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A Classical Musician’s Guide to Meta’s Threads

By Michael Vincent on August 7, 2023

Threads, the new kid on the social block, has released an alternative to Twitter. With attention in short supply for classical music these days, this offers an opportunity for those in classical music to get in on the ground floor.

With millions signing up in just a few hours, let’s take a closer look at what Threads has to offer.


Threads is the latest creation from Meta, envisioned as a direct challenger to Twitter. It shares a striking resemblance with Twitter — think short, snappy text posts, likes, and reposts. You can post up to 500 characters and sprinkle in some images, gifs, and videos (up to five minutes long). On the flip side, it currently lacks the ability to search for hashtags or phrases, a notable downside.

How to Join

Registering is straightforward – just use your Instagram login.

As of now, it’s available in over 100 countries, including the UK and USA. The European launch is pending.

Early Criticism

Some users have expressed concern about seeing posts from random accounts, mixed in with posts from the accounts they’re following.

Should you join?

If Twitter is your jam, the answer is yes. The formula is simple: Engage with audiences, join conversations, and share your event updates.

Don’t fret about username security. Meta requires the same Instagram login, which means your username remains intact.

Creating engaging content

Content is king, and Threads is no exception. Don’t confine yourself to just posting event updates or ticket sales. Instead, aim to provide value and foster a social atmosphere.

Experiment with various approaches to understand what resonates best with your audience.

Why it Matters

As Meta’s prodigy, Threads could well be a game-changer in the social media world. With around 400 million classical music listeners worldwide, this new platform could provide a fresh avenue to reach audiences in a dynamic, interactive, and increasingly digital world. It’s time to tune in and turn up the engagement.

Michael Vincent
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