wee Blue Man we are treated to the subtle turns and stylings of Jana's ethereal voice focused upon lyrics with which it has a special filial bond. These songs are filled with Soul, and Jana delivers them like a testimony. Her stage presence interacts with Sandy, Kevin and Andy perfectly.

Celtic Soul may not consciously try to pay homage to one or another styles of Celtic music, but neither are they rootless. Sandy Herrault is a classically trained violinist who has peformed with major orchestras (and curiously enough also speaks fluent Farsi - a language from Afghanistan with roots in ancient Persia). Standup bassist and Florida native Andy King keeps things rolling with his unique chordings and engaging stage antics. Kevin Breslin's keyboard is alive with the kinetics that kept his band Energy Orchard at top of the pops and fronting for such greats as Van Morrison for over a decade. Newly added guitarist Trevor Flynn fits in with the band like a native Floridian - which reportedly he was drawn to due to his love of heat, bugs and wind. He is notable for his rollicking chord structures in addition to his height (no kidding - he's tall for an Englishman) and his Rat Patrol hat with goggles (undoubtedly to fight off heat, bugs and wind).

Nick Watson's percussion is the apex upon which Celtic Soul's sound is grooved to turn. He is a veteran of the world renowned Field Marshall Montgomery Pipes and Drums and the founding drummer for Celtic rock powerhouse Seven Nations. As the founder of Celtic Soul he fills many complex roles including ambassador to the press - a job which he approaches with a quiet and almost shy dignity. With such a rich weft of history, talent, originality and guts, an evening with Celtic Soul is always garaunteed to deliver happy memories. See them early and often, and be sure to visit their website. Both CD's, 'Takin Down the Half Door' and 'Wee Blue Man' are two of the most highly recommended efforts we've ever presented here on the Grove. We are certain you will enjoy them.

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