📷 Photo by Alleksana Photography

For any artist, the creation of an album is a journey – one that often takes unexpected turns and reveals itself gradually. Fable, my latest album, was no exception. What began as a collection of songs I felt deeply connected to evolved into a cohesive exploration of Scottish folklore, history, and identity. The theme wasn’t apparent at the start, but as the songs came together, a narrative unfolded – one woven from the myths, landscapes, and voices of Scotland.

The Stories Behind Fable

Scotland has always been a land of storytellers, where history is passed down through song, poetry, and oral tradition. I wanted Fable to reflect this, drawing from both traditional and original material to create something that feels timeless yet personal. The songs largely stem from Gaelic and Scots folklore, while others capture contemporary experiences through a folkloric lens. I also wanted the album to encapsulate my love for Scottish Gaelic, Scots, and writing my own songs – something I’ve done since my days with Barluath. My gigs have always been eclectic, representing the living and breathing tradition of songs and stories, and I think this album captures that spirit – eclectic, unafraid to explore, and a true reflection of my personality through music and performance.

One song that exemplifies this is Machir Bay, inspired by Islay’s rugged beauty and adventure, but it is a big sing – probably the biggest sing I have recorded on a solo record, which is exciting, I’m very proud of this track. Another track that exemplifies the eclecticness of the record is The Angels’ Share, that explores Scotland’s connection to whisky. Like quite a lot of Scotland’s legends and traditions (we’re thinking Nessy here), it’s often dismissed as a shortbread tin cliché, but for me, it is far from that. Nearly all my family has worked in the whisky industry across different sectors – it is part of the lifeblood of Scottish tradition, something I have grown up with. The album also incorporates old legends and songs such as The Cailleach and Cumha an Eich-Uisge, further weaving folklore into the music. Some of the songs come from the Tolmie Collection, which I co-edit alongside my longtime friend and teacher, Kenna Campbell.

I also decided to take a completely different turn and include a Gaelic translation of Nina Simone’s Sinnerman. Arranging this was incredibly challenging – it had to retain the epic energy of the original while becoming something new and uniquely ours. My incredible band played a huge role in bringing it to life: Alistair Iain Paterson, Sam Kelly, Toby Shaer, Signy Jakobsdottir, Euan Burton (on the recorded version), and Manny Clarke (live). Some might say it leans into jazz, others might call it a bit pop—but that’s the beauty of music, right? It makes each of us feel something different, whether that’s excitement, nostalgia, or something else entirely. Sinnerman fits into the overarching theme of Fable as a tale of reckoning and consequence, much like the Scottish ballads and myths woven throughout the album. Though originally an African American spiritual, its themes of fate and desperation felt familiar to me within Gaelic storytelling. Translating it into Gaelic and reimagining the arrangement made it feel like part of my own tradition—honouring the past while making it something new and personal.

Additionally, I included What Can a Young Lassie, a Burns song, and Leave Her Johnny, a sea shanty – both of which I learned during my time at RCS and performed with Barluath in live gigs 15 years ago when we first started out. These are songs that have been a part of me for so long, deeply influencing me at the time, yet I had never recorded them until now. This album spans a huge period in my life, capturing songs that have been in my ether for many years, making their way into this collection at last.

Choosing the Right Musicians

An album’s sound is as much about the musicians as it is about the songs. For Fable, I knew I wanted to work with people who not only understood traditional music but could bring something fresh to the arrangements. Sam Kelly, who produced the album, was a natural choice – his musical sensitivity and storytelling instincts aligned perfectly with the vision for the record. Toby Shaer’s ability to weave flute and guitar seamlessly into the arrangements added depth, while Alistair Iain Paterson’s piano and harmonium grounded the album in a rich, evocative soundscape. And with Signy Jakobsdottir’s percussive textures, the heartbeat of the album truly came to life.

Thematic Evolution

At the outset, I didn’t set out to create a concept album, but as the songs took shape, a theme became clear – one of Scotland’s stories, its people, and their connection to place. Each track, whether rooted in tradition or my own writing, ties into this overarching idea. Fable isn’t just a collection of songs; it’s a sonic tapestry of the past and present, a celebration of the voices that continue to shape Scottish music and identity.

The Physical Album and Trends

This is the first time I’ve produced vinyl, and I feel terribly trendy for it – hahaha! But in all seriousness, it’s exciting and new for me. It’s important to look at what is selling in different audience demographics, and with a younger audience and standing gigs, vinyl is much more popular. CDs, on the other hand, tend to do better at sitting gigs. While this isn’t always the case, I’m so pleased that physical sales are being encouraged. The physical product is really important to me – I put so much thought and effort into the artwork, working with Silverlace Creative, as well as the blurbs, lyrics, and English translations of the Gaelic songs. I absolutely love a sing-along when I get a new album, and I wanted to ensure listeners could properly learn the songs. The notes are also a valuable reference for those studying Gaelic and those wanting to dive deeper into the inspiration behind the music.

The Reality of Funding an Album

This album has been mostly self-funded, and I won’t sugarcoat it – it can be quite the burden. I’ve had to take things slowly, methodically, and allow myself time to think and rest when needed. It’s taken me a year to release this album from when I first started recording. The only funding I was able to secure was from Urras, a Gaelic fund that covered the PR campaign after the release, which was incredibly helpful. It’s something worth discussing openly – making albums independently is a huge undertaking, and it’s important for artists to share their realities without discouraging others from pursuing their own projects.

Looking Ahead

Celtic Connections has now come and gone, and Fable is out in the world. I’m excited to be heading on tour across England to promote the album in February and March – Scotland later in the year. You can check out my tour dates here. If you enjoy the album, I’d love for you to follow me on Spotify, and if you’d like to support my music further, the physical CD and vinyl are available to buy now: www.ainsleyhamill.com

Supporting your favourite artists makes a huge difference, and while I used to shy away from saying it, I now realise how important it is to let people know the best ways to help. Folk music is a community, and people genuinely want to support artists – they just sometimes don’t know how. Whether it’s buying a physical copy, streaming, or coming to a gig, every bit of support matters.

Thank you for coming on this journey with me. Fable is an album I’m incredibly proud of, and I hope it resonates with you as much as it does with me. Let’s keep the stories, songs, and tradition alive – after all, that’s what folk music is all about.