If I read it correctly, there is a suggestion in the Facebook thread that some kind of musical apartheid is being exercised by some Clubs and/or presenters/venues. However, most Clubs and venues are friendly, opening and welcoming. A few may slip occasionally into bad habits, but that is a rarity in my experience. A handful are occasionally downright hostile to "incomers" (as they see it), and a tiny,tiny minority of venues seem to exist only as the personal possession of one or two self-obsessed Luvvies. Who only seem to see it as a vehicle for their own ego(s). (Avoid!)
Here's the first of two declared interests. At least two of the current members of the Black Parrot Seaside line-up have run successful Folk Clubs in the past. It was bloody hard work, and I admire anyone who has the commitment to do so now. Not so long ago, we almost clinched the opportunity to host a third one. It would have been in a prestigious and well-appointed venue in a big city, working in partnership with another well-known and respected Midlands Folk Act. I really regret missing out on that. Given the right opportunity I'd certainly have another go at running one. But it's not for the faint hearted.
Because to run one requires a thick skin, a genuine love of the genre, an appetite for hard work, a personality, a highly-developed sense of fairness, and (in the best ones), a visible determination to provide a balanced and eclectic mix of music for their audience. Providing material they can enjoy and reflect upon. From established performers, and less well-known ones. That sort of mix is essential. For if newcomers and late returners are never given a chance to try out their skills somewhere-then where else are they going to do it? Listen to the life stories of John Martyn,John Renbourne, Roy Harper, Nic Jones, Ralph McTell,Maddy Prior Jackie McShee et al-they all started out nervous, shy, experimental, and raw. Broad-minded Folk Club hosts gave them a step up, tolerated their imperfections and encouraged them. Result!
Here's a second declared interest. I have played loads of venues so I have witnessed the very best (and the worst?) of what Folk, Blues, and Acoustic Clubs have to offer. In most of them, there exists an unwritten etiquette. It extends across when and how to leave the room for toilet or refreshment purposes. It embraces an accepted but reasonable amount of affectionate heckling. There is a generally accepted audience (and performer) code of not talking over quiet songs, sensible chorus singing, not pinching others' material, and joining in politely with fund raising activities. The protocol also extends to how an Organiser compiles a guest list, and prior arrangements over floor spots. A few organisers operate an " Oh just turn up" policy. Whilst the democratic loveliness of that is endearing and useful, if not properly controlled, it can very occasionally descend into chaos!
A popular and well-established club will always have a dilemma which is a veritable double edged sword. They will find that they will regularly have more artistes wishing to perform "floor spots" than they can possibly accommodate. Here is where real skill and vision are required. The easy solution is to give all the spots to your mates. But audiences will soon spot that, and tire of it. Another part solution is to insist on pre-booking. There is an element of equality about this which is appealing. It means that some bigshot who has a night off from their 96 venue national Tour cannot suddenly swagger in and bully those who have pre-booked off the stage. But what happens if you are so popular you cannot accommodate even all the pre-bookers?
Well, the answer is that then you really have to prioritise! Which unfortunately, will mean disappointment for some. I've had that work against me, and it hurts. But you just have to bite your lip and accept it, I'm afraid. Especially if you want to return to that particular venue. It seems to me reasonable that if the Hosts are going to put in all the groundwork beforehand, we performers just have to go with their final judgement. Is this disappointment a bar, or a ban, or exclusion? No, I don't think so. The best organisers will attempt balance as they prioritise, putting together a programme which they hope will sustain the interest of an audience of many tastes. The best combination is a mix of traditional and contemporary. Regulars and newcomers.
Finally, almost every Folk Club and music venue I know encourages what is basically Performance Art. It is very much in their own interests to do so. They will join in a dialogue with performers, discuss potential "gigs" and floorspots, and always reply to correspondence. I can think of only two who seem to feel they are too "big" to do so. They are in fact, very much the exception to the rule and are just plain ignorant. Write them off, prospective performer. View if very much as their loss.
