Celtic Connections has just started in Glasgow and runs for the next couple of weeks in nine city venues. It boasts a terrifically strong line up - from Steve Earle and k.d. lang to Bert Jansch, Mike Scott (right) and Teddy Thompson - but it does prompt some head-scratching questions. Like, what are Bill Wyman's Rhythm Kings doing here? Just how Celtic are the Bulgarian Voices Angelite? And does Eddi Reader have to turn up every year?
Celtic Connection's new sub-heading, introduced in 2007, is 'Embracing Roots Music', which gives a much better clue to its widening musical horizons. It's truly wonderful for the city that such diverse talents as Baaba Maal and Balkanopolis are congregating in the west of Scotland in cheerless January, but it does raise some wider issues. Just how tenuous are these 'Celtic' connections getting? And does it matter?
In these days of festival overkill, when the same acts are block-booked into virtually every major festival throughout the spring and summer, it's more important than ever for festivals to retain their sense of identity and individuality. Is casting the net far and wide always such a good thing?
There is a temptation to believe that covering every musical angle makes sound business sense, but I'd argue that maintaining your niche in a competitive market is a more vital task.
In the case of Celtic Connections, the programme is so rich and carefully planned - and the Celtic element still so well-represented - that mixing traditional acts with European, African and American roots musicians simply brings an added frisson to the proceedings. But I worry for other festivals. No matter how enticing the campsite, how tasty the lamb koftas, how many cashpoints are on site, the true ethos of a festival starts with the bands it books; if they all start looking and sounding the same, or the net is cast so wide that the festival's unique remit simply loses any meaning, then ultimately we will all lose out. The chance to participate in something essential and precious will be lost. After all, you won't see the James Blunt strapping on an acoustic guitar at Ozzfest.
Emily Eavis has already stated that she is hoping to really shake-up the booking policy at Glastonbury this summer. I hope so. It sorely needs to underline its individuality again, and the best place to start is on the stage. So hurray - for now - for Celtic Connections. But the minute I see the Kaiser Chiefs on the bill, I'll know the game is up.
