Katie Targett-Adams

(Photo by Paul J Krogh)

My first international tour as a musician was to China in 2003. I was then invited back which was a real compliment.

At the time of the first tour, I wasn't sure how the Chinese would react to my playing a traditional Scottish instrument that often goes unrecognised, even in Scotland, but to my surprise the audience responded very positively.

As with most countries you visit, people love Scotland and the Chinese audiences loved the clarsach (Celtic harp) too. The sound seemed very romantic and sentimental to them, they kept saying "you're like a mermaid or a fairy!". For me it was just like floating in a dream.

I was totally unprepared for the reception I received in China: it was different from anything I could ever have imagined. I was treated like a superstar and wherever I went, photos were taken. At one event there were ten thousand people in a stadium waving lights and spelling out the words 'we love you'. They were screaming and wanting me to write on their hats and t-shirts in marker pen – you just cannot mentally prepare for that kind of overwhelming reception.

The second time I went to China, I decided to learn both Mandarin Chinese and some Chinese songs. They are a very hospitable people and I didn't like being unable to communicate with them.

Music can touch a chord. Even if one sings a song the Chinese audience has never heard before, they will already be with you if they like the 'vibe' of it. Music is a way of communicating immediately in a very human way and you can instantaneously bring a part of Scotland to them. The minute I said I was going to sing a Chinese song, they went wild with enthusiasm! I think it showed them I appreciated their culture too. In China, for example, everyone sings along with you so it is a real bonding experience.

After that the Japanese Consulate in Edinburgh asked me to sing in Japanese at the Emperor's birthday celebrations, so who knows what language I will be singing in next!

Traditional music does support cultural and political events abroad. In China they place a huge emphasis on music and dance, and it is always an integral part of their ceremonies. I played in Aberdeen at the opening of an international conference and it was the first time the event had featured a musician.

The organisers said that the difference was amazing, it just brought everything to life. I used to think that it was maybe a bit incidental to have a musician singing at such an event but I have now come round to the Chinese way of thinking.

I tried living in London for a few months when I started as a professional musician because I thought that's what you had to do if you are in the music business. It was terrible. No one knew what a clarsach was or when it might be appropriate to ask for one, or else they thought it had to be part of an orchestra. Carting the clarsach around London also drove me a little mad.

In a sense trying to embark on a career such as mine is much better here in Scotland. The Scottish people have really welcomed me back and given me support. I also feel that you can really get things done up here, you can talk to the Scottish Parliament or VisitScotland and realistically hope to make a difference.

I was lucky enough to play at the opening of the Scottish Parliament which was a huge step. So I've realised Scotland is a bit more like a family: it's just a much warmer environment to work in.

I’ve just been made an ambassador for the Prince's Trust (a charity which helps young people). It's great to be actively helping here in Scotland and not always be exporting. It's wonderful to go abroad but even better to be able to boomerang back home.

I’ve also done other things that might appeal to a younger audience like the Dressed to Kilt event in New York which is a little more tongue-in-cheek. I also played live on Radio 1 and at the Harry Potter launch at Edinburgh Castle. Children are sometimes the most receptive audience, they will often stop in their tracks and watch you and really engage. Speaking to them without any language barrier is what I love about music.

I would love to be able to say that I have challenged the type of music associated with the clarsach. That is the step I have taken with my show, Shehallion, at this year's Edinburgh Festival Fringe. Although I love creating arrangements of Scottish songs, I really wanted to have a complete contrast and a challenge too. The Fringe is a great chance to explore new ideas and, as I normally bring the Scottish element to the forefront of the programme, I went for the experimental option this year with all contemporary and original songs.

People have reacted well to the modern adaptations. There are puritans to whom this will not appeal but I think there's room for both this and the traditional style of playing. Sadly, many clarsach players don't sing. I feel it's a huge advantage to be able to sing, particularly with a multicultural audience. With background music you might hear it but not really listen. When someone starts singing it grabs your attention and adds that little extra.

I will still continue to play traditional music. With the Scottish element, I'd like to take songs people already know but don't listen to much anymore, and present them in a new way, to make them enjoy the melodies again. 'Scotland the Brave', for example, doesn't have old fashioned words, so it's quite accessible.

The main point is that music can touch a chord with people and to communicate via music is fantastic.