I think that comment was abusive and uncalled for. Personally, I loved your film and the two clips you just released. But as surprising as it was to read this comment, it did have a bit of a familiar ring to it. It reminds me of some discussions (heated arguments) I have seen in the context of native American flute making.
The basic gist of those arguments is that after a long and painful history of suppression of an indigenous culture, the musical instruments of that culture (native American flutes) are now being made, and sold for profit, by people who have no real connection to the native American culture. Furthermore, the instruments have been modified quite drastically, for example, to play western scales, and to sound quite different to the originals. The music that is commonly played on these new flutes now bears no resemblance to the music of the indigenous people (which was all but lost due to the harshness of the aforementioned suppression). But these new flutes and the new music are now marketed as native American (-style). Selling this music and these new flutes has become a profitable business, one in which it is difficult for true native American makers and artists to compete, especially if they try to sell authentic native American flutes.
This is seen, by some, as a second wave of cultural suppression, in which these remnants of cultural identity are being buried by misinformation that is aggressively propagated through all kinds of media. Some native people are deeply offended by this attack on their culture (and especially so, when it causes them economic hardship!). On the other side of the argument, some non-native native American-style flute makers can see absolutely nothing wrong with what they are doing, and are deeply offended by the objections directed at them.
So, I can’t help wondering whether there are parallels to this argument for ITM and Irish flute making. The long and painful history of cultural suppression is certainly there. There has also been an aggressive repackaging and remarketing of Irish music that is not exactly traditional. But, in my view, the resurgence of ITM and Irish flute playing has been much more of a success story than that of native American flutes. There seems to be a strong effort, at least by some, to rediscover, and stay true to, a tradition. From my perspective, this is a sign of deep respect for a culture. Second, there is a high participation rate among Irish players and makers, and those who may not be Irish but who are of Irish descent. I might be wrong, but I don’t get the feeling that anyone is actually suffering economically as a result of this resurgence. Finally, the flutes themselves were never really Irish. Most flutes used for ITM, even those made by Irish makers, were based on older English flutes. So with regard to Irish flute makers, it is really a very different situation to that of the native American flute maker.
All in all, my feeling is that in making your film, and in particular with the two clips you just posted, you made a great effort to include Irish musicians and to show the traditional side of Irish music, with some authenticity. So, in your case, I think that comment really was quite inappropriate.
I really enjoyed that - Thank you for posting these delightful film clips 
Sounds like Pearls Of Wisdom from The All Ireland Happy Bunny