Born and raised in Ardrossan, Ayrshire until age ten, Malcolm Gillies moved with his family to Dumfries, where his involvement with traditional music would eventually flourish. His musical journey began through classical violin lessons offered by Education Services at his primary school in Ardrossan, where he discovered he had a natural aptitude and could quickly “scrape out a tune.” He continued his violin studies at Dumfries Academy, participating in both the school orchestra and choir, though his formal tuition remained entirely classical.
Malcolm’s introduction to traditional music came through his proximity to Burns country in Dumfries, where the poet is buried and spent significant time. His first real encounter with folk music occurred at Dumfries Folk Club, considered an acceptable venue for teenagers! There he encountered guest artists from central Scotland, northern England, and the Scottish Borders, listening to songs by Pete Seeger, Woody Guthrie, Bob Dylan, Burns songs, and traditional Scottish, Irish, and English material. The regular ceilidh dances held in village halls around Dumfries further introduced him to Scottish dance music and traditional tunes.
Growing up during an era with limited traditional music on radio or television, Malcolm’s teenage years coincided with the explosion of popular music in the 1960s. He was immersed in the sounds of The Beatles, The Rolling Stones, The Who, The Kinks, Buffalo Springfield, Hendrix, Cream, and latterly The Incredible String Band. The release of Sergeant Pepper during his fifth year at school exemplified the rich musical landscape of his youth.
Malcolm came late to playing traditional music, beginning once his family had started school. He joined with friends to form a ceilidh band for a rugby club event, bringing practical skills including transportation. What began as a single performance developed into regular gig enquiries, and the band continued for approximately 25 years.
His most significant contribution to Scottish traditional music has been his leadership of the Scots Fiddle Festival as Chair. Under his guidance, the festival has evolved to meet changing demands whilst maintaining relevance and accessibility. He has been instrumental in developing a sustainable business model that allows the core festival to self-fund through ticket sales—a crucial achievement in an era of decreasing grant funding and rising venue costs. Malcolm emphasises that the Scots Fiddle Festival’s success stems from teamwork, crediting the committee of nine volunteers who work together to keep the festival relevant, evolving, popular, accessible, and exciting. He views any recognition as belonging to the entire team rather than individual achievement, exemplifying the collaborative spirit that characterises much of Scottish traditional music.
A notable project under Malcolm’s chairmanship was the production of the “25+2 Tune Collection,” featuring 27 fiddle tunes written by 27 contemporary fiddle composers, recorded and arranged by the Scots Fiddle Festival Band. This legacy project, marking the festival’s 25th birthday with the additional two tunes representing the COVID years that prevented their planned celebration, serves as a record of current fiddle composition. Malcolm hopes to produce a similar “SFF at 30 Tune Collection” for the festival’s 30th anniversary in November 2026.
Malcolm recognises that traditional music operates as a niche market requiring acceptance of change and evolution whilst maintaining core values. He advocates for supporting emerging artists whilst ensuring financial sustainability, understanding the delicate balance between taking risks on new performers and ensuring viable audiences.
Looking ahead, Malcolm plans to continue developing the festival whilst exploring other traditional music projects, likely focused more locally in East Lothian where he currently lives. He continues to play at sessions and occasional ceilidhs, maintaining his connection to the performance side of traditional music alongside his organisational contributions.
Malcolm Gillies’s induction into the Scottish Traditional Music Hall of Fame recognises his exceptional leadership in creating a sustainable model for traditional music festivals and his commitment to supporting both established and emerging artists within Scotland’s fiddle tradition.