PROFILE
By Glenda Graves | Portrait photo by Keith Branch
Ben Harris
Where Music Meets Community
When you sit down with Ben Harris, executive director of the Symphony of Northwest Arkansas, one thing becomes clear almost immediately: Ben’s love for music isn’t academic or elitist. It is unmistakably human.
“Music was always playing around my house,” he said with a smile.
His childhood in Pine Bluff was filled with opera, classical recordings, jazz and rock that his brothers loved. It all mixed together into a moment he remembers vividly. “I think I was maybe 5 when I saw Paul Simon on TV playing guitar,” he said. “I suddenly understood that the sound was coming from that instrument, and I knew I had to get my hands on one.”
His parents eventually found him a teacher, classical guitarist Don Murtishaw, whose own training had taken him all the way to the Madrid Royal Conservatory in Spain. “That kind of dedication… it left a mark on me,” Ben said, reflecting on years of lessons that shaped his discipline and future.
Ben pursued music through college, first at Western Kentucky University and later at University of Arkansas at Little Rock before building a busy life of performing and teaching. But the next chapter came when he moved to New Orleans to begin graduate studies at the University of New Orleans. “I wanted to push myself as a musician, and New Orleans felt like the right place to do that,” he said.
But three weeks later, Hurricane Katrina hit. “We lost everything,” he said. “It was devastating. I remember watching footage of my neighborhood underwater on the news.”
The only option was to evacuate and return to Arkansas. He soon enrolled in the U of A’s graduate program in music composition and began working steadily as a guitarist while teaching courses at the U of A, NorthWest Arkansas Community College and Northeastern State University in Oklahoma.
It was during this period that SoNA entered his life. For years, he worked behind the scenes in nearly every capacity the organization had — production manager, director of operations, director of operations and annual giving, and general manager — before being asked to step into the role of executive director in 2023.
Those years, he said, gave him the foundation he relies on today as a leader. “When you’re a musician, you can’t hide. People are always looking for things to pull apart. That experience teaches you not to fear being vulnerable.”
That mindset shapes how he leads SoNA’s small but mighty team. “I like to keep the atmosphere light,” he said. “This work is intense, and people can burn out easily. Laughing makes everything easier. We try to have fun while doing really good work.”
He said transparency matters just as much. “When I was general manager, I loved being in the loop. Now I try to give that same transparency to everyone else. We really operate like a team.”
And as executive director, he said he still thinks like an audience member. “I’m a guitar player, not an orchestra player. I’m just like everyone else in the crowd. I want to hear a good concert. I think it’s important to keep that mindset.”
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He sums up his programming philosophy simply: “Fresh but familiar… something new but with a hook. You want to challenge people, but you want them to enjoy it.”
Ben Harris at the SoNA Spring Gala with Claudia Burson and Benji Wilson (Photo by Iron Lotus Creative)
​Northwest Arkansas’ growth excites Ben, but he said it also carries real responsibility. “We’ve become a cultural touchstone in this region, but we can’t take for granted that people know who we are. We still have to do the work.”
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One of the most effective ways SoNA reaches new audiences is through SoNA Beyond, the organization’s expanding series of small-ensemble performances held in libraries and community spaces. These performances are often free, casual and intentionally less intimidating than a traditional concert hall. “A lot of people still feel like the concert hall isn’t for them,” Ben said. “Maybe the cost, maybe transportation, maybe just the intimidation factor. So, we take the music to them.”
The programs are made to be short, accessible and welcoming. “We’re trying to reduce the typical barriers that keep people from engaging with classical music,” he said. “And honestly, these concerts have developed a real following. People love them.”
Ben Harris and Kara Butler in Key West, Florida
SoNA Beyond is another way they are able to create paid work for musicians, something Ben advocates for passionately. “Half our orchestra is imported for each concert cycle,” he said. “Our goal is to grow enough work opportunities that more musicians can live here full time. That’s how you strengthen the entire arts ecosystem in the region.”
Among SoNA’s programs, the one closest to Ben’s heart may be SoNA Mentors, which pairs orchestra musicians with public school band and orchestra programs. “The teachers tell us exactly what they need — whether it is help preparing for all-region auditions, sectional work or technique basics — and then our musicians come in and do that alongside them,” he said.
For students without access to private lessons, it can be transformational. “There’s a real learning gap between kids who get private instruction and kids who don’t,” Ben said. “SoNA Mentors helps bridge that gap.”
Some of those students eventually join the SoNA stage. “Every Christmas concert, we feature a student,” Ben said. “And some of those kids come back years later as professionals. That’s incredible to see.”
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It’s one of his favorite moments each year. “Seeing those young players sit next to professionals… it’s amazing. And they stick with it. That’s what community impact looks like.”
This concert season marked a pivotal moment for SoNA. Each concert is being led by a different guest conductor, all candidates to potentially become SoNA’s next music director. “It’s like a live audition,” Ben said. “After each performance, everyone in the audience gets a survey. The musicians also get a survey. By the end of the season, we’ll have a huge amount of data to help choose the best fit for SoNA.”
The selection is expected by July. “I’m so excited about it,” Ben said. “I keep thinking about what our organization will look like under each one of these candidates. It’s really energizing.”
When it comes to making sure that SoNA is here for the long haul, Ben said, “Sustainability comes from flexibility. The second you stop responding to your community, you’re in trouble.”
He sees opportunities in expanded outreach, stronger school partnerships and increased access, always centered on the idea that orchestral music is for everyone.
“Whether it’s expanding concert offerings or continuing to break down barriers, our job is to serve the community,” Ben said. “That’s what will define success in the next five years.”
SoNA ensembles can also be hired to elevate an event — corporate functions, galas or weddings can all feel that much more special with live music.
In a world where orchestral performances are always a click away, Ben still believes deeply in the irreplaceable power of being there.
“SoNA is worth coming out of the house,” he said. “Live music hits you differently — it’s immediate, it’s human, and every performance is completely unique because every audience is different.”
That is what Ben wants the next generation to discover. “I hope people continue to feel that the concert hall is a place for them,” he said. “That’s what this work is all about — keeping the door open for everyone.”
For a man who leads one of the region’s most impactful arts organizations, Ben still carries the wide-eyed wonder of that 5-year-old boy watching Paul Simon on television. “I just want people to have access to this music,” he said. “I want them to feel welcome. If we can create that environment, everything else will fall into place.”