It is with deep sadness we announce that Angus R Grant passed away on 9th October after a short illness. We would like to thank his doctors and the team from St Columba’s Hospice who enabled him to die peacefully at home surrounded by family and close friends. Here follows a short appreciation.
Angus first picked up a fiddle at five years old. He was given a quarter sized instrument by his uncle and the family were amazed when in just a few days he had three tunes on the go. Perhaps they shouldn’t have been so surprised. As the son of the renowned left-handed fiddle player and teacher from Lochaber – Aonghas Grant – his destiny was to follow in his father’s footsteps.
Not that he saw it quite in the way that Grant Sr intended. In fact, his teenage years were full of filial rebellion, as he gave up the fiddle and took up the electric guitar. It was the time of punk, and a do-it-yourself vibe. Spending hours practising pibroch and puirt tunes seemed less attractive than thrashing away at a guitar. In those days, playing fiddle was decidedly uncool, ironically something Angus did much to change in the next 30 or so years.
It was his school friend Kaela Rowan (now providing vocals for Shooglenifty) who persuaded Angus to dig out his fiddle again and go along to a session. Shortly after, Iain Macfarlane, himself a fine fiddler, persuaded Grant Jr to join his band, Pennycroft, with Kaela as the third member. The threesome worked their way round the bars of Glenfinnan, Glenuig and Loch Ailort, not forgetting Fergie’s Bar in Mingarry, a particular favourite.
Angus became a regular visitor to Edinburgh from 1985, following in the wake of his old school friend James Mackintosh, and James’s sister Fiona (both Art College students). Encountering other players in the capital opened his eyes to other musical possibilities, and he persuaded James to take their music to the streets during the Edinburgh Festival in that first summer. As James headed back to college, Angus left with his fiddle for a busking tour of Europe. In that trip he visited Vigo in Spain which inspired one of his most famous tunes, Two Fifty To Vigo. On his return Angus joined James and Fiona’s boyfriend Malcolm Crosbie in experimental punk bluegrass combo, Swamptrash. Also in the line-up were Orcadian banjo player Garry Finlayson and bassist Conrad Molleson.
Swamptrash fitted the late 1980s Edinburgh music scene. It was a time anything could be thrown into the musical pot and musicians from all disciplines jammed together. By the time Swamptrash split up in 1990 it wasn’t unusual to find jazz musicians forming folk bands, trad musicians discovering improvisation and a young piper called Martyn Bennett hanging out in the city’s clubs.
As Swamptrash ran its course, Angus, James and Malcolm were at a loose end and took themselves off to Spain for a spot of busking. By this time Angus had begun to embrace his father’s tradition once more. But now the music of the bagpipes and Gaelic song were peppered with a mixed bag of more modern influences: Captain Beefheart, the Fall, Brian Eno, Talking Heads and Miles Davis among them.
Returning to Edinburgh, the embryonic Shooglenifty found a regular table in Christie’s Bar in the West Port. They drew in Finlayson, Molleson and mandolin maestro Iain Macleod and, as bigger and bigger crowds were drawn to their stirring tunes, they moved down the road to a residency at Cowgate club, La Belle Angele.
Shooglenifty’s sound was brewed in those early sessions – Iain’s precisely handled mandolin, Malcolm’s pumping guitar, Garry’s wayward banjo, Conrad’s grooving bass line, James’s tight as a drum dance beats. And soaring above was the, by turns, wild and serenading fiddle of Angus R Grant. They were a rock band - with a fiddle player as a front man.
With Venus In Tweeds, Shooglenifty’s first album, the band took the folk world by the scruff of the neck, and they’ve kept on shaking ever since. Through seven studio albums, gigs to a few hundred in small Highland village halls, playing to tens of thousands in festival fields across the globe, and a couple of line-up changes, Angus was there, centre stage. He had never missed a gig until this July when illness forced his hand, but he returned to the stage to complete Shooglenifty’s run of August festival appearances.
In addition to the iconic first album’s title track, Venus In Tweeds, and Two Fifty To Vigo, Angus wrote some of Shooglenifty’s most memorable tunes including She’s In The Attic, Nordal Rhumba, Glenfinnan Dawn and Fitzroy Crossing, the haunting closing track to the band’s most recent release.
Shooglenifty filled most of Angus’s musical life over the past 26 years. He rarely played in other combos and, latterly, he was happiest playing traditional music in pub sessions in the Highlands and around his adopted home of Edinburgh.
Somewhat bohemian in outlook, Angus was more rigorously unconventional on stage, leading audiences in a merry dance for over 30 years and influencing a whole generation of musicians. With his rock ‘n’ roll swagger, he made fiddle playing cool. The Shoogle front man was a flighty and mercurial figure: he lived on the breeze, loving to disappear on walkabout (or, more often, hitchabout) in the Highlands, to pop up in far flung bars and drop by for random visits with a legion of much loved friends. He eschewed modern technology, never owning a mobile phone and remained a stranger to social media. He lived without ties and responsibility, but was devoted to his music, his family and his fellow musicians. He was asked recently if he and the other Shoogles were like brothers after so long playing together. He said, “Worse: wives!”
Angus is survived by his father Aonghas, his mother Moira, sisters Deirdre and Fiona, niece Eva, and Shoogle wives Ewan MacPherson, Garry Finlayson, James Mackintosh, Malcolm Crosbie, Quee MacArthur and Kaela Rowan.
Jane Ann Purdy