Artists are expected to innovate—so why isn’t the industry doing the same?
By Kathleen Alder
After a packed week of classical music events, receptions and award ceremonies, a single question lingered: we expect artists to push boundaries, evolve their craft and reach new audiences, but what are we doing as an industry to support them in that evolution?
The short answer: not enough.
It struck me how much of the conversation around innovation in classical music still focuses almost exclusively on the artists. How to modernise repertoire? Engage younger audiences? Translate tradition into something contemporary?
All valid. All necessary. And yet, while artists are experimenting and adapting at breakneck speed, much of the industry—especially in public relations—seems like it’s standing still.
The comfortable illusion of prestige
What brought this reflection into sharper focus was something I saw repeatedly across events, newsletters and social feeds.
Client announcement? The Guardian. New album? The Times. Another concert? Same three reviewers.
It was a carousel of coverage that, on the surface, looked like success. But all I could think was: Is this really the best we can offer?
We all know the rhythm: the same outlets, the same handful of names, the same pursuit of “prestige press” that we quietly acknowledge no longer moves the needle. It’s a comfortable illusion. And it’s dangerous—not because those platforms have no value, but because they’ve become a default rather than a decision.
If the true purpose of PR is to connect, to contextualise, to create resonance between artist and audience, then we need to be honest: coverage alone is not connection, and repetition doesn’t equal relevance.
When PR can’t fill the hall—and shouldn’t have to
The misunderstanding of PR’s role becomes most obvious when it’s asked to deliver results it was never designed for. Take a recent example involving the Berlin Philharmonic. The request? Help fill the hall for an important concert—quickly.
The initial expectation was clear: press coverage, interviews, newspaper features—the classic toolkit.
But here’s the truth: that strategy doesn’t work anymore—at least, not on its own. We were direct. We advised the client to redirect their budget toward marketing, where spend can be tracked through real outcomes: reach, click-through rates, engagement and, ultimately, ticket sales.
Because while a glowing feature may stroke egos or look impressive in a board meeting, it rarely converts to action, especially when that audience already knows the artist or organisation’s name. If you want numbers, marketing is your front line.
At WildKat, we’re always transparent about this. If the goal is visibility, long-term reputation or strategic storytelling, we champion PR. But if the aim is conversion, we’re honest: your money is better spent on channels where outcomes are measurable.
That’s not failure, it’s clarity. And it’s time we treat PR as part of a wider ecosystem, not as a silver bullet.
PR versus marketing: A necessary realignment
This leads to a broader point. In the age of metrics, marketing has the upper hand—and rightly so. It gives us data, feedback and the ability to test and adapt in real time. Meanwhile, traditional PR still often relies on “exposure” as its core value, without a clear link to behaviour.
But if PR continues to define its worth only through mentions in legacy media, it risks irrelevance. Instead, PR should evolve to become a narrative strategy, cultural framing, insight and positioning. It should be the voice that tells the why, not just the what.
The future of impactful arts communication lies in the integration of marketing and PR—not in their separation. Each serves a role, but only when aligned with purpose.
Artists are already moving forward. Are we?
What makes all of this even more striking is the contrast with what artists themselves are doing. Many are pushing boundaries—mixing genres, embracing digital platforms, rethinking identity and access. They are building their own audiences with authenticity, experimentation and creativity. But too often, the support systems around them are locked into a model two decades out of date.
As PR professionals, we should be enabling risk, not recycling routine. That means challenging our own habits—diversifying media targets, exploring new formats, listening more deeply to audience insight, and designing campaigns that reflect real cultural shifts, not just reputational goals.
A time for honesty—and ambition
This isn’t a rejection of legacy. It’s a call to build on it. Because true relevance isn’t about abandoning the past—it’s about translating it meaningfully into the present.
At WildKat, these questions aren’t just theoretical—they shape the way we’ve evolved. While we’re still often referred to as “WildKat PR”, the reality is that our work now spans both strategic marketing and communications. That includes everything from digital campaign planning to audience development, media relations, content creation, partnerships and brand building.
We’ve created dedicated departments and new skillsets not because it’s trendy, but because it’s essential. As the industry shifts, so must we—and that’s why we’re speaking not just to journalists, but to marketers, digital specialists, creative producers and above all, audiences.
At WildKat, where these questions shape much of our daily thinking, we’re investing in new formats, new partnerships and more fluid, purpose-led definitions of success. We work with our clients not just to get visibility—but to build real resonance.
This is the work ahead of us: not just championing artistic innovation but mirroring it in our own practices. So let’s raise our expectations—not just of the art, but of the infrastructure around it. PR isn’t dead. But it does need to grow up.
And that growth starts with asking: Are we doing this because it works—or just because it’s what we’ve always done?
