Just made it back home again after Kellie recording sessions at St Jude's on the Hill in London. Perhaps I would be a bit less tired, but not much, if we hadn't celebrated the end of the sessions and St Patrick's Day with a curry, champagne and Nigerian-brewed Guinness at Katherine's last night.

I just haven't had time to even think about writing diary entries, so here's a précis of what we've been up to.

Wednesday 10th, first concert at the Cottier Theatre in Glasgow. I think the afternoon rehearsal was one of the most tiring we've ever done, four hours of concentrated concentration with the added complications of a sound rig, an awful lot of lighting cues, and some serious thought about how we present ourselves on stage. And the music wasn't easy either. Putting Echidna's Arf beside Thomas Morley's almost impossible Christes Cross is quite a challenge. Still, Alex Fiennes did a superb job on the sound and Mhairi overcame her suspicion of the microphone with great skill. Quite a few people told us how moving they'd found the show - when you're caught up in the mechanics of it all you forget that the original impetus to do it in the first place is to get a reaction from people.

Going from a grubby but atmospheric theatre to the immaculate Queens Cross Church in Aberdeen was refreshing, then Greyfriars Kirk on Friday gave a certain historical weight to Mhairi's singing of psalm 84 to the tune Martyrs - the Covenant was signed there and the executions took place just along the road. A five star review in the Herald cheered us on Monday morning (DG just had time to pick up a copy before getting the 0630 plane home). Sarah joined us on stage in Edinburgh for a baroque(ish) version of Piazzolla's Coral.

Recording with Tony Kime in Crichton on Saturday. Freezing. I had the bright idea of us each recording a lo-fi vocal for 'I see you again' in the kirkyard after the session proper was finished, and then using a composite of our voices over the track. Unfortunately I forgot to put a microphone in my bag, so it ended up a bit more lo-fi than I'd intended, wrapping my scarf around a pair of headphones to keep the wind out and recording with that. I wonder if it will make it onto the CD ... it was very funny all listening back to each other in the van on the way home though.

On Sunday we dispensed with the lighting and sound rigs to play live on the radio in Glasgow (see below). One of our most focused live performances I think. Unfortunately the contracts department at the BBC in Manchester wouldn't even start to negotiate with us about giving us the rights to release parts of it at a later date (I did try, in a rather pointed phone conversation as we were driving into Aberdeen on Thursday), so once it's off the website on Sunday it's gone. But lots of CD orders have come in since it was broadcast.

I had Monday morning and afternoon to remind myself of how the Kellie music goes, and then I was off to St Albans to stay with Katherine for the duration of the sessions. K excelled herself as orchestral manager by booking a seriously good band - by 10 minutes into the first rehearsal everyone was giving me eye contact, and it was beginning to sound like an orchestra rather than just a bunch of very good musicians trying to play together. But the real adrenalin rush was in the C major overture (op1 no2) in the afternoon, which went like the Mannheim rocket it is. What a glorious noise.  For some reason afterwards I had the urge to eat meat in large quantities, so Alison and I found a fantastic Turkish restaurant in Golders Green and we ate until we couldn't move. Excellent.

We repeated the whole process yesterday (the musical bit anyway) with the microphones on and Philip Hobbs from Linn producing while simultaneously getting a beautiful sound from the St Jude's acoustic, some very expensive microphones and a valve desk - yum. Incidentally, the last time I played the harpsichord we used (a Kirckmann copy by Clayson and Garrett from 1981) was on Colin's Kisses 5 years ago.

Then today I came home to a power cut.