Five key audience trends reshaping arts marketing in 2026

Audiences are changing faster than many of us can keep up with. They're booking differently, expecting more, and making calculated decisions about where to spend their time and money. The rules we relied on five years ago – the traditional sales funnel, predictable booking windows, passive consumption – are being rewritten.

Over the past year, through audience research across heritage and cultural organisations, training sessions, and conversations with marketers navigating these shifts, I've identified five trends that aren't just interesting observations – they're reshaping how we need to work. These patterns cut across venue type, artform, and geography. Understanding them isn't optional anymore.

I’ve focused on five areas:

• Savvy audiences with high expectations;
• The growth of wellbeing-led experiences;
• The importance of fandoms and communities;
• Re-shaped planning and booking behaviours;
• Value-seeking and risk-averse audiences.

TREND 1: Savvy audiences with high expectations

Audiences have endless options for their free time, and we've never faced fiercer competition for their attention and money.

Audiences’ expectations are high, their patience is thin and their desire for immediate gratification strong. When next day delivery, personalised streaming recommendations and swiping left are the norm, buried information, clunky booking processes and generic marketing won’t cut it.

Audiences expect transparent pricing, frictionless booking, clear signposting, and excellent customer service. They want flexibility, autonomy, and the trust to engage on their own terms.

They are making calculated decisions about memberships and tickets, doing their research, and paying attention to recommendations from friends, families and influencers.

Audiences’ expectations also extend to values, both in terms of alignment between organisational missions/values and actions (such as allyship, or who they accept sponsorship or philanthropy from), and alignment with audiences’ own values, with two in three people saying they tend to buy from brands that reflect their personal values. Many audiences are not afraid to choose alternatives, boycott, or call out hypocrisy and performativity, in particular Gen Z and Millennials. When experiences, facilities or customer service don’t live up audiences’ expectations, they are not shy about telling others, and this can be amplified via media, online reviews and social media.

Marketing implications: Map your entire audience journey and identify the friction points. Where does your booking process stumble? Is your pricing transparent and fair? Can audiences find what they need in three clicks or fewer? Personalised communication isn't a nice-to-have anymore – it's what audiences expect. And remember: organisations with trust and goodwill in their reputation bank will weather the storms when things go wrong.

TREND 2: The growth of wellbeing-led experiences

Many audiences are prioritising and valuing experiences over material purchases, eschewing accumulating stuff in favour of making memories. And the importance placed on mental and physical wellbeing – turbocharged during the Covid 19 pandemic – shows no sign of waning. Walking, connecting with others, being in nature, mindfulness, digital detoxes, living in the present and limiting ultra-processed foods are in. Recent viral online trends reflect this, such as Sleepmaxxing (optimising sleep), Hot Girl Walks (purposeful walking) and The Great Lock-In (self-improvement).

Of course, this has been commercialised, with the global wellness industry now worth $2 trillion. There’s demand for anything said to improve or optimise health and wellbeing, from wearable tech and meditation apps to supplements and wellbeing retreats.

The cultural and heritage sectors have undertaken programming, engagement, and partnership initiatives with wellbeing at their core for years. And now there is a mounting body of robust data on the benefits of the arts and creativity on health. Research from King's College London (2025) found that viewing art in a gallery produces immediate, measurable health benefits – simultaneously arousing, deeply relaxing, and reducing stress levels. . I’m currently engrossed in Art Cure: The Science of How the Arts Transform our Health by Daisy Fancourt, (January 2026) which draws on powerful scientific research to make the case for arts engagement being one of our most valuable tools for unlocking health and happiness.

Marketing implications: There’s potential to tap into this, in an authentic and meaningful way that stands out from the commodification of wellbeing. A gallery visit can be mindful, a walk around a historic garden can be restorative, and watching a performance can be joyful. All can offer connection, escapism and meaning in an uncertain world. Frame your marketing around wellbeing outcomes, not just the art itself. For example, Manchester Art Gallery’s Room to Breathe is a “dedicated space to help you experience art in a more mindful way… This is a room for you. To rest. To recover”.  Venues can provide permission to switch off from the daily hustle, and encourage audiences to engage on their own terms, whether that’s a slow Sunday morning gallery visit, or a bitesize lunchtime one.

Art Fund’s National Art Pass video marketing consistently does this well, with content creators sharing a range of wellbeing benefits of going to museums and galleries (such as time out from busy lives, social experiences with friends and family, and sparking creativity). I’ve also seen theatre marketing that focusses on audiences’ experiences, for example an ‘Audience cam’ video from Paddington the musical which captures and shares audiences’ live emotional responses.

TREND 3: The importance of fandoms and communities

Communities and fandoms have exploded across all genres. They've existed for decades – think ham radio, Star Trek, or Elvis Presley – but digital media has enabled their reach to balloon and micro-fandoms to attract like-minded members globally.

TikTok, Instagram Reels and YouTube Shorts have accelerated fandom growth by making content accessible and viral. Reddit allows people to go deep down rabbit holes on their favourite passions and obsessions – such as theories around the hidden plot in The Phantom of the Opera – and Discord allows real-time community discussion and collaboration.

Communities and fandoms build on a need for belonging, self-expression, identity, human connection, and social capital. Members share interests, language, and reference points; give opinions and expertise in online forums; create memes, fan art, and fan fiction; attend screenings, conventions, and reunions; and buy and collect merchandise.

The Tank Museum has achieved phenomenal success by building and delivering relevant, quality and valuable content for a special interest audience, and monetising this. Rambert Dance’s Rambert Plus on the other hand focusses more on driving fandom rather than direct revenue, giving the organisation direct access to 25,000+ interested people and the opportunity to “test ideas, learn what resonates and build genuine loyalty before we ever ask them to buy a ticket” according to Caroline Schreiber, Director of Audience.

And Historic Royal Palaces is a great example of partnering with a related fandom or community, having recently announced that the first The Rest is History Festival is coming to Hampton Court Palace, exclusively for the podcast’s impressive 120,000 paying members. The weekend, which will involve live recordings, guest historians, historical re-enactments and community gathering, was developed in response to growing demand from fans who want more, longer and deeper engagement, and the setting is a perfect fit.

Marketing implications: Communities and fandoms provide opportunities which extend far beyond a traditional membership or friends’ scheme. Organisations can activate their fan base, access and interact with passionate and highly engaged audiences, facilitate online and offline engagement, develop advocates, and reward fan loyalty. And of course, generate income through merchandise, repeated visits, membership, and special events. The key is to really understand each community or fandom's special profile, their (usually unwritten) rules, and any divisions or camps within them that you'll need to navigate sensitively.

Embrace fan content and don’t be scared to lose control as we invite audiences in for a more participatory and two-way relationship – fans typically want to be included and valued, not just acknowledged and sold to.

TREND 4: Re-shaping planning and booking behaviours

Forget the neat sales funnel you've been following. Audiences aren't moving predictably from awareness to interest to purchase anymore. They're discovering you on Reddit, getting recommendations from ChatGPT, and booking tickets on Instagram – all in the same session.

Word of mouth remains one of the top three motivations for cultural engagement (typically cited by 20-30% of audiences in my research), but where people seek recommendations has fundamentally shifted.

According to UK research by Opinium, around 3 in 10 people plan to use or will consider using AI assistants and tools when they shop in 2026 and a fifth of people said AI was helpful when looking for inspiration for new experiences, such as activities, events and travel ideas.

Shorter booking windows and more last-minute booking of events, days out and mini breaks have continued since the Covid-19 pandemic. Reasons include enduring habits, preferences for spontaneity, minimising risk (e.g. illness, bad weather), and technology enabling last-minute and real-time decision-making.

Research by Baker Richards for ALVA (the Association of Leading Visitor Attractions) in 2025, found that while 49% of families typically start researching a day out more than two weeks ahead, around 12% start researching the day before or make a spur of the moment decision, and 44% book within just 48 hours of their visit.

Marketing implications:  We need to let go of rigid funnel thinking, adapt and be nimble. As always, we need to meet audiences where they are, and this might mean getting familiar with platforms that are outside our usual and comfortable habitat. We need to optimise our websites for AI as well as search engines. We can play on FOMO (fear of missing out) and exclusivity to motivate decision-making, incentivise early bookings, and provide reassurance (such as flexibility and refund options) to encourage audiences to commit.  For example, Norwich Castle’s Twilight ticket for admission one hour before closing provides a taster for a lower stakes £2.50, compared to the standard £17 on the door price. And when bookings are slow, don't panic early – optimise for late conversion and hold your nerve.

TREND 5: Value-seeking and risk-averse audiences

The cost of living has shaped many peoples’ spending habits, resulting in greater price sensitivity and more considered decision-making.

While the cost of living has shaped spending habits and increased price sensitivity, the picture isn't simple. Barclays' '10 years of Spend' report found that discretionary spending actually outpaced essential spending between 2021-24. People aren't cutting back across the board – they're being more selective. Similarly, Baker Richards’ research found that families aren’t spending less overall, but they are being more selective about what they spend on, and are willing to exceed their monthly leisure budgets for the ‘right’ experiences.

Audiences will invest in worthwhile experiences and intentional indulgences but will expect a lot in return. This is not about passive consumption, but about purposeful spending. To part with their time, money, attention and energy, audiences want to feel reassured that the cost will be justified and worthwhile. Audiences need to know that their needs (and those of everyone in their group, especially children) will be met, that they will be welcomed and feel comfortable.

This explains why nostalgia exhibitions (I Grew Up 90s), well-known brands (Barbie), and powerhouse IP (Mamma Mia, The Hunger Games, The Traitors) are thriving. They're safe bets for both organisations and audiences.

Marketing implications: Pricing influences how organisations are perceived (affordable, accessible, inclusive, exclusive) and sends signals as to which audiences are valued. Focus on clarity, simplicity and transparency. Minimise uncertainty and reduce perceived risk through clear information about facilities, price, what to expect and with a social and/or visual story. Use social proof to signal reliability, making the most of testimonials, reviews, awards and media coverage. And offer reassurances for risk-averse audiences: flexible booking policies, clear cancellation terms, "no hidden fees" messaging, and honest photography that sets accurate expectations.

What this means for us

These five trends paint a picture of audiences who are more informed, more demanding, and more selective than ever before. They're making careful choices about where to invest their time and money. They're seeking experiences that align with their values and improve their wellbeing. They're building communities around the things they love. And they're doing all of this in ways that bypass our traditional marketing playbooks.

This isn't a comfortable reality, especially when many of us are already stretched thin and working with shrinking budgets. But it's also an opportunity. Audiences aren't turning away from arts and culture – they're just asking us to meet them where they are, speak to what matters to them, and respect the trust they're placing in us when they choose to spend their precious time with us.

The organisations that will thrive in 2026 and beyond are those that pay attention to these shifts, adapt their approach, and stay curious about how audiences are evolving. It's up to all of us – marketers, programmers, directors, trustees – to ensure that what we offer remains relevant, resonant, and genuinely worthwhile.

Christina Lister