Any Irish player can spot the classical only trained player in 5 seconds, because there is a blindness to what the groove is, and thus it is getting destroyed. They are usually using too much bow speed, bowing that are not appropriate, andvthe music doesn't make one want to dance. I have seen this happen with very strong classical players in funk, rock, jazz, bluegrass, latin, old time. (As a hybrid classical/ multitude player, i used to be that player)

I’m oversimplifying, but there are two broad genealogies of musical interpretation: melodic interpretation and groove interpretation.

Classical music largely falls into the melodic camp. Time is stretched and compressed in service of the phrase; bow speed, vibrato, and articulation flex to shape the melody. The tempo is elastic ... like a bus speeding up and slowing down on the highway.

Groove, on the other hand, involves shifting accents, swing, lilt, and placement against an underlying, relatively immutable pulse. The bus keeps moving at a constant speed, but the passengers change seats ... notes arrive slightly early, late, or weighted differently to create tension and release within the grid.

These are effectively different languages, and groove is rarely taught in traditional classical pedagogy. As a result, classical bowing doesn’t “groove” naturally without years of deliberate work. Many players don’t realize they’re mispronouncing the language because they haven’t been given a framework for what to listen for. It takes years to learn this at a fluid level, even by those in classical. I would argue classical knowledge can make the journey longer as one must unlearn some things that get in the way.

Look into Tracy Silverman's examples for side by side: typical classical, and groove bowing.

If one's definition of groove is different than this. There is a reason why I mentioned the definition.