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many of us enjoy the recent invention of ‘social network- ing’ on t’interweb. So it’s nice to be reminded of the old fash- ioned analogue version every now and then. Just like the sociable ’90s beginnings of Womex in Berlin’s cosy House Of World Cultures helped grow
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the early international family of world music activists, the UK’s Association Of Festival Organisers (AFO) conference is a lovely small-scale annual chance to get to know acquain- tances better and understand different people’s viewpoints, enthusiasms and priorities.
Because of this it’s attended by a lot more than just fes- tival organisers. Amongst the several hundred who go are artists, agents, people from most of the rest of the folk infrastructure – and the relaxed social downtime is every bit as important and enjoyable as the talks and debates that are crammed into its two busy days. It really confirms how valuable the folk scene’s special community is: much more professional than a few decades ago, but still maintaining that unique character which differentiates it from any other manifestation of ‘the music business’.
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I was asked to chair a panel debating whether it was the artists or the atmosphere that were the most important fac- tors in successful festivals. Nearly all the organisers who spoke were unequivocable: atmosphere at least 70 percent. Many pointed to events that regularly sell out quickly with- out people even seeing the bill. So surely then, I asked, this meant that there was no problem with seeding their bills with a few interesting new names, going off at the odd related tangent? “Oh no, don’t you know there’s a recession on, can’t take any risks…” seemed to be the general opin- ion. But surely if audiences have to be choosy, then a festival with a known atmosphere and something to differentiate it from all the other near-identical bills was even more guaran- teed? And you sell out anyway… “Oh no, can’t take risks…”
In his annual look at the Folk Awards nominees (page 26), Colin Irwin voices discomfort at the sameness of it all, the lack of acceptance of artists from outside the central core of the established folk scene. His implication, which I endorse, is that ‘the experts’ don’t get out enough, musically.
There’s a cliché which pops up regularly in discussions on the economy: that the best time to start a new business is during a recession, because you will emerge from it with strength. I’d apply that to the folk scene right now as well. This is when we all need to be a bit more adventurous and invest for the future. Festivals who have the comparative luxury of solid support can really help. By taking a small leap of faith, their audiences will love them even more for giving them new future favourites and the whole scene will emerge stronger and more vibrant. That’s what we try to do all the time here at fRoots: filter the never-ending flood, flag up the best. It works for us and our readers and I’m sure it would for many festivals too.
Ian Anderson
ith our communi- ties of shared interest so spread out geographically,
Photo: Judith Burrows
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