I’m going inside, like a rat with a tape…

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[5.86]

David Moore: What happens when you mix “La Isla Bonita” and “The Ketchup Song”? Hey, sounds like a winner to me in theory. Except the production is overcrowded (especially with those trite Celtic flourishes) and what should be a silly little ditty instead feels oddly pretentious.
[6]

Frank Kogan: A quick trot through Leroy’s previous singles reveals a nice throatiness applied to material from dance to twee to big swelling arm-stretchers, though also a tendency to get mired in rich, round tones. Those tones are warm enough on this Celtic-Breton stomp, which rolls along quickly and avoids the sinkholes, even with no one dancing hard enough to shake any apples from the cider tree.
[6]

Anthony Easton: Should not underestimate the joy of this piece, but it gets grating and a little repetitive after about a minute.
[6]

Martin Skidmore: The violin playing is very good, and it all bounces along nicely enough, but I can’t say it really excites me.
[5]

Jonathan Bogart: The easy, and perhaps the cheap, thing to do would be to mention the word Putumayo, whether dismissively or reverently, and think that covers it. And for most listeners perhaps it does. But her voice has a resonance beyond the tastefully exhilarating Hail Bretagnia arrangement, and I’m curious almost despite myself.
[7]

Katherine St Asaph: If you’re doing nu-Celtic, you’ve got to commit to it; your peers are throwing themselves into their material. They’re ripping through computer speakers, office partitions and asphalt to spirit their audience away to their imagined pastoral Innisfree. The best can nearly leave them there.
[5]

Zach Lyon: I would possibly enjoy this a lot more if it didn’t remind me so much of this.
[6]