Part 2 of Owen Reid’s Bucket-List Journey from Vancouver to the Castle Esplanade: one piper’s path to the Royal Edinburgh Military Tattoo
As former Grade 1 band piper Owen Reid of Vancouver wrote about in his much-read feature “A Second Time Around: one piper’s 30-year journey back to enjoying pipe bands again,” there’s life after high-pressure competition for Highland pipers.
In the second of his three-part piece about his experience as a performing member of the 2025 Royal Edinburgh Military Tattoo Pipes & Drums, he lands in Edinburgh, and it’s a full-on blitz to get ready for the big shows.
We hope you enjoy his recount of what is an extraordinary experience for pipers and drummers of any age.
By Owen Reid
July 23, 2025
Arrival Edinburgh Airport
Arrived alive with Rod Booth waiting for me at the airport exit. Giggling like adolescents, we took the tram into St. Andrew Square and hopped a cab to Pollock Halls, Edinburgh University. Information and keys were seamlessly exchanged, and I was settled. We walk towards the Royal Mile and a quick dinner before putting the head down.
July 24, 2025
Uniform pick-up
Mick Hay (Production Manager, retired drum-major) was located downstairs in the Common Room of Ewing House. I was processed seamlessly with a new kilt, new tunic, hose, flashes, spats, cross belt, waist belt, glengarry, cap badge, and a blue-and-white “budgie” that slips into the cap badge. For my pipes: drone ribbons, gold cords and a REMT bag cover. In addition, we were given REMT-branded SWAG: two t-shirts, two golf shirts, a grey hoodie, and a lined soft-shell jacket, all high-quality.
July 25, 2025
Beginning of “Hell Week”
I had been warned that the week of rehearsals was difficult, tiring and challenging, all at the same time.
Breakfast at 7:30, Welcome Meeting and a chanter (or drum pad) practice, then lunch.
After lunch, more practice chanters, drill session, tuning of pipe chanters and then some run-throughs of the Tattoo music with dinner to follow.
July 26, 2025
Day two of Hell Week
Breakfast, followed by two hours of pipe practice and chanter tuning, then lunch.
“I was beginning to wonder if the individuals who had warned me about the strain of Hell Week were just a bit weak themselves.”
Three and a half hours of practice (practice chanters and pipes) in the afternoon, followed by dinner. That night, there was a chance to sort out any uniform deficiencies and be issued plaids, based on our height.
I was beginning to wonder if the individuals who had warned me about the strain of Hell Week were just a bit weak themselves.
July 27, 2025
Day three of Hell Week
Those individuals were not weak at all.
Breakfast was followed by two more hours of chanter and pipe practice. Then we were bused to Redford Barracks with a box lunch.
Upon entering the grounds of Redford, I was struck by the size of the facility and the enormity of the parade grounds. A massive ancient (I’m from Vancouver, where nothing is older than 130 years) building backdropped the parade square.
The REMT Pipes & Drums were now assigned to three files. Lynsey McNichol is my file leader, and her background includes being a former member of Field Marshal Montgomery and a current member of their tuning team. World class!
Practice consisted of marching up and down the parade square, standing around waiting for the other acts to finish their newly introduced routines and general confusion about what was wanted/required of us when performing.
I found myself consistently turning right when I should have been turning left.
Around 4:00, we bused back to Pollock Halls for dinner. The following practice session was at “The Castle.”
We arrived after dinner and climbed up the Castle Wynd North steps to the Esplanade. Watching individuals experiencing Edinburgh Castle for the first time is entertaining. I have been fortunate to have spent a month of my life in Edinburgh and know the castle intimately. but to see the expressions on the faces was fun. The mood is upbeat; the energy is everywhere.
There are four sets for the Massed Bands, and the integration of those sets into the Esplanade was beginning to take shape.
Set One, “The Heroes Who Made Us,” is a medley including “Bonnie Dundee,” “Cabar Féidh,” “The Jolly Beggarman,” “The Wee Man from Skye,” “Echoes of the Brave” (slow air), “Sandy’s New Chanter” and “Fair Tae Middlin'” (two-part jig). All fan-favourites and quality tunes, but two challenges are presented: formations and played at fast tempos.
And then there is the drawbridge.
At the west end of the Esplanade is the drawbridge. It spans a moat and is part of the Gate House structure. Both sides are floored with street cobbles, and the surface of the drawbridge consists of wood posts. Two large 25-foot-tall doors bar the actual entrance to the castle.
“If a part of a tune isn’t up to standard, Major McCrindle will stop the process to tell us, ‘You sound like a fire in a pet shop.'”
We pass across the drawbridge and through the doors and up a cobble road, through the Portcullis Gate to the Argyle Battery. It is here where the massed bands do “THE BIG BLOW” – our warm-up and tuning.
There are 11 files of 12 pipers and scores of drummers at the rear when performing. During the Big Blow, there can be up to 150 pipers playing together. I’d heard about this mythical process where we have an enormous tuning session, and in reality, it is fun.
Major McCrindle calls out the set, the drummers proceed with their three-beat rolls, and somehow it all works. If a part of a tune isn’t up to standard, Major McCrindle will stop the process to tell us, “You sound like a fire in a pet shop.”
We somehow finish the Big Blow satisfactorily and then head back down to the Gate House.
The first time we assemble at the Gate House, I visually calculate that not all of us will fit through the doors and spill out onto the Esplanade. Approximately 12 feet wide and 11 files to go through. All playing instruments. All marching in time.
I’m lined up in the number eight position, second file on the North Stand side. To my left, there’s a player from one of the army regiments, and on my right is someone I recognize from the Basel Tattoo in 2023. There’s a clunk of metal on metal on the massive doors as they swing open, a command from a drum-major and the first three-beat roll begins.
My adrenaline starts pumping.
The second three-beat roll begins, and I hit my E and start “Bonnie Dundee.” My file starts to merge to the left with the army regiment file, and we go under the Gate House.
“A tenor drone is two inches from my right ear, my left elbow is brushing against someone’s bag on my right, and the next thing I know, we are crossing the drawbridge.”
This is tight and crazy. A tenor drone is two inches from my right ear, my left elbow is brushing against someone’s bag on my right, and the next thing I know, we are crossing the drawbridge. Number seven in my file is 20 feet in front of me. Gotta catch up and start into “Cabar Féidh.”
After half a part, I’ve caught up and look centre to make sure I’m lined up. Drum-major lifts his mace to signal to mark time. Lift those feet. Was it at the end of the second part or the third part to halt?
Right. Screwed that up; it’s the third part.
This is badass crazy. All with 131 other pipers (forget about the Ringoes behind us banging on drums).
“Turn left or right? It’s gotta be right. Nope, it’s left.”
Somehow, we go through the formation to form a “75,” and I end up at the top flat part of the “5.” The set ends. Two more breaths. Drum-major barks at us to start again for the re-form.
Three-beat rolls and into “Shoals of Herring.” Turn left or right? It’s gotta be right. Nope, it’s left. Head back up the Esplanade for some forgotten reason, and now what? Turn around and mark time and into “Highland Laddie” and out under the East Stand.
Oh, boy, that didn’t go well. One of the leaders then announces, “Let’s do that again!”
It’s now 10:40, and the rehearsal ends. Tired. We make our way back onto the bus and arrive at Pollock Halls around 11-something.
Mike Ward, Rod Booth, and I climb up the stairs to our rooms, a quick nod and a word about seeing you at 7 am for breakfast. My brain is numb, and my body is exhausted, but it’s a good feeling. Only two more days of all-day and all-night rehearsals.
Friday is a full dress rehearsal with actual guests in the stands. I’m looking forward to that day, as we get to sleep in till noon if we want.
To be continued . . .
Stay tuned to pipes|drums for the final installment of Owen Reid’s three-part 2025 Edinburgh Tattoo Experience, coming soon.
Owen Reid is a member of the Vancouver Police Pipe Band and a lifelong piper who returned to competition in 2020 after a 30-year hiatus. He was a member of Grade 1 Triumph Street in the 1970s and ’80s when the band was gaining prizes at major competitions in Scotland. His work has appeared in pipes|drums, where he chronicled his return to piping in “A Second Time Around: One piper’s 30-year journey back to enjoying pipe bands again.”
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