Loreena McKennitt - Celtic Queen of Hearts

It is no secret that Loreena McKennitt has touched the hearts of millions of people worldwide with her eclectic Celtic inspirational music. Hence, is it any wonder why she would be dubbed, "Celtic Queen of Hearts"? Indeed, a natural and befitting title for her.

As McKennitt began her Canada/U.S. Tour - An Ancient Muse - for the year 2007, she was warmly welcomed by her fans. Venues were quickly sold out. This was testimony and proof of Loreena's impact on how her music and gracious disposition had touch the hearts of so many. The people voted unanimously: "We love Loreena McKennitt!".

Her Autumn Tour itinerary brought her to a second comeback at Montreal's Place des Arts theatre, from her previous Tour in the Spring of same year. The people knew her and the warmth of acceptance was felt throughout the entire theatre. She had previously touched their hearts, and they wanted more of her.

With the various exotic instruments on stage ready to receive the performers, the moment arrived as scheduled for the concert to begin as the lights were subdued. The audience eagerly awaited as they anticipated no ordinary concert. Shadowy figures were seen moving effortlessly across the dimmed stage towards the instruments they knew well. As Loreena made her way towards the harp, people welcomed her with a round of applause as the lighting gradually became focused on her.

She humbly and graciously accepted the applause as she seated herself comfortably nestling her harp to begin playing "She Moved Through The Fair", but not before thanking the audience for welcoming her return into their French-oriented culture. After saying "Bonsoir", she went on explaining how she had studied French quite fluently in literary form but had not really mastered the language verbally except for a few phrases where she admitted seemed to have stuck with her such as, "J'ai peur que ce soit la grippe" (I'm scared that it's a cold), which prompted reflexive laughter from the audience.

Regardless of the language, the audience beckoned Loreena into their hearts. After McKennitt's eloquent and brief explanation of the initial song's origin, the show went underway. The stage came to life and the suspending theatre ceiling-lanterns rendered a medieval-like flavor blending with the Celtic-oriented music. Careful lighting displayed upon each performer.

Facing the stage to the far right, violin-wizard Hugh Marsh was seen standing, with Caroline Lavelle next in line, distinctly seated with cello. Perched in the upper right-corner background could be seen Donald Quan on viola, keyboards, tabla and accordion, with Rick Lazar on percussion to the left, following Tim Landers on acoustic and electric bass. Centered background was Tal Bergman on drums and percussion, who seemed to enjoy the show more than the audience did as he would extrovertively stick his arms out giving peace-symbol gestures with his hands. In the far front-left, Brian Hughes was on electric and acoustic guitars, oud and Celtic bouzouki. In the left-corner background could be seen Stratis Psaradellis on lyra, Greek lute following Ben Grossman on hurdy-gurdy and percussion.

As Loreena walked over to her keyboard to continue with "The Gates of Istanbul", the audience became hooked into the show's ambience. The timing was magical as each song evoked a different feeling throughout the theatre. With Loreena now standing wth her accordion, the "Mummer's Dance" gave way to another round of applause as the audience recognized an old favourite. "The Highwayman", "Bonny Portmore", "Lady of Shalott", however distinct in feeling, kept the audience weaving in and out of romantic folklore. Many wondered how she could remember all the lyrics.

In the midst of all these wonderful songs, McKennitt enraptured her audience with tales of her voyages - such as her travels throughout Turkey and the caravans in the desert - having them visualize the same journeys she passed through and experienced, as well as rendering historical accounts of how the Celts had migrated from one place to another. It was a fascinating visual road, whilst McKennitt shared these historical details. One could only wonder in awe what Loreena had savored, and like a refined emphatic historian, mesmerizing and drawing in the listeners to explore that same magic. It was within these travels that one of her songs, "Caravanserai" came to be borne.

At one point in the show, Loreena with accordion, flipped her long skirts turning her back to the audience and performed a flawless Highland-Dance jump with both her heels flinging upward attempting to touch her back. Timing was definitely of essence, and McKennitt knew exactly how to manipulate that timing, leaping the viewers to the realization that she was far from losing steam at fifty years of age. If anything, her vitality spread igniting everyone with a spiritual electrical bolt.

As quickly as she could energize them, once seated behind her piano, in her soaring, powerful yet gentle voice, she could move the listening souls with loving emotion, such as with "Dante's Prayer", stunning them towards warm chills and tears. Shrieking whistling and a deafening applause proved that once again Loreena McKennitt had touched the people's hearts.

As the show drew to a close, McKennitt received a standing ovation. The people wanted more. She returned to their encore with, "Huron 'Beltane' Fire Dance", followed by another standing ovation and encore . Once again, she returned with "Penelope's Song". Before starting, she explained that her next song would be in dedication to the memory of Captain Shawn McCaughey, a Snowbird pilot who had perished in an incident on May 18, 2007, just three weeks before his wedding day.

The audience listened quietly. She further explained that as many Canadians knew, the Snowbirds are the Canadian Forces' aerobatic show team and they had officially incorporated this song into their presentation in their Tribute Pass (where they fly over in commemoration of a lost comrade). After Loreena finished, another standing ovation ensued, more thunderous than ever. The people wanted more. She then returned with her final encore song, "Cymbeline".

What can be written of Loreena McKennitt in our private historical annals? That despite the super-star Canadian Celtic singer she has become, we can cherish and appreciate the knowingness of a woman who has succeeded in manifesting not only her own record label Quinlan Road, but an independent career that happened more by default than by design, which has won critical acclaim internationally and has - to date - sold 14 million albums with gold, platinum and multi-platinum sales awards in fifteen countries across four continents.

Yet, in all of this, she has more significantly taken the time to touch the hearts of so many. People just want more and more of her. She's a 'flowing conduit' of love. Indeed, she be "Celtic Queen of Hearts".