In the past five years or so, classical music’s popularity has grown among young people, with the demographic of listeners both streaming and at in-person concerts skewing much more to the younger generations.
A ClassicFM article published in 2020 showed that while, a decade ago, less than 10% of classical listeners were under 30, in 2020 that percentage had grown to a third (34%) of overall listeners. A more recent article from ClassicFM published in January of 2025 showed that 65% of people under 35 were now regular listeners of classical music.
Many attribute this ‘spike’ in classical music largely to the pandemic, where the rise of social media aesthetic subcultures based on romanticizing the everyday, such as Dark Academia, Light Academia, and Cottagecore, drew in the masses as people were stuck in their houses living rather unromantic realities. This has resulted in a resurgence and re-popularization of “highbrow” cultural activities among young people, such as listening to classical music, attending the ballet, reading more frequently, and visiting art museums.
Whether this return to classical roots is directly due to any of these factors, as opposed to a general cultural shift, is hard to say. Regardless, many attribute this Classical Music resurgence in part to the rise of TikTok and other social media, as they have made it easier to access information about classical music, interact directly with modern, young classical musicians and classical performance companies, and promote modern pop musicians who are using classical influence in their work.
Barriers to entry: Eurocentrism, elitism, and accessibility
Classical music has been the subject of much discourse in the world of music and media, being critiqued by many for perpetuating elitism and Eurocentrism. According to an article published by Classic FM, classical music is defined by the Oxford English Dictionary as “music written in a Western musical tradition, using an established form. Classical music is generally considered to be serious and have lasting value.” This definition is, however, not actually definitive in the slightest; the very core of its defining factors, arguably the fact that it is “Western” and “valuable,” are largely subjective and, therefore, subject to vary based on societal interpretation.
In an LSE Blog article, Kristina Kolbe calls into question the conventions we have in Western Classical music, and breaks down the need for more diversity initiatives in the industry.
“Classical music has long been tied to Eurocentrism, elitism and institutional whiteness – and institutions like opera houses, orchestras and conservatoires still tend to serve as places of “highbrow” culture, where access to both consumption and production is often mediated through race and class”
Classical music is often associated with being a “highbrow” artform, being for those with “intellectual and rarefied taste” (OED). It is usually regarded as unapproachable, with listeners feeling like they need to have a background in music theory or performance to properly “understand or appreciate” the music. Concert-going is expensive and feels like an unwelcoming space, with older concertgoers side-eying young listeners, assuming they will be disruptive, or shooting disappointed glances at those who clap between movements in the middle of a larger work.
There are myriads of unspoken conventions like clapping (or not clapping) at specific times, or knowing that the soloist for a concerto will come out for multiple bows (and likely an encore), associated with classical concerts that newer audiences wouldn’t know. Instead of briefing audiences with a short explanation of these conventions before the concert, or in the program, they are left to fend for themselves among the judgmental glances of season-ticket-holding retirees just waiting for the group of teenagers to mess it up. This leaves live performance spaces often feeling unwelcoming, with seemingly-impossible barriers to entry.
Modernizing the classical world
Like with many Western forms of art, it isn’t that we should abolish classical music entirely for its ties to elitism and exclusion but, rather, that we need to make a concerted effort to make it a space of inclusion and accessibility. Many modern musical scholars and performance agencies have taken this into account, and there are many efforts to do this such as pushes to diversify the canon to include marginalized voices, rethinking the limits of classical music performance and interpretation, and revolutionizing performance conventions to include technology, social media, and audience participation.
Once again, social media has come to the rescue for many young concert-goers and classical music enthusiasts, with individuals or social media teams for major philharmonics filling audiences in on these “rules” or even inspiring debates challenging these conventions. The Malaysian Philharmonic, for example, posted a step-by-step guide to when to clap in these concerts, a video which gained over 11k likes and engaged young listeners in the comments.
Similarly, the official TikTok for the London Symphony Orchestra posted a video of audience members clapping in the middle of a concerto, resulting in the soloist, orchestra members, and conductor laughing amiably and appreciatively. The social media team included the caption “Are you team 👏 or 🤐?” questioning the importance of these conventions and encouraging young people to engage with and consider the question themselves. This not only questions the rigidity and importance of these conventions, but also brings young people into the conversation, making them feel as though they have a place and a voice in the world of classical music enjoyment.
Simple initiatives such as introducing social media pages, participating in trends, and inviting audience/public participation in choosing repertoire brings the music and culture around classical music into the hands of younger generations, making them feel included in these spaces.
TikTok’s contributions: Trending sounds
Recently, well-known classical music pieces have become trending sounds, often even going alongside video trends.
The “Dies Irae” from Verdi’s Messa da Requiem, for example, has been used for over 195K videos, and is a trending sound for videos using the painting of a man pointing at a woman in court by an unnamed artist. Videos using this sound have attracted millions of views and likes.
Tchaikovy’s “Dance of the Four Swans” from his Swan Lake ballet has gained traction as well, with 65K videos using the sound for anything from making sandwiches to walking their dogs:
Some of these pieces are used simply as sounds, with people perhaps not thinking twice about the piece itself, what larger work it’s from, who the composer is, etc. Personally, I still think this kind of traction with famous classical repertoire is excellent, and an important part of breaking down the barriers to entry with classical music, including deconstructing the notion that classical music can only be enjoyed in an academic setting, or by those who possess significant musical theory or history knowledge. Hearing these pieces in casual settings increases visibility of classical pieces, and makes classical music something that is more recognizable, and therefore approachable, for younger and less-experienced audiences.
Music education and exposure
There are also a plethora of videos, however, that have gained significant traction for the pieces themselves. The TikTok account for the famous Teatro alla Scala —a Milanese opera house, and one of the most famous performance venues in the world— posted a video of their orchestra performing “Dance of the Knights,” including background information about the piece in the caption. Comments raved about the beauty of the piece, costumes, and choreography, with some commenters remarking that they had never seen the choreography before.
Many users commented that they knew the song, but didn’t necessarily know the context or what the choreography looked like live.
Posting videos of professional scale productions brings high-quality performance to those who might not be able to access it live.
TikTok has also become a space for both individuals and professional companies to educate about classical music pieces.
Trending aestheticism
In addition to independently-trending sounds, growing enthusiasm for classical music has partially stemmed from more general digital micro-trends such as Dark Academia, Light Academia, and Cottagecore. These aesthetic movements idolize the pursuit of knowledge, and aim to create an aestheticized ambiance by romanticizing everyday life.
The #DarkAcademia on TikTok is by far the most popular of these aesthetics, with over 626.5K posts. The majority of videos feature piano or other classical music in the background.
This micro-trend has inspired countless YouTube and Spotify playlists as well, with thousands of saves each. These playlists often include majority piano music, and Romantic or Impressionist-era orchestral pieces that help in creating the “Dark Academia Vibe.”
Young classical musicians and increasing visibility
Social media has not only increased classical music’s visibility as a whole among young people, but it has also significantly aided in promoting younger classical musicians in the industry. Artists like Anna Lapwood (British Organist), Esther Abrami (French Violinist), Yuja Wang (American Pianist), and Jakub Józef Orlínski (Polish Countertenor) have gained massive social media followings, aimed at inspiring more young people to get into classical music.
Anna Lapwood has over 2 million followers across social media platforms, and has worked with the BBC Proms to relaunch #ClassicalMusic on TikTok, as a way to break down barriers to entry for classical music and make the genre more accessible to young people. She regularly posts POVs of her playing organ at esteemed venues such as Royal Albert Hall, giving insight into the experience for many who might not have ever seen or heard organ in a concert setting.
Her TikToks regularly gain millions of views, including this video which gained over 7.5M views and 1.2 million likes:
Yuja Wang is another recent star in the classical music world, a pianist who made her start as a prodigy student at the Curtis School of Music, one of the most esteemed conservatories in the United States. She now has over 470K followers on Instagram, and has become somewhat of an internet sensation in the past ten years.
She has gradually drawn more and more public attention not only due to her virtuosic musicianship skills and technical excellence, but also due to her unconventional performance style, including extravagant (and often slightly risqué) performance attire and stylized bows.
Fans on social media have grown to love Yuja, with videos showing off her “iconic bow” and fashionable outfits gaining over 1M views:
Though now 38 years old, she first began attracting controversy over her performance attire a decade ago. In an interview from the London Telegraph in 2014, when asked about her risqué concert attire, Yuja responded:
“I am 26 years old, so I dress for 26. I can dress in long skirts when I am forty.”
This choice aids in her performance and stage presence, creating a bit of dramatic flair and contrast to the intensity of her piano playing. More importantly, it also breaks down conventions in classical music such as what appropriate concert attire has to look like.
Commenters on the above TikTok were especially enthusiastic about her breaking-down of clothing standards, commenting the following:
Esther Abrami is another young star, a 28-year-old French violinist who markets herself as being “an inspiration to a new generation of music enthusiasts.” An undeniable talent, she has documented her rise to fame on various social media platforms. This has led her to gain a large following as she posts behind-the-scenes glimpses into the life of a professional classical musician.
When asked in an interview why she began her social media journey, she said:
“I have now over 300K followers on my channels, 80% of them are under the age of 30. I receive messages every day from young people telling me that I inspired them to start playing the violin and that for me, is a totally priceless reward.”
Jakub Jozef Orlinski, a Polish countertenor, has become well-known for his unique vocal range and ton. also for his support of visibility for younger artists in the classical world. In an interview with the BBC in 2023, Orlinski highlighted the importance of this visibility:
“Orliński agrees that classical music has achieved an “almost hipstery” status of late. “It’s cool to go to the opera, to know something, and that’s because there are a lot of young artists delivering music on the highest level, while making it very entertaining,”
Young audiences and live performance
Banking on the growing popularity of classical music among young people, and in an effort to recuperate after significant financial loss during the pandemic, many professional opera houses and concert halls have introduced initiatives to bring more young audiences in for live performance.
In the UK, for example, the orchestral sector has almost tripled the number of events dedicated to bringing young people in to see live performances, altering ticket prices, venues, and programming to attract younger audiences through concert ticket schemes. World-renowned venues such as the Royal Ballet and Opera and London Sinfonietta, for example, have introduced an Under 30s scheme, which include tickets as low as £5 tickets for select concerts.
Alleviating the financial burden of concert ticket prices (which, at standard rates, can easily cost $50-$100 for decent seats), as well as marketing events at being targeted specifically at young people can massively increase concert attendance for younger audiences. Some of these schemes include specific performances aimed at those who are part of the scheme, for example the Young Adult Pass performances put on by the Paris Opera, aimed specifically for those under age 28.
Attending these performances can also become more of a social event, where young people feel inspired to enjoy beautiful performances with their peers, as opposed to the usual largely-elderly crowd. While there is something wonderful about performance to bring together a large array of demographics, it can also be nice to be in a space where you feel like you are the intended audience (literally).
Why classical music matters
So, why does this resurgence even matter? Why should we listen to classical music at all?
Again, I am by no means here to argue that Classical Music is in any way a superior artform, or that it should be pushed upon young people as being so. However, it is a staple in the development of much of our modern music in the Western world, and it is important to be familiar with classical music to have a deeper understanding of contemporary Western culture.
Additionally, the technicality behind many of these works are beneficial as well. Classical music can evoke deep emotional responses in listeners and are more mentally stimulating than some other forms of music, navigating complex melodic and harmonic lines and following rhythms and structural patterns. These features have been proven to increase cognitive function through improving memory, attention, and creativity.
Finally, the repertoire that is currently part of the Classical canon contains absolutely beautiful and genius musical contributions that should continue to be enjoyed by future generations. I, for one, am very glad that Classical music seems to be making a comeback, and hope that it will continue to grow and develop and adapt to be enjoyed for years to come.
