“The fiddle is more than an instrument – it’s a voice passed down.” 

From the hills of Scotland to the coastlines of Newfoundland, the roots of Kate Bevan-Baker’s musical life run deep. A powerhouse fiddler, professor and scholar based in Montreal, Bevan-Baker’s story is one of rich musical inheritance and creative evolution.

“My dad’s from Scotland and my mom is from Newfoundland, where I was born,” she explains to Celtic Life International via email. “I had no shortage of traditional music growing up – two of my aunts are professional fiddlers, so it didn’t take long for me to fall in love with the instrument.”

By the age of four, Bevan-Baker had her first fiddle, taking classical lessons while soaking up old-school tunes from her family. “I grew up with both traditions hand-in-hand, and I am just as comfortable reading sheet music or learning by ear. I love being able to switch between styles depending on the setting.”

This versatility would define her musical path as she seamlessly bridged the worlds of classical precision and folk spirit. But more than technical skill, it is the essence of fiddling and a sense of connection that keep her committed.

“Fiddling is such a communal thing. You can sit down with someone from a different background, and even if we don’t speak the same language, we can start playing tunes together. There’s always something new to learn.”

That love for learning is one of her hallmarks. Whether it’s Irish jigs, Québécois reels or a compelling Scottish tune, Bevan-Baker approaches each tradition with reverence and skill. “I like to learn directly from the source. I always aim to be true to the style that I am playing.”

Bevan-Baker’s own fiddle is a handcrafted piece of living history. Made in 1985 by François Gagnon, a retired Montreal luthier, the instrument is a patchwork of cultures and locations: maple from Montreal’s Olympic Stadium, wood from Germany and timber from the Gaspé Peninsula.

“It is a very special fiddle. François still does the occasional adjustment and even comes to my concerts. I’ve never known the maker of any of my previous instruments, so this one feels like it has a personal story.”

While her classical training lends a refined touch to her tone, Bevan-Baker’s heart beats with tradition. “These days I play mostly Irish and Québécois music, so those are my strongest influences. Some folks can pick up on my classical background. I’ve gotten good at breaking down the stylistic details of different fiddle styles, which makes switching between them a lot easier.”

As she notes, Bevan-Baker is very much a product of influences that span traditions and time periods. “I was a huge Natalie MacMaster fan as a kid, and I was lucky enough to take lessons with Jerry Holland in Cape Breton during my teens. I also love the legendary Irish bands of the 1970s and 1980s; Bothy Band and Planxty are still on heavy rotation for me. More recently, I’ve been enjoying artists like Fergal Scahill and Caoimhín Ó Raghallaigh.”

She defines a good tune as “One that sticks in your head in the best way. Bonus points if it uses more than just two strings!”

To date, highlights of her career include performing at Ireland’s famed Willie Clancy Summer School and representing Canada at the World Expo in China. “I love when musical adventures double as cultural ones.”

At home in Montreal, she is optimistic about a rising interest in fiddling among young people. “I’ve seen a growing number of young folks getting into fiddle music, especially across Quebec – sessions, workshops, programs like Siamsa; it’s amazing to see so many ways for them to get involved.”

Still, she sees room for growth. “It would be amazing to see more fiddle programs in elementary schools. Even one-off workshops could open doors. That’s where the next generation of fiddlers starts.”

@katebevanbaker