BBC Proms Boss Advocates for Relaxed Smartphone Etiquette to Welcome New Audiences
The head of the BBC Proms has called for a more relaxed approach to smartphone use during classical music performances, warning that rigid etiquette rules risk alienating a new generation of listeners. Sam Jackson, who also serves as controller of BBC Radio 3, made the comments amid ongoing debate about mobile phone usage at live cultural events.
Debate Over Phone Use Risks Driving Away Newcomers
Jackson emphasised that while he doesn't encourage widespread phone use during performances, the classical music world must avoid creating barriers for newcomers. "Anything which makes them feel the Proms is welcoming to them is a good thing," he told The Times. "What I am not saying is that I want everyone to have their phones out. It is absolutely not that. But there is a real risk in the classical music world that we hold back from welcoming new people."
The Proms boss pointed to significant demographic shifts in classical music audiences, noting that 40 percent of ticket buyers for last year's Royal Albert Hall Proms were under 40 years old. "Sometimes it's a bit like the perennial thing about clapping between movements," Jackson explained, comparing smartphone etiquette debates to longstanding classical music controversies. "Sometimes somebody gets a phone out to take a photo. It's because they have not been to a classical concert and they are from a world of rock and pop where that's what you do. I think it should be celebrated that we have new people coming."
Contrasting Views from the Performing Arts World
Jackson's comments follow recent criticism from Olivier-winning actress Lesley Manville, who described smartphone photography during theatre curtain calls as "insulting." The actress, currently starring in Les Liaisons Dangereuses at the National Theatre, urged audiences to "take the digital out of it for just a moment" during performances.
"Come on, it's theatre – let's preserve it," Manville stated on Radio 4. "We are all in this room, we are telling you a story, you're listening – clap or don't clap, but don't just stick your phone in our face. I find it insulting."
However, former Strictly Come Dancing professional Oti Mabuse offered a contrasting perspective, suggesting that for some audience members, taking photographs can commemorate special experiences. "I get her argument, but theatres nowadays is so expensive – if a family has travelled far and saved up every last bit of their money to come to the theatre to enjoy, and this is their first or very last time, that one picture will make their absolute life," she said.
Ongoing Tension Between Tradition and Modern Audience Behaviour
The debate over smartphone usage at cultural performances has persisted for more than a decade, with concert halls and orchestras gradually relaxing their rules in recent years. Jackson noted that most concertgoers still prefer to "step out of the madness of the world and immerse themselves in great music," while acknowledging that "others choose to behave differently."
"We are not in the business of telling people exactly how they have to behave," Jackson asserted regarding Proms audiences. "I think like at any communal event, you pick up on the signs around you. If you are in a mosh pit, it is slightly different to watching Mahler."
The tension between traditional etiquette and modern audience behaviour was highlighted in 2024 when classical tenor Ian Bostridge stopped mid-concert after becoming distracted by audience filming. The City of Birmingham Symphony Orchestra had given permission for photography during the performance, but Bostridge expressed concerns about the impact on artistic expression.
"You're doing something that's very difficult and also you're trying to project a lot of emotion through music," he said at the time. "We do have an issue with attracting new audiences, but I don't think this is the way to go."
As cultural institutions continue to navigate these evolving audience dynamics, Jackson's comments represent a significant intervention from one of Britain's most prominent classical music leaders, advocating for balance between preserving performance traditions and embracing new audiences.
