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2021-03-31-accounts

Good Vibrations (Music) Limited Annual report and accounts 2020–21

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Welcome

I hope you enjoy reading this annual report. Putting it together has emphasised to us how grateful we are to everyone who has supported our work during this difficult year, and how proud we are of what our team has achieved.

Katy Haigh Executive Director We are doing all we can to support the Good Vibrations communities we work with to recover from this devastating pandemic and live fulfilling lives beyond it.

Who our service is for

Good Vibrations works across the UK in

partnership with prisons, young offender institutions, secure hospitals and community organisations.

September 2021

Contents

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We support:
People with mental
health needs
People in
Disabled
challenging
people
circumstances
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Our vision

To help create a safer, more-empathetic UK, where vulnerable people – including those convicted of offences – are given the chance to become valued members of society and to forge fulfilling and constructive lives.

Our mission

We inspire and motivate vulnerable people with complex needs and give them the tools they need to help them realise their true potential and build more positive futures.

Please note that names of participants have been changed to protect identities.

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What we do and how

We run music-making projects where participants make their own music, put on performances, and create recordings.

These projects are all about listening, communicating, working as a team, problem solving and reflecting. They are accessible, and don’t require musical experience.

Individualised support through our Keep In Touch programme

Creative activities:

We particularly like to work with gamelan music[1] as it is so accessible, different, levelling and well-suited to helping develop collaboration and confidence. Participants can also learn about Indonesian culture, and sometimes the music industry, on our courses.

Group music-making projects

Week-long immersive experiences[2 ] using:

Weekly courses using:

Additional support:

And also

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Annual report and accounts 2020–21
Good Vibrations (Music) Limited
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Our approach is key to our work

It’s based on 12 core values:

Our approach is holistic and person-centred. Our projects are about relationships – between participants and facilitators, between members of the group, between participants and staff or carers, and the relationship each participant has with themselves.

We facilitate, rather than teach. This creates safe spaces and gives participants ownership of their work, which has a transformative effect. We help participants explore and reflect on how they are in groups, and let conflict play out as this is natural, and can lead to creative problem-solving.

Much of our work uses gamelan because it’s communal, so as players fit their parts in, they develop listening and non-verbal communication skills. Gamelan is melodic, not just rhythmic, which provides rich opportunities for musical development. It is novel, so people tend not to have prejudices about it, It is levelling, so everyone’s contributions are equally important. As a medium, it is accessible and adaptable. Everyone can succeed at it and be challenged by it.

We value participants’ life experiences, and listen to how we can better support them and act on what they say. We are working hard to build pathways for participation at all levels in the organisation.

The following percentages of participants[3] say our intensive or regular courses make them:

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MORE MORE BETTER AT BETTER AT
CREATIVE MOTIVATED LISTENING TEAM WORKING
93% 83% 82% 82%
MORE MORE BETTER AT BETTER AT
CONFIDENT RESILIENT COMMUNICATING PROBLEM SOLVING
82% 79% 78% 75%
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The difference we make

Our participants say our projects help them in many ways:

A complete and A welcome break It restored my faith in different experience that allowed me to humanity. I’ve been – my health and wellre-centre from the day treated as a person.” being have benefitted.” to day chaos. I have a genuine sense of achievement.” The course helped me It built my respect for work better as part of a other cultures and group. I felt motivated people. A synergy I am nervous and and stress free.” developed.” struggle in groups but the project helped my self-confidence.”

Independent research[4] findings demonstrate that our projects have lasting positive impacts:

Achieving Co-operating Participants develop Helped reduce anxiety more trust in their levels for participants, own ability to make enabling them to feel meaningful, valid more relaxed and cope decisions and an better with stress … ethos of collective All participants said responsibility grows their social skills had … The sense improved, e.g. that they of achievement could communicate experienced at the better, were more end of the week was co-operative teaminvaluable for the players, and more recognition it provided effective leaders.” of participants’ abilities Winder et al., 2015 and hidden potential, which many had lost sight of during their formal education.” Changing Digard et al., 2007:13 Catalysts for change

Long-term Six months after completing a course, participants experienced: greater levels of engagement; an increased openness to wider learning; improved listening and communication skills; improved social skills; improved relationships with prison staff; decreased levels of self-reported anger; and a greater sense of calmness.” Winder et al., 2015

Changing Catalysts for change – participants take learnings and memories with them, which many treat as foundations of positive change to build upon.” Caulfield et al., 2010

We are committed to continually learning about the impact of our work through independent evaluation, and responding to that. There is new research underway on our work. If you want to find out about all our research, please look at the Evidence Library: www.artsevidence.org.uk/organisations/artsorganisations/good-vibrations

Listening The facilitators encourage a culture of shared leadership and joint decisionmaking, which enables participants to become better at communicating with, and listening to others.” Henley, 2014

Experiencing Participants talk about the humanising experience of the project and the freedom it makes them feel.” Caulfield et al., 2010

4 Music, education, and opportunity Sep 2018 Prison Service Journal article

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2020–21

an overview

Online projects

IN 2020–21 WE EXPECTED TO:

~~REACH~~

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PARTICIPANTS, 510 OF
WHOM WOULD BE ON
OUR INTENSIVE COURSES
1,080
WORK AT AND WITH
16 PRISONS 3 SECURE HOSPITALS 10 PARTNERS IN THE COMMUNITY
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Before the year started, Covid hit and we were forced to temporarily stop all face to face activities. Most of our beneficiaries suffered

greatly during the pandemic, and the enforced isolation of lockdown meant that many struggled with their mental health. It has been very difficult to reach people, especially in prisons, but we did everything we could to continue our support, working face to face when possible and remotely/online when necessary. This year, because of the pandemic, our work has looked very different from ever before.

When we couldn’t work safely in person, we ran online music courses. These were aimed at adults with mental health needs, and disabilities, but some were open to the public, students and professional artists too.

We supported 98 people in this way UK wide

London

Nottingham and Glasgow

~~WE SUPPORTED ALMOST~~ 300 ~~PEOPLE DIRECTLY~~

Hello, how are you?

Nottinghamshire

Glasgow

PEOPLE THROUGH OUR KEEP IN TOUCH PROGRAMME 33 PEOPLE FACE TO FACE 61 PEOPLE ONLINE 98 PEOPLE IN PRISONS AND YOIs THROUGH OUR CREATIVE PACKS 100

Pre-recorded for HMP Liverpool

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IGAMI
1
LOTUS OR
FOLD THE CORNERS
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Our radio shows, podcasts, films, blogs and creative challenges have reached 1,000s more people in prisons and the community.

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Face to face work

For large parts of the year we managed to run some weekly, face to face courses in a few settings.

We supported 61 people with mental health needs over a long time through this work London

Nottingham

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Individual long-term support

Through our Keep In Touch programme, we worked with past-participants to support them through this difficult time.

We checked in to see how they were, shared opportunities and resources, and signposted them onto activities and support. We helped these participants:

•[ Feel connected and access local pandemic resources]

•[ Get specialist housing, finance and mental health support]

•[ Co-produce radio shows and papers for conferences]

This work has benefitted us too – past participants are volunteering to give back to Good Vibrations. They have represented us in consultations they are knowledgeable about, have shared their expertise, perspectives and stories through blogs and podcasts, and have helped us design a digital gamelan and online sessions to make them more accessible.

Having the phone calls has been the biggest support during lockdown. Yesterday I felt joy for the first time in a while – funny to feel the feeling – I just caught it – felt hope.”

ELVY

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Creative content

We prioritised creative content for the first time this year so we could reach people in other ways during the pandemic. It was so successful we want to do more of this in the future to support our face to face work.

Creative challenges Our facilitators and participants made films and challenged people to do something creative in response. To see more visit:

www.good-vibrations.org.uk/ sharing-good-vibrations-3

Podcasts We recorded Bite Size Vibes, a series of podcasts with people from inside and outside the Good Vibrations community.

Radio programmes

We broadcast radio shows to people across the UK through community, hospital, and prison radio. To hear more visit: www.good-vibrations.org.uk/ podcasts

Online music making resources We created online resources for people to make music with. To find out more visit: www.good-vibrations.org.uk/ play-music-with-others-2/ gamelan-playground

Blogs

Our participants and team have a wealth of varied experiences and perspectives on different issues, which we shared through blogs. To find out more visit: www.good-vibrations.org.uk/ news-and-blogs

Creative packs for prisons We sent 100 creative packs to people locked in their cells to give them something interesting to do and show them that we care. To find out more visit: bit.ly/3yT7A3O

Concerts and films We created films and performances about our work, and about Indonesian music and culture. To find out more visit our YouTube TV channel: https://bit.ly/3hZ0lC3

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Who we helped

AGE OF PARTICIPANTS

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50%
40%
30%
20%
10%
0%
<26 26–34 35–44 45–54 55–64 65>
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■ % of participants over last five years

■ % of participants in 2020–21

This year almost all of our participants were 18–35 (84% compared with 64% for the last five years).

GENDER OF PARTICIPANTS

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Trans
Non binary
Prefer not to say
Female
Male
0% 10% 20% 30% 40% 50% 60%
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60% of our participants were male compared to 68% over the last five years.

DISABILITY STATUS OF PARTICIPANTS

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5%
6%
8%
44%
38%
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■ A mental health need

■ Non disabled

■ A learning disability or learning difficulty

■ A physically disabled

■ Prefer not to say

57% of participants identified as disabled (compared with 54% for the last five years).

We have been collating gender and disability data in a binary way until recently, so cannot provide an accurate comparison of this year’s full data with the last five years. We aim to present a visual representation of gender data in future annual reports.

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ETHNICITY OF PARTICIPANTS

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Mixed – White and Black African
Mixed – any other mixed background
Mixed – White and Black Caribbean
Mixed – White and Aisan
Black/Black British – any other Black background
Asian/Asian British – any other Asian background
Asian/Asian British – Bangladeshi
Asian/Asian British – Pakistani
Asian/Asian British – Indian
Prefer not to say
Chinese
White – Irish
Any other
White – any other White background
Black/Black British – African
Black/Black British – Caribbean
White – British
0% 10% 20% 30% 40% 50% 60%
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■ % of participants over the last five years ■ % of participants in 2020–21

54% of participants were White British (compared with 56% for the last five years) and 24% were Black/Black British Caribbean (compared with 8% for the last five years).

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Behind the scenes

Good Vibrations is a dynamic, learning and evolving organisation. We are committed to improving our practice, and contributing to the development of arts and social justice across the UK.

OUR APPROACH We work in partnership with a very broad range of organisations to reach the people who can most benefit from our work, and embed expertise in every project

WHAT WE DID

OUR APPROACH Creativity, flexibility and OUR APPROACH We are a learning leadership are at the heart of our work organisation WHAT WE DID WHAT WE DID

OUR APPROACH We are taking decisive steps to improve our diversity and inclusion, and are committed to antiracist work

WHAT WE DID

OUR APPROACH We embrace technology and make use of it to enhance our work and benefit our participants WHAT WE DID

OUR APPROACH We invest in and care for our team through skills development, consultation and participation at all levels WHAT WE DID

OUR APPROACH We work towards improved sustainability WHAT WE DID

OUR APPROACH We advocate for the people we support and share good practice WHAT WE DID

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Hear from our participants

Russ’s story

In 2009 I came out of prison completely lost and confused. I was staying in a hostel. I hated being there, I hated having a curfew, I hated people making decisions about me. I felt like my dignity had been stripped away from me. One day I bumped into a Good Vibrations facilitator who was running a project there. She asked me to join in, so I went along to be polite, telling myself I’d stay for ten minutes and then make an excuse to leave. But I ended up staying for the entire session and the whole workshop. I was hooked.

After that, I started attending weekly gamelan sessions with Good Vibrations. And 12 years on, I am still as involved as I can be with whatever support I can offer. I’ve performed gamelan in concert and this year I’ve presented and produced a series of podcasts for Good Vibrations. Thanks to encouragement and support from the Good Vibrations team, I’ve done stand-up shows across the UK and I now present a weekly show for Radio Sunlight called the Chatterday Show. They also introduced me to the Teach A Friend To Read charity, for whom I am now Media Director.

Good Vibrations is not about where you’ve been – it’s about where you’re going. Things for me are still not perfect. I do still struggle. But being part of Good Vibrations has given me the strength to stay positive and keep moving forward and achieve whatever goal I set myself.

Linda’s story

Before I started doing online sessions with Good Vibrations, I’d never done a video call before. When Mags, the facilitator of the Resonate project, and I first talked about doing the sessions online we didn’t want to because we thought it wouldn’t be the same. And when we started, I didn’t know how it would go, but it’s been every bit as good as the sessions in person. It’s just a different way of doing it. It’s been nice to see the people I knew from the Resonate in-person sessions and I’ve also met new people online and got to know them. If someone had told me before the pandemic that we’d be doing the sessions online, I’d have said no way!

We can’t play gamelan in the online sessions and I miss that. We’ve been listening to Balinese gamelan though, which is different to the Javanese gamelan that we play at Campbell House in Glasgow. I would love to go and see the Balinese gamelan, and to try it out as well. I love gamelan. I tell everybody I see about it!

We did a conference this year too. We were talking about inclusivity, accessibility, consent, ethnomusicology and jargon for months before the conference, and then we spoke at the conference. We made a video that was shown to everyone and then a Q&A session. One of the presenters said it gave him a lot of ideas for the future. This is the very first time I’ve been involved in a conference and I found it brilliant.

Tony’s story

I first joined Good Vibrations’ Loophole Music project in 2018, when I was a patient in Bethlem Royal Hospital. In the 80s and 90s I sang with a band in pubs and clubs, and I was so happy to be creative and making music again after all this time. It reawakened something in me that had been lying dormant. Taking part in Loophole Music definitely helped me with my recovery.

Now I work in Bethlem Hospital with a charity called Hear Us, giving peer support to patients. I was working during lockdown when I saw a notice about

Loophole Music and I asked if I could join again. Kieran and Bison, who run the project, encouraged me to focus on writing my own music and lyrics. So I started working on some songs I’d begun a long time ago and which I’d never got a chance to finish. It’s really exciting to be able to make music again. I’ve got plenty more songs inside me.

In October, I helped Kieran and Bison run an online workshop from a pub in Stockwell as part of the Maudsley Charity festival for World Mental Health Day 2020. I learned a great deal from the experience, and it gave me a lot of confidence.

Now I volunteer at the one to one Loophole Music sessions at Bethlem too, which have been running during the pandemic. I hope I’ll be able to stay involved with Loophole for a long while – I’m here for as long as they’ll have me!

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Conversations about our work during the pandemic

John (Good Vibrations facilitator) Natalie and Danielle (occupational therapists) discuss one of our prison projects

John: During the pandemic, we’ve been doing gamelan sessions on H3, the residential healthcare wing in HMP Wormwood Scrubs. We work with two to four participants at each session. They take place in a communal area which works well in terms of social distancing as people can observe from the other side of the room.

Natalie: H3 is our in-patient mental health unit so the men on the unit are particularly vulnerable. The group having to be small because of Covid actually works well, as patients often feel more confident playing within a smaller group. If Danielle and I are there we play too, and so do the officers and nurses, which is a nice leveller for us all.

Danielle: Allowing observers in the room creates a safe way for patients to leave their cells. Sometimes they even transition into participating. It’s nice to see that progress. There are a couple of cells that look out onto the room. This means that people who don’t want to or can’t leave their cells can still stand at the hatch and look and listen. For some of our patients this is a big step. They are participating in a way too.

Natalie: It’s because of this that the sessions provide a really good space for us to assess the patients. While the men are playing gamelan, we can assess their concentration, their ability to focus on a task, their motor skills, their social communication, and their ability to express themselves.

Danielle: It’s a pro-social activity and provides an easy way to communicate and be encouraging of each other. You can really see when patients are listening and communicating. Some of the guys have very disordered thoughts and will usually speak at a hundred miles an hour, but doing a Good Vibrations session really slows things down. It reduces frustration as they feel like they are being listened to. The music goes through the whole unit. The nurses have noted how it changes the atmosphere and creates a calming tone for the afternoon. This means it has a wider impact, even on patients who aren’t participating.

Natalie: We rely on the prison staff to unlock the guys for all our activities and sometimes they can’t as they don’t have enough officers available. But when it comes to Good Vibrations, they always make sure they have enough staff on to make the sessions happen. The officers appreciate them as much as anyone.

John: Because there are different people in the room each time, the sessions are different every week. As a facilitator, I don’t practise anything I regard as therapeutic. I believe music itself is therapeutic and the act of playing is therapeutic. Things can be expressed in music that people find difficult to express in other ways. When we’re addressing a musical issue, such as the group not playing in time, we’re simultaneously addressing other issues – of relationship, of connection, of listening.

These images are from a film made in our Beyond Performance project, which we held online this year. It combines an eclectic mix of shadow puppetry and music, produced collaboratively by director Sarah Stuchfield, professional artists, and old and new Good Vibrations participants across the UK. https://bit.ly/3lDlNgR

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Rosie (Admin and Communications Co-ordinator) and Nikki (Good Vibrations facilitator) discuss one of our community projects

Rosie: Were there any challenges when you moved your gamelan group online rather than in the local community centre because of Covid?

Nikki: Digital exclusion was a real issue. Most of our participants didn’t have much experience, confidence or access to technology. IT is my biggest weakness, so I had to upskill myself so I could do one to one sessions showing them how to use Zoom. But I’m glad we did it because several participants engaged with the online sessions.

Rosie: How did you make music online? Did it all go smoothly?

Nikki: I delivered gamelan instruments to people’s homes so they could take part online. We also used Soundtrap, a composition tool that lets people work on a piece together remotely. Between sessions, participants would work on the piece and be in communication with each other. I encouraged people to drop into the session, even just for a chat, with no pressure to stay for the full hour. Not knowing who was going to turn up when made it stressful though. In person you can be spontaneous and respond to whatever happens, but it’s not like that online. I spent hours preparing background sounds and videos to share to maintain interest and ensure I had back-up options.

Rosie: Were all of your sessions online during the pandemic?

Nikki: No. When restrictions eased last summer, we briefly returned to face to face with limited numbers. We arranged it so each person had a station of three instruments to play and did a lot of deep cleaning. It was different from our usual relaxed, drop-in sessions. I also ran online sessions with Flowerpod, a centre for people with learning disabilities. They didn’t have gamelan instruments, so instead played flowerpots, watering cans, buckets and teacups. The participants and their support workers shared one camera, all socially distanced from each other, so were just tiny dots on my screen. It was hard to know who was playing what. I used signals to facilitate, but one of the participants was visually impaired, so couldn’t see me. We experimented to see what worked, and the success of the group ultimately depended on the support workers being so interactive and brilliant.

Rosie: Looking back, what have you learnt from this experience?

Nikki: I’ve got used to working online now. Participants need to have a certain level of ability or support to help them engage, but I’ve found a system that works. There are benefits too. I can show videos, share notation, and focus on specific learning points in a way that is impossible in face-to-face groups. It’s useful to be able to mute the group to let them practise their own parts without hearing each other. Developing technical skills on Soundtrap and Zoom has also enabled participants to join other groups, so they’re less isolated in between our sessions. We are very glad to be getting back to meeting as a group in person, but we might just decide to keep the occasional online session, now we’ve got the hang of it!

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Fay (occupational therapist) and Kieran (Good Vibrations facilitator) talk about one of our secure hospitals projects

Fay: Dean has been in hospital for over ten years. He’s got better, and then relapsed, over and over again. He was at a point where he felt hopeless and frustrated and like he had no reason to try and get better anymore. Music was really dear to him so we decided to give him leave so he could attend a Loophole session.

Kieran: During our first session together, I quickly realised that Dean has no control over anything in his life. So, I let him go through the process that he insisted on to make tracks, even though it made no sense musically. When he listened to what he’d made, he didn’t like it and asked if we could do what I had originally suggested. Although it slowed the process, it is vital that I let him try and do it his way. The respect needs to go both ways.

Fay: That’s what made the sessions work; Kieran completely respects Dean’s artistic integrity. Kieran at no point showed any judgement over the quality of the work, which was crucial to Dean coming back week after week. Dean does this interesting thing where he throws things out that are important to him. Each week he would come in and listen to the previous week’s work and shout at Kieran, insisting that he deletes it. Kieran was so accommodating while still putting boundaries in place, explaining to Dean that he needed to respect that Kieran had also spent time working on that track. It became a very true representation of a healthy relationship in the real world.

Kieran: Throughout our sessions, I’ve definitely noticed changes in this patient, all positive ones. Like Fay says, a friendship has formed between us. Now when he comes into the room for his session he is smiling and happy to be there. He still arrives in an explosion, knowing that he’s only got a 50-minute session and there’s so much he wants to get done, but now he’s jovial, whereas the first sessions were a little more confrontational.

Fay: During his time with us, Dean has never been able to commit to regularly attending activities before. The fact that he has felt able to attend these weekly sessions – and has even looked forward to them – has been instrumental to him in other ways. There is a piece of work that he has been avoiding for years and he has now agreed to talk about it. It’s a significant piece of psychological work that he needs to complete to allow him to progress in his recovery. This is due in part to the recent positive experience with Loophole of trying, succeeding, failing and coming back to it. Dean also has a very difficult relationship with his father. Through his music, he wants to reach out to his dad to show him that he’s doing well – the first positive contact with his dad in years. Loophole has paved the way for other work to happen and for Dean to build more positive relationships going forward.

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Thanks to our team

None of this work would be possible without such a dedicated, creative team of freelancers, employees, trustees, volunteers, patrons, and pro bono advisors at Good Vibrations.

Thank you to:

Nikki Kemp Peter Knapton Errol MacGlashan Dave McKenny Steven Milligan Malcolm Milner Tony O’Hagan Anindita Pal John Pawson Kieran Plunkett Lord Ramsbotham Laurence Rugg Chloe Roberts Mags Smith Catherine Turner Eleanor Ward Kath Waumsley Sam Weatherald Linda Yates

Bill Bailey Jerome Bisgambiglia Alan Bryden Rosie Burrell Rob Campion Professor Laura Caulfield Yvette Chivers Bruce Cole Emily Crossland Helen Davison/Ta-Da Designs Jane Gibb Hannah Gibbs Tim Goldfield/Geek–Guru Katy Haigh Ceylan Hay Russell Haynes Jonathan Hollow Hannah Johns Nicholas Jolliffe Cecil Jones Jason Joomun Ellen Jordan Rachel Levay Mike K

Find out more about them all here: www.good-vibrations. org.uk/good-vibrationsteam

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Financial summary

With the help of funders and supporters we remain in a financially strong position. Our turnover dipped slightly from the year before (from £299,603 to £265,235) but we added £4,529 to our unrestricted reserves (from £72,501 to £77,030).

We deferred portions of some of our grants to give ourselves more funding to run face to face projects with participants in 2021–22 when social distancing restrictions lift.

GOOD VIBRATIONS’ FINANCES

----- Start of picture text -----
£300,000
£250,000
£200,000
£150,000
£100,000
£50,000
0
2018–19 2019–20 2020–21
Income Expenditure Reserves
----- End of picture text -----

Notable new income this year included:

For further information and a full version of the independently audited accounts visit: www.good-vibrations.org.uk/annual-reports-andaccounts

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Thank you to our funders

We are so grateful for the continuing support, flexibility and trust from our funders during the pandemic.

They have worked flexibly with us to ensure their funding is deployed well. They have recognised that social distancing restrictions have made planned work impossible to deliver, and have supported us to offer alternative meaningful provision to participants and the wider public during the pandemic.

Thanks also to our partners and supporters. We couldn’t have made this year a success without your help: BBC Radio 4 Beeston Community Resource Professor Benjamin Zephaniah Bethlem Royal Hospital Blurring Boundaries Charles Matthews Dan Sumpton Common Wheel Community Lifestyles Drums for School Editors for Impact Flourishing Lives Gamelan Naga Mas Glasgow Hospital Radio Heather Stroschein HMP Wormwood Scrubs Leonard Cheshire Music Broth National Criminal Justice Arts Alliance Northern Gamelan Network Patrick Miller Radio Walton Reach Learning Disability Royal Conservatoire of Scotland Royal Northern College of Music Safestore Fulham SkillsMax Sub City Radio University of Cambridge University of Hull University of Southampton University of Wolverhampton University of York Way Out Arts

This year we have been supported by: Arts Council England Barnet, Enfield and Haringey Mental Health NHS Trust Bromley Trust Charities Aid Foundation Corra Foundation/Comic Relief Creative Scotland Evan Cornish Foundation Hugh Fraser Foundation Maudsley Charity Nottinghamshire County Council The National Foundation for Youth Music The National Lottery The Robertson Trust The Woodward Charitable Trust WM Mann Foundation

We also extend our gratitude to the Friends of Good Vibrations for your ongoing support of our work, and to everyone else who has donate to Good Vibrations over the last year. You have helped make a real difference to people’s lives.

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We still need your help

People need the support Good Vibrations can give now more than ever, especially after the year of extreme isolation and disconnection we have all experienced.

Individuals living in secure settings have been hit particularly hard by the pandemic, with many being locked in their cells for over 23 hours a day. Vulnerable people in the community have also struggled to cope with limited human contact and community activities. Many people’s mental health has been under enormous strain.

We are confident that our work at Good Vibrations can have a positive impact on people with complex needs as we emerge from the pandemic and reconnect with others. As an effective, experienced and trusted organisation, we are already seeing demand for our services increase.

To meet that need we need your support

There are many ways you can help. You can:

Interested to know more?

•[Organisations – talk to us and let us know what you’re doing]

•[Come along to watch a live performance]

Email: info@good-vibrations.org.uk Call: 07791 293352

@SGVibrations @sgvibrations good-vibrations Good Vibrations TV Channel

goodvibrations.org

good_vibrations_charity

www.good-vibrations.org.uk

Registered charity number: 1126493 (England and Wales)/SC048860 (Scotland) Company registration number: 06683343 (England and Wales)

GOOD VIBRATIONS (MUSIC) LIMITED

TRUSTEES’ REPORT

Jonathan Hollow writes:

I’ve been very proud to be Chair of Good Vibrations, so it’s with some regret that I pen my last overview of our annual progress, as always on behalf of myself and all my fellow trustees. But I had always thought that about four years was the right duration for a chair’s leadership, and I’m delighted that I will be able to continue as a trustee under our excellent new chair, Nick Jolliffe.

The year this annual report covers has been bittersweet too. Like everything everywhere, it has been dominated by the pandemic. For perfectly sound health reasons prisons have been forced to limit prisoners’ contact with outside organisations in order to reduce the spread of Covid-19.

This meant that one of our most important delivery settings has been almost completely closed over the time this report covers. Quite apart from the frustration for us as an organisation, we have been heartbroken to think of so many prisoners locked in their cells for almost all the time, deprived of human contact, stimulus, and encouragement to find new interests and skills on their journey back to the outside world.

When we met as trustees at the beginning of the pandemic, the unknowns were so many that we wondered whether we would need to shutter the charity, furlough staff, and wait until the world righted itself. In fact, our worst fears were not realised. Although there has been a gaping hole in delivery, we have in fact managed to make good use of the time and space the pandemic forced upon us.

First of all, we were blessed by the fantastic generosity and pragmatism of our funders. We contacted them to see what stance they would take now that almost all our traditional delivery locations were closed to us. I want to thank them for the flexibility they offered. Some allowed us to defer funding into the following financial year, when there was an expectation that delivery could resume. Some allowed us to change what we used their funding for. This enabled us to use digital channels to deliver joy, creativity and even collaboration through the use of the gamelan and Indonesian shadow puppetry. Some even offered us additional funds to help us navigate these uncertain times.

This prompted an explosion of creativity and talent from our staff and associates, in media we had not previously asked them to explore. Their mastery of the technology, and the vibrant uses they put it to, underlines just how creative an organisation Good Vibrations is at its core. You will find many examples of those brilliant creative works in the rest of this report. I strongly encourage you to find and watch at least one or two of them.

As for face-to-face-delivery, we were fortunate that in some settings, for at least some of the time, we were able to safely continue to deliver the power of communal music making. We did weekly face-to-face work in Nottingham, Wormwood Scrubs Prison, and Bethlem Royal Hospital.

Before the year began, we had been in conversations with the BBC about our Radio 4 appeal. We weren’t sure what the implications of the pandemic were for this, but they turned out to be almost zero. Not only were we able to work with the extraordinary Benjamin Zephaniah, the ideal spokesman for the power of art to transform prison lives, but more than that, when we broadcast in August, we found that Radio 4 listeners were as generous as they have ever been, and took us to their hearts.

The resulting total of £26,536 raised was a memorable milestone for our charity, and has led to other boosts to individual giving.

I am also extremely grateful to the anonymous donor who gave a substantial sum to be used as a hardship fund, in case our associates were unable to access the help they needed from other, public sources during the pandemic.

As trustees, we have been able to work with the leadership to continue to develop and strengthen the charity during the pandemic. The main fruit of this work was a revised and updated strategy document to take us to the end of our strategy period in 2023.

This reaffirmed our view that although there are many settings where our work can have an impact, our work in prisons is and always will be central to our mission. We renewed our ambition to increase the number of people we help in this setting, and to increase the depth and significance of the sessions we deliver to them.

But we have simultaneously begun a major digital project: to create an open-access digital gamelan, which could be used online and offline, in a variety of settings that includes prisons. This is an exciting development with many new possibilities for our work.

Two other new themes in this strategic review were: deepening and sharpening our approach to diversity and inclusion; and responding appropriately to the challenges of sustainability and the climate emergency. They are impulses we are taking into this strategy period, and still working on. As trustees, we certainly don’t have all the answers, but one thing I’m delighted about is the way that the use of Zoom democratised our strategy awaydays. It brought a much wider range of passionate and informed voices into our debates. I’m sure that approach will continue.

If you are reading this report, you are generously supporting Good Vibrations through your interest and engagement. I want to offer my thanks to everyone who has continued to “will us on” during this very challenging year.

None of us can wait to be back in the full flow of delivery, in all the different settings we found commonplace before the pandemic. We hope to be able to deliver far more face to face activity again in 2021-22. People in institutional settings, particularly prisons, need the stimulus and creative warmth of art and music more than ever before.

The trustees’ report continues overleaf, with some points about the key legal responsibilities required of trustees.

GOOD VIBRATIONS (MUSIC) LIMITED

TRUSTEES’ REPORT (CONT’D)

Our charitable objects

Memorandum and Articles of Association

The Trustees are the board of the company and function according to the organisation's governing document, the Memorandum and Articles of Association. We are responsible for decisions relating to strategy and governance of the charity, rather than operational management, which is carried out by the staff team. Trustees have agreed to contribute a sum not exceeding £1 in the extent of the charity winding up. There must be at least three trustees. Trustees are appointed by resolution. At each annual retirement, one-third of the trustees, shall retire from office, but retiring trustees can be reappointed for a second consecutive term, so long as they take a break from office after three consecutive terms (nine years). Trustees' training needs are identified and relevant training provided, and they receive advice from professionals, e.g. on legal and financial matters.

Managing risk

Through the risk register, trustees quarterly review risks for the charity, assess their likelihood and potential impact, and then ensure mitigations are in place. The top two risks we are focused on mitigating are: the pandemic's effects on physical and mental health, sector and organisational sustainability; and team well-being and morale. We have managed these risks by setting a new two-year strategy, alternative provision and reprofiled funding, collective advocacy, being transparent about the flexibility we need from new bids, a hardship fund, advocating peoples use of government support schemes, and regular team meetings. The trustees confirm that they have paid due regard to the Charity Commission’s guidance on public benefit.

Key management personnel

The Executive Director and Operations Manager are the key management personnel responsible for financial management, with remuneration set by the Board and reviewed annually, in conjunction with the appraisal process and finance policy.

Our reserves policy

Trustees' policy is to maintain the fund at a level sufficient to cover 3-7 months of expenditure to allow for time to reorganise in the event of a downturn in income; and to protect work

GOOD VIBRATIONS (MUSIC) LIMITED

TRUSTEES’ REPORT (CONT’D)

programmes, thus supporting the Charity's objectives; and to safeguard against the unpredictability of the pandemic. The reserves make crucial development projects possible - e.g. artist care, buying essential IT systems to grow, and investing in business-development tools and activities. Trustees review the reserve position annually by looking at future needs, risks and long-term liabilities, and every quarter, we monitor how many months' operating costs reserves could cover.

Statement of trustees' responsibilities

Trustees are responsible for preparing the trustees' report and the financial statements in accordance with applicable law and UK Accounting Standards (UK General Accepted Accounting Practice). The Law applicable to charities in England and Wales requires the trustees to prepare financial statements for each financial year which give a true and fair view of the state of the affairs of the charity and of the incoming resources and application of resources of the charity for that period. In preparing these financial statements, we are required to:

On behalf of the trustees

Jonathan Hollow, Chair of Trustees

30 September 2021

GOOD VIBRATIONS (MUSIC) LIMITED

LEGAL AND ADMINISTRATIVE DATA

Good Vibrations is a charitable company limited by guarantee, not having share capital. It is registered with Companies House under the name Good Vibrations (Music) Limited.

Trustees Professor Laura Caulfield Appointed April 2014, reappointed as a
trustee January 2017 and January 2021
Bruce Cole Appointed November 2015, reappointed as a
trustee in January 2018 and in January 2021
Jonathan Hollow Appointed October 2016, appointed Chair
October 2017, reappointed as Chair in
January 2019
Hannah Johns Appointed May 2020
Nicolas Jolliffe Appointed May 2018, reappointed as a
trustee January 2020
Peter Knapton Appointed November 2018, reappointed as a
trustee in January 2021
Anindita Pal Appointed May 2020
Chloe Roberts Appointed May 2020
Catherine Turner Appointed May 2018, reappointed as a
trustee in January 2020
Eleanor Ward Appointed May 2018, reappointed as a
trustee in January 2020
Company Secretary Katherine Haigh Appointed July 2014
Registered office 10 Queen Street Place, London, EC4R 1BE
Bankers Co-operative Bank, PO Box 250, Skelmersdale, WN8 6WT
Independent Examiner FJ Wilde FCCA MBA(Open) DChA PgDip, Director
Warner Wilde Limited, 4 Marigold Drive, Bisley, Surrey, GU24 9SF
Company Registration
number		 06683343
Charity No. (England
and Wales)		 1126493
Charity No. (Scotland) SCO48860

GOOD VIBRATIONS (MUSIC) LIMITED

INDEPENDENT EXAMINER'S REPORT

TO THE TRUSTEES OF GOOD VIBRATIONS (MUSIC) LIMITED

I report to the trustees on my examination of the financial statements of Good Vibrations (Music) Limited (the charity) for the year ended 31 March 2021.

Responsibilities and basis of report

As the trustees of the charity (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 Charities and Trustee Investment (Scotland) Act 2005 (the 2005 Act), the Charities Accounts (Scotland) Regulations 2006 (as amended) and the Companies Act 2006 (the 2006 Act). You are satisfied that the financial statements of the charity are not required by charity or company law to be audited and have chosen instead to have an independent examination.

Having satisfied myself that the financial statements of the charity are not required to be audited under Part 16 of the 2006 Act and are eligible for independent examination, I report in respect of my examination of the charity’s financial statements carried out under section 44 (1) ( c) of the 2005 Act and section 145 of the Charities Act 2011 (the 2011 Act) . In carrying out my examination I have followed the requirements of Regulation 11 of the Charities Accounts (Scotland) Regulations 2006 (as amended) and all the applicable Directions given by the Charity Commission under section 145(5)(b) of the 2011 Act.

Independent examiner's statement

Since the charity is required by company law to prepare its accounts on an accruals basis and is registered as a charity in Scotland your examiner must be a member of a body listed in Regulation 11(2) of the Charities Accounts (Scotland) Regulations 2006 (as amended). I confirm that I am qualified to undertake the examination because I am a member of the Association of Chartered Certified Accountants, which is one of the listed bodies.

I have completed my examination. I confirm that no matters have come to my attention in connection with the examination giving me cause to believe that in any material respect:

I have no concerns and have come across no other matters in connection with the examination to which attention should be drawn in this report in order to enable a proper understanding of the financial statements to be reached.

F J Wilde FCCA MBA DChA

Warner Wilde 4 Marigold Drive Bisley Surrey GU24 9SF

30 September 2021 Dated: .........................

GOOD VIBRATIONS (MUSIC) LIMITED

STATEMENT OF FINANCIAL ACTIVITIES INCLUDING INCOME AND EXPENDITURE ACCOUNT FOR THE YEAR ENDED 31 MARCH 2021

Current financial year

Unrestricted Unrestricted
Restricted
funds
funds
funds
general d esignated
2021
2021
2021
Notes
£
£
£
Income and endowments from:
Donations and legacies
3
72,260
-
5,000
Charitable activities
4
17,299
-
170,625
Investments
5
51
-
-
Other income
6
-
-
-
Total income
89,610
-
175,625
Expenditure on:
Raising funds
7
29,868
-
-
Charitable activities
8
49,358
-
173,480
Total resources expended
79,226
-
173,480
Net incoming resources before
transfers
10,384
-
2,145
Net incoming resources before
transfers
10,384
-
2,145
Gross transfers between funds
(5,855)
4,000
1,855
Net income for the year/
Net movement in funds
4,529
4,000
4,000
Fund balances at 1 April 2020
72,501
-
-
Fund balances at 31 March 2021
77,030
4,000
4,000		 Total
2021
£
77,260
187,924
51
-
265,235
29,868
222,838
252,706
12,529
12,529
-
12,529
72,501
85,030		 Total
2020
£
54,401
244,828
162
212
299,603
21,249
256,544
277,793
21,810
21,810
-
21,810
50,691
72,501

The statement of financial activities includes all gains and losses recognised in the year.

All income and expenditure derive from continuing activities.

The statement of financial activities also complies with the requirements for an income and expenditure account under the Companies Act 2006.

GOOD VIBRATIONS (MUSIC) LIMITED

STATEMENT OF FINANCIAL ACTIVITIES (CONTINUED) INCLUDING INCOME AND EXPENDITURE ACCOUNT FOR THE YEAR ENDED 31 MARCH 2021

Prior financial year

Unrestricted
Restricted
funds
funds
2020
2020
Notes
£
£
Income and endowments from:
Donations and legacies
3
54,401
-
Charitable activities
4
47,373
197,455
Investments
5
162
-
Other income
6
212
-
Total income
102,148
197,455
Expenditure on:
Raising funds
7
21,249
-
Charitable activities
8
59,089
197,455
Total resources expended
80,338
197,455
Net incoming resources before transfers
21,810
-
Net income for the year/
Net movement in funds
21,810
-
Fund balances at 1 April 2019
50,691
-
Fund balances at 31 March 2020
72,501
-		 Total
2020
£
54,401
244,828
162
212
299,603
21,249
256,544
277,793
21,810
21,810
50,691
72,501

The statement of financial activities includes all gains and losses recognised in the year.

All income and expenditure derive from continuing activities.

The statement of financial activities also complies with the requirements for an income and expenditure account under the Companies Act 2006.

GOOD VIBRATIONS (MUSIC) LIMITED

BALANCE SHEET

AS AT 31 MARCH 2021

2021
Notes
£
Current assets
Debtors
12
11,575
Cash at bank and in hand
189,352
200,927
Creditors: amounts falling due within
one year
13
(115,897)
Net current assets
Income funds
Restricted funds
15
Unrestricted funds
Designated funds
16
4,000
General unrestricted funds
77,030		 £
85,030
4,000
81,030
85,030		 2020
£
20,523
128,574
149,097
(76,596)
-
72,501		 £
72,501
-
72,501
72,501

The company is entitled to the exemption from the audit requirement contained in section 477 of the Companies Act 2006, for the year ended 31 March 2021.

The trustees acknowledge their responsibilities for ensuring that the charity keeps accounting records which comply with section 386 of the Act and for preparing financial statements which give a true and fair view of the state of affairs of the company as at the end of the financial year and of its incoming resources and application of resources, including its income and expenditure, for the financial year in accordance with the requirements of sections 394 and 395 and which otherwise comply with the requirements of the Companies Act 2006 relating to financial statements, so far as applicable to the company.

The members have not required the company to obtain an audit of its financial statements for the year in question in accordance with section 476.

These financial statements have been prepared in accordance with the provisions applicable to companies subject to the small companies regime.

30 September 2021

The financial statements were approved by the Trustees on .........................

.............................. J Hollow Trustee

Company Registration No. 06683343

GOOD VIBRATIONS (MUSIC) LIMITED

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2021

1 Accounting policies

Charity information

Good Vibrations (Music) Limited is a private company limited by guarantee incorporated in England and Wales. The registered office is 10 Queen Street Place, London, EC4R1BE.

1.1 Accounting convention

The financial statements have been prepared in accordance with the charity's governing document, the Companies Act 2006, the Charities and Trustee Investment (Scotland) Act 2005, the Charities Accounts (Scotland) Regulations 2006 (as amended) and "Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) (effective 1 January 2019)". The charity is a Public Benefit Entity as defined by FRS 102.

The charity has taken advantage of the provisions in the SORP for charities applying FRS 102 Update Bulletin 1 not to prepare a Statement of Cash Flows.

The financial statements are prepared in sterling , which is the functional currency of the charity. Monetary a mounts in these financial statements are rounded to the nearest £.

The financial statements have been prepared under the historical cost convention, modified to include the revaluation of freehold properties and to include investment properties and certain financial instruments at fair value. The principal accounting policies adopted are set out below.

1.2 Going concern

At the time of approving the financial statements, the trustees have a reasonable expectation that the charity has adequate resources to continue in operational existence for the foreseeable future. Thus the trustees continue to adopt the going concern basis of accounting in preparing the financial statements.

1.3 Charitable funds

Unrestricted funds are available for use at the discretion of the trustees in furtherance of their charitable objectives.

Restricted funds are subject to specific conditions by donors as to how they may be used. The purposes and uses of the restricted funds are set out in the notes to the financial statements.

Endowment funds are subject to specific conditions by donors that the capital must be maintained by the charity.

1.4 Income

Income is recognised when the charity is legally entitled to it after any performance conditions have been met, the amounts can be measured reliably, and it is probable that income will be received.

Cash donations are recognised on receipt. Other donations are recognised once the charity has been notified of the donation, unless performance conditions require deferral of the amount. Income tax recoverable in relation to donations received under Gift Aid or deeds of covenant is recognised at the time of the donation.

Legacies are recognised on receipt or otherwise if the charity has been notified of an impending distribution, the amount is known, and receipt is expected. If the amount is not known, the legacy is treated as a contingent asset.

GOOD VIBRATIONS (MUSIC) LIMITED

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED)

FOR THE YEAR ENDED 31 MARCH 2021

1 Accounting policies

(Continued)

1.5 Expenditure

Expenditure has been included where a legal or constructive obligation has been identified, this includes any irrecoverable VAT.

1.6 Cash and cash equivalents

Cash and cash equivalents include cash in hand, deposits held at call with banks, other short-term liquid investments with original maturities of three months or less, and bank overdrafts. Bank overdrafts are shown within borrowings in current liabilities.

1.7 Financial instruments

The charity has elected to apply the provisions of Section 11 ‘Basic Financial Instruments’ and Section 12 ‘Other Financial Instruments Issues’ of FRS 102 to all of its financial instruments.

Financial instruments are recognised in the charity's balance sheet when the charity becomes party to the contractual provisions of the instrument.

Financial assets and liabilities are offset, with the net amounts presented in the financial statements, when there is a legally enforceable right to set off the recognised amounts and there is an intention to settle on a net basis or to realise the asset and settle the liability simultaneously.

Basic financial assets

Basic financial assets, which include debtors and cash and bank balances, are initially measured at transaction price including transaction costs and are subsequently carried at amortised cost using the effective interest method unless the arrangement constitutes a financing transaction, where the transaction is measured at the present value of the future receipts discounted at a market rate of interest. Financial assets classified as receivable within one year are not amortised.

Basic financial liabilities

Basic financial liabilities, including creditors and bank loans are initially recognised at transaction price unless the arrangement constitutes a financing transaction, where the debt instrument is measured at the present value of the future p aymen ts discounted at a market rate of interest. Financial liabilities classified as payable within one year are not amortised.

Debt instruments are subsequently carried at amortised cost, using the effective interest rate method.

Trade creditors are obligations to pay for goods or services that have been acquired in the ordinary course of operations from suppliers. Amounts payable are classified as current liabilities if payment is due within one year or less. If not, they are presented as non-current liabilities. Trade creditors are recognised initially at transaction price and subsequently measured at amortised cost using the effective interest method.

Derecognition of financial liabilities

Financial liabilities are derecognised when the charity’s contractual obligations expire or are discharged or cancelled.

1.8 Employee benefits

Termination benefits are recognised immediately as an expense when the charity is demonstrably committed to terminate the employment of an employee or to provide termination benefits.

GOOD VIBRATIONS (MUSIC) LIMITED

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED)

FOR THE YEAR ENDED 31 MARCH 2021

1 Accounting policies

(Continued)

1.9 Retirement benefits

Payments to defined contribution retirement benefit schemes are charged as an expense as they fall due.

2 Critical accounting estimates and judgements

In the application of the charity’s accounting policies, the trustees are required to make judgements, estimates and assumptions about the carrying amount of assets and liabilities that are not readily apparent from other sources. The estimates and associated assumptions are based on historical experience and other factors that are considered to be relevant. Actual results may differ from these estimates.

The estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimate is revised where the revision affects only that period, or in the period of the revision and future periods where the revision affects both current and future periods.

3 Donations and legacies

Unrestricted Restricted Total Unrestricted
funds funds funds
general general
2021 2021 2021 2020
£ £ £ £
Donations and gifts 44,880 5,000 49,880 11,261
Donated goods and services 27,380 - 27,380 43,140

GOOD VIBRATIONS (MUSIC) LIMITED

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED)

FOR THE YEAR ENDED 31 MARCH 2021

4 Charitable activities

Grant funded
charitable
activities
Course and
workshop
income
2021
2021
£
£
Sales within charitable
activities
-
14,989
Performance related
grants
172,935
-
Charitable rental
income
-
-
172,935
14,989
Analysis by fund
Unrestricted funds -
general
2,310
14,989
Restricted funds
170,625
-
172,935
14,989
Investments
Interest receivable
Other income
Other income		 Total
2021
Grant funded
charitable
activities
Course and
workshop
income
Total
2020
2020
2020
£
£
£
£
14,989
-
46,547
46,547
172,935
198,181
-
198,181
-
100
-
100
187,924
198,281
46,547
244,828
17,299
826
46,547
47,373
170,625
197,455
-
197,455
187,924
198,281
46,547
244,828
UnrestrictedUnrestricted
funds
funds
general
general
2021
2020
£
£
51
162
TotalUnrestricted
funds
general
2021
2020
£
£
-
212

5 Investments

6 Other income

GOOD VIBRATIONS (MUSIC) LIMITED

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED)

FOR THE YEAR ENDED 31 MARCH 2021

7 Raising funds

Unrestricted Unrestricted
funds funds
general general
2021 2020
£ £
Fundraising and publicity
Advertising 5,050 -
Other fundraising costs 83 387
Staff costs 24,735 20,862
Fundraising and publicity 29,868 21,249
29,868 21,249
Charitable activities
2021 2020
£ £
Staff costs 61,889 53,705
Project costs 95,037 136,240
Other direct costs 871 14,928
157,797 204,873
Share of support costs (see note 9) 52,192 33,367
Share of governance costs (see note 9) 12,849 18,304
222,838 256,544
Analysis by fund
Unrestricted funds - general 49,358 59,089
Restricted funds 173,480 197,455
222,838 256,544
For the year ended 31 March 2020
Unrestricted funds - general 59,089
Restricted funds 197,455
256,544

8 Charitable activities

GOOD VIBRATIONS (MUSIC) LIMITED

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED)

FOR THE YEAR ENDED 31 MARCH 2021

9
Support costs
Support
costs
Governance
costs
£
£
Staff costs
21,144
4,207
Office sundries,
insurance etc.
19,998
-
Marketing and
Communications (gift in
kind)
1,250
-
Training, coaching and
professional
development (gift in
kind)
-
-
Advice, consultancy and
interviews (gift in kind)
9,800
-
Trustees' travel
expenses and meeting
refreshments
-
77
Legal and professional
fees
-
8,455
Other
-
110
52,192
12,849
Analysed between
Charitable activities
52,192
12,849		 2021
Support
costs
Governance
costs
£
£
£
25,351
17,676
11,881
19,998
9,491
-
1,250
2,100
-
-
1,200
-
9,800
2,900
-
77
-
571
8,455
-
3,504
110
-
2,348
65,041
33,367
18,304
65,041
33,367
18,304		 2020
£
29,557
9,491
2,100
1,200
2,900
571
3,504
2,348
51,671
51,671

10 Trustees

None of the trustees (or any persons connected with them) received any remuneration or benefits from the charity during the year.

GOOD VIBRATIONS (MUSIC) LIMITED

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED)

FOR THE YEAR ENDED 31 MARCH 2021

11 Employees

Number of employees

The average monthly number of employees during the year was:


Executive Director, Operations Manager, Training and Development
Manager, Fundraising and Communications Manager
Employment costs
Wages and salaries
Social security costs
Other pension costs		 2021
Number
4
2021
£
104,585
5,079
2,311
111,975		 2020
Number
4
2020
£
95,974
5,627
2,523
104,124

Key management personnel is considered to be the Executive Director and Operations Manager. The total employee benefits of the Charity's key management personnel was £70,315 (2020: £72,751).

There were no employees whose annual remuneration was £60,000 or more.

12
Debtors
Amounts falling due within one year:
Trade debtors
Other debtors
Prepayments and accrued income
13
Creditors: amounts falling due within one year
Notes
Deferred income
14
Trade creditors
Other creditors
Accruals		 2021
£
-
11,101
474
11,575
2021
£
95,263
5,487
7,772
7,375
115,897		 2020
£
8,825
11,698
-
20,523
2020
£
60,614
-
-
15,982
76,596

GOOD VIBRATIONS (MUSIC) LIMITED

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED)

FOR THE YEAR ENDED 31 MARCH 2021

14 Deferred income

2021 2020
£ £
Other deferred income 95,263 60,614
197,455
(197,455)
-
175,625
(173,480)
1,855
4,000		 Paul Hamlyn Foundation
4,859
(4,859)
-
-
-
-
-		 Corra Foundation/Comic Relief
500
(500)
-
9,160
(9,160)
-
-		 The Robertson Trust
1,333
(1,333)
-
8,000
(8,000)
-
-		 Zurich Community Trust
1,000
(1,000)
-
-
-
-
-		 Evan Cornish Foundation
10,000
(10,000)
-
-
-
-
-		 The Woodward Charitable Trust
500
(500)
-
1,000
(1,000)
-
-		 National Lottery Fund
35,695
(35,695)
-
44,334
(44,334)
-
-		 Anonymous donation - Hardship Fund
-
-
-
5,000
(1,000)
-
4,000		 The Hugh Fraser Foundation
5,000
(5,000)
-
-
-
-
-		 Nottinghamshire County Council
5,000
(5,000)
-
5,000
(5,000)
-
-		 CAF Coronavirus Emergency Fund
-
-
-
4,954
(4,954)
-
-		 Maudsley Charity
14,000
(14,000)
-
14,000
(14,000)
-
-		 The Bromley Trust
10,000
(10,000)
-
10,000
(10,000)
-
-		 Creative Scotland
34,699
(34,699)
-
(1,855)
-
1,855
-		 Arts Council England
43,083
(43,083)
-
45,185
(45,185)
-
-		 National Foundation for Youth Music
31,786
(31,786)
-
30,847
(30,847)
-
-		 £
£
£
£
£
£
£		 resources
expended
1 April 2020
resources
expended
31 March 2021		 Incoming
Resources
Balance at
Incoming
Resources
Transfers
Balance at		 Movement in funds
Movement in funds

GOOD VIBRATIONS (MUSIC) LIMITED

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED)

FOR THE YEAR ENDED 31 MARCH 2021

16 Designated funds

The income funds of the charity include the following designated funds which have been set aside out of unrestricted funds by the trustees for specific purposes:

Movement
in funds
Incoming Balance at Transfers
Balance at
resources 1 April 2020 31 March 2021
£ £ £
£
Digital Gamelan - - 2,000
2,000
Photo shoot - - 2,000
2,000
- - 4,000
4,000

Digital gamelan - this fund is set aside for the digital gamelan project

Photo shoot - this fund is for a planned photo shoot

Current assets/(liabilities) Fund balances at 31 March 2021 are represented by: 17
Analysis of net assets between funds
77,030 77,030 £ 2021 funds Unrestricted
4,000 4,000 £ 2021 funds Designated
4,000 4,000 £ 2021 funds Restricted
85,030
58,068		 85,030
58,068		 £
£		 2021
2020		 funds TotalUnrestricted
14,433 14,433 £ 2020 funds Restricted
72,501 72,501 £ 2020 Total

GOOD VIBRATIONS (MUSIC) LIMITED

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED)

FOR THE YEAR ENDED 31 MARCH 2021

18 Related party transactions

There were no disclosable related party transactions during the year (2020 - none).