The Kennedy Center’s National Symphony Orchestra ‘Is in Real Trouble,’ Ben Folds Says — Here’s How We Can Help

The political crisis sparked by President Trump's involvement with the Kennedy Center has placed the institution under severe pressure, yet it is the workforce—particularly the musicians of the National Symphony Orchestra (NSO)—that bears the heaviest burden. This ensemble now confronts an existential threat, fueled by the confusion and absence of strategic direction that followed the president's attempted takeover. A federal district court judge overturned that takeover just last week, but the repercussions may already be irreversible. Ben Folds, the singer-songwriter and pianist who served as the NSO's artistic advisor for nearly a decade, has issued an urgent plea detailing the orchestra's precarious situation and providing guidance on how the public can intervene. The complete text of his letter, dated June 2, 2026, is included below.

In his letter, Folds writes: "Hi all. As you might know, I spent nearly a decade at the Kennedy Center as Artistic Advisor to the National Symphony Orchestra. I resigned in February 2025, but I stay in contact with my friends who remained. I'd like to draw attention to something that has flown under the radar as the drama surrounding the Kennedy Center unfolds. Our National Symphony Orchestra is in real trouble – it may not survive. There's currently no plan or solution in sight to save the organization. The public can turn the tide with overwhelming support." He notes that no programming has been announced for the NSO's upcoming season—a stark departure from industry norms, where orchestras typically plan 18 months ahead. This uncertainty is intensified by the Kennedy Center's planned two-year closure and the entanglement of its endowment fund in broader legal and financial disputes. For context, the NSO, founded in 1931, has long been a cornerstone of American classical music, performing at events ranging from presidential inaugurations to state funerals. Its 96 musicians, many of whom have decades of experience, are now facing an uncertain future that could reshape Washington D.C.'s cultural landscape.

Folds highlights the recent court ruling that removed Trump's name from the building and restored the Kennedy Center's political independence, but he cautions against complacency. "This is good but not the time for a victory lap because it's going to be a long messy process to get this all back to a healthy situation," he states. He urges the public to follow the NSO musicians' Instagram account (@nso_musicians) and show support through comments and direct messages. He also calls on journalists to cover the orchestra's plight, noting that media attention on the removal of Trump's name has overshadowed the NSO's crisis. "When you disperse the NSO's 96 talented musicians and render them unemployed, we will lose something that is not so easily replaceable," he warns. This echoes concerns from arts advocates who argue that dismantling the NSO would deal a blow to Washington D.C.'s cultural identity, given the orchestra's role in educational outreach and community programming. The Kennedy Center, located on the Potomac River, has hosted over 2,000 performances annually, making it a vital hub for the arts.

Folds further appeals to donors, suggesting they reach out to the NSO directly, and to citizens, urging them to contact their congressional representatives to demand safeguards against future political interference in federal arts institutions. He advocates for guidelines requiring any future Kennedy Center director to have proven experience in arts administration, reflecting on the damage caused by an inept leader who alienated artists and audiences. Reflecting on his own resignation, Folds explains that staying would have risked being used as a political pawn, a position no artist should face. He notes that the NSO musicians, unlike the National Opera which left the Center, have remained apolitical and continued performing under dire circumstances. This resilience, he suggests, underscores their dedication to their craft and the public. The NSO's educational programs, which reach over 50,000 students annually, are also at risk if the orchestra dissolves.

Concluding his letter, Folds emphasizes the symbolic importance of symphony orchestras as a hallmark of civilization. "For us to strive to work together for the greater good, we need to see that in action, and symphony orchestras do this every night. It's an important symbol and when the symphony erodes, that's the sounding of an alarm for the health of actual civilization," he writes. He urges the public to spread the word despite the ongoing legal dramas, warning that without action, the United States could lose its National Symphony Orchestra entirely. "Otherwise, imagine a free western country, with no National Symphony Orchestra. It's real," he concludes. As legal battles continue, the fate of the NSO remains uncertain, but Folds' letter serves as a clarion call for immediate public engagement to preserve this cultural institution. Arts experts have noted that the NSO's potential collapse could set a precedent for other federally funded orchestras, highlighting the broader implications of political interference in the arts.