The Packway Handle Band's reputation as one of the rising forces on the American roots music scene is easily understood. Their instrumental capabilities leave individual vapour trails behind guitar, mandolin, banjo and fiddle, yet coalesce in teamwork that daredevil squadrons would admire, and their harmony vocals continue the bluegrass tradition of sibling closeness and gospel-music commitment.

Something didn't go quite right for them in the sound department here, though, and they may have paid the price of following the bluegrass way in grouping round one microphone - or, in this case, two on one stand - in one of Celtic Connections' more unforgiving environments.

Whole verses of songs disappeared, although they still managed to make the most entertaining ones count. Earl the Duck, a wacky farmyard tale of gender confusion, is likely to stay with them by request as long as they stay together, and Satan's in Space combines madcap lyrical repartee with astronaut-like choreography.

The best bit, though, was when they swapped their bass guitar for a double bass and stood among the audience, singing and playing acoustically and creating an entirely natural feeling of togetherness with the crowd.