By embracing platforms like TikTok and collaborating in unexpected spaces, Anna Lapwood has reshaped how audiences view both the organ and classical music more broadly.

Classical music has long faced the challenges of accessibility, slashing ticket prices only to programme the same “safe” works and expect new audiences to appear. This strategy doesn’t take into account the fact that many young listeners still find the concert hall overly formal, intimidating or simply irrelevant. Viral sensation, Anna Lapwood, has found another way by meeting new audiences in the middle instead of waiting for them to come to her. 

A professional organist, conductor and broadcaster, Anna has built a huge following online. Millions watch her TikTok and Instagram clips of late-night practice sessions (as is the norm for organists) and impromptu film score mashups for intrigued onlookers. In a world where the organ feels like an isolated instrument in the walls of a church, Lapwood has brought it to life in a personal and accessible way. 

From a PR perspective, what stands out is how her online presence has been embraced into live settings. The Royal Albert Hall has been quick to build on her popularity, whether through her role as Associate Artist or through new projects like the all-night “From Dusk Till Dawn” Prom in 2025.

Perhaps one of her more surprising examples came with her appearance in the SIDEMEN HIDE & SEEK IN WORLD’S BIGGEST THEATRE video, filmed inside the Hall. With more than 12 million views, it introduced one of the UK’s most famous classical venues to an audience that might never have considered stepping inside. This shows how an artist’s digital reach can become a genuine asset for organisations looking to diversify and expand their audiences.

Lapwood’s repertoire choices are just as important. Alongside traditional organ works she also performs film scores, pop arrangements and contemporary music. Some traditionalists may look down on this, but film scores and pop covers may be one of the biggest gateways into orchestral and classically inspired sound. Acknowledging this is by no means a sell out, but rather a way of building bridges.

A great example of the above would be Lapwood’s Ministry of Sound collaboration, but there are also good examples in wider culture such as the popularity of the Bridgerton Soundtrack or the orchestral performance at the Truck Festival (both of which are blog topics within themselves).

Lapwood’s accessibility and openness comes through how she communicates. Behind-the-scenes clips, informal introductions to the instrument and clear explanations of what she is playing all help remove the barriers that classical music often puts up. For new listeners, it signals that this world is not closed off, but something they can step into. 

The results speak for themselves. Her concerts sell out, her clips reach millions, and she has become one of the most visible classical musicians of her generation. More importantly she has shown that genuine connection and creative risk are effective tools, not just discounted tickets or programming alone. 

Anna Lapwood is not abandoning tradition. She is showing that classical music can feel current, open and exciting when artists are willing to experiment and share it honestly. For anyone in the industry, she is proof that social media is not a threat to classical music, but one of its greatest opportunities. 

Written by Nicola Kemp (Junior PR Manager in London)