Classical music often struggles to reach new audiences. But Head of Classical Music at the Southbank Centre in London, Toks Dada, is optimistic and leading the charge to evolve this timeless art form. In an interview with music journalist Jo Frost at Classical:NEXT 2025, Toks shared his insights on how orchestras can innovate and engage with broader audiences, a conversation that is both timely and necessary for the future of classical music.
The Role of the Southbank Centre
The Southbank Centre stands as the UK’s largest multi-art form arts center, located on the scenic south bank of the Thames. It boasts three concert halls, a gallery space, and the National Poetry Library, among other amenities. Toks emphasises the significance of public spaces within the centre, where roughly two-thirds of the area is accessible without a ticket. This commitment to accessibility is a cornerstone of their mission, allowing more people to engage with the arts.
Evolving the Orchestral Model
During the 2025 Conference session Toks chaired, he explored the future of orchestras and how their traditional models could benefit from a refresh. With over 15 years of experience working with orchestras, he noted that many aspects of the large-scale classical model might hinder progress in reaching new audiences. The panel included leaders from organisations like the Manchester Collective and Paraorchestra, who also shared their innovative approaches to presenting classical music.
Innovative Collaborations
Toks highlighted key projects that exemplify the Southbank Centre’s commitment to innovation. For instance, the collaboration with the Paraorchestra on “Symphony of Sorrowful Songs” transformed the Queen Elizabeth Hall foyer into a 17th-century alehouse, allowing audiences to experience classical music in a unique setting. This approach not only preserved traditional repertoire but also made it more relatable to contemporary audiences.
The Double Bill Format
One of the standout initiatives discussed was the ‘double bill’ format, which features two distinct parts to a performance. The first part appeals to traditional audiences, while the second is designed to attract newcomers. This innovative approach has proven successful in engaging diverse audiences and creating a more inclusive experience.
The Multitudes Festival
Dada also shared insights from the recent “Multitudes” festival, a 10-day event that showcased collaborations between orchestras and artists from various fields, including circus and dance. Impressively, 59% of attendees were first-timers to classical music at the Southbank Centre, underscoring the success of their efforts to reach new audiences.
Toks Dada’s vision for the future of classical music is not only ambitious, but also essential for the survival of the genre. By embracing innovative models, fostering collaborations, and creating accessible experiences, the Southbank Centre is setting a precedent for how classical music can evolve and thrive. The key takeaway is clear: to ensure classical music’s relevance, the industry must adapt and innovate, making it welcoming for everyone.