I'm very impressed by what's going on , there is a lot of energy and commitment and a respect for traditional singers and players and earler folkies.
I'm also very interested in what is driving it all. Just a few factors seem to be:
children of earlier folkies are young adults and have learned from an early age; networking is much easier as is access to earlier recordings and it is eclectic; sessions and festivals have opened it up from club rooms; Englishness and other 'nationalisms' or patriotisms are influential; lots of role models for youngsters and approachability; festivals, classes and Summer schools, concern about right wing takover, emerging FE and HE courses in all sorts of musicaal activity, good marketing,. The need to sell downloads necessitates good communication with 'fans' to attend gigs and sell merchandise.


My only personal concwern is the danger of a loss of satisfaction with amateur performance and appreciation of community and age profiles. I don't see too many working class youngsters getting into it but then again there is a new kind of political consciousness. I wonde which way labour will swing in Britain, towards community and self help and cooperation or towards hard left militancy again.

All in all as a child of the 50s revival I'm pretty happy that it's in good hands. I reckon my earlier worries about a lack of good young singers, as opposed to players, is less well founded. I just wish I could play faster as my old fingers stiffen up -and work out the smart chords on the bass end of a melodeon!


For my money there have been te following significant phases Antiquarinaaism and nationalism 1800s, reaction to industrialisation and the like ( early 1900s) protest and working class song following blues, skiffle and the like 1950s, 1960- 70s 'hippy' idealism and 'pastoralism, dance , ritual and instrumental development', present day a new surge in young adults seeking'England' and search for authenticity and a valid cultural identity and a decent world for their kids.