COMPANY REGISTRATION NUMBER: 03226828
CHARITY REGISTRATION NUMBER: 1062845
Oxford Contemporary Music
Company Limited by Guarantee
Unaudited Financial Statements
31 March 2024

Oxford Contemporary Music
Company Limited by Guarantee
Financial Statements
Year ended 31 March 2024
Page
Trustees, annual report (incorporating the director's report)
Independent examiner's report to the trustees
13
Statement of financial activities (including income and
expenditure account)
14
Statement of financial position
15
Notes to the financial ststements
16

Oxford Contemporary Music
Company Limited by Guarantee
Trustees. Annual Report (Incorporating the Director's Report)
Year ended 31 March 2024
The trustees, who are also the direclors for the purposes of company law, present their report and the
unaudited financial ststements of the charity for the year ended 31 March 2024.
Chair's report
At OCM, a crucial element of our work has always been to support people in their creats'vity through
talent development, education. commissioning of new work and relationship-building wrth Gommunities
around Oxfordshire. OCM has focussed on improving quality rather than numbers in terms of
engagement. This has borne fruit in the relevance and value of OCM'S contribution to creating
resilient society, nourished and bonded by sound and music.
In 2023124 OCM'S events programme delivered 19 performances in venues across Oxford for 1,814
attendees. We reached a further 10,758 people across the country through touring and co-
commissioned shows.
OCM continued to support innovation by commi55ioning and presenting new work such as 'ln
Harmony. by Raheel Khan as part of Jerwood Jazz Encounters and Mark Ander50n's 'Warning Notes,
in collaboration with the Oxford University Cultural Programme al the Ideas Festival.
OCM'S creative development prograrnme V4WS once agaln supported by the PRS Foundation. We were
one of 48 national organisations to be a Talent Development Partner vAth this progressive and
impactful organisation. Artist development is woven through all of OCM'S work wth the support and
menloring of the artists that we work with. This year's artists for commissions and R&D work were all
chosen from open calls. This approach helps the team to discover new artists, offer more opportunits'es
to a wder range of artists and especially to work with artists with protected charaGteristlGS who are
underrepresented in music and outdoor arts.
Environmental Responsibility and Equality, Diversity, Inclusion and Belonging were key themes in our
own learning and development. All team members took part in Climate Literacy Training in February
2024, and one of OCM'S Trustees has joined the Arts Council England Board Environmental
Champions scheme. As well as placing the environment at the forefront of subjects for commissioning
new work (Warning Notes) and artist development (BWMI), we are progressing with reducing our ov
organisational impact.
Following consultancy from Belonging Pioneers in 2020-21, we placed Gommunlty collaboration at the
heart of our EDIB development. In 2023-24 we continued to build relationships ￿th local artists
through the Starlings Sessions, musi¢ activists through our Open Space event and grass roots
organisations Asylum Welcome, Oxford Community Aclion, Inspire Sounds, YWMP and Inner Peace
Records. Towards the end of the year we took the decision to focus most of our Educatlon and

Oxford Contemporary Muslc
Company Llmlted by Guarantee
Trust•ès' Annual Report (Incorporatlng thè Dlrectorfs Report) (Con
Year ended 31 March 2024
Outreath work on th8 district of ol Barton in the fores8eabl8 futur8. This is a priorlty area for the City
C￿ne1 in Oxford, In an oullsfjng area just Wid the ring road with a very diverse Powlation and
Ilmfted LW)rtunltles for engaglng In muslc and cultural actlvities. OCM ran some pllot 8clvttles there In
March and now plans to deliver a number of workshops in tsie area next year, and then to Gonlinue to
work str8tegic4lly, further deVelo￿n9 connection6 vAth Comrnunity represent8tlv66, r88idents and
f8mlll8s In Ihe 8roa.
In 8ummary, th18 ha8 b88n a y8ar ol li8t8nlng to thé needs of audiences, artl8ts and communlljes, and
responding with carefulty con8idered programma8 and collaborativ8 Initiativ88.
Rlchard Tooth
Chalr
13 Dfjcwnber 2024

Oxford Contemporary Music
Company Limited by Guarantee
Trustees, Annual Report (Incorporating the Director's Report) (contInU￿}
Year ended 31 March 2024
Refernnce and admlnlstrative details
Reglstered charity name
Oxford Contemporary Music
Charlty rggistration number
1062845
Company reglgtration number 03226828
Principal office and reglstered Room 136
office
Headington Hill Campus
Oxford Brookes University
Oxford
OX3 OBP
The trusts88
Stuart Fowkes
Richard Tooth - Chair
Ruth Cadiot
Amenah Enayat
Maria-Louiza Polymeropoulou
Zahra Haji Fath AJ Tehrani
Danielle Battigelli
(Retlred 31 May 2023)
Company secretary
Joanna Ross
Independent examlnor
N J Cadwallader FCCA For and On Behalf Of David Cadwallader &
Co Limited
Suite 3 Bignell Park Barns
Chesterton
Nr Bicesler
Oxon
OX26 1TD

Oxford Contemporary Music
Company Limited by Guarantee
Trustees. Annual Report (Incorporating the Directorfs Report) (conlinued)
Year ended 31 March 2024
structure• governance and manag8ment
Oxford Contemporary Music is a Gompany limited by guarantee and a registered charity under the
Charities Act. The charitable company is governed by its Memorandum and Articles of Association. It
was incorporated as a company on 18 July 1996 (registered company number 032268281 and
registered by the Charity Commission on 13 June 1997 (chanty number 1062845).
Directors are appointed by the Board; the Articles require one third, or nearest to one third, of directors
to retire annually, and they may offer themselves for re-election. The board of director5 meet four times
year to oversee the running of the charity. The Director. full time Deputy Director handle day-to-day
administrats'on.
Key Personnel:
D1￿ctor..
Jo Ross
Deputy Director..
2024)
Victorla Larkin (on maternity leave from 28th February
Deputy DirectorlProducer (Maternity Cover)..
Joined in February 2024
Sherrell Perkin I Sarah Mayhew Craddock (J'ob share) -
Marketing Coordinator:
Isabel de Berrie
Events Coordinator..
Sofia Lykou
Programme Producer..
Lauren Spiceley
Producer, Community & Leaming..
Tessa Cavanna (on sick leave from August 20231
Objectives and activlties
The principal activity of OCM 15 to foster, support, promote and develop knowledge, understanding and
appreciation of the arts (vAth reference to contemporary musiclnationally by means of event promotion,
audience development, educational acts'vities, marketing and fundraising, working wth other bodies
both to increase accessibility lo and improve the standards of practice and appreciation of the arts. The
Trustees have complied wth the duty in section 17{$1 of the 2011 Charities Act to have due regard to
public benefit guidance published by the Charity Commission.

Oxford Contemporary Music
Company Limited by Guarantee
Trustees. Annual Report (Incorporating the Directovs Report) (¢ontiftued)
Year ended 31 March 2024
Achievements and perfornianco
OCM, its audiences and supported artists were able to enjoy a plethora of live events in 2023-24.
OCM'S staff have worked hard to respond with programmes that reach those in most need, to bring
communities together through music, support music creators in their development and offer an
uplifts-ng, inspiring and affordable live events programme of groundbreaking new music for audiences.
We have done this through programmes including talent development, music education provision and
the creation and presentation of brand new y￿rk. Relationship building and V￿rkIng with communities
around Oxford has also been key. For audiences, we have been as focussed on improving the
accessibility and quality of audience engagement as much as numbers of audience members. The
result has been a year rich with joy and community cohesion through music and exciting new sonic
creations that have and V*ill continue to reach audiences around the UK and beyond. A year of
optimism and learning.
OCM in 2023-24:
Employed 70 artists.,
Gave 885 children and 181 adutts a chanGe to participate in courseslworkshops '
Received valuable support from 36 volunteers.
Presented 19 performances
Supported 4 new commission8lco-commission5 ',
Supported 4 artists in residencies.,
1814 audience members enjoyed OCM'S in-person events In Oxford.,
4 OCM C¢>Gommissions toured: Warning Notes, Hack-Poets Guild, Colony, Congregation,.
4 Community events attended by a total of 153 people
this includes the open spaces, venue
discussions, and Open House with Raheel Kahn.,
Touring or additional performances of OCM'S commissions (from Basildon to Belfastl) included 20
eventslperformances enjoyed by 10,758 people.
Innovation, Collaborailon and Public Space
PARTNERSHIPS AND PROJECTS
Contemporary Collectlve InltlatiV0
OCM and Sound UK agreed to collaborate to lead the PRSF Talent Development
Network'contemporary Collective,. This aims to be a ne￿ork of like-minded organisations supporting
artists in cr05s-genre. cross-disciplinary work to share ideas, kno￿edge, ideas for collaboration and
discuss strategy. The group, vthich so far comprise5 OCM, Sound UK, Opera North. Drake Music, T?
Cerdd. Britten Pears, Sound and Music and Cryptic, wll meet twce a year and wll have an open
agenda to which any organisation can contribute.
Nurturfng a resilient music scene In Oxford
Following the series of events OCM organised to help nurture a resilient and flourishing music scene in
Oxford {Open Space, 25th Feb,. Community Run Venues Workshop 1 & 2, May., open Space 2, 1st
July), some attendees of these meetings organised further meetings on a voluntary basis. This led to
the foundation of Causing A Scene, a Community Benefit Society lo act as a collective voice for
Oxford's music scene, advocate for the scene, interface with institutions like Oxford City Council and
University of of Oxford, and support the development of new independent venues. This new
organisation is being set up by volunteers. with a co-operative structure, and OCM has expressed
interest in becoming a member of the CBS.

Oxford Contemporary Music
Company Limited by Guarantee
Trustees. Annual Report (Incorporating the Directorfs Report) (continued)
Year ended 31 March 2024
Starling Sessions
OCM conts'nued its partnership with Music in Tandem to run the Starling Sessions, regular music
making session5 where participants Share traditional music from around the world by teaching each
other the music. The project aims to build connection and understanding through music making.
Funding was secured from Oxfordshire Community Foundation, Swan Mountain Trust, and Stanton
Ballard Charitable Trust to continue core y￿eklY sessions wth Music in Tandem as the delivery
partner. Pilot sessions were also held with asylum seekers ￿lch led to funding Secured by Asylum
WelGome to continue running activities for residents at the hotel in Blackbird Leys ￿ere they are
residing.
Priorlty Places Areas - South Somerset Associate Producers
Emma Dunton and Andrea Broym developed feasibility of 'PeopleSongs' in the village of Aller, South
Somerset. The workshop confirmed for 24125 will test the feasibility and initiate ideas around
community project that will become a show aiming to tour in 26127.The project, working title 'People
Songs, will take as its starting point the folk songs collected by Cecil Sharp in the area which tap into
the rich history of the Somerset Levels.
Produclng, commisslonlng and tourlng
This year's arts'sts for commis5ion5 and R&D work were all chosen from open calls. This approach
helps the team to discover new artists and offer opportunities to more artists and artists wth proteGted
characterlstics wfio are underrepresented in music and outdoor arts.
Raheel Khan's 'ln Harniony. with Jerwood Jazz EnGounters
OCM continued its participation in the Jerwood Jazz encounters Scheme, mentoring Raheel Khan and
producing his new Y￿rk In Harmony. It was presented in OVADA Warehouse space and was part of
audiograft festival {in collaboration with the Oxford Brookes Sonic Art Research Unit) on 7-8th October.
Raheel described the piece as "Inspired by traditions of Islamic architecture and musique concrete. A
customised sound-system will be installed in the space, central to which is a new sound )Nork that
combines recordings from the building's own sound features with electroacousts'c composition." Live
performances were added to the inslallalion, including musicians from a diverse
range of
Oxford's music communities. OCM supported Raheel to secure Arts Council England
funding to take the piece on tour in 2024. For the second day of Audiograft, we invited with Raheel
Khan other artists to respond to the sound installation in an Open Day, thich resulted in a 5-hour
experimental Improvisation session where up to 25 musicians collaborated and brought new sounds to
life.
"It is magical. Difficult to communicate how good until you seelhear it in the flesh" Lovely to play
alongside my @theborderless music pal in today's improvisation session in Oxford - wthat an amazing
event! Thanks so much to @ocmevents
Mark Andorson's Warning Notes
In October 2023 we presented Mark Anderson's Warning Notes in collaboration with The Cultural
Programme and Cowpromoted y￿th the Ideas Festival. The show gives a voice to the social and
ecological alarm rippling across our planet and is made up of a collection of sculptural instruments that
are played in an improvised performance by Mark and his Collaborator Liam Walsh. The Cultural
Programme commissioned poet Selina Nwulu to Write some spoken word that was recorded and
included in the performances. The show was presented in Florence Park (Oxford) as a free event
relaxed slots and a touch tour available for the audience. An 'ln Conversation, event with Mark and
Selina, and a sound recording workshop were also held. We had poor vRather on the second evening
but we were impressed by the number of people vtho still attended. Overall there were around 765
people came to the events over two days.
It went on a tour of 4 dates in Wales in O¢tober-November (supported by Arts Council Wales), as Y￿11

Oxford Contemporary Music
Company Limited by Guarantee
Trustees. Annual Report (Incorporating the Director's Report) (conlinued)
Year ended 31 March 2024
as the show in Oxford. We also applied to Without Walls for support for future touring and were
successful. This will fund some additional development of the show and includes a tour to three
festivals in 2024.. Timber festival (midlands), Greenwch & Docklands Intemational Festival (London),
and Stockton Intemational Festival.
"It was brilliant. Totally immersed in sound scape and amazed at how long children remained
fascinated by performance. Also the relaxed performance was perfect as felt relaxed to bring them and
for them to interact in their own way." Audience
"l enjoyed the event. Great to have somelhing like this on the doorstep and use of public park for arts."
Audience
"The otherworldly sounds of bells, whistles, bursts of flame, sheets of metal, drums and a Cold War
siren greeted passersby as Oxford played host to a remarkable musical Installation... It was a very
powerful reminder that ecological disaster does not take days off. The Oxford Times
Emlly Peasegood R&D
Emily Peasgood was suGcessful in securing development money from the PRS Composers Fund for
Eversong, her installation work where it is possible to hear the entire lifespan of a person in a song. It
blends human experience with Al and is experienced in tunnel-like environments (tunnels, alleyways,
underpasses), with human voices that age and become young again as visitors move through it.
Eversong interfaces humanity with technology by ulilising artificial intelligence technologies for
modelling, generating and conditioning vocal audio. It references the fragility of life and the importance
of celebrating It. The project was in the very early R&D stages this year, with some seed funding from
OCM and other sources.
CONCERT PROGRAMME
OCM'S programme of live events took place throughout the year, wth a broad range of outstanding
and diverse artists and genres. A mix of venues were used to reach a variely of audiences, from public
and community spaces to top quality concert halls. The programme included free and concession
ticketed events to allow access for people with low incomes. We built on partnerships with
organisation$ and venue5 in the city.
Accesslble and communlty spaces
A Listening Party was held in Flo's Cafe, a space that lies in the heart of the south Oxford Florence
Park, an area housing a real mix of communities and backgrounds, including a South Asian
community, low income families, people V￿rkIng in the third sector, and middle class families.
"More pleasel" (audience member, Listenlng Party #12 at Flo's Café)
OCM worked with Tap Social at the Covered Market to bring music to their new late night openings.
This event, wth Midori Jaeger and Marie Bashiru, was run as a free event with no bookings required,
and we estimate attendance was around 130 people,. the space was full and the welcome wa5 warm.
"FantastiG event well donelll (audience)
"Brilliant chill safe and friendly vibe. Great music., (audience)
Eliane Correa & La Evolucion supported by local band Ran Kan Kan were presented at the 02
Academy in east Oxford. This was c￿prOmOted Oxford Salsa SoGiety, with a free salsa class
before the band5. 'It Iiia5 a really really fun event, Audience, Eliane Correa

Oxford Contemporary Music
Company Limited by Guarantee
Trustees. Annual Report (Incorporating the Director's Report) (conlinued)
Year ended 31 March 2024
Outstanding artists
We collaborated with Oxford Festival of the Arts to present the mulit-award winning Joby Burgess at
the Jacqueline du Pre Music Building. This was also well attended by a sizeable and enthusiastic
audience.
We partnered viith local independent promoter Irregular Folks to present The Irrepressibles, supported
by pecq, at St Barnabas Church.
Honestly, it was incredible - probably the best concert I've ever been to. Seeing the Irrepressibles in
that beautiful cosy space can't be beaL" Audience
"More than just a gig, it's a genulne privilege to wtness tonight's Spectacle." Nightshift, The
Irrep￿SSIble8
We were delighted to present the tNKJ ts'me Grammy Award Wlnnlng Attacca Quartet at St John's
College Auditorium.
"Exceptional concert in exceptional surroundings." Audience, Attacca Quartet
"The music was fantastic,. of a very high standard and very engaging. It was exciting in a very pleasant
intimate venue with good sightline5. A real privilege to be there.2 Audience, Attacca Quartet
'Wonderful performance, great venue, helpful and enthusiastic OCM personnel" Audience, Attacca
Quartet
Artistlc Innovation
We partnered with Arts at the Old Fire Station for an event as part of their Offbeat festival in June,
bringing Brazilian artisuresearcher Joanna Burd'5 Electric Daisy multi-sensory installation to Oxford.
Pianist Zubin Kanga perfomed a boundary pushing show blending new technology with his piano.
including a performance of Philip Venables, Answer Machine Tape, 1987 co-promoted with IF Oxford
Science and Ideas Festival, at St John's College. This event was recorded by BBC Radio 3 wtth
excerpis broadcast on the New Music Show. The event was part of our link with St John's College who
support OCM with 2 free uses of their auditorium each year.
Ivor Novello winning composer and musician Martin Green brought 'Lighling the Dark, which blended
folk, jazz and story telling, performed by a group of pioneering musicians to explore our ancient need
for ritual and renewal in the wnter.
Total Audiences attended Concert Programmes.. 1732
LEARNING AND COMMUNITY
Listen Upl
OCM produced Listen Up! new music making workshops for young teens from Barton, a priority area
in the city with little music provision. Delivered in partnership wth Oxfordshire County Music Service
their teachers were part of the delivery team for the project. Four days of workshops were held in April
and 3 days of workshops were held in February, offering half term activities for families wth low
income. The Pitt Rivers Museum brought musical instruments lo the February v￿rkShopS and the
project had support from the Oxford City Council Community Impact Fund and the Universty of Oxford
Small Communities Grant Scheme.

Oxford Contemporary Music
Company Limited by Guarantee
Trustees. Annual Report (Incorporating the Directorfs Report) (conlinued)
Year ended 31 March 2024
Feedback from a Foster Carer of one of the participants:
"M was fascinated with the music workshop. His enthusiasm was shared with many as he spoke about
the 3 days. To the priest, social care. family and anyone who would listen. The days were perfect and
very well organised. He made friends that he has kept since the sessions. M loved leaming how to
make beats.
"Amazing that you fed all the children that attended. The fact this was all totally free made it accessible
to all. Please thank everyone involved for their wami welcome, kindness and patience, such an
empathetic group of people.
Music Matters
This long running project, which nurtures communications skills in pre-school infantslchildren through
music making sessions with their carers, evolved through a partnership with the Oxfordshire County
Libraries the aim of reaching a broader range of families with the sessions. Having delivered
successful and popular sessions at the Central Library (Oxford) in the previous year, we branched out
to local libraries, delivering sessions in the Headington, Botley and Blackbird Leys Libraries during the
year, and began planning new sessions in the Barton Library for 2024, which currently has events for
young people running.
"We love the actions and singing., Participant
Young Women's Music Project
OCM supported YWMP to deliver a course of 6 sessions for women, trans and non-binary people over
the age of 14 in sound engineering skills at Makespace, a final sharing on Tuesday 26 March.
This is part of a wider projecl to support'safe spaces, in the broader music industy and communities,
in this case starting with training a more diverse group of sound engineers to work in venues and
support musicians. OCM worked wth YWMP to secure funding to do more work around Safe Spaces
from 2024 onwards.
Barton - Pl8cemaking
Barton is a priority area for the city council in Oxford, In an outlying area beyond the ring road with
limited music or music making provision. QCM delivered some workshops in the area this year and are
looking to work here in a longer term strategic way. Ideas include community consultation in place5 like
schools and community cafes, pop up performances in and around Barton, and community ensemble
building opportunities aiming to lead to a performance at the Barton Bash in 2025.
Dash Arts workshop - Dare To Speak Up
In early October. we collaborated wlh Dash Arts (the theatre company worked with for Dido's Bar)
and Aclivate Learning (their Banbury college) to deliver a 1 day workshop with 29 of their perfonning
arts students. This 'Dare To Speak Up, workshop led the sludents through the process of speech
writing and presentation wtth expertise from the Dash team and a lecturer from the University of
Bimiingham. Dash Arts have taken this workshop to many other settings including community groups
and prisons. They vlill use the speeches vffitten in these v￿rkshopS to develop a new music theatre
show, starting ￿1th a development week at the Natsonal Theatre rehearsal studios in early 2024. TV￿ of
the Activate Learning students V￿11 present their speeches at a Dash Arts public event in London in late
November.

Oxford Contemporary Music
Company Limited by Guarantee
Trustees. Annual Report (Incorporating the Director's Report) (continued)
Year ended 31 March 2024
ARTISTS DEVELOPMENT
OCM'S creative development programme once again supported by PRS Foundation. We were
one of 48 national organisab'ons to be a Talent Development Partner ￿lItt this progressive and
impactful organisation. Artist development is woven through all of OCM'S work with the support and
mentoring of Ihe artists that we work wth, but our core programme is 'Boom' and 'BWMI'
Boom is a UK wide programme that has been running for several years and this year it expanded
the sister Welsh Prograrnme BWMI run in partnership with Ty Cerdd and Articulture and supported by
Jerwood. The focus of both programmes conts'nues to offer artists the chance to develop and
experiment in working outside of the conventional performances spaces (e.g. outdoors, found spaces
etcl to reach broad and diverse audiences, with a bursary and regular mentoring support. It has always
had the additional focus of nurturing people with protecled characteristic$ who are under represented
in outdoor art5, and BWM! has used the theme of clirnate justice. Participants are chosen from an
open call process, wth additional support offered for disabled and neurodiverse arts5ts to take part.
Three gatherings were held for both schemes, including a gathering in Wales for both groups to meet
where they also saw Mark Anderson's Waming Notes installation in Newport and a Q&A vAth the
artists. BWMI gave their participants additional online gatherings with guest speaker5.
BUILDING RESIUENCE
This year OCM continued to build on its organisats'onal development work around Environmental
Sustainability and Equality, Diversity, Inclusion and Belonging and other factors as desGribed in Arts
CounGil England's Investment Principles.
Environmental Rasponsibility
As well as placing the environment at the forefront of subjects for commissioning new y￿rk (Waming
Notes) and artists development IBWMI), we are progressing wth reducing our own organisational
Impact. OCM has an ongoing, regularly reviewed, environmental action plan where each member of
Staff identifies and acts on practical steps that will help to reduce the organisation's environmental
impact. All team members took part in Climate Literacy Training in February 2024, and one of OCM'S
Trustees is on on the Arts Council England Board Environmental Champions scheme. You can read a
Julie's Bicycle Case Study published in 2024 on the Climate Lab that OCM ran in 2022 wilh 101
Outdoor Arts.. https.1ljuliesbicycle.comlresourceloxford-contemporary-music-addressing-the-climate-
crisis-in-musicl
Equalityg Diverslty, Incluslon and Belonging
Following consultancy from Belonging Pioneers in 2020-21, we placed community collaboration at the
heart of our EDIB development. In 2023-24 we continued to build relationships with local artists
through the Starlings Sessions, music aclivi5ts through our Open Space event and grass roots
organisations Asylum Welcome, Oxford Community Action, Inspire Sounds, YWMP and Inner Peace
Records.
Whilst we are still on a journey wth this work, we recognise good progress this year that can be built
upon through ongoing consultation and collaboration.
OCM continues to put in place practice learned with Weston JeTwood Creats've Bursary by welcoming
and supporting people in it5 team and within its talent development programme from lower socio-
economic backgroun(is ￿th training and mentoring. We are a Member of Oxford Culiural Anti-Racism
Alliance and signatory of the Oxford Ants'_Racism manifesto, and we are working to share
10-

Oxford Contemporary Music
Company Limited by Guarantee
Trustees, Annual Report (Incorporating the Director's Report) (contlnu•d)
Year ended 31 March 2024
and apply learning from this network within the organisation.
Financial review
Financlal & Operations
Rising costs and cuts in funding have meant that OCM'S partnership approach has never been more
lrnporlant than it Is now, and the organisation has been working smartly to share resources. For
example through planning partnerships around education, talent development and co-commissioning
ith OCMS, Ty Cerdd and the Schwar2man Centre for the Humanities.
OCM'S core funders PRS Foundation and Arts Council England maintained thelr level offunding.
Operations
Operationally, we have also sustained the organlsatlon's resilience by continuing lo..
Maintain a reasonable level of reserves to Include winding up costs and contingencies for the
organisation and larger projects.,
Ensure staff retention is strong through annual perfomiance and job reviews with staff members
and by supporting their training and development according to individual needs.
Hold quarterly Board meetings, regular staff team meetings.,
Regularly reviewing OCM'S policies and providing all staff with relevant training.,
Invest in fundraising support for existing and new projects.
The Income and Expenditure account Shows a deficit of £25,307 (2023 deficit.. £23,176) making the
balance carried YO￿ard at 31 March 2024 of £125,553. The balance was in line with the budget for the
year and the Trustees expectations and strategy for the Charity.
The deficit of £25,307 was drawn down, y￿th the Trustees, permisslon, against OCM'S pot of free
reserves, which had been accumulated over the last few years for agreed contingency and emergency
spending and for costs of fundraising. The Trustees have deemed these as acceptable uses of the
company's free reserves over the year, falling within the Reserves policy. The Glosing posilion at the
end of the financial year is that the company retains £20,248 in free resenies in addition to a ring-
fenced amount equivalent to 3 full monlhs of y￿nding up costs, as projected for the 2025126 financial
year.
The Trustee director5 consider that the position ofthe company as at 31 March 2023 is satisfactory.
11

Oxford Contemporary Muslc
Company Llmftéd by Guarantee
Trustees. Annual Report (Incorporating the Dlrnctorf• Report) (¢0ndn￿O
Year •ndod 31 March 2024
R••erv••
The charity aim8 to hold cash raserves at the level of beiween 3 and 5 month8 of operating in
order to cover fluctuallons In cash flow and wSndlng down costs In the clrcumstance that the Lthdrlty
ceases trading. Thls 1% Shown under the unl￿1￿18d Funds - 'General Funds,, and the current Shown
Is sufficlent to cover 3 months of projecleil costs in fiscal year 2025126.
The charity al80 holds ¢45h r•geNes for Orgenisational Conttngency lo includ¢ hlghor risk ovont8 and
projects.
118180 hold8 addltlonal fund8 that the Tru8t888 have agrééd wlll bo u8ed for developrnent Ivndlro Such
as urmlatlng of offlce equlpment 8nd project development, Thls IB shown under the Unrestrtcted Funds
'Pro}ect fund8'.
Rtsk•
The major rl8k8 to the cha￿ty Is expos8d, @s Id8ntlfi8d by the tru8t888, have been ￿￿•Wed and
syBt8ms have been eslabllshed to mldgate Iho88 rlsk8.
Pl•n• lor futur• p•rfod•
A robu8t 3 year plan wa8 Put together as Part of OCM'8 appllcatlon proce88 for Arts Councll England'8
Nallonal PortfoUo.Organ15ation fundlna 2023-26. OCM secured th1$ fuhdlng and dellvery of thls
programme has conlinuad as plsnnod into y04r 2 across 8114 strands of acti¥lty of this new plan, ¥thlch
indud88 events programme, comm18s1on￿w, artlst developm•nt, and educatlonloutreach and
addro8s8s ambltion and quality of our vA)rk, dynamism ol the organi8ation, indu8ivty and relevance,
and environmental réspon81blllty. These plan8 are reviewed r8gulatty by the ataff and Board of
Trustees, and ar8 Intsgrated Into OCM'S operatlonal work and polldes.
Small company provl•lon•
This report h89 be8n prepared in accordance wrfth tho provi8ion8 8ppllcable to companie• entilled to
the Small cornpanl88 exgmption.
The tr￿￿8, annual report was approved on
tru8t888 b
. and 8Igned on beh•lf ol the board of
Rlch8rd Tooth
Ch8lr
-12-

Oxford Contemporary Music
Company Limited by Guarantee
Independent Examinerfs Report to the Trustees of Oxford Contemporary Music
Year ended 31 March 2024
I report to the trustees on my examination of the financial statements of Oxford Contemporary Music
{'the charity,) for the year ended 31 March 2024.
Responsibilities and ba$ls of report
As the trustees of the company (and also its directors for the purposes of company law) you are
responsible for the preparation of the financial statements in accordance with the requirements of the
Companies Act 20061'the 2006 Act,).
Having satisfied myself that the accounts of the company are not required to be audlted under Part 16
of the 2006 Act and are eligible for independent examination, I report in respect of my examination of
the charity's accounts as carried out under section 145 of the Charities Act 2011 ('the 2011 Act,). In
Carrying out my examination I have followed the Directions given by the Charity Commisslon under
section 145{5)(b) of the 2011 Act.
Independent oxamlner's statement
I have Gompleled my examination. I confirm that no matters have come to my attention in connection
with the examination giving me cause lo believe:
accounting records were not kept in respect of the charity as required by section 386 of the
2006 Act., or
the financial ststement5 do not accord wth those records; or
the financial ststements do not comply with the accounting requirements of section 396 of
the 2006 Act other than any requirement that the accounts give a 'true and fair, view which 18
nat a matter Gonsidered as part of an independent examination,. or
the fi'nancial statements have not been prepared in accordance vAth the methods and
principles of the Statement of Recommended Practice for accounting and reporting by
charits'es applicable to charities preparing their accounts in accordance with the Financial
Reporting Standard applicable in the UK and Republic of Ireland {FRS 102).
I have no concerns and have come across no other matters in connection wtth the examination to
vthich attention should be drawn in this report in order to enable a proper understanding of the
accounts to be reached,
Cadwallader FCCA
For and On Behalf Of
David Cadwallader & Co Limited
Independent Examiner
Suite 3 Bignell Park Bams
Chesterton
Nr Bicester
Oxon
OX26 1TD
13-

Oxford Contemporary Music
Company Limited by Guarantee
Statement of Financial Activities
{including income and expenditure account)
Year ended 31 March 2024
2024
Restricted
funds Total fund8 Total funds
2023
Unrestricted
funds
Note
Income and andowmentS
Donations and legacies
Charitable activities
207,726
13,921
221,647
26,628
234.354
13,921
207,739
21,072
Total Income
26,628
248,275
228,811
Expenditure
Expenditure on charitsble activities
Total expenditurg
246.954
26,628
26,628
273.582
273,582
251,987
246,954
251,987
Net expendlture and net movement in
funds
<25,307>
125,307)
(23,176)
Reconciliotion of fundB
Total funds brought forward
Total funds carried forward
150,860
125,553
150,860
125,553
174,036
150,860
The statement of financial activities includes all gains and losses recognised in the year.
All income and expenditure derive from continuing activities.
The note¥ on page5 16 to 26 fomi part of these flnancial sLitsm8nts.
-14-

Oxford Contemporary Music
Company Llmlted by Guarantéè
Statement of Flnanclal Posltlon
31 March 2024
2024
2023
Not•
Flx•d a•uts
Tangible h'xed &%ets
14
4203
5.005
Cuff•nt a•••ts
Debtors
Ca8h at bank and in hand
15
12,750
131,699
144.449
13.419
143,561
166,980
Cr•dftor•.' •mounts falllng du• wthin on• y••r
N•t cuff•nt as••t•
16
2&099
11,126
145.855
1 SO.880
150.850
122.350
125,553
125,553
Tot•1 a•••t• l••• curnl Ilabllltl
Not aM•ts
FundB of th• Charfty
Unre8tr1cted fund8
125,553
125,553
150,860
150.860
Tot•1 ch•rlty fund•
18
For the s•ar Ondlng 31 March 2024 th• charty wa6 ￿tIll•d to oxbmptlon from audtt undor 88ction 477
of the Companles Act 2006 releting to small ccmpaThe8.
Dlrectorn, re8pon8lbithtles:
Th8 members have not r*ryqulred th8 C£*rnP8ny to olrtaln an audlt ol Its fin&ndo18tatemeni8 lor the
r In qUe￿10n in accordanc8 vlth 8ethon 476;
The directors acknowledge thoir re8ponsibilties for c(xnplying with the requirement3 of the Act
Ih ie8ped to accountlng recofds and Ihe preparath)n ot IlnandAI 8tatement8.
Thage flnancl81 gt8tom8nt8 have bean prapared In oceordance vAth the pro¥l8lons apFdlcable lo
MpanI￿ subjact lo tho 8m811 companle8' r•glm•.
These financial statefflents ￿re approved by the board ol trusté66 and authoris*J for 188ue on
and are 8lgned on behalf ol the bogrd by.
Rlchard Tooth
Chair
Th• nol•• on page• 16 to 28 forni p•rt olthe•e flnanelal Atthm•nt•.

Oxford Contemporary Music
Company Limited by Guarantee
Notes to the Financial Statements
Year ended 31 March 2024
General information
The charity is a public benefit entity and a private company limited by guarantee, registered in
England and Wales and a registered charity in England and Wales. The address of the registered
office is Room 136, Headington Hill Campus, Oxford Brookes University, Oxford, OX3 08P.
ststement of compllance
These financial staterrents have been prepared in compliance wth FRS 102, The Financial
Reporting Standard applicable in the UK and the Republic of Ireland,, the Statement of
Recommended Practice applicable to charities preparing their accounts in accordance wth the
Financial Reporting Standard applicable in the UK and Republic of Ireland IFRS 102) (Charities
SORP (FRS 10211 and the Companies Act 2006.
Accounting policies
Basls of proparatlon
The financial statements have been prepared on the historical cost basis, as modrfied by the
revaluation of certain financial assets and liabilities and investment properties measured at fair
value through income or expenditure.
The finanGial Statements are prepared in sterling. which is the functional currency of the entity.
Going concern
The aGcounts have been prepared on a going concern basis.
There are no material uncertainties about the charity's ability to continue. Arts Council England
have offered a new National Portfolio Organisation grant agreement for 2023-2026. giving the
charity core funding security for three years. The Oxford City Council Big Ideas core grant is
secured again for 202314, Other grant funding 1$ applied for annually.
Judgements and key sourceg of estlmation uncertainty
The preparation of the financial statements requires management to rnake judgements,
estimates and assUmpt￿on$ that affect the amounts reported. These estimates and judgements
are continually reviewed and are based on experience and other factors, including expectations of
future events that are believed to be reasonable under the circumstances.
Accounting estimates and assumptions are made concerning the future and, by their nature, will
rarely equal the related actual outcome. The key assumptions and other sources of estimation
uncertainty that have a significant risk of causing a material adjustment to the carrying amounts of
assets and liabilities )Mthin the next financial year are as follows.. Deferred income has been
calculated to reflect the element of grant income which was unspent on projects at Ihe year end.
16-

Oxford Contemporary Music
Company Limited by Guarantee
Notes to the Financial Statements (continuod)
Year ended 31 March 2024
Accounting polici8S (cé)ntlnts•d)
Fund accounting
Unrestricted funds are available for use at the discretion of the trLJStees to further any of the
charitys purposes.
Designated funds are unrestricted funds earmarked by the trustees for particular future project or
commitment.
Restricted funds are subjected to restrictions on their expenditure declared by the donor or
through the terms of an appeal, and fall into one of iwo sub-clas8es.' restricted income funds or
endowment funds,
Incoming resourc8S
All incoming resource5 are Included in the statement of financial activities when entitlement has
passed to the charity., it is probable that the economic benefit$ associated with the transaction will
flow to the charity and the amount can be reliably measured. The follwing specific policies are
applied to particular categories of income..
income from donations or grants is recognised then there is evidence of entitlement to the
gift, receipt is probable and its amount can be measured reliably,
legacy income is recognised when receipt is probable and entitlement is established.
income from donated goods is measured at the fair value of the goods unless this is
impractical to measure reliably, in which case the value is derived from the cost to the donor
or the estimated resale value. Donated facilities and services are recognised in the accounts
en received if the value can be reliably measured. No amounts are included for the
ontribution of general volunteers.
income from contracts for the supply of services Is recognised with the delivery of the
contracted service. This is classified as unrestricted funds unless there is a contractual
requirement for it to be spent on a particular purpose and returned if unspent, in which case
it may be regarded as restricted.
17-

Oxford Contemporary Music
Company Limited by Guarantee
Notes to the Financial Statements (eontlnu•d)
Year ended 31 March 2024
Accounting pollcles (conlinued)
Resources expended
Expenditure is recognised on an accruals basis as a liabilily is incurred. Expenditure includes any
VAT which cannot be fully recovered, and is classified under headings of Ihe ststement of
fi'nancial activitie5 to which it relates..
expenditure on raising funds includes the costs of all fundraising activities, events, non-
charitable trading activities, and the sale of donated goods.
expenditure on charitable activities includes all costs incurred by a charity in undertaking
activities that further it5 charitable aims for the benefit of its beneficiaries, including those
support costs and costs relatin9 to the governance af the charity apportioned to charitable
activities.
other expenditure includes all expenditure that is neither related to raising funds for the
charity nor part of its expenditure on charitable activities.
AII costs are allocated to expenditure categories reflecting the use of the resource. Direct costs
attributable to a single activity are allocaled directly to that activity. Shared costs are apportioned
between the activities they Gontribute to on a reasonable, justifiable and consistent basis.
Tanglble assets
Tangible assets are initially recorded al cost, and subsequently stated at cost less any
accumulated depreciation and impairment losses. Any tangible assets carried at revalued
amounts are recorded at the fair value at the date of revaluation less any subsequent
aGcumulaled depreciation and subsequent accumulated impairment105ses.
An Increase in the carrying amount of an asset as a result of a revaluation, is recognised in other
recognised gains and losses, unless It reverses a charge for impaiment that has previously been
recognised a5 expenditure within the statement of financial activities. A decrease in the carrying
amount of an asset as a result of revaluation, is recognised in other recognised gains and losses,
except to which it offsets any previous revaluation gain, in which case the loss is shown within
other recognised gains and losses on the statement of financial activities.
Depreclatlon
Depreclation is calculated so as to write off the Cost or valuation of an asset, le8S Its residual
value, over the useful economic life of that asset as follows..
Equipment
250A straight line
Impairment of fixed as$ot5
A review for indicators of impairment is carried out at each reporting date, with the recoverable
amount being estimated where such indicators exist. Where the carrying value exceed5 the
recoverable amount, the asset is impaired accordingly. Prior impairment5 are also reviewed for
possible rever581 at each reporting date.
18-

Oxford Contemporary Music
Company Limited by Guarantee
Notes to the Financial Statements (e0ntlft￿dj
Year ended 31 March 2024
Accountlng policies {Gon¢lnu•dJ
Impaimient of fixed assets (contlnu•dJ
For the purposes of impairment testing, when it is not possible to estimate the recoverable
amount of an individual a53et, an estimate is made of the recoverable amount of the cas
generating unit to whith the asset belongs. The cash-generating unit is the smallest identifiable
group of assets that includes the asset and generates cash inflows that largely independent of the
cash inflows from other assets or groups of assets.
For impairment testing of goodwll, the goodwill acquired in a business combination is, from the
acquisition date, allocated to each of the cash-generating units that are expected to benefit from
the synergies of the combination, irrespective of whether other assets or liabilities of the charity
are assigned to those units.
Defined contrlbutlon plans
Contributions to defined contribution plans are recognised as an expense in the period in which
the related service is provided. Prepaid contributions are recogni5ed as an asset to the extent that
the prepaymenl will lead to a reduction in future payments or a cash refund.
When contributions are not expected to be settled wholly within 12 months of the end of the
reporting date in which the employees render the related service, the liability is measured on a
discounted present value basis. The unwinding of the discount is recognised as an expense in
the period in which it arises.
Llmited by guaranteo
The Company is limited by guarantee and has no share capital. In the event that the Company is
wound up, the liability of the members is limited to one pound.
Donatlong and1ogacie¥
Unrestricted
Funds
Restricted Total Funds
Funds
2024
Donations
Donations
1,025
1,025
19-

Oxford Contemporary Music
Company Limited by Guarantee
Notes to the Financial Statements (continued)
Year ended 31 March 2024
Donations and legacles (continued)
Unrestricted
Funds
Restricted Total Funds
Funds
2024
Grants
Oxford City Council grant
PRSF grant
Arts Council England, South East NPO grant
The Cultural Programme
Swan Mountain Trust
JeTwood Arts
stanton Ballard Trust
Oxfordshire Community Foundation
University of Oxford Community Fund
Without Walls Consortium
British Council
5,000
12,500
189,201
1,600
6,600
12.500
189,201
9,000
4,000
9,000
4,000
500
9,895
1,000
633
500
9,895
1,000
833
207,726
26,628
234,354
Unrestricted
Funds
Restricted Total Funds
Funds
2023
Donations
Donations
440
440
Grants
Oxford City Council grant
PRSF grant
Arts Council England, South East NPO grant
The Cultural Programme
Swan Mountain Trust
Jery￿0d Arts
Stsnton Ballard Trust
Oxfordshire Community Foundatlon
University of Oxford Community Fund
Without Walls Consortlum
British Council
7,000
500
189,201
7.000
7,250
189,201
6,750
1,248
1,248
2,600
10,598
2,600
197.141
207,739
Charitable actlvltles
Unrestricted Total Funds Unrestricted Total Funds
Funds
2024
Funds
2023
Other income from charitable activities
13,921
13,921
21,072
21,072
-20-

Oxford Contemporary Music
Company Limited by Guarantee
Notes to the Financial Statements l¢onttnuedJ
Year ended 31 March 2024
Expenditure on charitabl8 actlvltles by fund typa
Unrestricted
Funds
Restricted Total Funds
Funds
2024
Projects
Concerts
Education
Overheads
43.494
29,551
8,616
165,293
24,028
67,522
29,551
11,216
165,293
273,582
2,600
246,954
26,628
Unrestricted
Funds
Restricted Total Funds
Funds
2023
Projects
Concerts
Education
Overheads
24.835
35,963
14,069
168,452
241,319
9,420
34,255
35,963
14,069
167,700
1,248
10,668
251,987
Expenditure on charitable activitieg by activity typo
Activitses
undertaken Total fund5
direct
2024
Total fund
2023
Projects
Concerts
Education
Overheads
67,522
29,551
11,216
165,293
67,522
29,551
11,216
165,293
34,255
35,963
14,069
167,700
251,987
273,582
273,582
Net expendltur•
Net expenditure is stated after charglngl(crediting):
2024
2023
Depreciation of tangible fixed assets
1,802
1,440
10. Independent examination fees
2024
2023
Fees payable to the independent examiner for..
Independent examination of the financial statement5
2,142
2,088
21

Oxford Contemporary Music
Company Limited by Guarantee
Notes to the Financial Statements (continued)
Year ended 31 March 2024
11. Staff costs
The total staff costs and employee benefits for the reporting period are analysed as follows..
2024
2023
Wages and salaries
Social security costs
Employer contributions to pension plans
116,152
3,371
9,287
128,810
118,283
3.777
8,712
130,772
The average head counl of employees during the year VAS 6 (2023.. 61. The average number of
fulktlme equivalent employee8 during the year Is analysed as follows..
2024
2023
Number of staff - charitable
No employee received employee benefits of more than £60,000 during the year (2023.. NII).
12. Trustee remuneratlon and axpènse•
No Trustees were paid expenses in the year {2023.' One Trustee was paid a fee of £480 plus £70
travel expenses).
There was no other remuneration or other benefits from employment with the charity or a related
entity which were received by the trustees.
13. Transfers between funds
Fund transfers represents transfers from unrestricted to restricted funds to account for excess
expenditure on projects.
14. Tanglble flxed a8sot8
Equipment
Total
Cost
At 1 April 2023 and 31 March 2024
Depreciation
At 1 April 2023
Charge for the year
At 31 March 2024
15,348
15,348
10,343
1,802
12,145
10,343
1,802
12.145
Carrying amount
At 31 March 2024
3,203
3,203
At 31 March 2023
5,005
5,005
-22-

Oxford Contemporary Music
Company Limited by Guarantee
Notes to the Financial Statements (contlnuod)
Year ended 31 March 2024
15. Debtors
2024
2023
Trade debtors
Prepayments and accrued income
Other debtors
11,017
1,089
644
12,449
879
91
12,750
13,419
16. Creditors: amounts falllng due wlthln one year
2024
2023
Trade creditors
Accruals and deferred Income
Social security and other taxes
Other creditors
11,561
10,537
6,845
1,530
2,154
596
22,099
11,125
17. Ponslons and other p09t retlrement bonefils
Daflned contrlbutlon plans
The amount recognised in income or expenditure as an expense In relation to defined
contribution plans was £9,287 (2023.. £8,712).
-23-

Oxford Contemporary Music
Company Limited by Guarantee
Notes to the Financial Ststements (continued)
Year ended 31 March 2024
18. Analysis of charltable funds
Unrestrlcted funds
At
31 March 202
At
1 April 2023
Income Expenditure
Transfers
General funds
Project costs
Organisational
Conts'ngency
105,243
25,217
221,647
(227,015)
(10,199)
5,430
14,770)
105.305
10.248
20,400
(9,7401
(246,9541
(660)
10.000
125,553
150,86Q
221,647
At
31 March 202
At
1 April 2022
Income Expendlture
Transfers
General funds
Project Costs
Organisational
Contingency
101,773
51,793
218,213
{241,319)
26,576
{26,576)
105,243
25,217
20,400
20,400
173,966
218,213
(241,319)
150,860
General Fund8
3 to 5 months of operatlng costs in order to cover fluctuations in cash flow and winding dovdn
costs in the circumstance that the charity ceases trading.
Project Funds
Reserves held for developmental activities including Arts Councll England Catalyst Evolve
fundraising, Education projects, contingency for lost incomel additional expenditure due to Covid
19 adjustments in the 21122 programme and replacement of essential office equipment.
Organlsatlonal Contingency
A contingency fund to mitigate against organisational and project financial risks and1083e8.
-24-

Oxford Contemporary Music
Company Limited by Guarantee
Notes to the Financial Statements (continued)
Year ended 31 March 2024
18. Analysis of charltable funds (conlinuedj
Restrlcted funds
At
31 March 202
At
1 April 2023
Income Expenditure
Transfers
PRS Foundation TDP
grant
Oxford City Council
Community Impact grant
CEP Engaging Young
People Grant
Jerwood Arts
British Council
Swan Mountain Trust
Oxfordshire Community
Foundation
stanton Ballard Trust
University of Oxford
Community Fund
Without Walls
consortium funding
The Cultural Programme
1,600
(1 ,600)
4,000
(4,0001
9,895
500
(9,895)
(500)
1,000
{1,000)
633
9,000
16331
(9,0001
(26,628)
26,628
At
31 March 202
At
1 April 2022
Income Expenditure
Transfers
PRS Foundation TDP
grant
Oxford Clty Council
Community Impact grant
CEP Engaging Young
People Grant
Jep4vood Arts
British Council
Swan Mountain Trust
Oxfordshire Community
Foundation
Stanton 8allard Trust
University of Oxford
Community Fund
Without Wa115
consortiurn funding
The Cultural Programme
6,750
(6,750)
70
(701
(1,2481
(2,6001
1,248
2,600
70
10,598
(10,6681
25-

Oxford Contemporary Music
Company Limited by Guarantee
Notes to the Financial Statements (contlnu8dJ
Year ended 31 March 2024
18. Analysls of charitable funds (wntlnueo)
Oxford City Councll Communlty Impact Fund
Awarded for delivery of the Education and Outreach programme.
Swan Mountain Trust
Awarded for development of the Starlings project, transferred to Tandem Collective for project
delivery.
Oxfordshire Community Foundation
Awarded for development of the Starlings project, transferred to Tandem Collective for project
delivery.
Stanton 8allard Trust
Awarded for development of the Starlings project, transferred to Tandem Collective for project
delivery.
Oxford Univers5ty Communlty Fund
Towards the Listen Upl project- part of the Education and Outreach programme.
Wlthout Walls Consortium
First part of grant towards touring Warning Notes by Mark Anderson.
Oxford Unlversity Cultural Programme
Towards Oxford presentation of Warning Notes and further development for touring purposes.
19. Analysls ol net assots between fund8
Unrestricted Totsl Fund8
Funds
2024
Tangible fixed assets
Current assets
Creditor5 less than 1 year
Net assets
3,203
144,449
122,099)
125,553
3,203
144,449
122,099)
125,553
Unrestricted Total Funds
Funds
2023
Tangible fixed a55ets
Current assets
Creditors less than 1 year
Net assets
5,005
156,980
(11,125)
150,860
5,005
156,980
(11,125)
150,860
-26-