Unfortunately I am unable to attend the festival's 2010 edition, but I have noticed that Celtic Connections has introduced a new event: CC Late Night Sessions, where you pay a fiver to listen to sessions. (?!)

I can't get rid of the feeling that the structure of folk music sessions is getting more and more similar to concerts. It seems to me that in the last (approx 10) years folk music sessions have became much more commodified, controlled, pre-planned events in pubs & at festivals alike.
What are the consequences of those strategies? Are they killing a spirit of spontaneity and egalitarism on which folk music ethos rests? Could this exclusive and commodified type of 'impromptu' music making become a model for new type of sessions (esp. if you consider the fact that there are more and more professional musicians out there who need to earn a living)?
What is your opinion?

......I take it some of you have been there so let us know how do they look like and what do you make of it.

Cheers, k

Hi yi Kat

I don't really think it is a new event as such. I see it as more like a second Club - a place to gather after the concerts are finished which unlike the Art School Festival Club, is open every night of the Festival. Also, I think it's only a paying thing at the weekends and I guess that is perhaps to help control the numbers (but also important for generating some money for the many events that CC don't generate income from)?

As the capacity of the Art School is considerably smaller than the Central Hotel, I basically see this as the CLUB solution that they've settled for in 2010 (with the Central being unavailable).

I'll be really interested to see how it all works out in practice but will have to wait until the final 5 days. I'll be looking for feedback from others in the meantime. I think the RCH will be good - sure I read somewhere that Findlay Napier was leading on it.

Cheers fur noo

M

Hello Kat, I agree with what you say on the direction folk music is taking...and the dangers involved,

but I think you're worrying unnecessarily about this new "green room" for the folk posers who have afflicted us for so long........like the rain and the midges they will always be with us.

The most worrying aspect of our music today is the marketing of performers to people, who have no knowledge of, or love for, traditional music. To the detriment of the "spontaneity" and emotional tranfer which is at the heart of trad/folk music.

Folk music sessions have been heading that way for quite a long time now but, thankfully, you can still encounter the spontaneous variety especially at the smaller festivals.

However, Celtic Connections is arguably only a festival in name. It could be more accurately described as a Concert(or events, at least) Series.

"I read somewhere that Findlay Napier was leading on it"

Findlay Napier is a grand musician and I'm sure the music will be extremely enjoyable but good sessions ought to be able to flourish irrespective of who is leading them if the environment is right and there's enough good will towards and between the participants. They shouldn't need to be advertised as featuring or "being led by" particular musicians even although many of them obviously are.
Unfortunately, this leads to the notion that they are in some way "exclusive". While many people may be attracted, others might feel that it's really not for them and stay away.

Ideally, I'd like to see informal sessions spread more widely as they are at most other festivals. Obviously, they wouldn't be possible in every pub...It's a City Centre after all..... but they could at least be encouraged(and musicians encouraged to go) within the established "folky", "sessions" pubs. Much preferable than having to wait until after midnight...sometimes much later.... for a tune or song to start up in one central point.

For all its faults, the now defunct Edinburgh Folk Festival was much better in this respect. There were facilities for a song and tune at all times of the day within Teviot plus the local hostelries, eg Sandy Bells, Royal Oak, Tron, Fiddlers Arms etc were always "buzzing". However, in those days, we were trusted to do things for ourselves!

I agree John, H n' S rears its head everywhere and the culture of "who can I sue" has put the kybosh on much of the "spontaneity" that we remember.

I've often suggested something like the Irish Fleadh Cheoil.....here in Scotland, with festivals held in various small towns annually.

There would be a few organised events, but most of the music would come from street musicians, and dancers, perhaps subsidised by the Scottish government.

This would seem a better way to involve the general public and spend funds, than the present system which seems intent on separating the performers from the people and inserting the middlemen, who ensure that the music will remain a commodity.

There are spontaneous sessions happening all over Glasgow right now. You just have to go to the right places. If you decide to pay, you are clearly not going to the right places.

Where are the 'right places'?

I remember a CC "spin-off" festival (showcasing local, less-known folk musicians & singers) called Glasgow fringe festival. What happened to that one? Is it still running?

Kat.J Rumour in December was that the gentleman who ran this is 'no weel.' Have seen no flyers for it but would be glad to be proved wrong. I attended two gigs last year and both were great nights.

Kat J, from the Festival Fringe evolved the subsequent Songwriters' Festival (SongWright) that ran for three years. This was driven by three people (one being myself, with invaluable assistance from many others) and was run on a shoestring. The intention was to offer a showcase to some of our lesser known, more local talent that never seems to appear on CC's horizon.

I withdrew in 2008 to concentrate on other things and despite the success of SongWright, the effort involved in producing it proved unsustainable. And, as kintail kid rightly stated, a key member of the team has had health problems over the last year.

One thing is certain, however, there is an audience for some kind of alternative to CC.

"One thing is certain, however, there is an audience for some kind of alternative to CC."

I would agree with that - I defected from CC, as I was becoming increasingly fed up with the direction that the DKOS (my only chance of performing) was taking. SongWright, and it's offshoot, provided far more enjoyment for those of us at the sharpest end of the scene - I would also argue that it had far more in common with DK's original concept, than the current "Folk Idol" approach. I'm sorry to hear about your colleague's health problems - would that be your larger namesake, by any chance?

Aye, it would, Kagan. He's OK but just had a hell of a year and needs to be careful how he directs his (apparently infinite) energy.

It doesn't surprise me, but I'm glad to hear he's feeling better - if you see him, please tell him I was asking for him.

Oops - double post! Sorry.

I am scratching the bonce trying to figure whats worth waiting for a 66 bus at 4.44 in the morning .Looking for an old fashioned session with a few freinds around if fit .Sorry to hear the Fringe has not been able to continue this year could have been the best . I was gratefull for its start as a personal repkacement for my
originil planned Stagefright Nights much mentioned before .But once bitten twice shy ,it really would not take much for anybody with the energy to nominate a function room in some know bars spread the word and your off a Fringe as its well required .soose spelling small fonts .

In addition to this post I made quick calculation ......CONCERT HALL SESSIONS ........£18.70 includes bus fair nae drink driving ...3 pints no snacks entry ticket and not knowing the format or get a spot . double cost if Taxi is used .. Other option Regular OPEN STAGE 50 pence profit . includes bus fare one pint for singing floor spot . .other option bottle of buckfast go busking stagger hame weighed doon with coppers . MORAL ... CHANGE IS AS GOOD AS A . FEST .