The Sorries, consisting of duo Douglas Kay and Martin Philip, formed through a mutual love of the music of Scottish folk supremos The Corries and their setlist owes much to the homespun genius of the late great Roy Williamson and his fellow bandmate and musical partner Ronnie Brown. Indeed, in many ways The Sorries are a tribute band. However, the imprinting of their own style on the music and their onstage chemistry means they rise far above the level normally achieved by such acts.
There is nothing to dislike about their performance. It is effortlessly enjoyable from start to finish, with a grand entrance from the band and an easy presence on stage that is indicative of two mates at a local pub performing to an audience consisting mostly of friends and relatives they have known for years. Their banter and familiarity has none of the falseness of over-rehearsed routine and instead comes across as entirely genuine.
They are both skilled musicians and if Philip occasionally strains to reach the high notes then this only adds to the rustic charm. Interesting anecdotes and backstories are given before many of the songs, with a version of ‘Auld Lang Syne’ performed to its original melody just one among a sporran full of gems. The folksy humour that drives the duo’s own additions to folk classic ‘Johnny Lad’ goes down a treat with the crowd, while the audience singalong during ‘Wild Mountain Thyme’ and ‘Mhairi’s Wedding’ becomes something rather beautiful in the small theatre of the Quaker Meeting House. Elsewhere, a good-natured guitar solo showdown during ‘The Rattlin’ Bog’ successfully shows off both of the duo’s talents and their flawless ability to merge tradition with a more modern approach.
The Sorries’ particular brand of Scottish cultural identity may be only one small part of what it means to live in modern Scotland today, but it’s a part that is nevertheless authentic, lively and hugely, hugely enjoyable.
