Two points to take up with Al along with questions to ask him (because unlike some who post here, he is the sort of person who gives considered answers to questions posed of him):-
He wrote:-
Maybe the ringbinder and tablet readers do get on my nerves a bit. But I'd rather have that inclusivity. I want people to feel that they all have a right to have a go. I don't want people to feel intimidated like I did.
But would you agree with my post earlier that whereas it may be OK for someone to come and read a song that they have not bothered to learn in a free admission singaround, it is simply not good enough in a situation where people have paid an admission fee?

Then later he wrote:-
However Froots has bit the dust mainly because of its dogged unshakeable belief that we had nothing much to offer compared to the Zulu's, Mexicans, Norwegians etc.
.... and in a previous thread, you wrote that it was Mongolian Nose Flutes (though there are no such thing!) that caused the demise of fRoots. Could I ask you, Al, if you have read my post at 15 Oct 19 - 06:16 AM where I explain that their policy of spreading their editorial content beyond these shores had nothing to do with the magazine's demise? In fact their readership and subscriptions had increased considerably in the years since they started to include World Music, yet the content was always at least 50% from English speaking countries or the minority British languages.
You have claimed elsewhere that the decline in folk clubs has been caused by the concentration on what you seem to regard as the sterility of those with a serious approach to folk songs in favour of the type of performer that you admire - and you have named Derek Brimstone and Alex Campbell. If we are to exlude the British tradition and we ignore foreign language roots music, are we not left with a folk scene with a very narrow compass indeed?