Anna Lapwood: The Organ Virtuoso Captivating Global Audiences
Anna Lapwood, a name resonating with millions across social media, is more than just a talented organist; she’s a modern-day phenomenon redefining the perception of a centuries-old instrument. At just 30 years old, Lapwood has amassed a staggering four million followers, a testament to her innovative approach and infectious passion for music. Her recent appointment as the official organist of London’s iconic Royal Albert Hall in 2025 marks a historic milestone, making her the first to hold this prestigious position in the venue’s 155-year history.
Lapwood’s concert programs are a masterclass in bridging the gap between classical tradition and contemporary popular culture. She seamlessly blends the intricate compositions of masters like Bach with beloved film scores, transforming traditional organ recitals into vibrant, accessible experiences. Audiences are treated to renditions of music from cinematic blockbusters such as Interstellar, Pirates of the Caribbean, and The Chronicles of Narnia, proving that the organ can indeed be a powerhouse of popular music. Currently embarking on her inaugural Australian tour, Lapwood is eager to share the secrets behind her remarkable social media success and how it has translated into sold-out performances worldwide.
The Rise of the #OrganTok Sensation
Often hailed as the “TikTok organist,” Lapwood has become synonymous with the #OrganTok hashtag, regularly sharing her musical prowess with a global online community. However, her journey to social media stardom wasn’t a calculated pursuit of fame. “I just wanted to share the music that I really love playing, and I want to make people realise how great the organ is,” Lapwood explains.
The organ, often described as an entire orchestra contained within a single instrument, boasts a complex array of components. A typical pipe organ features multiple keyboards, known as manuals, a pedalboard for the feet, and an intricate system of knobs called stops, which meticulously control the instrument’s diverse sounds and tonal colours. Despite its impressive capabilities, Lapwood frequently encounters the sentiment that “no one really likes the organ.” This perception fueled her desire to showcase the instrument’s versatility and power, often from the unconventional and sometimes cramped confines of an organ loft.
“I film 90% of my videos by balancing my phone against my boot,” Lapwood reveals, a practical yet ingenious method. This approach allows her to capture authentic moments of practice without disrupting her daily routine. “Using my phone is easy and quick and doesn’t interfere with my day-to-day practice, which is what I’m trying to capture.”
From Viral Videos to Standing Ovation Crowds
Lapwood’s social media presence began to flourish during the early stages of the COVID-19 pandemic. Her follower count experienced a significant surge following a memorable performance with electronic artist Bonobo at the Royal Albert Hall in May 2022. The video of this collaboration garnered an astonishing 5.6 million views on her TikTok account, becoming a pivotal moment in her career.
“I still get people who come to my concerts because of the Bonobo video,” Lapwood states, highlighting the profound impact of her online content. This video served as a crucial gateway for many, introducing them to the world of classical music and organ recitals, and subsequently drawing them to her live performances. “We can all think that social media isn’t real, but [people] do come to the concerts and then they do come back,” she affirms.
Her ability to draw massive crowds was spectacularly demonstrated in July 2025 when her free organ recital at Germany’s Cologne Cathedral attracted an overwhelming 13,000 attendees, far exceeding the venue’s capacity of 4,000. “I had a couple of videos go viral from Cologne while I was practising,” Lapwood recalls. While the cathedral’s regular organ concert series typically drew thousands, the sheer volume of people eager to hear Lapwood perform caught organisers by surprise.
To accommodate the immense turnout, Lapwood organised two back-to-back concerts. The demand was so high that the second concert was even more packed than the first. “And then apparently there were another 5,000 stuck outside who never got in,” she notes, adding that she only learned of the overflow crowd later. “People ended up waiting for like five hours, and that could have gone bad so fast,” she reflects. “Instead, I heard the most positive stories about how everyone in the queue made friends and were looking after each other. That just shows what a powerful tool social media can be for bringing in a new audience to our instrument and to our music.”
Challenging Gender Norms in the Organ World
Lapwood is a vocal advocate for inclusivity and actively challenges traditional gender barriers within the organ community. One of her most resonant hashtags is #PlayLikeAGirl, a powerful riposte to a past comment from a teacher who advised her to “play like a man” with authority.
“In the UK, the organ is heavily linked to the world of choral music, which has historically been a very male-dominated place with the men and boys choir tradition,” she explains. “It was the boys who then played the organ.” While acknowledging the historical presence of esteemed female organists like Gillian Weir and Jennifer Bate, Lapwood observes that women remain an exception rather than the norm.
Until recently, Lapwood herself navigated this landscape as an exception. At 21, she became the youngest director of music at Cambridge’s Pembroke College, a position she relinquished in 2025 to focus on her career as a recitalist. During her tenure, she spearheaded initiatives aimed at dismantling gender barriers. These included a 24-hour Bach-a-thon featuring 24 female organists performing Bach’s works and a Cambridge organ experience specifically designed for girls.
She fondly recalls the initial program, which began with 20 girls unfamiliar with the organ. By its conclusion, the program had expanded to include 90 girls who had gained practical experience with the instrument. “We didn’t have to run a separate day for girls,” Lapwood says. “Not having to do it anymore felt like a victory. That’s when you know you’re making progress.”
Curating Content for Diverse Tastes
Lapwood’s approach to content creation is now honed to engage an audience increasingly familiar with the organ’s capabilities. “My technique is just to tell people what I find exciting about the organ and organ music with the view that different things are going to appeal to different people,” she states.
Her online posts often delve into the intricacies of organ playing, such as ‘registering’ – the meticulous process of selecting and sequencing sounds from the instrument’s myriad pipes, pedals, and stops to create a specific sonic tapestry. “My concert programs tend to use about 350 different sounds,” she shares, illustrating the vast sonic palette she commands. She also frequently shares glimpses of her practice sessions in iconic buildings and snippets of her performances, offering a behind-the-scenes look at her artistry.
Lapwood’s musical selections are driven by a genuine love for the repertoire. “I hope that by playing a range of different repertoire, different pieces and genres, some of it will appeal to everyone in some way.”
During her current Australian tour, audiences can anticipate hearing excerpts from The Lord of the Rings, pieces Lapwood personally transcribed for the organ in collaboration with composer Howard Shore. Australian music lovers will also be treated to Camille Saint-Saëns’s Organ Symphony, famously featured in the film Babe, and the Australian premiere of Max Richter’s Organ Concerto Cosmology, a work composed specifically for Lapwood.
Anna Lapwood’s Australian tour includes performances at the Melbourne Town Hall Grand Organ on March 13 and 14, followed by engagements at the Sydney Opera House from March 19 to 28. Her performance with the Sydney Symphony Orchestra will be broadcast live on ABC Classic on Friday, March 27, at 8 pm.
