I don't see any big argument here, Sandra. Yes of course there's room for us all, but Mr Happy has raised an interesting point.

I think it's an observable truth that there are, on the one hand, people who play and sing at sessions and clubs (and possibly, but not necessarily, attend concerts too), and on the other hand, people (probably underrepresented on this forum) who like to attend folk concerts but who don't do any of the participative stuff.

I say it's interesting because although those of us who play and sing believe this is what folk music is really about, the concert-goers also contribute to supporting and sustaining the professionals and semi-pros whom many of us value but may do little to support.

Here in Devon we are lucky to have regular folk concerts featuring nationally known and respected performers. Some of them do the club circuit, some don't; but I am pretty sure that without the chance to play at big venues that can afford a decent fee, many of them wouldn't survive as professionals. When I go to these concerts I see lots of my regular folkie friends there, but also hundreds of people who never appear at local clubs or sessions. I think that's their loss, and consider myself privileged to be actively involved in singing and playing, but I'm also aware that performing in front of others or even playing along with them is something that simply doesn't appeal to certain people, possibly most people. For them, music is something you listen to - and possibly look at, although it has to be said that most folk artistes and groups do not make a stunning visual spectacle.

I think this is simply how things are now, and events organisers need to be able to tap into this market of "passive folkies" to help keep the music commercially viable for the professionals, with knock-on benefits for the rest of us.

Oh, and is there some connection between "sinarounds" and that other favourite typo, "snogwriting"? Just wondered.