Interesting that you see a conflict. really its only a different emphasis.

To me 'folk' is the key to it. The music, sculpture, dancing, singing, fiddle playing story telling or whatever is tangential.

Its a pretty dreary business without the people. I have found. Perhaps you have found differently.

Without the people - its just practice. Which is all very nice in its way. But the presence and appreciation of people adds a lot.

I really can't remember the last person who wasn't star spotted and made it from the ranks of club performers onto the concert stage. Most of us (for various reasons) aren't. So you've got a choice, become a teacher - or someone with long holidays - or you give it your best shot and become a jobbing musician. And those of us who do that, are different from those whose face fits on the folkscene, and those who do it part time.   And it makes you very sceptical about the nature of this folk music business.

Patrick Walker of Sheffield, for example, as a fiddler can piss rings round anyone you'll see on the festival stages this year. Check him out any Tuesday night at Fagans - surely one of the best folk/session pubs in England.

I don't think I'm saying anything controversial.   Most of my friends are dedicated folk musicians, but they earn their bread and butter doing old folks homes, pubs, clubs, restaurants, playing in dance bands, holiday camps, tribute bands - wherever.

I suppose when you get round to it. That's the real difference. These concert goers are still giving three hearty cheers for the star system and Mike Harding.

The folk grunts/infantry are a bit pissed off with it.