Snail: Yes, there are still some of what I would call 'traditional'
folk clubs, in that they follow the old formula of residents plus guests and/or floor singers. However, there is an increasing tendency for the residents to be a list of regular floor singers, rather than the old-style resident group - usually semi-pro, or sometimes full-time, who would do a proper spot at the beginning of the night, and probably a short spot after the interval, and maybe a finishing song. This gave the club its identity and continuity, and built up a regular audience who would support the club regardless of who was on. Such clubs now seem - from my experience - to be in the minority. The folk 'scene' (awful word; can we find an alternative?) does still - thank God - include everybody from non-participating listeners to professionals, but the 'two camps' I referred to are implicit in earlier posts here: the 'Big Names' syndrome, where festivals and clubs constantly, and - in the case of the clubs - exclusively, book the same monotonous list of stellar performers, and the session/singaround world of those who shun the clubs, concerts and festivals, where you pay to listen to others, whether or not you wish to participate. And the protagonists of each side scorn the other. I do not suggest that the inclusivity of folk music has gone, but that it is going.
I also find it srange that there is, as has been suggested (if I interpret correctly) by guest padraig, and stated in no uncertain terms by Edgeware, a separation between the song/music side of things, and dance. They all used to be parts of the whole. I'm sure our ancestors would find this division strange.
John Kelly.