I've been away for a while, or I would have commented earlier. However, coming though I do a little late to the conversation:

Georgina is respected, yes, but with qualification; she is inclined to over-emphasise some aspects of the history of the revival. Rolf Gardiner, for example, was not anything like as influential as she makes him out to have been; at any rate, if we are to believe people who were there at the time, which she was not. In this, however, she follows the line generally taken by her contemporaries, which is probably now due for some re-assessment.

I wasn't there either, of course (Georgina is a few years older than I, and so far as I remember was a postgraduate student at the time I was studying for my degree) nor do I know her personally; though we do seem to have quite a few acquaintances in common. She is, I think, rather more of a "party political" person than most I know who are involved in the music (she's a local councillor these days, in Rotherham I believe) and to an extent her work needs to be read with that in mind. I'm not suggesting any inherent flaw in it, and she has done a lot of valuable work; although I do feel that she may at times not be quite so objective as might perhaps be desirable.

On the general question, I'd say that, although folk music here is a pretty broad church, you are unlikely to encounter very much in the way of upsetting right-wing views. As a rule, such things are not tolerated. Given, however, that many of the more recently-established ethnic groups in England feel that the best way to ensure proper continuity for their own traditional cultures is, for the time being at least, to remain relatively separate, you'll probably have to go to a whole series of different places to hear all the different musics. As time goes on, they will overlap more, and be more inclined to share platforms; but it's early days yet.

We're gradually working towards a broader and more inclusive presentation. If you're in Yorkshire in late September, for instance, Halifax Traditions Festival is quite a good example of what can be achieved with input from a range of cultures. It's symptomatic of the general tendency, of course, that white English audiences pay more attention to -for example- Punjabi ceremonial dance than they do to their own tradition, while Asian-English audiences in their turn are quite taken with the Morris dancers!