You're right, Will, but it's not as simple at that. I've tried having an agent a number of times in the past - they never get you enough work (or any, actually, usually) because they can't earn enough from the low fees you can earn. Folk agents can do two things - manage tours for overseas acts and manage demand for already-successful people with existing profiles. Only you can develop your own career to the point where it's viable.

I happen to be a damn good salesman - as many here will testify. I also brought all my skills running a production company to this business - most of the other pros here will, I hope, admit that I'm considered to be one of the best when it comes to getting gigs self-promotion, marketing, e-marketing, and promotion generally.

I started out(and still do) working with a time-served pro (Tom Napper) who has a fantastic and well-deserved national reputation - and then we made a band with two other great performers (Tony Taffinder and Chris Parkinson).

And I gave it everything. I didn't charge a fortune, just the going rate, and I was nice as pie to everyone (almost)! Every night I wasn't playing I was on the phone and email. I made a website that soon started getting 1-2 thousand hits a week. I got great reviews in all the mags for all my 8 CDs (Mojo today, incidentally), and I've built up a big fan base.

And I've had massive support and encouragement from other touring pros, club bookers and the folk world in general.

(I'm not interested in doing the other kind of gigs you mention - my tightly-drawn story songs need a silent, attentive audience open to the game developed my Mesmer).

Yet I can't make a living. Well I can, but not enough to justify being away from home 60% of the time, and burning a huge hole in the atmosphere with my exhaust fumes.

Now the usual suspects will jump in telling me not to winge.

I'm not actually winging. I accept my 'failure' happily. I have other things I can do and I'll look back with enormous pride and happiness on my 8 years in folk - because in artistic terms I succeeded way beyond my wildest dreams.

No, I'm sharing this because the folk world needs to discuss this issue properly, from informed positions (which is why I'm writing a cover article for Living Tradition as we speak).

It affects things like club booking policy. The folk awards. Broadcasting policy - everything. Most artists can't speak completely openly because they still have careers to develop. I don't. I have a full diary until Cleckheaton festival 09, then I'm gone, man.

(I may come back, but it all depends on what happens next).

Exciting, innt?