At the 2024 Folk Alliance International Conference, I had the opportunity to see the legendary bluesman, Doug MacLeod. Among the songs and stories that he shared was “Long Black Train,” a song that, of course, is about death, but he said that it is really about “the unimportance of your importance.”

In a society obsessed with recognition and fame, MacLeod’s words resonate deeply. The desire to feel important is universal, yet, as the world of social media continues to expand, the meaning of importance becomes increasingly elusive. Andy Warhol’s prediction that everyone would be famous for 15 minutes failed to anticipate the constant allure of social media, where individuals can perpetually feel famous, blurring the lines between genuine significance and the illusion of it.

However, in this era where everyone can claim their slice of the spotlight, a curious paradox emerges. If everyone is famous all the time, then no one is truly famous, and the importance ascribed to those who believe themselves to be significant is rendered inconsequential. This phenomenon has given rise to a relentless scramble to stand out, a struggle that poses a considerable challenge for artists attempting to make a living through their craft, especially with the advent of AI further complicating the landscape.

Oddly enough, folk musicians may be uniquely positioned to weather this storm. Despite a couple of brief scares when folk songs breached the Billboard pop charts, folk music has remained a cherished niche, cultivated and sustained by a community that values authenticity, placing people and community above celebrity. Unlike mainstream artists, folk performers are not reliant on being the latest trend or the hottest sensation. Instead, they thrive on community, connection, the essence of real folk music.

Long-time folk singer-songwriter, Garnet Rogers, discussed this phenomenon at a concert one time. He explained that although he never had a chart-topping hit or achieved mainstream fame, he has made a decent living for over four decades by navigating the folk circuit and steadily building a supportive audience. Rogers and his peers aren’t pressured with creating the “hot new thing” or crafting tunes that mimic the latest chart-toppers. Their focus is on community and the genuine connection they share with their audience.

Part of the enduring appeal of folk musicians, particularly singer-songwriters, lies in this connection. While they do write love songs and explore heartbreak, their repertoire often addresses the very real issues faced by ordinary people – poverty, homelessness, gun violence, racism, war, and more – issues their audiences often care deeply about. Unlike the formulaic productions emanating from Nashville or LA, folk musicians can authentically engage with these pressing matters because they are embedded within a community that encourages meaningful expression rather than conforming to commercial trends.

In a world fixated on the importance of being important, folk musicians remind us that there is profound value in embracing the unimportance that comes with being true to oneself and fostering genuine connections within a community that appreciates the depth of real folk music.

Ron Cooke is the author of a book of short stories and poems entitled Obituaries and Other Lies (available at Amazon); writes a well-received blog (ASSV4U.com/blog); and hosts a weekly radio show called Music They Don’t Want You to Hear on KTAL-LP in Las Cruces, NM.  He is also a founding director of A Still Small Voice 4U, a not for profit supporting arts, culture and community that presents folk concerts, sponsors artists, festivals and community groups.