How the SLSO is building a bond with Gen Z
By Iain Shaw
The St. Louis Symphony Orchestra welcomes music lovers of all ages, demographics, and backgrounds to enjoy orchestral music and other SLSO programming at Powell Hall at the Jack C. Taylor Music Center. Younger music fans are a vital part of our community, and the SLSO is reaching out to Gen Z in online spaces and removing barriers to experiencing classical music in person.
First, it’s worth noting that the SLSO audience already leans younger than you might think.
According to 2024 data from Experian, more than half of our audience is now Gen X, Millennials, or Gen Z. That proportion has grown since then, and the SLSO aims to welcome even more Gen Z guests, roughly defined as the generation born between 1997 and 2012, over the years to come.
Making classical music feel accessible and human helps to make everyone feel welcome at Powell Hall. Concert attendance or ability with an instrument doesn’t matter. The SLSO’s range of programming includes appeals to a broad cross-section of the population, whether through a classical concert, a movie with live orchestra, an orchestral twist on the music of a pop legend, or an intimate chamber concert.
The SLSO’s Playlist Symphony Happy Hour concerts present orchestral staples in casual settings, with conductor remarks and visual storytelling that demystify the experience. This season’s Playlist concerts have already featured The Firebird by Igor Stravinsky and Ludwig van Beethoven’s Symphony No. 7. Look out for the next concert, featuring the work of Academy Award-winning composer John Williams, on March 19.
Concerts also pair symphonic music with genres Gen Z already loves— think Beethoven X Beyoncé—showing that classical music isn’t separate from contemporary popular culture; it’s part of it.
“Gen Z doesn’t need classical music explained to them in a stuffy way; they need to see themselves in it,” said Unitey Kull, Chief Marketing and Communications Officer.
“Gen Z engages with culture differently than older generations,” added President and CEO Marie-Hélène Bernard. “We’re intentional about meeting people where they are.”
On social media, the orchestra has captured viewers’ imaginations with relatable, authentic behind-the-scenes content showcasing not only our musicians’ talent, but also their personalities.
Scrolling sheet music videos let audiences follow along with complex pieces and understand what musicians are thinking in real time. One such example featuring Roger Kaza, Principal Horn, performing an excerpt from The Firebird garnered more than 196,000 views; this type of content has drawn more than 16 million views across SLSO social media platforms.
The Noted podcast, launched this season, offers a similarly accessible entry point. Hosted by Assistant Conductor Samuel Hollister and featuring guest appearances by SLSO musicians, these ten-minute deep dives offer valuable context—perfect for listening to on your way to a concert.
The SLSO is also building trust and rapport with Gen Z by partnering with community groups and influencers who have an instinctive connection with younger audiences. Content creator Tani Lior attended Opening Weekend this September after going viral with her reactions to classical music. This was her first time attending a live orchestral concert, and her visit generated over 10 million views, sparking genuine interest in classical music among her followers.
“It wasn’t because we manufactured it,” said Kull. “It’s because she genuinely connected with the music and the experience.”
Tapping into cultural references—sometimes unexpectedly—is another way the SLSO fosters curiosity about orchestral music among young people. “Morning Mood” from Peer Gynt happens to be the opening music to the video game Peggle. With almost 17 million views on TikTok and Instagram, a scrolling sheet music video of this piece featuring Principal Oboist Jelena Dirks and Associate Principal Flutist Andrea Kaplan is a singular example of how connecting one cultural realm to another can engage new audiences.
The SLSO can point to some significant success stories during the 2025/26 season. Thirty-two percent of 25/26 subscribers are new to the SLSO, and 40 percent of single ticket buyers across all concerts—including classical—are discovering the orchestra for the first time.
Gen Z will account for an increasing share of those numbers as we look further into the future, and the SLSO will continue to work at creating conditions that facilitate that.
“We’re removing barriers and creating genuine experiences,” Bernard said. “That’s what we’re after: real connection that builds lasting engagement.”
Iain Shaw is the SLSO’s Content Manager.
