Frank, interesting comments on "star camps" and workshops "which need to have a follow-up rather than a "one-shot" attendance." It's nice to say I've done a workshop with Martin Hayes, Liz Carroll, etc. etc. But then what? I've learned 2-3 new tunes at each, some of which I've kept, some not. Now I've pretty much quit doing that.

I think a participatory concert where the performer connects with this audience by doing such things as putting the performer off of the stage and down on the floor with the audience (a nice thing to do with a small audience), sing-along choruses, a workshop or jam with the performer before or after the concert.

At many concerts I've attended the performer seldom interacts with the audience. He or she disappears during the intermission and after the concert. Or if they are seen during those times, they only interact with the "important people."

At some of my house concerts I've scheduled a late afternoon concert followed by a potluck and then an open jam. That seems to work well with the right people.

leeneia, that sounds all too familiar - my experience at the Tall Ships Festival. Admittedly, music is not the primary reason for the event, but still it could be better integrated into it. My complaint about many maritime and wooden boat festivals is that the music has little or nothing to do with the maritime theme (i.e. mostly jazz, singer-songwriter non-maritime, bluegrass, etc.), it's just sort of background noise to wash over the attendees as they go from one thing to another.

Let's hear more about US audiences. It could be interesting.

Cheers, S. in Seattle