From pipes to protest, Trad is the new way of expressing political discontent
In post Brexit Scotland, Trad is thriving. In pubs, student societies, and basement venues across Glasgow, the sound of fiddles, pipes and Gaelic songs are on the rise. What once felt like a cultural attraction utilised to draw in hoards of Edinburgh tourists is now synonymous with resistance, and in some cases, revolt.
A survey by VisitScotland last year found that Scots say they are listening to traditional music more than before, with younger generations among the most enthusiastic. 88% of respondents described trad as “a vital part of Scottish culture and heritage,” and over three quarters said it gave them a sense of cultural connection. Trad is moving from rural village halls and spilling into cities like Glasgow. A young Scottish generation is leading the charge, trad for them, has become both a creative and a political act.
Trad’s political affiliation is difficult to ignore. Since the Brexit vote in 2016, Scotland’s place in the United Kingdom has felt increasingly unsettled. For many, Westminster politics can feel hostile. Trad practices offer a cultural counter response. The passing of the Scottish Languages Act 2025,which granted Gaelic and Scots official recognition, has resulted in a resurgence of native languages. As well as new funds from Creative Scotland for Scots language artists, musicians, writers, and performers. Resulting in a loud and politically charged language community.
Some of this shift can be seen in the music itself. Bands such as Brògeal and Skippinish regularly use Gaelic in their music and are growing in popularity. Their use of native languages in their music is a direct response to colonial narratives, and opposes the historic marginalisation of Gaelic. Meanwhile, we are seeing the growing popularity of acts such as Kneecap in Ireland, who rap in Irish and use their platform to make political statements, in particular, showing solidarity with Palestine. They have shown that the use of indigenous languages can thrive in a modern setting, with constant sold out shows and huge amounts of listeners globally. Despite not being Scottish, Kneecap’s success has resonated in Scotland and shows valuing minority languages can result in cultural pride.
Why now? Is it political discontent? The looming possibility of a Reform government? For decades, Scots and Gaelic were oppressed and unrecognised. So does this willingness of young Scots to learn Gaelic indicate a larger discontent with colonial rule and oppression in tandem with the increasing public value of Scottish tradition?
Social media has amplified this trend and allowed Scottish people to participate in global movements of indigenous revival.
It cannot be ignored that this movement is political. Artists participating in the genre regularly speak out against colonial oppression and advocate for an independent Scotland. The music and political agendas cannot be separated. In the wake of Brexit, and with Scottish independence still at the forefront of Scottish politics, trad has become an indication of a distinctly Scottish identity. Resistance and revolt alike come in many forms, Trad music and practises are just Scotland’s latest vehicle.
Trad on the rise may not be a revolution in the streets, but it is a revolt. It is a reclaiming of Scotland’s culture and has a distinct political affiliation. This resurgence of languages like Gaelic is directly opposing colonial narratives, long part of an oppressed Scottish culture. Glasgow has a thriving Gaelic community, aiming to attribute deserved value to the language and reclaim Scottish identity in a politically turbulent climate. The value of the native language revolt should not be undervalued as the rise of Gaelic, Scots and other indigenous languages is showing no signs of slowing worldwide.
Image credit: Andrew King
