We think Celtic-Punk is about embracing the traditions of the past and bringing them to the present so here’s some of the Christmas customs of each of the Celtic nations.
At this point we also pick the best Christmas themed song we’ve heard to showcase. Their was a time it was quite easy to choose which song. Not any more!
This year our chosen Christmas track is from German Celtic-Punk legends Fiddler’s Green. While in the past we’ve gone for kind of serious songs it’s time for a Reggae – Irish Folk – Punk Christmas carol mashup I think. Taken from their recently released Christmas album Seven Holy Nights which we reviewed just the other day. It’s a marvellous album which covers so much ground and will raise even the most miserable’s smile while all the time still remaining a Celtic-Punk album.
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CELEBRATING A CELTIC CHRISTMAS
According to long standing theory, the origins of Christmas stems from pagan winter festivals. One main reason early Christians were able to spread their religion across Europe so quickly came from their willingness to embrace celebrations already common among regional populations. One such example is the Celtic ‘Alban Arthuan’, a Druidic festival that took place around December 21st. the Winter Solstice. This traditional fire festival celebrated the re-birth of the Sun. Although a celebration of the Son’s birth replaced that of the Sun’s, still a number of ancient Celtic Christmas traditions remain today.
As we look across the Celtic nations, it is interesting to note some similarities among Christmas traditions that cross geographic boundaries. They include, for example: Holly (a symbol of rebirth among Pagan Celts, but also of hospitality—it was believed fairies sought shelter inside the evergreen leaves to escape the cold); Mistletoe (believed to have healing powers so strong that it warded off evil spirits, cured illnesses and even facilitated a truce between enemies); fire and light (most notably the Yule log or candles placed in windows to light the way for strangers and symbolically welcoming Mary and Joseph); and door-to-door processions, from wassailing to Wren Hunts.
Each of the seven nations possesses its own variations of Celtic Christmas customs. Surrounding cultures and local identify shape theses practices as well.
SCOTLAND
Christmas was not officially recognized in Scotland for nearly four centuries. The Puritan English Parliament banned Christmas in 1647 and it did not become a recognized public holiday in Scotland until 1958. However, according to Andrew Halliday, in his 1833 piece Christmas in Scotland, Scots were not discouraged from celebrating Christmas. Halliday wrote
“We remember it stated in a popular periodical, one Christmas season not long ago, that Christmas-day was not kept at all in Scotland. Such is not the case; the Scots do keep Christmas-day, and in the same kindly Christian spirit that we do, though the Presbyterian austerity of their church does not acknowledge it as a religious festival”
Halliday’s 19th century account went on to describe festive sowens (sweetened oat gruel) ceremonies, “beggars” (actually “strapping fellows”) singing yule song, dances and card parties and children’s teetotum games. Despite Puritan rule, some long-time Christmas traditions are preserved. These include burning the Cailleach (a piece of wood carved to look like an old woman’s face or the Spirit of Winter) to start the new year fresh; or on Christmas Eve burning rowan tree branches to signify the resolution of any disputes. The Celtic tradition of placing candles in windows was also done in Scotland to welcome “first footers” (strangers, bearing a small gift) into the home. Traditional dishes also continue to be featured at Christmas lunch and throughout the holidays, including Cock-a-Leekie soup, smoked salmon, beef or duck, Clootie dumplings, black buns, sun cakes, Christmas pudding and Crannachan.
Because Christmas was not an official holiday until the late ‘50s it is no surprise that today, for some Scots, Hogmanay (New Year’s Eve) is the most important event of the season. Arguably, locals ring in the new year with much more gusto than any other place on the planet.
IRELAND
An Autumn clean up was a common practice in Irish homes to prepare for Christmas. Women looked after cleaning the interior, while men took care of the outdoors, including whitewashing all exterior surfaces. Then holly, grown wild in Ireland, was spread throughout the house with cheer. Contemporary Ireland also highlights this clean-up ritual; once complete, fresh Christmas linens are taken out of storage.
Other customs include the Bloc na Nollaig or Christmas Block (the Irish version of the Yule log), candles in the window (perhaps one for each family member), and leading up to Christmas, ‘Calling the Waites’ where musicians would wake up townspeople through serenades and shouting out the morning hour. Christmas Eve Mass is still a grand affair; a time for friends and family to reconnect. It is not uncommon for churchgoers to end up at the local pub after service to ring in Christmas morn. On Christmas Day, traditional dishes include roast goose or ham and sausages, potatoes (such as champ), vegetables (such as cabbage with bacon) and plum pudding, whiskey, Christmas cake and barmbrack (currant loaf) for sweets. Traditionally on December 26th, St. Stephen’s Day, Wren Boys with blackened faces, carrying a pole with a dead bird pierced at the top, tramped from house to house. Today the custom sometimes sees children caroling throughout the neighbourhood to raise money for charity. It is also quite common to go out visiting on this day.
WALES
Music was and still is a major part of Welsh holidays. Plygain is a Christmas day church service, traditionally held between three and six in the morning featuring males singing acapella in three or four-part harmonies. While today this may be mainly practised in rural areas, Eisteddfodde (caroling) is abundantly popular in homes, door-to-door and as part of annual song-writing competitions.
Dylan Thomas’ story ‘A Child’s Christmas in Wales’ is renowned around the world. An excerpt offers a glimpse of a traditional Welsh festive season:
“Always on Christmas night there was music. An uncle played the fiddle, a cousin sang ‘Cherry Ripe’ and another uncle sang ‘Drake’s Drum’… Looking through my bedroom window, out into the moonlight and the unending smoke-coloured snow, I could see the lights in the windows of all the other houses on our hill and hear the music rising from them up the long, steady falling night”
Other intriguing Welsh traditions include toffee making; drinking from a communal wassail bowl of fruit, spices, sugar and beer; children visiting homes on New Year’s Day looking for their Callenig gift; and Mary Lwyd (Grey Mare) featuring wassail singers going door-to-door carrying a horse’s skull and challenging residents in a contest of mocking rhymes.
ISLE OF MAN
Carolling also holds a special place in Manx Christmas celebrations, but traditionally an unconventional twist characterized it. On Christmas Eve, large numbers attended church for Carval. While the congregation sang, all of a sudden women would begin the traditional food fight, having peas on hand to throw at their male counterparts! Accounts from the 1700s and 1800s describe 12 days of non-stop Christmas celebrations where every barn was filled with dancers accompanied by fiddlers the local parish hired. The Reverend John Entick recorded in 1774
“On the twelfth day the fiddler lays his head on one of the women’s laps, which posture they look upon as a kind of oracle. For one of the company coming up and naming every maiden in the company, asks the fiddler, who shall this or that girl marry? And whatever he answers it is absolutely depended on as an oracle”
As in Celtic fashion, Hunting the Wren processions occurred on the Isle of Man and today the practice is going through a revival, characterized by costumes, singing and dancing.
Other Manx customs include Mollag Bands, wearing eccentric clothing, swinging a mollag (fishing float) and demanding money (a practice since outlawed); the kissing bush (a more elaborate ornament than a sprig of mistletoe); and Cammag, a sport that originated on the Isle of Man traditionally played on December 26th and/or Easter Monday. In older times but even as recently as the early 20th century, Christmas decorations were not taken down until Pancake Tuesday (when they were burnt under the pancake pan). Now holiday décor tends to be packed away on Old Christmas (January 6th).
CORNWALL
As a result of Oliver Cromwell banning Christmas, authentic holiday carols began to fade through much of Britain. However, throughout the 1800’s, Cornish composers and collectors sparked a revival of local Christmas song.Certain carols well-known around the world, such as Hark the Herald Angels and While Shepherds, are credited to Cornish origins.
“Contrary to the effect Methodism might have had on the English carollers, in Cornwall its impact was to stimulate song,” states the Cornwall Council (Cornish Christmas Carols – Or Curls, 2011). “In those areas where Methodism was strongest, music and signing had their greatest appeal, and notably so at Christmas. The singers would practice in chapels and school-rooms, some of them walking miles to be there”
Today, Cornwall erupts in festivals, fairs and markets during the holidays. The Montol Festival in Penzance (named for Montol Eve on December 21st) is a six-day celebration highlighting many Cornish traditions. These include Mummers plays, lantern processions, Guise dancing (participants dress in masks and costume, such as mock formal dress, to play music and dance).
Montol is also the time for burning the Mock (yule log). A stickman or woman is drawn on the block of wood with chalk. When the log burns, it symbolizes the death of the old year and birth of the year to come.
BRITTANY
Brittany boasts a wealth of folklore and supernatural beliefs around Christmas time. Christmas Eve was known as a night of miraculous apparitions from fairies to Korrigans, and at midnight, for just a brief moment, waters in the wells would turn into the most sweet-tasting wine. It was also at midnight, when families were either at mass or in bed, that ghosts would surface; traditionally food was left out for deceased loved ones just in case they visited.
During the holidays, Christmas markets come alive in many Breton towns vending hand-made crafts and toys, baked cakes and bread and ingredients for Christmas dinner. You can also buy Gallette des Rois at stalls, as well as bakeries, which is traditionally eaten on January 6th (Epiphany). A tiny figurine (the fève) is hidden inside the puff pastry cake; the person who finds the figurine in their piece gets to be king or queen for the day and wear a crown. Another special tradition through all of France is a meal after Christmas Eve’s midnight mass, called Réveillon. Specifically in Britany, the traditional dish for this occasion is buckwheat crêpes with cream.
GALICIA
Galicia has its own unique Christmas gift-bearer that pre-dates Christianity. He is called Apalpador, a giant who lives in the mountains. For Christmas, he descends into the villages below to make sure each child has a full belly. He brings treats, such as chestnuts, and well wishes for a year full of delicious sustenance. While Apalpador may not be widely observed in Galicia, his legend is seeing a revival.
Food is very important during the Galician holidays, featuring at least two feasts (on Christmas Eve and Christmas Day). Not surprisingly, seafood is on the menu, including lobster, prawns, shrimp, sea bass, and cod with garlic and paprika sauce. Other culinary delights consist of cured meat, cheese and bread, roast beef with vegetables and for dessert tarta de Santiago (almond cake), filloas (stuffed pancakes) and turrones (nougats). The children of anticipate the coming of the Three Kings or Magis by filling their shoes and leaving them outside on Epiphany Eve, January 5th. Many Galician’s communities also parade on the 5th.
So there you have it the old traditions just like the traditional music we all love live on…
Nollick Ghennal as Blein Vie Noa (Manx Gaelic)
Nollaig Chridheil agus Bliadhna Mhath ùr (Scottish Gaelic)
Nollaig Shona Dhuit agus Bliain Nua Fe Mhaise (Irish Gaelic)
Nedeleg Laouen na Bloavezh Mat (Breton)
Nadolig Llawen a Blwyddyn Newydd Dda (Welsh)
Nadelik Lowen ha Bledhen Nowyth Da (Cornish)
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Christmas was not officially recognized in Scotland for nearly four centuries. The Puritan English Parliament banned Christmas in 1647 and it did not become a recognized public holiday in Scotland until 1958. However, according to Andrew Halliday, in his 1833 piece Christmas in Scotland, Scots were not discouraged from celebrating Christmas. Halliday wrote
An Autumn clean up was a common practice in Irish homes to prepare for Christmas. Women looked after cleaning the interior, while men took care of the outdoors, including whitewashing all exterior surfaces. Then holly, grown wild in Ireland, was spread throughout the house with cheer. Contemporary Ireland also highlights this clean-up ritual; once complete, fresh Christmas linens are taken out of storage.
Music was and still is a major part of Welsh holidays. Plygain is a Christmas day church service, traditionally held between three and six in the morning featuring males singing acapella in three or four-part harmonies. While today this may be mainly practised in rural areas, Eisteddfodde (caroling) is abundantly popular in homes, door-to-door and as part of annual song-writing competitions.
Carolling also holds a special place in Manx Christmas celebrations, but traditionally an unconventional twist characterized it. On Christmas Eve, large numbers attended church for Carval. While the congregation sang, all of a sudden women would begin the traditional food fight, having peas on hand to throw at their male counterparts! Accounts from the 1700s and 1800s describe 12 days of non-stop Christmas celebrations where every barn was filled with dancers accompanied by fiddlers the local parish hired. The Reverend John Entick recorded in 1774
As a result of Oliver Cromwell banning Christmas, authentic holiday carols began to fade through much of Britain. However, throughout the 1800’s, Cornish composers and collectors sparked a revival of local Christmas song.Certain carols well-known around the world, such as Hark the Herald Angels and While Shepherds, are credited to Cornish origins.
Brittany boasts a wealth of folklore and supernatural beliefs around Christmas time. Christmas Eve was known as a night of miraculous apparitions from fairies to Korrigans, and at midnight, for just a brief moment, waters in the wells would turn into the most sweet-tasting wine. It was also at midnight, when families were either at mass or in bed, that ghosts would surface; traditionally food was left out for deceased loved ones just in case they visited.
Galicia has its own unique Christmas gift-bearer that pre-dates Christianity. He is called Apalpador, a giant who lives in the mountains. For Christmas, he descends into the villages below to make sure each child has a full belly. He brings treats, such as chestnuts, and well wishes for a year full of delicious sustenance. While Apalpador may not be widely observed in Galicia, his legend is seeing a revival.
Even so it is always a blessing to discover a Celtic-Punk band from one of the various Celtic nations. From Ramoneurs De Menhirs in Brittany, Ireland’s Blood Or Whiskey, from Wales Anhrefn, in Galicia the Bastards On Parade and Falperrys. All bands that have embraced their local languages and cultures and have, sometimes against the will of many of those 
For Oi Polloi it is uncompromising anti-fascist political hardcore-punk that gets the message across but for the The Placks it’s a dynamite mixture of Celtic infused melodic punk rock and folk music. The bands ranks include, alongside guitar, accordion and fiddle, Fraser and Black Jack Rees, two former world champion pipe band members in their ranks as well as vocalist Iain who spent his youth in various punk bands that both helped shape punk rock (Intensive Care) and toured worldwide and were very successful (Beerzone) so you know these guys are a perfect example of the overlap between traditional music and punk. This new EP came about as The Placks were offered a support slot on the recent Flogging Molly European tour. The original idea being to release a four track CD to sell at the concert. Sadly that gig had to be cancelled due to the recent political upheaval over in Paris so the Bhoys decided that the best thing to do would be to release them digitally instead and get the band’s name out there. It’s certainly done them no harm and offers have been flying in from all over the world for The Placks to play and record. The band’s name comes from the Gaelic Scots word Plack which was an ancient Scottish coin worth four Scottish pennies.
1. THE LAGAN- Let’s Do It Again
1. MARYS LANE- Wild Unknown 
The EP kicks off with the title track, ‘A New Tartan’, and if you like bagpipes then this is the band for you. Obvious comparisons to major league hitters like The Real McKenzies and Pipes Or Pints but these guys have their own take on things too. The drone of the pipes begins the song and its a sound that fills my heart. You can hear why the sassenach would often run from it in battle or why you would follow it into battle. The band chip in half way through and run it down as an instrumental trad punk number. Now I was expecting more of the pipes’n’punk but ‘New Arcadia’ takes me by surprise and is a much more trad folk-punk number with the banjo leading and some ace gang vocals. To top they close out the track with ‘John Ryan’s Polka’. This song may have been a better choice to close the EP but what the hell do I know. No pipes in that number but they are back for a healthy version of ‘Dirty Old Town’. Chugging guitars and them wonderful pipes give it the Raise My Kilt stamp and yeah it may be done to death here but fecking hell when it’s played this good you’ll forget you ever heard it before. After all Ewan MacColl who wrote the song hated The Pogues version so whose to say anything! Again they surprise you with ‘1982’ up next. Played as a a straightforward punk rock number with the pipes coming in and out its catchy as hell and a real foot tapper. A great song and shows the bands versatility in the different strands of celtic-punk on display. Nearing the end and we get a celtic cover of the Cock Sparrer favourite ‘We’re Coming Back’. The banjo and pipes accompany on a song that I’m sure will have any dance floor filling. The EP comes to an end with a fast and furious version of the Scottish anthem ‘Scotland the Brave’ that would have many a other band diving for cover.
With the recent retirement and somewhat resurrection of Black Tartan Clan and bands like Krakin’ Kellys and The Clan raising the pipes throughout Europe it would seem that Bagpipes in the celtic-punk scene have not gone away. Some would say that the sound may be an acquired taste but when you have band’s that really care about how they use the instrument in their songs it really makes a huge difference. These are not just punk bands with a piper attached playing along to the tune these are songs where the pipes are an integral part of the song every bit as much as say the drums or guitar are. Raise My Kilt are a solid addition to the worldwide celtic-punk scene and as one of only a handful of bands in the South American continent playing Celtic-Punk we ought to get behind them and show them our support. Here they have only whetted our appetite for a full length release and I for one cannot wait to hear it.
through their fourteen songs in no time at all with the whole album coming in at only twenty seven minutes and with the majority of their songs around the one and a half / two minute mark it’s a gloriously fast and wicked ride through celtic-punk owned territory! Rabant Original begins with a short intro ‘(pou)’ before ‘Aquí Ens Tens’ and the sound of electric guitar, accordion and fiddle fills the air and we are well away. Dual male and female vocals that is neither shouty nor crooned but fits the music perfectly. The accordion is to the fore in ‘Bronca’ and its really nice to hear female vocals at the front of a band for once rather than just singing the chorus and ‘Puta Ciutat’ show it off perfectly. The video for ‘A Saia Da Carolina’ will be just up your street if you can speak Galician but if not welcome to our world! A top version of this traditional Celtic folk song from Galicia.
Again Waldo over at Celtic Folk Punk And More walks away with this award. There is simply no better site on the internet. Everything you would possibly need to know is here with a HUGE range of bands covered and there is no doubt in my mind that the site you are reading here now would not exist without the inspiration of Celtic Folk Punk And More. Sadly Waldo published a post on January 3rd titled ‘New Year, New Life’ (
This album release came accompanied with the sad news that lead singer Will Tun was leaving the band. An amicable split and the rest of The Wasters have decided to carry on without him and so this is the swansong of Will Tun’s Wasters. Formed in 2010 by a gang of students based all over southern England Will Tun And The Wasters released a smattering of EP’s and singles and managed to get pretty popular so it was only a matter of time before an album was due. I suppose losing your lead singer would also also help lose a big slice of momentum as this album sneaked out rather than be unleashed and that was a mighty shame as this is a album deserving of being unleashed! Impossible to pigeonhole they were a hard working bunch ready to arrive from several starting points to play gigs at a drop of a hat. Though starting off more as a folk/celtic/ska-punk band they never stopped evolving and traces of hip-hop, Balkan and Latin found a home and nowhere more so than on The Anachronist’s Handbook. Twelve songs and over fifty minutes long the album takes you on a roller-coaster ride of musical styles but its the accordion and fiddle that stand out for me as well as Will’s great distinctive vocals. The energy is infectious and ‘Red & Black’ and ‘A Criminal’s Waltz’ could be The Pogues but whatever genre they turn their hand to they master it. The album ends with ‘Downtime’ another album highlight but this time a reggae/ska beat dominates. I really hope The Wasters can regroup and carry on (as they do intend to) as they would be sorely missed.
Here’s some authentic celtic-punk for you played by Skontra from the city of Gijón in the celtic region of Asturias currently under Spanish control. There is a school of thought amongst celtic scholars that to be a true authentic celtic nation you must have your own language but if to be truly celtic is based on culture then we must instead expand our thinking to include both Asturias and their neighbours Galicia as well. Celtic culture is alive and kicking and the people are especially proud of their celtic roots. Formed in 1991 Skontra this is their fourth full length album and the thirteen songs are mingled with elements of punk, hardcore, ska and reggae but always with a celtic base and with the traditional Asturian bagpipes leading the way. Seven of Foguera’s songs are in their native Asturian and the rest in Spanish so can’t tell you what the songs are about but its all dead catchy and if you’re looking for a comparison then this would please all you Real McKenzies fans but its very well played celtic-punk that ought to get you all moving your feet. Typical of Skontra is the fantastic title track which includes just about everything that makes them tick. They have made the album available for free for download so you’d be a mug not to get this fantastic album.
Maybe not a celtic-punk album but Louise has popped up supporting both The Mahones and Bryan McPherson in the last year and her folky-punk solo set is right up our alley. She has been called the next Frank Turner but as I don’t think she went to the poshest most exclusive school in Britain I reckon we can ignore that. There’s no style over substance here, what you see and what you hear is what you get. ‘Dreams From The Factory Floor’ is twelve songs of over half an hour of folky punk that sometimes veer into almost poppy tunes like the great ‘Bullets’ but then the album goes in a direction that (very) early Bragg or Springsteen at his best would approve of. Plenty of harmonica (I love that) and great politics too. The politics of the working class and its struggles in every day. The spoken word title song is amazing and delivered in Louise’s broad Yorkshire accent sounds about as authentic as some others don’t. The use of both acoustic and electric guitar and the poetic lyrics and every song is both catchy and meaningful. No filler or fluff here and though not as punk rock as Louise is with her full band this album certainly shows an artist who is on her way to stardom.
From the first moment I heard this album I fell in love with Happy Ol’ McWeasel’s brand of joyous uplifting celtic punk rawk! Formed in 2007 in the Slovenian town of Maribor this is their second album and while on No Offence they relied maybe a little too much on traditional folk covers on this album they decided to take the more risky route and play only their own songs and I tells you it works… and it works well! All the usual instruments are here as well as accordion, fiddle, and banjo making as authentic a celtic sound as you are likely to hear in celtic-punk in 2015. Most important of all through the album’s twelve tracks you get the feeling that the band really love doing what they are doing. Their is a real sense of enjoyment running through this album and though you could bracket it with Flogging Molly style celtic punk it certainly ploughs its own trough too though it certainly could compare with bands like Rancid as well. Well played instruments, clear vocals and these fun-loving tunes are a definite hit. Its criminal that bands like Happy Ol’ McWeasel don’t get the applause they deserve but they are definitely one of the scenes best bands. They have given us an album that doesn’t just pump out standard celtic-punk rock but something with a whole lot more substance. One of the best productions on a album I have heard helps a lot but this innovative band will go far I am sure.
If their was a prize for best pun in a album title then Dundee band The Cundeez would walk it. Do you get it? Anyway this is their third album and with each one the band have got more polished and accomplished. Saying that it’s still ramshackle punk rock in all its glory. The lyrics are mostly either political or a bit daft and shouted in a raw Dundee dialect and combined with the punching guitars, pounding drums and occasional bagpipe The Cundeez certainly offer something well different to yer usual punk rock fare. The opening song is pure bagpipes and well played they are too but with the next song ‘Scaffie Radio’ the album steers away from celtic-punk into more standard (but still very good) punk. Elements of ska too especially on the brilliant ‘Rooota’ The pipes return occasionally and the album ends with a cover of ‘Teenage Kicks’ where the pipes return again to great effect. The rest of the album rocks by and can’t wait to catch them live from what I have heard they put on a great show.
Now this EP from London Celtic Punks favourite Anto Morra sticks out like the proverbial sore thumb here. I can say that freely as it was Anto himself who said it first! Those coming along to this EP expecting more of the same as Anto’s previous releases will get a shock as what you get here is hardcore ‘finger in the ear’ folk music that brings back reminiscences of people like Ewan MacColl and Pete Seeger. Famed for his wordplay and the way he somehow manages to inject the spirit of punk rock into his London Irish acoustic folk Anto has come up here with something very novel and you can listen to the whole EP below on the Bandcamp player first before you buy. Again the amazing fellow London Irishman and artist Brian Whelan has provided the artwork and the whole EP is a tribute to Edith Cavell. Edith was a nurse and is celebrated for saving the lives of soldiers from both sides during the First World War. She aided some 200 Allied soldiers to escape from German occupied Belguim and it was for this that she was arrested and accused of treason. Edith was found guilty and sentenced to death and despite international calls for mercy, she was executed by firing squad with her execution receiving worldwide condemnation. She is well known for her statement that “patriotism is not enough” and it was her strong Anglican beliefs that compelled her to help all those who needed it. She was quoted as saying, “I can’t stop while there are lives to be saved”. Edith, who was 49 at the time of her execution, was already notable as a pioneer of modern nursing in Belgium and this EP tells of her glorious life. Five tracks of Anto recorded in a church in Norfolk last Summer including ‘Edith Louise Cavell’ which was performed and broadcast live at the Edith Cavell’s centenary memorial service on BBC Radio 4. So a lot different to what Anto has previously done and I doubt we’ll get to hear any of these songs at a London Celtic Punks gig but full marks for producing this beautiful tribute to Edith and I do hope you will give it a chance.
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