The concept of ‘genre-fluidity’ is as old as the genre itself, but the concept has taken on a new meaning in the 21st century, as old boundaries between well-established fields of music have dissolved and artists have utilised new platforms to build their identities without regard for genre distinctions. While this is a healthy development for artists themselves, it is less clear how stakeholders in established genre-centric fields such as classical music can both support and benefit from this change. How can established institutions adapt to embracing these changes with authenticity while upholding legacy expectations and preserving trust with audiences?