In 2018, 13 years after Bennett's death, his friend, composer Greg Lawson, hosted the much publicised show Bothy Culture and Beyond at the SSE Hydro, Glasgow, with his GRIT Orchestra, to celebrate the album's 20th anniversary.

[8] The Los Angeles Times lauded Bennett's "capitvating form of multi-culturalism," while the Toronto Sun noted the mixing of Gaelic jigs, Turkish bagpipes and Penjabi melodies with synthesizers and drum machines in his music.

More-so than his debut album, Bothy Culture developed as a result of his experiences of the early 1990s Glaswegian rave and house scenes and his experimentation with numerous types of world music.

[12] He felt he understood Islamic and Scandinavian music as soon as he heard them due to them expressing themselves without words: "I recognised them to be some past life I had lived through perhaps, or they seemed to well up under my fingers without my awareness.

He found comparisons between the atmospheres of bothies and urban nightclubs, where he had "spooky" experiences arriving for soundchecks when the clubs were cold and empty, but noted: "Although the music and songs that have been played in them are totally contrasting, it is this same sense of excitement that can transform four bare walls into a chamber of sheer sensual delight.

[16] Described by Bennett as "a party tune with a pile of twaddle over the top,"[20] the opening "Tongues of Kali" is an upbeat number flavoured by Punjabi music,[21] and contains funky grooves, bagpipes, sitar and "DJ tinged mayhem.

"[18][19] It starts with thick vocal gargling, keyboard work and percussion which journalist Scott Frampton compared to the sound of "someone whacking a caber tosser's thigh," before the appearance of a house hi-hat rhythm and later a "sort of Gaelic scat.

"[16] Author Gary West compared the song's Eastern mouth music with the Gaelic styles of puirt à beul and canntaireachd.

"[10] The fourth track, "Hallaig," features a sample of Gaelic poet Sorley MacLean reading his poem of the same name shortly before his death in 1996.

[3] The originally Gaelic language poem is named for the deserted township on Raasay, MacLean's birthplace, and reflects on the nature of time and the Highland Clearances' historical impact, leaving a desolated landscape.

Mairi McFayden of Bella Caledonia felt it was "poetic that many of those lost lifelines from the diaspora have found their way back through music," and called the track "quietly political in its beauty" and the album's "centrepiece.

"[8] Paul Verna of Billboard wrote that Bennett used his "native folk styles" as a "launching pad for a tastily idiosyncratic, ultramodern world music blend that ranks with the best of the progressives like Deep Forest or Wolfstone," and called the album a "consistently entertaining set.

"[10] Scott Frampton of CMJ New Music Monthly felt that "Bothy Culture's filtering of traditional Highland sounds through urban modernity [is] more than equal to the sum of its parts.

"[16] Keith Witham of The Living Tradition wrote that Bennett was a rare a musician "who doesn't have to hide behind electronic gadgetry to cover a lack of technical proficiency.

"[19] Colin Irwin of The Independent reflected that Bothy Culture won Bennett many friends and marked him out as "a leading figure in the evolution of Scottish music," calling the album a "storming mix of Gaelic tradition, raw emotion and glorious, full-blooded dance beats.

"[20] To celebrate the 20th anniversary of Bothy Culture, and the 25th anniversary of the Celtic Connections festival, arranger and conductor Greg Lawson's GRIT Orchestra, named after Bennett's final album Grit (2003) and containing some 100 traditional folk, classical and jazz musicians,[17] performed the show Bothy Culture and Beyond at the SSE Hydro, Glasgow as part of the festival on 27 January 2018.

[14] David Hayman read Sorley MacLean's English translation of "Hallaig," while in a break from the album, Fiano Hunter and the Glasgow Chapel Choir recreated the Grit song "Blackbird", accompanied by Danny MacAskill's stunt cycle work.

[14] "Shputnik in Glenshiel" was accompanied by whistle from Fraser Fifeld, while "Ud the Doudouk" featured punches of brass, Innes’ spirited chants and a "perfectly-timed finish."