Jacques Marquis
President and CEO,
The Cliburn
As we look toward 2026, the music industry faces a cautious landscape. In the wake of financial pressures, more and more presenters opt for secure programming, thereby often sidelining young artists. Compounding this, many organisations, including The Cliburn, grapple with the dual pressures of softer ticket sales and tighter sponsorship, leading to increased board scrutiny over artistic leadership. Our challenge is therefore to maintain confidence, but at the same time stay creative and evaluate all fixed costs.
The path forward, I believe, lies in relentless innovation, and in the implementation of new partnerships. For The Cliburn, 2026 is a strategic year without a competition, allowing us to focus on powerful digital storytelling through documentaries and a major docu-series. At the same time, we prepare for the next Junior Competition, which will be renamed Cliburn international Competition for Young Artists, in Dallas in 2027. All this expands our international awareness—a priceless asset—while creating new revenue.
In Europe, competitons often enjoy government support in large parts, while in North America, arts organisations can share costs and risks only to a small extent through partnerships with orchestras, halls and stakeholders. Diversification is our lifeline in the United States. We are actively cultivating every possible revenue stream: our agency, foundations, corporate gifts, digital content and endowment growth. This multi-market approach—local, national and international—is crucial for a small organisation with a global footprint.
Artistically, our core mission remains unchanged: we are a thrilling platform for exceptional talent. Competitions provide a unique, high-stakes environment that launches careers and fuels the future of classical music itself. My outlook for 2026 is therefore one of determined optimism. By forging sustainable partnerships and embracing new ways to share our artists with the world, we ensure that the spirit of Van Cliburn will continue to inspire and foster the future of classical music.
David Baile
Chief Executive Officer, International Society for the Performing Arts (ISPA)
A disclaimer – I tend towards optimism. However, I do not expect 2026 to bring full resolution to the geopolitical or social challenges currently shaping our world. Many of these issues are complex and deeply rooted. Yet there are meaningful signs of progress, particularly in the form of renewed global engagement. This is especially visible across parts of Asia, where several countries are developing or expanding platforms for cultural and professional exchange. These efforts feel less like a redirection and more like a widening of the global conversation – an extension of regional engagement that strengthens international ties.
Technology, and AI in particular, will continue to have a huge influence in 2026. While the debate around regulation, ethics and access will remain active, there is growing recognition of the practical benefits of AI. I expect the year ahead to focus less on abstract concerns and more on building workable frameworks that help societies integrate AI responsibly. Ensuring that regions with fewer resources are not left behind should and must become an increasingly visible priority, even if progress remains uneven.
Polarisation, whether political, social or cultural, will not disappear overnight, or, for that matter, in the course of one year. Recent years have demonstrated how easily divisions can deepen. But I believe there is a slow shift toward recognising that shared interests outnumber perceived differences. Artists and cultural leaders continue to play a crucial role in this space, offering ways for communities to connect, reflect and understand one another. My hope and expectation are that 2026 will bring a more explicit acknowledgment of culture’s power to bridge divides, even if the work remains ongoing.
Robert Baird
President, BAM! Baird Artists Management
More restrictive border scrutiny for all artists entering the United States
Crossing into the United States has always been tense but new guidance from the Trump administration is making it even more difficult. Now, border officials are urged to consider the health of people coming to the border and obvious conditions like obesity may be a determining factor on whether one is allowed in or not. Border officials will also consider whether an individual is likely to become a burden on the United States’ health system for any reason and this will be an impediment to entry as well.
More restrictive procedures for entry visas into the United States
There will be more difficulties in obtaining an entry visa into the United States. US Consulates will no longer waive interview requirements and there will be longer waits for appointments. In addition, foreign artists must apply for an entry visa in their country of residence as opposed to being able to apply at any US Consulate. Again, these regulations will cause delays in obtaining an entry visa.
More complicated filing procedures for visa applications from USCIS
Finally, the filing of an application for a work permit (O or P visa) will continue to become more complicated and expensive as USCIS requires eight months to process a visa application unless the extra fee (US $2,805) is paid for Premium Processing. In addition, the filing locations continue to change, and applicants will need to be more knowledgeable in order to file properly.
The system continues to operate as normal, albeit more slowly and at a greater cost.
Aubrey Bergauer
Changing the Narrative
Retention overtakes acquisition as the primary growth engine.
More organisations are realising getting new audiences, subscribers and donors every year won’t solve their financial challenges. Instead, the organisations experiencing the most growth are the ones focusing on retaining those new people and building loyalty, rather than churning through them. Retention is the path to financial resilience.
AI-assisted productivity becomes standard
I often preach that there aren’t a lot of ways arts organisations can save money. But the fast rise of AI is changing that – not for artistic decision-making, but for streamlining administrative load and freeing staff to do higher-value work. Many individuals are dabbling in AI, but the real gains in time savings and efficiency will come for teams that adopt early and embrace this technology for an operational leg up.
Community engagement matures into a full organisational strategy
Community engagement spans everything from education programmes to civic involvement, to being more representative of the people we serve. More organisations are recognising that these are big initiatives, no longer adequate to relegate to one department bearing the “community engagement” name, but an organisational strategy of community-centred inclusion affecting every team and team member’s work.
Organisations that embrace a larger digital media strategy will see more sales
Today, up to two-thirds of a brand’s marketing isn’t done by the brand itself, but by others: word of mouth, reviews and other social media channels beyond the institutional account. A growing number of Artistic Directors, CEOs and artists are cultivating strong online presences, and arts organisations that leverage these channels as part of a broader digital media and PR strategy (rather than leaving it to the individuals without institutional support) will see their marketing reach expand exponentially.
Olivia Brown
Founder, Stay Tuned
Daily social media use will finally begin to plateau. Data from the UK already shows an 11 per cent drop in time spent on platforms, with younger users reporting reduced Instagram and TikTok use and a growing focus on healthier digital habits. As AI-generated content becomes more widespread, people will naturally gravitate towards meaningful, high-quality content and interactions. Classical music is well placed for this shift. It lends itself to long-form, thoughtful storytelling, and we should lean into that: more podcasts, challenging yet respectful conversations, and better use of the incredible archives and human stories that give music its depth. The same curiosity that drives what we see on stage should be at our fingertips at home, but without the addiction of social media or the need to constantly chase algorithms. For the performing arts, this means focusing on curated, values-driven platforms, investing in owned channels (like email and podcasts).
Live performance continues to show strong signs of post-pandemic recovery. At the same time, digital concerts launched during the pandemic, such as VOCES8 Foundation’s LIVE From London, are still growing their audiences, especially internationally. This tells us two things: audiences still seek high-quality classical programming, and loyal fan communities are seeking ongoing connection. We might see growth in arts subscriptions, digital memberships and merchandise, once again mirroring wider trends in the “fandom economy”.
And of course, we can’t talk about predictions without mentioning AI. Across the creative and cultural sectors, we’re seeing more coordinated responses: unions, lobbying groups, and rights organisations are pushing for clearer frameworks around training data, attribution and performer rights. As audiences tire of low-quality AI content, real human stories will matter more than ever. For PR and marketing teams, this is an opportunity to champion authenticity, traceability and human presence, positioning the performing arts not as competitors to AI, but as its antidote.
Lee Clifford
Founder, CliffordCreative
As traditional arts journalism continues to shrink, 2026 will mark a turning point in how performing arts organisations tell their stories. The most important trend is the rise of owned video media, not as a supplement, but as a core pillar of strategy. Audiences increasingly expect to see and hear from artists directly. Video meets that expectation with immediacy, authenticity and emotional clarity.
Over the past several years, I have worked with festivals and arts organisations across the United States creating social content, documentary-style shorts and performance videos. Recent projects include a tourism-focused reel for Manchester Music Festival, short documentary features on the education programmes at Meadowmount School of Music and Green Mountain Chamber Music Festival, and behind-the-scenes social clips of Chicago Youth Symphony Orchestra’s performance at Lollapalooza. These are not glossy advertisements; rather, they are human stories that deepen audience connection and provide a foundation for marketing, donor cultivation and education outreach.
Owned media is powerful on its own, but it also fuels earned and paid media. When crafted strategically, a short artist interview may generate feature coverage, become a donor stewardship tool, appear in a grant application and be repurposed for digital ads. It is scalable, reusable and adaptable, which is especially vital for small and mid-sized organisations with limited marketing and PR resources.
In 2026, the shift from reactive promotion to proactive storytelling will become even more pronounced. Marketing teams will collaborate more closely with artistic staff and filmmakers. We will see arts videos used by tourism boards, community development agencies and education partners. And we will see video content used not just to sell tickets, but to articulate values, document creative risk and reach new audiences who may never read a press release.
Video gives the arts sector something invaluable: narrative control. That will define the year ahead.
Katherine Connor
Executive Director, PAC Australia
We think 2026 is going to be a year of recalibration for arts organisations. Funding is having to stretch further than ever, the workforce still needs replenishing, and audiences are making more deliberate choices about how they spend their time and attention. If arts organisations aren’t prepared to meet these challenges, they may find that 2026 becomes their tipping point.
The rapid growth in the application of AI in business will see a huge uplift in how arts organisations experiment with or adopt AI tools – but I expect the sector will be thoughtful, rather than completely resistant, to how we ethically govern the implementation of AI as a business tool.
In Australia, our current national cultural policy Revive was developed while we were still emerging from pandemic conditions – in 2026 we’re looking forward to the first review and revision of the policy to respond to the world we are in now, and where we want to be. A large part of this conversation has to be around climate and sustainability, workforce development, protection of human authorship in AI-generated content, and a commitment to reimagining how we understand and grow our collective audiences.
At a recent Australia/Singapore Cultural Leaders Forum convened by the Federal Office for the Arts, a common thread between artform leaders was that there remains a disconnect between the investment (human and financial) in making a work and getting an audience to see it. Contemporary music is a great example – it’s never been easier to create work, but getting an audience to engage with it is harder than ever. We’re all in a more competitive space for audiences and public attention, not just because there’s so much out there vying for that attention, but also the way we are consuming art is changing, giving audiences more agency than ever.
Hence the need for some serious recalibration. For many arts organisations, this might look like a strategic re-centring of audiences in all they do, diversification of practice and output, or even an increase in the number of organisations choosing to formally merge and consolidate resources. Forward-thinking companies will see this not as failure or defeat, but as evolution and ripe with opportunity.
Gilles Doré
Executive Director, CINARS
This era of social and cultural turmoil offers a unique opportunity to redefine the place of the performing arts in our societies and to affirm the essential role of artists as ambassadors of human vitality and diversity.
Recent socio-political and economic changes are redefining the rules, challenging the international movement of artists and the business models of companies. Several obstacles are undermining cultural exchanges, compounded by digital neocolonialism, which threatens the diversity of local cultures struggling to survive in the face of algorithmic domination. These pressures are forcing small and medium-sized nations to rethink not only their national cultural policies, but also the international reach of their culture in order to preserve the plurality of voices and guarantee the richness of human creation.
On a more positive note, technology is influencing contemporary art forms, which are becoming increasingly hybrid and engaging in dialogue with audiences. Seated in front of the stage, spectators in search of meaning seek to renew their relationship with the performing arts. The same phenomenon is occurring behind the scenes, where our modes of creation and interaction are transforming, accelerated by technologies that blur the boundary between humans and machines. Without denying our great classics, hybrid creations reflect this new synergy, building new dialogues that give rise to bold and sensory stage experiences that captivate their audiences. As a result, new networks of programmers and audiences are emerging.
Societies are changing, as are the performing arts, which, full of resilience, are indeed in a pivotal year. The new generation, curious and aware, will be able to invent forms and dialogues that rise to the challenges of our time. A new generation that is increasingly open-minded, and one that we are ready to support.
Cath Hume
CEO, Arts Marketing Association (AMA)
Brand building to increase in importance to tell organisations’ stories and compete with the sofa
We have seen how mega stars such as Taylor Swift, Charli xcx and Sabrina Carpenter have all created a “vibe” and overall aesthetic that is akin to world building. They have shaped immersive experiences that cultivate community and fandom, with Swift being an expert in establishing narratives and engaging fans with easter eggs. Organisations will need to ensure they are building their “worlds” to stand out from the crowd, capture the attention of digital natives, and successfully compete with the urge of many audiences to remain in the comfort of their living rooms.
Generative AI and agents to impact on purchase decisions
The role of Generative AI and agents in purchase decisions will have ramifications for ticket sales as they will be increasingly mediated by AI, which will recommend organisations and their “content”. LLMs (large language models) must be primed with the meaning of your brand and what you offer, so organisations will need to be creating clear and structured storytelling around what they do, and how each performance or event contributes to that narrative to increase their visibility.
Relationships will be essential to media coverage for performing arts
Automation is rapidly changing PR, but relationships will still come out on top. Newsrooms continue to shrink with local media particularly affected. The journalists who remain are left to sift through inboxes full of AI-written pitches. Genuine human connection and being available to grow relationships with the press will be even more crucial to getting cut-through. Organisations will need to better understand the needs of journalists and ensure they are crafting relevant messaging that makes their jobs easier.
Mark Pemberton, OBE
Arts Consultant
It continues to be a tough time for British orchestras. Public funding remains squeezed, and there are often conflicting demands from audiences, funders and musicians. This poses a particular challenge for leadership. So in 2026 we will continue to see a shift away from the traditional “heroic” model of leadership, often embodied in a white middle-aged male, to one where leadership is distributed more democratically across the organisation, and where the people appointed into leadership positions are more reflective of today’s society.
Questions over equity, diversity and inclusion in classical music will remain high on the agenda but supplemented by a new focus on barriers to progression for those from lower socio-economic backgrounds. Class remains classical music’s weak spot, which should come as no surprise after decades of under-investment in music education in state schools.
We cannot move for predictions that AI will take over the world, and classical music is no exception. Indeed, a quick ask of ChatGPT of what it thinks are the trends for orchestras is illuminating. It suggests new technology, immersive experiences, cross-genre collaboration, financial diversification and flexible formats, which sounds like a fair summary. But it misses another key trend, and one that illustrates the threat that AI poses. While most jobs in orchestras are immune to replacement by AI, especially musicians, some entry-level jobs face being replaced, particularly those involving research and writing.
We are also seeing an unwelcome trend towards junior management roles being paid a salary barely above the National Minimum Wage, and what used to be full-time jobs being made part time. While the desire to save money is understandable, we risk betraying a new generation of graduates who might well make a positive contribution to our industry but will be deterred by lousy pay and conditions.
Lisa Richards Toney
President and CEO, Association of Performing Arts Professionals (APAP)
If the past few years have taught us anything, it’s that the performing arts are no longer a side stage to society – they’re centre stage in how communities heal, connect and imagine. As we look toward 2026, the field is not returning to what it was; it’s composing what’s next.
From scarcity to abundance thinking
After years of contraction, organisations are re-framing limitation as opportunity: leveraging partnerships, shared spaces and civic collaborations. The new measure of success isn’t size, it’s synergy.
Advocacy becomes everyday work
Advocacy is moving from capitols to the community. Artists and presenters alike are learning to speak the language of policy, economics and wellbeing, making the case that the arts are infrastructure, not ornament.
Touring under pressure – and with purpose
Touring remains the heartbeat of the field, but resource-sharing is the new frontier. Visa fees, travel and housing costs have soared. The response: deepened collaboration through cooperative touring circuits, co-produced residencies, and regional “constellations” that spread expenses and deepen local ties. The next touring model isn’t about cutting back; it’s about pooling forward.
Technology as creative partner
AI and immersive tools are no longer novelties; they’re collaborators. The challenge now is not whether to use technology, but how to do so with integrity, keeping human intention at the heart of innovation.
Belonging as the new benchmark
In an era of division, the measure of excellence is inclusion. From programming to leadership, audiences to artists, belonging is emerging as both a moral imperative and a business strategy.
The takeaway:
The next era of the performing arts will be defined by alignment – between purpose and practice, technology and humanity, art and advocacy. The field isn’t just performing anymore; it’s leading.
Jen Taylor
Director (AI Strategy & Integration), Capacity
AI moves from experimentation to infrastructure
2026 is the year arts organisations stop dabbling and start building. AI will shift from “a thing we should try” to “a layer beneath how we work”. The urgency is real: staff capacity can’t keep pace with rising expectations around content, communication and personalisation; and audiences now expect clarity and seamlessness because they experience it everywhere else.
The organisations that thrive won’t be the ones using AI for a handful of marketing tasks, they’ll be the ones investing in AI literacy, governance and staff-wide adoption.
Audiences choose experiences, not just art
In 2026, audiences will be more selective than ever. Organisations can no longer rely on insider language, assumed cultural literacy, or the idea that new audiences will simply “figure it out”. The competition now extends far beyond the arts, from restaurants and sports to streaming platforms, all competing for our audience’s time and money.
Clear and welcoming communication will be a survival strategy. The programmes that articulate why an experience matters, how it feels and who it’s for will outperform those leaning on tradition or expertise alone. Audience-first storytelling isn’t new but ignoring it now carries real consequences.
The rise of answer engines
Discovery is shifting more meaningfully away from traditional search engines to answer engines like ChatGPT, Claude and Google’s AI Overviews. Organisations relying solely on SEO will quietly
lose visibility.
To lead, you’ll need to build distributed content ecosystems across the web, recognising that your organisation’s website will no longer be the single source of truth. You’ll be optimising for an entire layer of AI agents summarising the internet on behalf of your future audience.
Mark Walmsley FRSA FCIM
Founder and Chief Culture Connector, The Arts and Culture Network
As we prepare for 2026, it’s clear that we are living through a profound transition – from an economic age to a cultural age. For more than two centuries, economic growth has been prioritised above all else, often at the expense of human and planetary wellbeing. As Paul Schafer of The World Culture Project has argued, “the costs of developing economies are starting to outweigh the benefits”, and the way forward lies in cultivating cultures.
The evidence is compelling. UNESCO estimates that the cultural and creative industries generate over US$2.25 trillion annually. According to UNCTAD’s (United Nations Conference on Trade and Development) Creative Economy Outlook 2024, these industries now account for around six per cent of global employment – roughly 186 million jobs worldwide. The arts are not a niche pursuit; they are one of humanity’s most powerful economic and social engines.
Yet as artificial intelligence (AI) advances, we are reminded that human creativity – emotional, intuitive and unpredictable – remains our most valuable and irreplaceable resource. It fuels innovation, empathy and connection across borders. But creativity also needs investment. Funding remains key to nurturing innovation, international collaboration and equitable participation in this new cultural era. Tragically, those who most deserve and need that support are often the least well equipped to access it.
The future must therefore be built from the ground up, starting with new connections that create community, which in turn creates access and opportunity. At The Arts and Culture Network (ACN), we see daily proof that when creatives unite, resources and recognition flow more democratically and compassionately.
If the powers that be can’t or won’t do it, we will. The cultural age belongs to those who connect, collaborate and cultivate a world where creativity leads – not follows – the agenda.
