Born in Saigon in 1972 and evacuated from the Vietnamese War as a baby, Andrew Yearley was adopted by Iain and Eileen Yearley who moved to Lewis around the same time. Raised in Keose, a close-knit rural village in the Outer Hebrides, Andrew enjoyed a happy upbringing surrounded by a supportive island community and the stunning natural landscapes that characterise this remote part of Scotland.
Andrew’s musical journey began in a home filled with instruments—an antique piano reinforced with bits of metal to prevent it falling apart, his mother’s harmonium and banjo, an old set of bagpipes, various woodwind and string instruments, and his father’s beloved accordion. From around age seven, his father took him to ceilidhs, accordion fiddle clubs and traditional music sessions throughout Lewis, Harris and Uist, immersing him in traditional tunes and Gaelic songs. These early experiences left a lasting impression, with Andrew particularly valuing the vibrant atmosphere of island ceilidhs where everyone participated in their own way, whether playing, dancing, singing or watching.
His formal musical education began around age eight with piano lessons from an elderly teacher in Harris. The remote location meant Andrew had to wear wellies to reach the teacher’s house in Drinnishader, which had no road access. These lessons covered classical music, harmony, simple improvisation, and plenty of traditional tunes. At thirteen, he moved to Broughton in Edinburgh, where the comprehensive music programme introduced him to talented young musicians and tutors from across Scotland. Despite following a classical course, Andrew seized every opportunity to engage with traditional music, joining an east-coast style Scottish dance band.
At eighteen, Andrew received offers from several prestigious music institutions, ultimately studying at the Royal Academy of Music in London under Frank Wibaut for classical piano and Michael Garrick for jazz. Even while training in London, he maintained his connection to Scottish traditional music, playing with Scottish flatmates and creating “as much trad noise in London as we could.”
Much of Andrew’s early musical development came through attending ceilidhs and sessions, where he absorbed tunes that were repeated throughout these events. He particularly admired the melodeon players from Ness, Barvas and the Sawmill Band, appreciating their quirky tunes that varied with each performance, their unconventional left-hand accompaniments, and their enthusiastic foot-stamping. His father also introduced him to the music of Scott Skinner and Jimmy Shand.
After spending a couple of years in Glasgow following his studies, Andrew returned to Lewis and became deeply involved in the local music scene. He found regular employment teaching instruments in schools for the council and working with various Fèisean, including Bharraigh, Tir an Eorna, Eilean na Hearadh, Eilean an Fhraoich, An Rubha and Taigh Dhonnchaidh. Alongside Gavin Woods, he helped run the Stornoway Big Band and a smaller jazz ensemble, collaborating with Richard Michael and Rick Taylor. Other projects included work on the St Kilda Wedding with Andy Thorborn for Proiseact Nan Eilean, school musicals, broadcasts for BBC Radio nan Gàidheal, and private teaching.
Andrew has witnessed significant changes in Scotland’s traditional music scene throughout his career. In recent years, he worked with e-Sgoil delivering online music programmes, experiencing firsthand the evolution of educational technology. He notes how accessibility to instruments has improved in schools and organisations like pipe bands and concert bands. He particularly commends Fèisean nan Gàidheal for expanding traditional music education across Scotland, providing quality tuition and opportunities for countless young people. The development of specialised music courses at Scottish universities, colleges, and institutions like the Royal Conservatoire of Scotland, UHI, and Plockton has further enhanced the educational landscape, while advances in online technology have made tuition more accessible than ever before.
For Andrew, the greatest joy in working with Scottish music and culture comes from witnessing young people’s delight in playing instruments, whether individually or collectively, and helping them prepare for concerts, gigs, exams, and competitions. He values the connections formed with artists, colleagues, organisers, volunteers, and parents throughout his thirty years of Fèisean involvement. His work with HebCelt Festival for over twenty years has been particularly rewarding, as have his contributions to projects like Dìleab, the Iolaire Commemorations, National Mòd events, music for theatre productions, and various choirs. He continues to enjoy performing with wedding and ceilidh bands, especially alongside friends he has known for decades.
Looking ahead, Andrew plans to continue teaching in schools, at Fèisean, with the National Youth Choir of Scotland, and privately. He looks forward to connecting with fellow musicians at gigs and events, and someday hopes to properly learn some additional instruments rather than, in his own modest words, “being very rubbish at them.”
Andrew Yearley’s induction into the Scottish Traditional Music Hall of Fame recognises his lifelong commitment to preserving, performing, and passing on Scotland’s rich musical traditions, particularly in the Gaelic communities of the Outer Hebrides.