I think Vic's example of Alasdair Roberts is a good one.

Though Ali has early grounding in folk music, in so far as his Dad was a folk musician, he didn't arrive as a performer via the usual 'new generation of folksingers' route. He first came to music fans' attention via his experimental indie/folk band, Appendix Out, who were far removed from the folk scene in terms of the venues and events they played, the range of music they played andf the fact they released their albums on the US indie label Drag City. They built a small but loyal fanbase completely outside of and independently of the folk scene.

When he released his first solo album of traditional songs, 'The Crook of my Arm', this was seen at the time as a brave move - the scene he played to was largely made up of people with little interest in or knowledge of traditional songs and ballads, so in a way he was sticking his neck out by nailing his colours to that particular mast. Since then he has continued to release both traditional albums and albums of his own songwriting - influenced by folksong but, lyrically especially, taking in a broad range of influences. Even when he has done versions of traditional songs, he has made few concessions to the expectations and norms of the folk scene. In fact, it can be argued that he aleady had a fine track record as a folksinger before the vast majority of people in the folk scene had even heard of him, and I'd wager he is still a mystery to many.

The point of this is to say that the folk club scene is only one aspect of how folk music gets out into the world. Historically, it was an important one in the UK context, without a doubt, but is far from the only model for the future. Like Vic, I listen to a lot of folk/traditional influenced music from other parts of the world, which has survived and thrived without the benefits of a folk club scene. I'm firmly of the opinion that the particular cultural and sociological phenomenon of the folk club, which undoubtedly had its heyday in previous decades and is now possibly entering its dotage, served a fantastic purpose, and for a relatively small number of people still does, but rather than mourn its passing or try to maintain it by means of a variety of life support machines of varying effectiveness, we should celebrate what it has given us and meanwhile let the young people do as they see fit. If some of them learn from, replicate or adapt the model, all well and good, but if they don't, it takes nothing away from what came before. Times change, nothing lasts forever. Those who want to play folk music will do so.