But that's not what sets this band apart from the other stars of Canadian Celtic music. What's unusual about the Barra MacNeils is that they can play the whole spectrum, from fiddle tunes to straight pop and rock. Classically trained, they have the chops to play a lot of different ways and make them all hold together. They sing big, original anthems of Cape Breton identity, ambitious enough to be taken as responses to Dougie MacLean's "Caledonia" (which they also perform). They do pop love songs, usually sung by the liquid-voiced Lucy MacNeil. They do work ballads, songs in Gaelic, humorous songs like "Don't Call Me Early" ("Call me what you want to, and leave me alone"), full-fledged Celtic rock, and a few of the joyous wake songs that may be Celtic music's greatest gift to the world. They sing, dance, do mouth music, and play Celtic harp and other unexpected instruments, including Brazilian drums. They write innocently idealistic songs of the sort that make hard-bitten Americans smile and let's hope we never lose the ability to smile at them. I like their quietly personal pop songs and spare rock numbers better than their traditional pieces, which Natalie MacMaster digs into a bit more. But the biggest attraction here is the surprise that comes with each new piece and with the realization of how it fits into the group's wide musical world.