Maria Howard of Port Vendres tells us…..

”Having enjoyed the Escale at Port-VendresEscale at Port-Vendres and especially the Bagad of Lannion I was intrigued by the very energetic conductor.”

Of course, we had to find out more

If you’ve ever watched a Breton bagad perform—like the Bagad de Lannion at the Escale in Port-Vendres—you may have noticed something unusual: the conductor doesn’t just keep time. He leaps, bounces, and throws his whole body into the music.

It can look surprising, even theatrical. But there’s a good reason for it.

A conductor you can hear without hearing

Unlike a classical orchestra, a bagad is made up of extremely loud instruments—bombardes (a kind of oboe), bagpipes, and drums. The volume is such that subtle gestures can easily be lost.

So the conductor amplifies everything. Big movements aren’t just expressive—they’re practical. Jumping, stamping, and exaggerated arm motions ensure every musician, even those at the back, can follow the rhythm and cues.

Rhythm you feel in your body

Breton music is deeply tied to dance. Many pieces played by bagadoù are traditionally meant to accompany group dances, where rhythm is everything.

By physically embodying the beat—sometimes literally bouncing on it—the conductor helps lock the group into a shared pulse. It’s less about “keeping time” in a strict sense, and more about driving energy through the ensemble.

A visual extension of the music

In performances and festivals, the conductor also becomes part of the spectacle. The dynamism you saw isn’t accidental—it communicates intensity, transitions, and emotion to both musicians and audience.

In that sense, the conductor is not just directing the music, but performing it.

Tradition meets showmanship

Groups like the Bagad de Lannion compete and perform regularly, and over time a more animated conducting style has become part of the culture. Each conductor brings their own flair, but the physicality is widely shared across the Breton bagad scene.

So next time you see a conductor jumping, it’s not eccentricity—it’s efficiency, musicality, and a bit of showmanship all rolled into one.