This thread has raised some interesting points and arguments.

I don't see what the problem is with new young performers being ambitious and attempting to make a decent living out of folk music - many of the oldies would be quick to complain if the youngsters were undercutting the going rates and doing it on the cheap. If they ask "silly money", or if they are unpleasantly arrogant, they won't get the gigs - the market will soon sort it out. And for what it's worth I've seen some excellent, unpaid floor performances at our local club by young people, including at least one Newcastle graduate. Some are wise enough to realise that a free floor spot is good publicity for one's future paid gigs.

The Newcastle students don't just sign up for the course with no knowledge or experience of the folk world. The ones I know were already regulars at local clubs and had established themselves as competent musicians before applying. They're really excited at the chance to have tutors like Tim van Eycken, Chris Coe, Alistair Anderson and Sandra Kerr - and who wouldn't be? Is there maybe just a touch of envy in some of the criticism?

In other threads, there are often comments about the low or very mixed standard of floor performance in clubs by people who are, in most cases, old enough to know better. To be honest, some local clubs don't offer much in the way of example to new performers. Now at last we have a cohort of young people with fresh ideas and enthusiasm who are rasing the general standard and approaching the music from an informed and educated point of view. What's not to like about that?

A degree is never going to be a requirement for performers, and there will also be room at clubs, concerts and festivals for those who've learnt their craft by other means. Audiences don't ask to see a CV, they judge by the quality of the performance.

And as Mike has said, above - the new folk music graduates are still young, and can continue to grow and develop. Many of us would not care to be reminded how we sounded when in our twenties. I think there's every reason to hope that a fair proportion of the graduates will continue to contribute to the folk scene in a worthwhile way, either as professionals or as skilled part-timers/amateurs and enhance it for years to come.

Marje