Attending the ABO Conference prompted several strategic questions about the future of orchestras in the UK. Below are some of the most pressing ones, framed within the broader context of sector-wide challenges and opportunities.
Innovation vs. Inertia
Discussions at ABO reinforced that orchestras today are more than just classical ensembles though audiences (and sometimes the orchestras themselves) still perceive them that way. While some ensembles are redefining their purpose, others seem resistant to change. The question is: how much of this is about institutional inertia, and how much is about protecting what already works?
1. Where is real innovation happening in the orchestral world, and why does it often emerge at the grassroots rather than within major institutions?
2. What structural, financial, or cultural factors prevent some organisations from evolving, even when change is happening around them?
3. The sector is built on relationships, which in turn can promote cliques and ultimately foster risk-averse discussions. To what extend does this act as a barrier to disruption, innovation, and provocation?
4. How do organisations balance the stability of long-standing relationships with the need for fresh thinking? Could the reluctance to challenge establish norms that lead to the loss of talent?
5. Do close-knit sector relationships act as a barrier for young talent trying to build networks, connect, and grow?
6. How can conservatoires go further to help shift mindsets, encouraging musicians to think more like promoters and strategic thinkers rather than solely as performers?
Leadership & Talent Progression
One of the most striking insights from ABO came from a UK-wide survey of orchestral staff. The findings suggested that while younger professionals in administrative roles seek growth opportunities, they don’t necessarily see their work as a defining part of their identity. This raises critical questions: might talent be lost because conditions aren’t right? And is the sector limiting itself by failing to develop the next generation of leaders?
7. Are the same voices dominating industry discussions year after year, and if so, what impact does that have on the sector’s ability to evolve?
8. Are orchestras doing enough to develop their staff’s industry understanding and foster innovative thinking, or is leadership more focused on maintaining stability?
9. If emerging voices don’t see a clear pathway into leadership roles, what does that mean for the sector’s long-term future? What perspectives and skills are being lost?
10. Is the industry prepared to retain the right people to navigate the changes ahead, or is it at risk of losing talent to other fields?
11. Does leadership prioritise consensus at the expense of a clear, comprehensible vision?
Audience Engagement & Generational Shifts
A compelling presentation from Rasmussen Nordic‘s Cecile Sztotak Nielsen and Soren Mikael Rasmussen introduced audience engagement tools that align purpose with messaging. The core idea (rooted in Simon Sinek’s work: people don’t buy what you do, they buy why you do it. Once you’ve secured first timers, the challenge is ensuring that the experience lives up to the message. Is everyone doing that?
12. If different generations demand different experiences, why is the sector still struggling to tailor its messaging accordingly?
13. If it’s widely understood that first-time attendees only return when their expectations are met, why isn’t ‘experience design’ for newcomers more strategically implemented?
14. Why do certain audience development ideas circulate for years without ever being meaningfully implemented?
Industry Conferences
Conferences like ABO offer a vital space for networking and fresh thinking, especially for an increasingly remote workforce. But they also have limitations. Some sessions become brand-controlled PR exercises, and fragile interdependent relationships make truly open discourse difficult. If the goal is to provoke new thinking, how can these gatherings ensure that meaningful discussions continue beyond the conference room?
15. Do conferences create space for open, challenging conversations, or do they primarily reinforce existing power structures?
16. If the most meaningful discussions happen outside formal sessions, what does that reveal about how the sector operates?
17. How could industry conferences be restructured to encourage deeper, more constructive engagement with big-picture issues?
18. Are panel discussions designed to spark real debate, or do they serve as PR moments for organizations? If organisations play a critical role in the ecosystem of the organisation, shouldn’t they be held to account more for the messaging they share?
19. Do conferences help shape meaningful change, or do they mostly reaffirm what the industry already knows?
The Future of the BBC-Orchestra Relationship
This year, the BBC’s relationship with UK orchestras was more visible than ever, not just as an employer of musicians but as a broadcaster and event producer. The ‘health’ of its platforms (Radio 2, Radio 3, and the BBC Proms) directly impacts the orchestral sector. With ongoing shifts in strategy, including discussions about a post-license fee future, what could this mean for UK orchestras?
20. If the BBC moves away from linear broadcasting, orchestras outside its direct control may lose significant exposure. How will they adapt to a more competitive marketplace to secure performance opportunities at a potentially revised BBC Proms?
21. If the Proms survives in a post-license fee world, how might its programming shift? If popular, crossover, and light music become dominant, what impact will this have on UK orchestras and their artistic choices?
22. How will the BBC’s editorial shifts influence broader audience appetites? Will orchestras need to align with the BBC’s evolving definition of classical music to remain relevant, or is there an opportunity to differentiate? Does the BBC need to reflect back to its audiences the diverse role orchestras play in their communities more than its doing at the moment?
23. Does the BBC’s evolving role present orchestras with a chance to develop stronger independent identities, or will it accelerate their marginalisation?
24. In an increasingly politicized media landscape, how does the BBC maintain transparency in reporting its impact on the UK orchestral sector without inviting external criticism?
