A Legacy on the Brink: Why Saving Welsh Folk Music Matters Now More Than Ever

Fading Traditions and Generational Gaps

For generations, Welsh folk music thrived through oral transmission—elders passing down songs, tunes, and playing styles to younger musicians during community gatherings, festivals, and family events. This informal yet deeply effective system ensured continuity and evolution within the tradition. However, modern societal shifts have disrupted this cycle. According to Angharad Wynne, the author of the recent report, the generational handover that once sustained folk music is no longer happening at the same pace or depth. “There are still passionate individuals across Wales dedicating their time freely,” she explains, “but the ecosystem has changed dramatically.”

Today’s folk musicians often juggle multiple jobs to make ends meet, leaving little room for mentorship or community-building. With fewer young people growing up immersed in traditional music, the pipeline of talent is drying up. In rural villages where folk music once served as both entertainment and historical record, children now grow up surrounded by pop culture and digital media rather than fiddles and harps. The absence of structured learning environments—such as dedicated schools, workshops, or mentorship programs—has further widened the gap between older practitioners and potential new generations of artists.

Comparative Neglect in Funding and Infrastructure

While Scotland, Ireland, and even England have developed robust infrastructures to support their respective folk scenes, Wales lags significantly behind. At the time of the review, only 0.66% of Arts Council Wales’ total funding was allocated to folk music—a striking contrast to Scotland’s 4.8%. These figures reflect more than just financial disparities; they reveal differing levels of institutional commitment to preserving and promoting national musical identity.

Scotland’s investment has enabled the establishment of formal training programs, including a dedicated folk course at the Royal Conservatoire of Scotland in Glasgow. Such initiatives provide aspiring folk musicians with professional development opportunities, networking platforms, and performance exposure. By contrast, many Welsh folk artists must rely on informal networks or self-directed efforts to gain recognition and build careers. David Grubb, a Cardiff-based fiddle player with the band Taff Rapids, noted the disparity firsthand after moving from Scotland. “Coming from a place where funding was clearly visible and actively supporting folk groups, it felt like there wasn’t much happening here,” he said.

This lack of infrastructure not only hampers artistic growth but also limits the visibility of Welsh folk music on both domestic and international stages. While Irish acts like Lankum and The Mary Wallopers regularly perform at major festivals such as Glastonbury, Welsh folk artists rarely receive similar opportunities. Without strong institutional backing, emerging talents struggle to break into mainstream circuits, further reducing public awareness and appreciation of the genre.

Cultural Identity and Global Recognition

Despite these challenges, Welsh folk music retains a powerful emotional resonance. Songs like Dafydd Iwan’s iconic anthem *Yma o Hyd* continue to inspire pride and unity, particularly during national sporting events. The song’s resurgence in popularity—streamed over three million times—demonstrates that there is still a deep connection between the public and traditional music. Moreover, global interest in folk genres has grown in recent years, evidenced by the success of artists like Taylor Swift, whose 2020 album *Folklore* became one of her most critically acclaimed works.

Mari Mathias, a contemporary Welsh songwriter, believes there is a growing appetite among younger audiences for authentic folk experiences. “People really want to hear it,” she asserts. Yet, despite this demand, Wales lacks the necessary mechanisms to channel that interest into sustainable careers for folk musicians. Unlike Ireland, which offers structured support systems for young artists—including educational programs and performance grants—Wales has no comparable initiatives in place.

The disconnect between cultural heritage and modern opportunity underscores a broader issue: the need to reframe folk music not just as nostalgia, but as a living, evolving art form capable of thriving in today’s creative economy. When properly supported, folk music can serve as a bridge between past and present, local and global, tradition and innovation. But without strategic investment, this potential remains untapped—and the risk of losing an integral part of Welsh identity grows ever greater.

Economic Realities and Artist Sustainability

Beyond cultural preservation lies the pressing economic reality facing folk musicians in Wales. Very few artists can afford to pursue music full-time due to limited income streams and inconsistent gig opportunities. Many rely on teaching, session work, or unrelated employment to supplement their earnings. This financial instability discourages long-term commitment to the craft and makes it difficult for artists to invest in marketing, recording, or touring—all essential components of a viable career in music.

The lack of dedicated venues and performance spaces tailored to folk traditions further compounds the problem. While urban centers like Cardiff may host occasional folk nights, these events are sporadic and often underpromoted. Rural communities, historically hubs of folk activity, face even greater challenges in attracting audiences and organizing regular performances. Without consistent platforms for live music, artists lose crucial opportunities to engage with fans, refine their skills, and generate revenue.

Arts Council Wales acknowledges these issues and has taken steps to address them. Following the findings of the recent review, the organization has nearly tripled its core funding for folk music initiatives. Additionally, new grant schemes and commissioning opportunities aim to provide artists with more stable financial support. However, experts argue that while increased funding is a positive step, systemic change will require long-term planning, policy reform, and collaboration between government bodies, educational institutions, and grassroots organizations.

Potential Pathways Forward

Reviving Welsh folk music will require a multifaceted approach that combines financial investment with cultural advocacy and educational outreach. One promising model comes from Scotland, where a combination of state-backed programs, university courses, and community-led initiatives has created a thriving folk scene. Establishing a formalized folk music curriculum in Welsh conservatoires and secondary schools could help cultivate new generations of skilled performers and educators.

Digital platforms also offer unprecedented opportunities for exposure and monetization. Streaming services, social media, and virtual concerts allow artists to reach global audiences without relying solely on physical venues. Encouraging folk musicians to embrace these tools—not as replacements for live performance but as complementary strategies—could open new revenue streams and expand the genre’s appeal beyond traditional demographics.

Furthermore, integrating folk music into broader cultural policies—such as tourism promotion, language revitalization, and regional branding—could elevate its status as a vital component of Welsh identity. Festivals celebrating Welsh folk traditions, collaborations with international folk acts, and multimedia storytelling projects could all contribute to a renewed sense of pride and relevance.

Ultimately, the survival of Welsh folk music depends on a collective effort. Artists, educators, policymakers, and audiences must come together to ensure that this unique and expressive art form continues to evolve and inspire future generations. As Angharad Wynne emphasized, “If we don’t do something now, it’s going to die within a generation.” The time to act is not tomorrow—it is today.