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2025-03-31-accounts

UD MUSIC FOUNDATION Annual Report 24/25

Annual report and financial statements For the period ended 31 March 2025

Charity registration number 1149090 Company registration number 08071972

04 NOTE FROM CHAIR & CEO

Contents

06 OUR YEAR IN NUMBERS – IMPACT STATS

08 UD MISSION

36 FINANCE

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NOTE FROM CHAIR & CEO

As we reflect on 2024/25, we are proud of the scale and quality of activity UD Music Foundation has delivered during the year, at a time when young Black talent continues to face systemic barriers to training, professional networks and progression within the music sector. From our base at Talent House in Newham to national and international stages, our work this year has demonstrated the impact of sustained, culturally relevant investment in young people.

A defining feature of the year was the significant growth of Flames Collective. What began as a pre-vocational weekly programme has developed into a semiprofessional platform for young vocalists and creators. During the year, Flames Collective delivered 15 high-profile performances, including repeated national and international appearances with RAYE at Radio 1 Big Weekend, Summertime Ball, Reading & Leeds Festival and the MTV EMAs, alongside its first headline performance, A Gospel Christmas, at the Barbican. These opportunities reached a reported live audience of 129,952 people and a digital audience in excess of 2 billion. Participation and attendance remained strong throughout the year, with 100% positive participant feedback recorded, and five participants progressed directly into the Incubator programme. Members of Flames Collective also generated income through paid performance work, demonstrating the effectiveness of UD’s progression pipeline.

Industry Takeover 2024 further demonstrated the value of youth cocuration and strong industry partnerships. Through an expanded seminar programme and a four-day All Dayer conference at Talent House, over 1,100 young people engaged with Black industry leaders and professionals. The programme exceeded participation targets and supported young people to better understand career pathways, progression routes and opportunities within both UD programmes and the wider music sector.

Dr Anne-Marie Imafidon MBE Chair

Talent House itself continued to mature as a key piece of cultural infrastructure. Through a subsidised membership scheme, free studio access, masterclasses and showcasing/open mic events, UD supported 50 Black creatives and start-ups to develop skills, creative output and peer networks. Alongside delivery, the organisation began shaping the next phase of Talent House activity, including open-access provision and residencies planned for 2025/26.

Alongside this, the Incubator programme reinforced UD’s role in supporting Global Majority artists at the point of transition into sustainable professional careers. Ten emerging independent artists completed a sixmonth accelerator programme combining an industry bootcamp, tailored mentoring, creative development and showcase opportunities. The cohort was 100% Global Majority and predominantly female and non-binary. All participants completed new creative outputs, with most achieving releases during or shortly after the programme, and reported measurable growth in confidence, business skills and professional networks.

These achievements were made possible by the commitment of UD’s staff, associates, youth leaders, trustees and wider community. The trustees would like to record their sincere thanks to Arts Council England, trusts and foundations, corporate partners and industry collaborators whose support has enabled this work.

Pamela McCormick CEO/Founder

As the organisation approaches its 25th anniversary, UD remains focused on its core mission: widening access to music careers, protecting culturally relevant spaces for Black talent, and strengthening pathways so that young creatives are supported to progress without having to navigate the sector alone.

OUR YEAR IN NUMBERS – IMPACT STATS

Number of half-day sessions delivered

Number of events

Online impressions

↓ ↓

↓

574 52 1.2m

Number of Digital participants audience ↓ ↓

Live audience

↓

1,191 2m 130,616

Income generated

↓

£762,856

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OUR YEAR IN NUMBERS

NUMBER OF HALF-DAY SESSIONS DELIVERED

NUMBER OF PARTICIPANTS

NUMBER OF EVENTS

LIVE AUDIENCE

through Flames Collective performances.

DIGITAL AUDIENCE

YOUNG PEOPLE IN YOUTH LEADERSHIP AND ADVISORY ROLES

OTHER

Digital audience

→ Total: 2 billion+

→ Websit: 41,000

→ Social following: 36,209

→ Broadcast audience 2,006,322,000

Online impressions

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UD MISSION

↓

UD Music Foundation (UD) is a Black-led National Youth Music Organisation based in the London Borough of Newham, with a 25-year track record of talent development and community engagement rooted in Black music culture. Founded in 2000 by Pamela McCormick and a collective of hip-hop artists, UD’s mission is to educate, empower and create life opportunities for young people inspired by the sounds, words and rhythms of Black music culture, while contributing to a more diverse and equitable music industry.

To date, UD has supported over 50,000 young people experiencing racial inequality and socio-economic disadvantage. Participants are typically from communities underrepresented within the music sector, with disadvantage evidenced through factors including postcode, household income, free school meal eligibility and risk of exclusion. UD takes direct action to nurture talent, equipping young people with the skills, tools and professional networks required to access and progress within the highly competitive music industry. Alumni include internationally recognised artists such as Labrinth and Little Simz, alongside individuals who have progressed into senior executive roles within organisations including Apple, SoundCloud and Universal Music Group.

UD makes an important contribution to diversity, equity and inclusion in the music sector by addressing structural barriers to participation and progression, and by giving prominence to Black music genres that are often overlooked within mainstream music education and training pathways.

LLDC and the Foundation for Future London. The space enables UD to deliver sustained, high-quality programmes while providing free or low-cost access to industry-standard facilities for local communities and creatives working in Black music culture.

UD delivers its charitable objectives through a structured programme portfolio. Acceleration programmes, including Flames Collective and the Incubator, support emerging talent to progress into sustainable creative careers. Engagement and education programmes, including Industry Takeover, the Talent House access programme and Level 4 provision, focus on widening participation, developing skills and clarifying progression routes into education, employment and self-employment within the music sector. Live events and showcases connect local communities with emerging talent and professional opportunities.

Between 2014 and 2018, UD delivered through a structured programme portfolio. and contributed to large-scale action research Acceleration programmes, including Flames and national pilot activity supported by the Paul Collective and the Incubator, support emerging Hamlyn Foundation, Arts Council England, talent to progress into sustainable creative Esmée Fairbairn Foundation and Youth Music. careers. Engagement and education programmes, Working in partnership with organisations including Industry Takeover, the Talent House including Baby People (Derby), Brighter Sound access programme and Level 4 provision, focus (Manchester) and Bristol Plays Music/Multion widening participation, developing skills and Track, this work strengthened UD’s clarifying progression routes into education, understanding of the intersectional barriers employment and self-employment within the faced by young Black people in music education music sector. Live events and showcases and progression. Learning from this period connect local communities with emerging talent informed the organisation’s programme model, and professional opportunities. business planning and long-term approach to Although UD operates within an area talent development. of high deprivation, the organisation is In 2022, UD realised a key element of committed to excellence and to recognising its long-term strategy with the launch of Talent the potential of every young person it engages. House, a purpose-designed studio and rehearsal UD is driven by the principle that talent is facility co-created with young people and widely distributed, but opportunity is not. While emerging artists, in partnership with East recent delivery has been primarily LondonLondon Dance. Talent House was delivered based, UD’s programme model and partnerships through a five-year capital project supported continue to inform wider sector practice and by Arts Council England, the Greater London contribute to national conversations on equity Authority, the London Borough of Newham / and access in music education.

In 2022, UD realised a key element of its long-term strategy with the launch of Talent House, a purpose-designed studio and rehearsal facility co-created with young people and emerging artists, in partnership with East London Dance. Talent House was delivered through a five-year capital project supported by Arts Council England, the Greater London Authority, the London Borough of Newham /

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FLAMES COLLECTIVE

The Flames Collective is UD’s flagship prevocational, panLondon creative development programme at the Talent House programme, working with young people from secondary schools who demonstrate high potential when it comes to music. Offering weekly skills development/rehearsal sessions, three annual songwriting camps, industry collaborations, performances and recording with on-going employment opportunities, Flames have had another exceptional year.

WHAT WAS DELIVERED

During 2024/25, Flames Collective delivered a high-volume, high-intensity programme combining regular training, creative development, professional performance and industry-facing activity.

Recruitment & participation

Performance, industry & partnership activity

Regular programme delivery

Creative & progression activity

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Case Study

WHAT WAS ACHEIVED

ACCESS

QUALITY

Cohort targets met:

High levels of satisfaction:

DEPTH OF IMPACT

PROGRESSION

In-project skills development:

BUSINESS, INDUSTRY & PARTNERSHIPS

Scale and visibility:

CLEAR PROGRESSION ROUTES

DESTINATIONS AND ASPIRATIONS

IZZY DIYA SOHI WITHERS

MEET DIYA SOHI – SINGER, ACTOR, PERFORMER, Flames Collective vocalist, Izzy Withers, 18, one of the AND RISING STAR REDEFINING WHAT IT MEANS newest members of the group, reports back on sharing the stage with RAYE and The Heritage Orchestra at the sold- TO BE A TRIPLE THREAT. WITH BOLD VOCALS, out O2 show. GENRE-BLENDING SOUNDSCAPES, AND A SELF-DIRECTED CAREER, SHE’S FORGING A NEW PATH IN UK R&B.

You say the phrase “triple threat” and the likely response is a laboured eye roll. Considered a bit of a myth, the allsinging, all-acting, all-dancing prophecies are few and far between, with the rarefied starlets of the industry sitting pretty on the pedestal of legacy success from years gone by. It’s hard not to grow cynical in this quagmire of showbiz – being good at everything isn’t easy, and for many not possible, but for the determined few, the road to triple threat status is self-made, but well-paved. Diya Sohi is one of those coveted few, an artist, actor, and performer with a starstudded catalogue of work spanning stage, camera, and theatre, with a rich future ahead of her, and a family of supporters by her side.

“My music is for me, but also for girls who look like me, and who have never felt seen,” shares Diya. “I have been that girl… who doesn’t feel seen by the genres that I make music for”, a facet of the R&B world that she unpacks with real grace. “Now I notice that when people hear my voice, they know I belong there”, she shares, a lasting testament to her timeless sound and versatile voice. A true triple threat in the making.

For someone who doesn’t know your music, how would you describe your sound?

I would describe my music as pop-heavy jazz, with R&B influences, very theatrical and dramatic. I feel like it gives that smoky jazz bar vibe, that’s very much the world I like to create. It’s the intrigue, but also being as raw and honest as I can with my lyrics. There’s a balance between having that grandiose drama, but also being really easy to connect with.

What kind of things do you write about?

Honestly, a bit of everything. When I go into a session, it’s whatever I feel is calling me from within. It’s that message that everyone is on their own journey, and it won’t really be worth it to be someone that isn’t yourself. My music is all about discovering myself and the new experiences I’m having, it will always be that capsule for me to look back on. That’s how I was feeling when I was 19, all that kind of stuff.

Do you have any core musical influences or artists who inspire you?

One album that shaped my life is I Am Sasha Fierce by Beyoncé, all the dramatic ballads in that album, but also the songs that make you want to move and dance… I feel that’s so integral to my journey as a musician and it will always be with me. I love so many genres, but I will always come back to that.

Read the full article on udmusic.org >

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INCUBATOR PROGRAMME

WHAT WAS DELIVERED

RECRUITMENT & CREATIVE SELECTION DEVELOPMENT

PROGRESSION INDUSTRY SUPPORT (WITHIN BOOTCAMP AND BEYOND)

TAILORED 1:1 SUPPORT

SHOWCASING & NETWORKING

PRODUCT/OUTPUT DELIVERY

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WHAT WAS ACHIEVED

ACCESS

Targets met/exceeded:

QUALITY

Participant satisfaction:

→ Learning for improvement (captured for next cycle): Need for clearer forward scheduling, more producerspecific content, more practical studio time, and more cohort-bonding/ collaboration space.

PROGRESSION WITHIN THE PROJECT

→ Skills and confidence: Exit interviews show consistent gains in: industry/ business literacy (rights, royalties, routes to market); strategic planning (release campaigns, branding, marketing); confidence in networking and selfmanagement; clearer sense of career stage and next steps.

PROGRESSION BEYOND THE PROJECT

→ Ongoing UD engagement: Participants were transitioned into UD Membership for sustained development, studio access and masterclasses.

BUSINESS, INDUSTRY & PARTNERSHIPS

→ Industry exposure achieved: 7 artists showcased to a combined audience of ~250 (approx. 200 at Great Escape, 50 at Talent House finale), with opportunities offered to all 10.

→ Professional networks expanded: Artists reported new and ongoing relationships with managers, lawyers, publishers, A&R, promoters and marketing professionals — directly addressing “access to market” barriers for Global Majority talent.

→ Strengthened UD’s sector role: Delivery demonstrated sustained credibility with high-value partners (WME, PRS, PPL, Sheridans, MMF, AIM, CD Baby, un:hurd, etc.), reinforcing UD’s strategic positioning described in the annual report as a national centre of excellence and industry bridge.

Case Study

CHARLOTTE DOWSSON

CHARLOTTE DOWSSON IS A SINGERSONGWRITER HAILING FROM NORTH-WEST LONDON, BLENDING INFLUENCES FROM HER LOVE OF JAZZ, NEO-SOUL AND CONTEMPORARY R&B TO CREATE HER SOUND.

Beginning her journey into music as a songwriter, with a passion for articulating the complexities of the human experience, Charlotte’s music guarantees to take you on a journey of introspection, navigating a variety of feelings through her smooth and intimate tone. A semi-finalist in the Isle of Wight New Blood competition, and performing in a variety of venues across London, such as O2 Academy Islington, Soho House White City and Notting Hill Arts Club to name a few, Charlotte’s love of live instrumentation is a key and present element to her sound.

Tell me about your latest release or what you’re working on currently? I have been getting live instrumentalists in and writing and recording and everything... Since completing the Incubator Programme, ‘palm of my hand’ has charted at no.4 on the official TikTok Charts and no.8 on iTunes R&B and Soul, with airplay coming from Reprezent, Balamii and Future Hits Radio and additional playlisting courtesy of Spotify and Apple Music. Achieving over 5 million streams across platforms, and more than 35,000 videos created on TikTok using my sounds, expect new music and a performance at Cross The Tracks festival in 2026.

How/when did you discover UD? I discovered UD through Allyson because I know she did the Open Mics and she hosted once. Also just seeing all of the different things on social media, the Flames Collective and RAYE… I went to see RAYE last year which was so amazing! I think UD is just one of those institutions that if you’re in the industry you just kind of see it or hear about it.

What are you looking forward to over the next 6 months?To release new music! I’ve been at music Uni, figuring out my sound and feeling a lot of pressure to be one particular thing… I think now I’ve got music and I make music that is a love poem to all of those things that I love. I am really proud of it.

Biggest lesson you’ve learnt in your music career thus far? That it’s not linear. If you have a plan the universe might say, “not just yet” and just keep going throughout. You’re gonna have moments where you want to give up and you feel like it’s overwhelming but you’re also gonna have moments you were so glad you didn’t give up because there is so much happening and I allow myself to enjoy all of those ups and downs. Even if I achieve those goals I’ll always have those moments.

Tell me about your latest release or what you’re working on currently? I have been getting live instrumentalists in and writing and recording and everything... Since completing the Incubator Programme, ‘palm of my hand’ has charted at no.4 on the official TikTok Charts and no.8 on iTunes R&B and Soul, with airplay coming from Reprezent, Balamii and Future Hits Radio and additional playlisting courtesy of Spotify and Apple Music. Achieving over 5 million streams across platforms, and more than 35,000 videos created on TikTok using my sounds, expect new music and a performance at Cross The Tracks festival in 2026.

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INDUSTRY TAKEOVER

WHAT WAS DELIVERED

PROGRESSION

(SUPPORT DELIVERED)

Careers and enterprise pipeline embedded in delivery. Sessions explicitly focused on routes into industry, demystifying roles and signposting into UD pathways (CertHE Level 4, Incubator, membership/Elevator, studio access).

QUALITY (EXPERIENCE OFFERED)

Co-curation with young people via Youth Steering Group shaping content, speakers and format.

Industry-standard, culturally relevant programming centred on Black music culture, politics, trends, and real-world career pathways.

BUSINESS/INDUSTRY/ PARTNERSHIPS

A “Who’s Who” partner and speaker line-up spanning labels, trade bodies, media, agencies, managers, rights orgs and brands.

Earned media and strategic visibility including Music Week op-ed and partner amplification.

Value-add partnerships secured, notably with TRENCH and Complex UK, strengthening UD’s influence and profile.

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Case Study

WHAT WE ACHIEVED

ACCESS (SCALE + TARGET GROUPS)

PROGRESSION

Within the project (skills, confidence, networks)

BEYOND THE PROJECT (ROUTES ONWARD)

QUALITY (PARTICIPANT + PARTNER VALIDATION)

BUSINESS/INDUSTRY/ PARTNERSHIPS (SECTOR CHANGE + ORGANISATIONAL BENEFIT)

TOBIMARY

BUILDING “OTHER-WORLDS” WITHIN HER SPRAWLING SONIC LANDSCAPES AND EXPERT PRODUCTION, TOBIMARY’S ARTISTIC DEVELOPMENT HAS ACCELERATED AT BREAKNECK SPEED, WITH THE YEAR AHEAD PROMISING BIG THINGS, IN THE GOOD COMPANY OF UD MUSIC. ELSA MONTEITH MEETS LEVEL 4 GRADUATE, TOBIMARY…

I’m reluctant to describe TobiMary as subverting any kind of image or genre that she takes the form of – her sound, presence, and production feels entirely new, and not the “reimagining” of anything we’ve heard or seen previously. Citing her expansive range, both in vocal reach and genre, TobiMary could be thought of as occupying a completely otherworldly realm, an effervescent kingdom often described from the outside, instead of from the pearly centre where the artist resides.

“Even though my sound was different to what is expected of someone who looks like me, I was so supported by UD”, TobiMary shares, finding herself within the just 2% of music producers that identify as women, an alarmingly small percentage that both UD and TobiMary are implicitly working to rebalance. Navigating the cross-pollination of a previous life in a lab as a biochemist with hours experimenting with her sound in UD Studios, TobiMary finds herself in a wholly different province these days, finishing the UD Level 4 course as a burgeoning artist at the cusp of greatness, with untold treasures to offer her avid listeners.

Do you have any core musical influences or artists who inspire you? I literally listen to everything. Coldplay for me is a band that I hold very dear to me, I always loved their music growing up and I think they’re part of the reason that I’m really passionate about music. I’d also say Imogen Heap as I played cello growing up as a kid, and my cello teacher was the first person that introduced me to her and that always inspired me. Brandy is my favourite singer too, she taught me how to use my voice as an instrument. I’d say Lalah Hathaway as well my – singing teacher when I was younger introduced me to her and her voice type and that’s how I learnt to love and utilise my deeper voice.

You’ve got a really beautiful tone. Is that something that you’ve always had or something you learnt and developed? I’ve always just sounded like this (laughs). The school I went to was very traditional so the bass parts were only allowed to be for guys. They always put me in the tenor or soprano section and I never really wanted to be there. But it was my singing teacher who said that I have a really big bass range and need to use that. It’s where I feel most comfortable singing.

Have you always been musical? Funnily enough, before I was in music I was a biochemist, I used to work in a lab (laughs). I went to boarding school with a music and science scholarship and then ended up doing science at university, but during the pandemic I bought music software, a controller, and a digital camera, and began to record covers and put them on YouTube. That’s how I learned to produce. I already knew how to play piano and cello from growing up, and then through that I learned how to produce my own stuff. That’s when I applied for UD.

That moves perfectly into my next question. How did you end up studying with UD? After deferring a music school place that I got before I went to university to study biochemistry, I came back to find out that the course was no longer running. They recommended UD and I spoke to Hazel (who’s now left), and she said I should come in and show her my stuff, and that’s how I ended up joining.

That’s so interesting. How did you get from science to music? Music was always something heavily ingrained in me and has continued throughout my whole life, and regardless of whatever path I went down, even doing science, music has always been on the side. I remember my supervisor being like “science will always be there for you if you need it – just go and do music because you’re good at it”. And I did!

Do you feel like art and science are linked? They are. I find that even when I’m producing stuff, a lot of the time it just feels like I’m experimenting

with sounds, like testing out different experiences for people to listen to. I feel like you do that when you’re in the lab as well, you’re always trying out new stuff and trying to make something. It might not come out how you want it to, but you change it and adapt. Science and music are very heavily connected, even in terms of physics and waves and frequencies.

It’s so interesting that you have both those distinct experiences and have facilitated that connection between the two. Do you feel like UD was a space for you to experiment further with that? I think for me coming in from a completely different world, they helped me to open up and understand the music industry more. I was coming from an industry that was completely different and thought I might have been making music and stuff. It helped me work out things I wasn’t completely aware of when I was studying and working in a lab. I’m thankful for that.

Were there any “secrets of the industry” that you discovered having studied with UD or things you weren’t previously aware of? When people in the industry listened to my music they all just said “sync”. That’s all I heard, and I was like; “what is sync?!” – I didn’t know that was a path I could pursue, or something that people think I should pursue, so learning about that with UD definitely opened up that door for me.

You’ve mentioned that people don’t necessarily expect what they hear when they listen to your music. How does it feel to see them respond in different ways? It will take like two seconds for people to start listening to it. The first question is always; “who’s singing?”, and the second question is always; “who produced this?”, and it’s just like oh yeah, both are me. It makes me laugh, because to me, me singing sounds like me, right? So when I get a reaction it’s always funny, but it’s also always a good thing, because it leads to some kind of interest or intrigue.

What are the next steps for you after UD? I’m still producing and working on new music. My plan is to begin releasing everything I’ve been working on, following the steps in my release plan. I’ve kind of held off, but I’m just going to keep releasing. I feel like this year is going to be a very big year for me. That’s something I want to put down.

Words: Elsa Monteith

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TALENT HOUSE COMMUNITY ENGAGEMENT & MEMBERSHIP

WHAT WAS DELIVERED

BUSINESS/INDUSTRY/ PARTNERSHIPS

QUALITY/PROGRAMME CONTENT

WHAT WAS ACHIEVED

ACCESS

Targets met/exceeded:

QUALITY

Participant satisfaction:

→ Learning for improvement (captured for next cycle): Need for clearer forward scheduling, more producerspecific content, more practical studio time, and more cohort-bonding/ collaboration space.

PROGRESSION WITHIN THE PROJECT

→ Retention: 80% retention (2 participants left early), exceeding target (70%).

PROGRESSION BEYOND THE PROJECT

→ Next-stage investment readiness: Accelerator referrals are in development, with priority signposting emerging for Skye, Skee and J2.

→ Career movement already happening: Several participants moved into more sustainable working patterns or progressed their professional profile (e.g., releases secured, live sets developed, new gigs/industry contacts, clearer EP/mixtape trajectories).

BUSINESS, INDUSTRY & PARTNERSHIPS

→ Professional networks expanded: Artists reported new and ongoing relationships with managers, lawyers, publishers, A&R, promoters and marketing professionals — directly addressing “access to market” barriers for Global Majority talent.

→ Strengthened UD’s sector role: Delivery demonstrated sustained credibility with high-value partners (WME, PRS, PPL, Sheridans, MMF, AIM, CD Baby, un:hurd, etc.), reinforcing UD’s strategic positioning described in the annual report as a national centre of excellence and industry bridge.

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Case Study

MEMBERS CLUB 001 TEE PETERS

MEMBERS CLUB 002

ONAI

Artist, brand manager and programme producer Full interview >

DJ & vibe setter Full inteview >

Why did you become a UD Member?

Why did you become a UD Member?

I’ve always been interested in the events UD put on, so when I was told about the Elevator Programme I knew I had to sign up. After I got married, I realised the importance of having a good environment for work and family etc. Being able to have 12 months of free studio time and access to a community and their events was a opportunity not to be missed.

I needed some change and inspiration. I think I want to be a part of something with people of similar mind and like, to help me advance with where I am within music. I had actually been following UD for a while so when I saw the Elevator Programme opening I thought why not apply.

MEMBERS CLUB 003

MEMBERS CLUB 004

AQUARELLE

KATALYSSST

Music producer, manager and talent developer Full interview >

DJ, photographer & social media assistant Full interview >

Why did you become a UD Member?

Why did you become a UD Member?

I saw it as a great opportunity for me to work with artist and producers. Make connections and open new doors.

I think UD has a lot to offer in terms of music knowledge and I am always willing to learn. I’ve also worked with them before (I used to write the blogs!) so I knew it was gonna be good.

MANLIKEKOFI

HAILED AS THE SELF-PROCLAIMED PRODIGAL SON OF UD, MANLIKEKOFI REMAINS A STEADFAST FEATURE OF THE ECOSYSTEM, AN ARTIST, PRODUCER, AND ARCHITECT DESIGNING SONIC CATHEDRALS ACROSS DIGITAL PLATFORMS AND THROUGH EXPERT PRODUCTION. DRIVEN BY FAITH AND THE ENDURING POWER OF PRACTICE, MANLIKEKOFI TALKS WITH ELSA MONTEITH ABOUT GOING VIRAL WITH GOSPEL, THE IMPORTANCE OF INVESTING IN A QUALITY LIVE PERFORMANCE, AND WHAT 10,000 HOURS OF COMMITMENT TO YOUR ARTISTRY CAN BRING YOU…

“What’s behind the name?” I ask ManLikeKofi – a three-word-nospace moniker that I’ve seen arise in different pockets of the internet over the past few years. “It’s distinguishing that I’m Black British African”, he shares, “The ‘man like’ is what we say here - UK colloquial - whereas ‘Kofi’ is a very distinctive Ghanaian name that means born on Friday. ‘ManLikeKofi’ brings the Black British and Ghanaian together.” It makes total sense, with his artist name feeling emblematic of a wider cohesion in his artistry beyond just his identity, a bringingtogether of different sounds, genres, and emotions under one sonic umbrella; music of Black origin.

ManLikeKofi is a clear polymath – a qualified architect on the one hand, with the other designing musical landscapes with a not dissimilar planning process. His lyrical description of building sounds through samples, and visuals through his own lens of inspiration draws out a precision to his work that feels reminiscent to the exactitude needed to pen the design of a house. “It’s very rewarding when you have a sound in your head that you’re able to achieve and execute”, shares Kofi, a common language of design found in many elements of his practice. “It’s like when the possibility of the unknown comes out from a production process.”

As a self-produced artist, you handle everything from beat production to slick visuals. What are the challenges and rewards of maintaining this level of creative control over your sound and image? Sometimes my ideas are bigger than the resources I have. I definitely feel like there’s a challenge in being able to keep up with the speed of things too, and sometimes feeling under-resourced in both time and money. But then the rewards are like learning a new skill or small fine-tuning, and creating that sound, especially when you have a sound in your head, that you’re able to achieve and execute. It’s very rewarding, when the possibility of the unknown comes out from a production process. Maybe you start with a sample or you start with a chord progression and something comes out of that. That’s such a beautiful feeling.

Performing at venues like Troy Bar and events like the Roundhouse Rising Festival has been part of your journey. How have these live performances contributed to your development as an artist? I think a lot of new artists underestimate the importance of being able to put on a quality live show. You’re only going to refine that by developing a practice, and that’s kind of what going to the UD Open Mic’s is about for me. We’re really focused nowadays as a society on short form content as our gateway to these things, but when we think about how the music video used to work, they were created to further expand on the artist’s story and the world that they’re building. I think it’s important to be able to craft that and communicate that through your live show and live performance, because there’s a slightly different energy to it. I just like seeing the reaction in real time and the responses from people.

What’s your relationship like with UD as an organisation? Before my undergrad, I went back to working at the London Borough of Newham, and funnily enough, got in contact with UD and started

to volunteer around 2009. I used to take photos of their Industry Takeover events and things along those lines. It was a lot of fun, and I look back in hindsight and I’m like, oh wow, there were some really amazing things happening. There were some really amazing artists coming out of that time. I remember photographing Little Simz and just thinking this 13 year old girl is just smashing it!

In 2023 I was going through my emails and I saw an email from UD about Open Mic and I was like ‘oh yeah, this organisation that I used to volunteer with, I wonder what they’re doing now’, and I saw that they had a new facility (Talent House), and I just thought I want to check it out and see. I kept going to the Open Mic’s and performing as much as possible. What is really fantastic about what UD is also doing with these Open Mics, is that they allow artists to perform more than one song, and that allows people to see a little bit more of a body of work and a bit more of performance ability. I think that’s what happened in allowing me to get the opportunity to do the UD x HAUS Sessions event.

I’m so grateful to UD, I’ve been saying this throughout to a lot of people – I’m locked in with UD, I feel like I’m an honorary part of the Incubator Programme (laughs). They really are presenting me with quite a few opportunities to be able to just be in their ecosystem, and I really, really appreciate that and genuinely really grateful for it. It’s a motivator that says what you’re doing is good and people believe in what you’re doing, keep on going, don’t give up, don’t let your momentum get stifled.

Looking ahead, what new horizons are you excited to explore in your musical journey? In the immediate, getting this sample cleared for this song (laughs), it’s called Testo, like “testimony”. When that viral moment happened, I kept seeing so many people saying what God had done for them and what was happening in their faith, and just seeing them make these TikTok reels and Instagram reels from it, and I was like wow, I’m inspired, maybe I should write about my own testimony. I’ve got a 20-something year plan in terms of music, but at the same time, you have to do the atomic habits to start developing the system. It’s just developing a consistent rhythm of releasing music and content that I can maintain.

Words: Elsa Monteith

udmusic.org 25

SOCIAL MEDIA

BLOG & SOCIAL MEDIA

In 2024/25, our editorial focus shifted to concentrate on UD programmes, outputs and associated topics although we have continued to deliver monthly music reviews (UD Selects), Long Reads and Guides.

UD’s media team, built from our emerging creative networks, work on ideas generation, with an editorial agenda committed to highlighting both the comings and goings of UD and Talent House and introducing new talent, putting a spotlight on fellow Black music communities, featuring opportunities for both personal and career development. Educational content is a key editorial pillar we nurture and while looking forward, we continue to pay homage to the past.

Where social media is concerned, growth remains steady with a 5% increase in followers. We also began tracking the Flames Collective platforms as we move into a new phase of TikTok Live strategy and potential content monetization. Social media traffic was largely driven by RAYE/ Flames activity, Incubator programme, Open Mic and studio video reels.

Most website users still came via organic search or direct traffic, demonstrating strong brand awareness without social spend.

WEBSITE

Total visitors

Views

Top 5 landing pages

↓ ↓ 41K 67K

↓

1 HOMEPAGE

2 CHI CHI IZUNDU PROFILE 3 FLAMES COLLECTIVE 4 INCUBATOR 5 STUDIOS

Artists supported via editorial

Event count

↓

↓

208K 200+

Audience

Impressions

Posts ↓ 3,776

↓

↓

20.8K 745K

Video views

Average

Messages sent

engagement rate

↓

↓

↓

3.3% 144K 6K MEDIA AND PROFILE - HIGHLIGHTS RAISING ACTIVITY

OTHER/KEY SOCIAL MOMENTS

BUSINESS TO CONSUMER (B2C) MEDIA

During the reporting period, UD secured a strong volume of editorial coverage across national, regional and specialist music and cultural media. This coverage supported awareness of UD’s work, values and programmes among artists, industry professionals and wider cultural audiences. Editorial themes aligned with organisational priorities, including artist development, equity and access, and sector leadership. Activity contributed to the outcome of greater awareness and understanding of UD’s role within the music ecology, particularly among artists and sector stakeholders.

“I am so proud of the Flames Collective. Such a talented hardworking group of incredible young vocalists who make up the choir who sang with me at the BRITS and who sang on My 21st Century Symphony. Also, much love and respect to Andy for leading this incredible group with such passion and heart. I love you guys TOO much thank you for inspiring me and sharing your joy and love of music with me.”

→ Flames x Future Hits Radio

BUSINESS TO BUSINESS (B2B) COMMUNICATIONS

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26

UVID STUf SY

BLOG & SOCIAL MEDIA

“ALWAYS A PLEASURE TO WORK WITH YOUR TEAM. THANKS FOR HAVING US.”

ARTISTS SUPPORTED VIA EDITORIAL

EDITORIAL HIGHLIGHTS: ARTIST FEATURES

WHAT DID PEOPLE SAY?

“LOADS OF GEMS!”

“A BEAUTIFUL CONVERSATION WITH SOME BEAUTIFUL PEOPLE.”

“THANKS FOR THE OPPORTUNITY TO LAUNCH AT THE INDUSTRY TAKEOVER CONFERENCE. WE ARE SO HAPPY TO HAVE YOU AS PARTNERS.”

“APPRECIATE THE OPPORTUNITIES.”

“MANY THANKS AS ALWAYS FOR HOLDING THE SBP PILOT LEARNING SESSION AT YOUR WONDERFUL PLACE. WE’LL BE BACK!”

“HAD SUCH A GREAT TIME DOCUMENTING THIS IMPORTANT DAY.”

“THANKS FOR THE OPPORTUNITY!”

“I WILL LEARN TONS FROM THIS EVENT – LOOKING FORWARD TO IT.”

“BIG UP UD – WORK NEVER GOES UNNOTICED.”

“THIS WAS AN IMPORTANT SESSION – THANK YOU.” - CassKidd

“KEEP UP THE GREAT WORK UD, Y’ALL ARE DOING GREAT.”

“FOR THE COMMUNITY, BY THE COMMUNITY.”

£MONZO, AD, ALLYSON, ALTEA GABRIELLE, AMIE BLU, AMIE BLUE, AQUARELLE, ARMZ KORLEONE, ASHA GOLD, AYITE, AYITE & METRODOME, BAOBEI, BARNEY ARTIST, BASIA BOZZAO, BEN DSP, BERWYN, BIG ZUU, BINA., BLANCO, BLEWSKA, BRI BRI, BRIGHTER DAYS FAMILY, BROTHER ZULU, CAPO LEE, CASNOVA, CHARLOTTE DOWSSON, CLIPZ, CLOSE COUNTERS, CLUBBOYWBF, D WILLS, DC & THE ORACLE, DEJA, DEBBIE, DEMAE, DIALE, DJ XHNWAV, DOM VALENTINO, DOTZ, EBUBECHUKWU OKEREKE, EDBL, EERF EVIL, ELIZA ROSE, ELLA KNIGHT, ELLA MORE, ESEOSA, ESSENCE MARTINS, EZRA COLLECTIVE, EZEE, FERRENZO, FINESSE FOREVA, FLAMES COLLECTIVE, FLOFILZ, FRANKIE STEW, GREENTEA PENG, GRIND & GHOST, HARVEY GUNN, HIGH ROLLER, HOPE TALA, I.AM.NARKO, INTERPLANETARY CRIMINAL, IRINI MANDO, ISAAC CARTER, IYAMAH, IZZY WITHERS, JB MADE IT, JEDZ, JELANI BLACKMAN, JIMPSTER, JORDAN WARD, JORDS, JXLLY, J2, JAZ KARIS, KAREN NYAME KG, KATALYSSST, KEEPVIBESNEAR, KILLOWEN, KINGCROWNEY, KIIYMM, KOFI STONE, KOJEY RADICAL, KWOLI BLACK, KWN, KYRO COLE, KYMARA, LEMZI, LEWIS DANIEL, LITTLE KAY MUSIC, LIV EAST, LIZZIE BERCHIE, LOQUIL, LORD APEX, LOUIS CULTURE, LYNDA DAWN, MAHALIA, MAKEZ, MANLIKEKOFI, MANIKO, MARACHÉ, MARLON KINGG, MAX SINAL, MAXRP, MELLE BROWN, MERON T, METRODOME, MICOFCOURSE, MILES SINGLETON, MIMI RICH, MOM TUDIE, MRCY, MS GENIE, MYSIE, NAZZY DINERO, NECTAR WOODE, NEUMONIC, NEYMAN, NBDYKNOSBIZZY, NIA CHENNAI, NIKHIL, NINE8, NO SIGNAL, NUALOE, OLYMPIA VITALIS, ONAI, ONLYONEONLYSON, ORAKANA, P-RALLEL, PEAKY BEATS, PINTY, PRVNA, R.A.E, RAYE, RANDOM RANCE, REALLY RAZOR, REBECCA VASMANT, RECESS, REEK0, REMI TK, RICHIE, RICHARD CARTER, RONNIE LOKO, RUTI, SAADIQ T, SAHRA, SAÏNA, SAIMING, SAKAWAH BOYS, SALLY C, SANGO, SASHA KEABLE, SEY G, SHANTÉH, SHIV, SILVANA, SIMONE BAXTER, SKYE, SMICHINGTON, SONEDO, SRNLFL, SUPERLATIVE, SURYA SEN, SWINDLE, TAIIRA, TARA LILY, TASTY LOPEZ, TAYOLOXS, TEODORA, TEMI T, TEE PETERS, THE MOUSE OUTFIT, THE NARRATOR, TOBIMARY, TORA-I, TWILLZ, VC PINES, VENNA, WAV DINO, WILFY D, X1ANA, YAZ LEÓN, YIIGAA, YUSSEF DAYES, ZOKA THE AUTHOR, ZUKO ROSEMEID

APRIL 2024

MAY 2024

JUNE 2024

JULY 2024

NOVEMBER 2024

JANUARY 2025

MARCH 2025

udmusic.org

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30

ORGANISATION

UD Music Foundation is a Black-led organisation governed by a Board of Trustees who are also directors of the company for the purposes of the Companies Act 2006. The Board provides strategic leadership, oversight of financial performance and risk, and ensures compliance with charitable and company law. Day-to-day operations are delegated to the executive team, led by the Chief Executive Officer.

TRUSTEES

The trustees bring a broad and complementary range of skills and lived experience, encompassing the Black and independent music industries, global brands, charity and social enterprise leadership, legal and governance expertise, and diversity and inclusion. The Board is chaired by Dr AnneMarie Imafidon MBE, a technologist, CEO and author, and co-founder of Stemettes, an award-winning social initiative supporting young women into STEM careers.

Trustee expertise includes senior leadership roles across legal, financial services, music industry governance and cultural production. Trustees during the year were:

Danny Pamma - Ella Mbaeri - EMEA Head of Legal (EMEA Head of Compliance & APAC) at Visible at Morgan Stanley, Alpha, with prior legal bringing seniorcounsel experience level regulatory and across multiple governance expertise. organisations in the City.

Dr Anne-Marie Imafidon MBE (Chair) - CEO & Co-Founder of Stemettes, with extensive experience in technology, education, leadership and social impact.

Gee Davy (Company Secretary) - Chief Operating Officer and Head of Legal & Business Affairs at the Association of Independent Music (AIM), leading organisational operations and sectorwide policy work.

Joseph Henry - Lisa Buchan - A senior Designer, urbanist and brand and partnerships curator advocating specialist with over 20 for equity in the built years’ experience in environment through marketing, commercial policy and cultural partnerships, production. During the entertainment year, Joseph served marketing, PR and as Director of Cultural event activations, Planning for the working with global City of Boston and brands, agencies Assistant Professor at and cultural changeColumbia GSAPP. makers.

The Board meets regularly and operates under a formal governance framework, including reserved matters, financial controls and risk management processes. Trustees are supported by external professional advisers where required and maintain oversight of organisational performance, safeguarding, equality, diversity and inclusion, and longterm sustainability.

32 udmusic.org

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ORGANISATION

STRUCTURE, GOVERNANCE AND MANAGEMENT

Induction and training of new trustees

New trustees undergo an orientation day to brief them on their legal obligations under charity and company law, the Charity Commission guidance on public benefit, content of the Memorandum and Articles of Association, the decision-making process, the business plan and recent financial performance of the charity. During the induction day, they meet key employees and other trustees. Trustees are encouraged to attend appropriate external training events where these will facilitate the undertaking of their role.

STAFF AND MANAGEMENT

UD is led by a small, experienced staff team with deep sector knowledge and a strong track record in delivering complex programmes at scale.

Pamela McCormick MBE (Chief Executive Officer and Founder) co-founded UD in 2000 with the ambition of creating a leading organisation for identifying and supporting Black music talent in the UK. Pamela provides strategic leadership across artistic direction, organisational development and fundraising. Her work is underpinned by a commitment to equal opportunities, cultural relevance and sector change. Pamela has received sector recognition for her contribution to music and social impact, including Music Week Women in Music Campaigner of the Year and the Music Producers Guild Special Achievement Award.

External evaluation and organisational review by Nikki Shepperd identified UD’s core capabilities as including:

UD continues to recruit creative experts and artist practitioners with both industry experience and teaching credentials, strengthening the quality and relevance of delivery.

UD’S APPROACH: CO-DESIGNING WITH YOUNG PEOPLE

UD’s approach to programme design and delivery is grounded in co-design with young people and is structured to optimise engagement, relevance and impact. Delivery is informed by participant need, responding to young people’s identities, experiences and interests. Programmes are led by expert practitioners, ensuring high-quality, industry-relevant work connected to professional music careers, and are supported by partnerships across the music industry and community sector to amplify reach and add value.

Delivery is anchored at Talent House, providing industrystandard facilities and resources that support professional development and raise aspirations.

UD has an established model for co-designing change that particularly benefits young people who are underrepresented or who may feel they do not have a voice. In practice, this involves listening carefully to young people’s ideas and feedback, testing how sessions and project plans can be improved, and revising delivery where possible. Where change is not feasible, constraints are explained transparently. Young people are supported to put their own ideas into practice and are encouraged to contribute to planning and delivery activity, using their experiences, creativity and imagination to shape change.

Youth voice is embedded through UD Creatives (Youth Steering Group). The group comprises six young people with high levels of participation across UD’s events and programmes and plays a structured role in informing programme evaluation and continuous improvement. UD Creatives convene monthly meetings and maintain an ongoing WhatsApp group to support discussion and contribution.

34 udmusic.org

udmusic.org 35

FINANCE

REFERENCE AND ADMINISTRATIVE DETAILS

Registered Company number 08071972 (England and Wales)

Registered Charity number 1149090

Registered office

Units 19-20 Bourne Court Southend Road Woodford Green Essex IG8 8HD

Trustees

Independent Examiner

Raffingers LLP Chartered Certified Accountants 19-20 Bourne Court Southend Road Woodford Green Essex IG8 8HD

Solicitors

CMS Cameron McKenna Nabarro Olswang LLP Cannon Place, 78 Cannon Street London EC4N 6AF

Bankers

Barclays Bank Whitechapel Branch Business Banking Leicester LE87 2BB

INDEPENDENT EXAMINER’S REPORT TO THE TRUSTEES OF UD MUSIC FOUNDATION

Independent examiner’s report to the trustees of UD Music Foundation (‘the Company’) I report to the charity trustees on my examination of the accounts of the Company for the year ended 31 March 2025.

Responsibilities and basis of report

As the charity’s trustees of the Company (and also its directors for the purposes of company law) you are responsible for the preparation of the accounts in accordance with the requirements of the Companies Act 2006 (‘the 2006 Act’).

Having satisfied myself that the accounts of the Company 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 your 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 Commission under Section 145(5) (b) of the 2011 Act.

Independent examiner’s statement

Since your charity’s gross income exceeded £250,000 your examiner must be a member of a listed body. I can 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:

→ Thurairatnam Sudarshan Raffingers LLP Chartered Certified Accountants 19-20 Bourne Court Southend Road Woodford Green Essex IG8 8HD

→ Date: 23/12/2025

  1. accounting records were not kept in respect of the Company as required by Section 386 of the 2006 Act; or

  2. the accounts do not accord with those records; or

  3. the accounts 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 is not a matter considered as part of an independent examination; or

  4. the accounts have not been prepared in accordance with the methods and principles of the Statement of Recommended Practice for accounting and reporting by charities (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 with the examination to which attention should be drawn in this report in order to enable a proper understanding of the accounts to be reached.

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FINANCIAL STATEMENTS

STATEMENT OF FINANCIAL ACTIVITIES for the year ended 31 March 2025

Notes
Unrestricted
Fund
Restricted
Fund
2025 Total
Funds
2024 Total
Funds
INCOME AND ENDOWMENTS FROM
Donations and legacies
2
9,613
-
9,613
5,711
Charitable activities
4
Charitable Activities
688,396
64,773
753,169
809,441
Investment income
3
74
-
74
322
~~Total~~
~~698,083~~
~~64,773~~
~~762,856~~
~~815,474~~
EXPENDITURE ON
Raising funds
Raising donations and legacies
5
83,661
1,665
85,326
99,440
83,661
1,665
85,326
99,440
Charitable activities
6
Charitable Activities
683,546
50,227
733,773
785,671
~~Total~~
~~767,207~~
~~51,892~~
~~819,099~~
~~885,111~~
NET INCOME/(EXPENDITURE)
(69,124)
12,881
(56,243)
(69,637)
RECONCILIATION OF FUNDS
Total funds brought forward
1,964,551
51,767
2,016,318 2,085,9557
~~TOTAL FUNDS CARRIED FORWARD~~
~~1,895,427~~
~~64,648~~
~~1,960,075~~
~~2,016,318~~

CONTINUING OPERATIONS

All income and expenditure has arisen from continuing activities.

BALANCE SHEET 31 March 2025

Notes
2025 £
2024 £
FIXED ASSETS
Tangible assets
12
2,169,84
2,232,687
CURRENT ASSETS
Debtors
13
94,126
136,000
Cash at bank
4,469
465
~~98,595~~
~~136,465~~
CREDITORS
Amounts falling due within one year
14
(123,789 )
(141,464 )
NET CURRENT ASSETS
(25,194)
(4,999)
TOTAL ASSETS LESS CURRENT
LIABILITIES
2,144,655
2,227,688
CREDITORS
Amounts falling due after more than one year
15
(184,580 )
(211,370 )
~~NET ASSETS~~
~~1,960,075~~
~~2,016,318~~
FUNDS
18
Unrestricted funds:
General fund
1,895,427
1,964,551
Restricted funds:
64,648
51,767
~~TOTAL FUNDS~~
~~1,960,07~~
~~2,016,318~~

The charitable company is entitled to exemption from audit under Section 477 of the Companies Act 2006 for the year ended 31 March 2025. The members have not required the company to obtain an audit of its financial statements for the year ended 31 March 2025 in accordance with Section 476 of the Companies Act 2006.

The trustees acknowledge their responsibilities for (a) ensuring that the charitable company keeps accounting records that comply with Sections 386 and 387 of the Companies Act 2006 and

(b) preparing financial statements which give a true and fair view of the state of affairs of the charitable company as at the end of each financial year and of its surplus or deficit for each 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 charitable company.

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

The financial statements were approved by the Board of Trustees and authorised for issue on December 23rd and were signed on its behalf by Dr A O Imafidon MBE - Trustee.

The notes form part of these financial statements

The notes form part of these financial statements

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38

FINANCIAL STATEMENTS

CASH FLOW STATEMENT for the year ended 31 March 2025

----- Start of picture text -----
Notes 2025 £ 2024 £
Cash flows from operating activities
Cash generated from operations 1 47,531 21,355
Interest paid (10,759) (12,454)
Net cash provided by/(used in) operating activities 36,772 8,901
Cash flows from investing activities
Purchase of tangible fixed assets (6,052) 8,922
Interest received 74 322
Net cash provided by/(used in) investing activities (5,978) 9,244
Cash flows from financing activities
Loan repayments in year (26,790) (27,585)
Net cash used in financing activities (26,790) (27,585)
Change in cash and cash equivalents in the reporting period 4,004 (9,440)
Cash and cash equivalents at the beginning of the reporting period 465 9,905
Cash and cash equivalents at the end of the reporting period 4,469 465
----- End of picture text -----

NOTES TO THE CASH FLOW STATEMENT for the year ended 31 March 2025

Notes
2025 £
2024 £
Net (expenditure)/income for the reporting period
(as per the Statement of Financial Activities)
(56,243)
(69,637)
Adjustments for:
Depreciation charges
68,390
68,390
Interest received
(74)
(322)
Interest paid
10,759
12,454
Decrease in debtors
45,393
11,847
Decrease in creditors
(21,194)
(1,377)
~~Net cash provided by operations~~
~~47,531~~
~~21,355~~

→ 2. ANALYSIS OF CHANGES IN NET DEBT

At 1.4.24
£
Cash flow
£
At 31.3.25
£
Net cash
Cash at bank
465
4,004
4,469
465
4,004
4,469
Debt
Debts falling due after 1 year
(211,370 )
26,790
(184,580)
(211,370 )
26,790
(184,580)
~~Total~~
~~(210,905)~~
~~30,794~~
~~(180,111)~~

The notes form part of these financial statements

The notes form part of these financial statements

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40

FINANCIAL STATEMENTS

NOTES TO THE FINANCIAL STATEMENTS - for the year ended 31 March 2025

1. ACCOUNTING POLICIES

Basis of preparing the financial statements

Taxation

The financial statements of the charitable company, which is a public benefit entity under FRS 102, have been prepared in accordance with the Charities SORP (FRS 102) ‘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)’, Financial Reporting Standard 102 ‘The Financial Reporting Standard applicable in the UK and Republic of Ireland’ and the Companies Act 2006. The financial statements have been prepared under the historical cost convention.

The company is considered to pass the tests set out in Sch. 6, para. 1 of the Finance Act 2010 and therefore it meets the definition of a charitable company for UK corporation tax purposes. Accordingly, the company is potentially exempt from taxation in respect of income or capital gains received within categories covered by Pt.11, Ch. 3 of the Corporation Tax Act 2010 or s. 256 of the Taxation of Chargeable Gains Act 1992, to the extent that such income or gains are applied exclusively to charitable purposes.

Fund accounting

Unrestricted funds can be used in accordance with the charitable objectives at the discretion of the trustees. Restricted funds can only be used for particular restricted purposes within the objects of the charity.

Income

All income is recognised in the Statement of Financial Activities once the charity has entitlement to the funds, it is probable that the income will be received and the amount can be measured reliably.

Restrictions arise when specified by the donor or when funds are raised for particular restricted purposes. Further explanation of the nature and purpose of each fund is included in the notes to the financial statements.

Expenditure

Liabilities are recognised as expenditure as soon as there is a legal or constructive obligation committing the charity to that expenditure, it is probable that a transfer of economic benefits will be required in settlement andthe amount of the obligation can be measured reliably. Expenditure is accounted for on an accruals basis and hasbeen classified under headings that aggregate all cost related to the category. Where costs cannot be directlyattributed to particular headings they have been allocated to activities on a basis consistent with the use of resources.

Pension costs and other post-retirement benefits

The charitable company operates a defined contribution pension scheme. Contributions payable to the charitable company’s pension scheme are charged to the Statement of Financial Activities in the period to which they relate.

Debtors

Debtors are recognised at their settlement amount, less any provision for non-recoverability. Prepayments are valued at the amount prepaid.

Governance costs

Governance costs which comprise the costs directly attributable to the governance of the charity, including audit costs and the necessary legal procedures for compliance with statutory requirements, are allocated directly to the charitable activities to which they relate.

Cash at bank and in hand

Cash at bank and cash in hand includes cash and short term highly liquid investments with a short maturity of three months or less from the date of acquisition or opening of the deposit or similar account.

Tangible fixed assets

Creditors and provisions

Depreciation is provided at the following annual rates in order to write off each asset over its estimated useful life.

Creditors are recognised when there is an obligation at the balance sheet date as a result of a past event, it is probable that a transfer of economic benefit will be required in settlement, and the amount of settlement can be estimated reliably.

Plant and machinery - 20% on cost Fixtures and fittings - 20% on cost Website and logo - 20% on cost Computer equipment - 20% on cost

Financial instruments

The charity only has financial assets and financial liabilities of a kind that qualify as basic financial instruments.

Assets under construction are not depreciated until the work is completed and the assets are in use by the charity.

Basic financial instruments are initially recognised at transaction value and subsequently measured at their settlement value except for bank loans which are subsequently measured at the carrying value plus accrued interest less repayments. The financing charge to expenditure is at a constant rate calculated using the effective interest method.

The notes form part of these financial statements

2. DONATIONS AND LEGACIES

6. CHARITABLE ACTIVITIES COSTS

----- Start of picture text -----
Direct costs Direct costs Totals
2025 £ 2024 £
(see note 7) (see note 8) £
Donations 9,523 5,621 Charitable Activities 479,398 254,375 733,773
Gift aid 90 90
9,613 5,711
7. DIRECT COSTS OF
CHARITABLE ACTIVITIES
3. INVESTMENT INCOME
2025 £ 2024 £
2025 £ 2024 £
Staff costs 260,547 265,640
Deposit account interest 74 322 Programme marketing costs 8,407 19,079
Other programme costs 33,485 27,767
Project management 58,669 43,932
Artists’, tutors’ and mentors’ fees 118,290 184,980
4. INCOME FROM CHARITABLE
479,398 541,398
ACTIVITIES
Activity 2025 £ 2024 £ 8. SUPPORT COSTS
Grants Charitable Activities 378,985 329,337 Management Finance Exceptional
Trusts and foundations Charitable Activities 171,000 208,703 £ £ items
Corporates Charitable Activities 73,897 104,948 £
Earned Charitable Activities 129,287 166,453
Charitable Activities 225,881 11,256 (3,964)
753,169 809,441
Other Governance Totals
Grants received, included in the above, are as follows: £ costs £
£
Arts Council England 359,337 329,337
Charitable Activities 12,438 8,764 254,375
5. RAISING DONATIONS
9. NET INCOME/(EXPENDITURE)
AND LEGACIES
Net income/(expenditure) is stated after charging/(crediting):
2025 £ 2024 £
2025 £ 2024 £
Marketing 72,177 86,466
Depreciation - owned assets 68,890 68,390
----- End of picture text -----

~~Arts Council England~~
~~359,337~~
~~329,337~~
5. RAISING DONATIONS
AND LEGACIES		 ~~Charitable Activities~~
~~12,438~~
~~8,7~~
9. NET INCOME/(EXPENDITU

Marketing
72,177
86,466
Development and fundraising costs
13,149
12,974
~~85,326~~
~~99,440~~
2024 £
2025 £		 Net income/(expenditure) is stated after charging/(crediting):
2025
~~Dii d~~
~~688~~
~~eprecaton - owne assets~~
~~,~~

The notes form part of these financial statements

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42

FINANCIAL STATEMENTS

NOTES TO THE FINANCIAL STATEMENTS - for the year ended 31 March 2025 (Continued)

10. TRUSTEES’ REMUNERATION AND BENEFITS

12. TANGIBLE FIXED ASSETS

13. DEBTORS

----- Start of picture text -----
Freehold Plant and Fixtures
2025 £ 2024 £
property machinery and fittings
There were no trustees’ remuneration or other benefits for the year
ended 31 March 2025 nor for the year ended 31 March 2024. Cost Amounts falling due within one year:
At 1 April 2024 1,967,973 238,382 76,006 Trade debtors 8,122 27,172
2025 £ 2024 £ Additions - 3,552 - Other debtors 3,519 -
At 31 March 2025 1,967,973 241,934 76,006 VAT 9,876 12,933
Prepayments and accrued income 69,469 92,755
Trustees’ expenses Depreciation
At 1 April 2024 - 47,676 15,201 90,986 132,860
Trustees’ expenses 376 48 Charge for year - 47,676 15,201
At 31 March 2025 - 95,352 30,402 Amounts falling due after more than one year:
Net Book Value Other debtors 3,140 3,140
11. STAFF COSTS
At 31 March 2025 1,967,973 146,582 45,604 Aggregate amounts 94,126 136,000
2025 £ 2024 £ At 31 March 2024 1,967,973 190,706 60,805
14. CREDITORS: AMOUNTS FALLING
Wages and salaries Social security costs 237,330 19,764 242,76720,011 and logoWebsite equipmentComputer Total £ DUE WITHIN ONE YEAR
Other pension costs 3,453 2,862
Cost
260,547 265,640 At 1 April 2024 14,750 12,816 2,309,927 2025 £ 2024 £
Additions 2,500 - 6,052
No employees received emoluments in excess of £60,000. At 31 March 2025 17,250 12,816 2,315,979
Trade creditors 60,508 96,077
The average monthly number of employees during the year was as follows: Depreciation Amounts owed to group undertakings 14,536 22,088
At 1 April 2024 11,800 2,563 77,240 Social security and other taxes 38,781 6,464
2025 £ 2024 £ Charge for year 3,450 2,563 68,890 Pension payable 844 809
Other creditors 254 144
At 31 March 2025 15,250 5,126 146,130
Net wages 5,603 -
Charitable 10 9 Net Book Value Deferred income 867 -
Accrued expenses 2,396 15,882
The number of employees whose employee benefits (excluding employer At 31 March 2025 2,000 7,690 2,169,849
123,789 141,464
pension costs) exceeded £60,000 was:
At 31 March 2024 2,950 10,253 2,232,687
2025 £ 2024 £
£70,001 - £80,000 1 -
£90,001 - £100,000 1 -
2 -
----- End of picture text -----

15. CREDITORS: AMOUNTS FALLING DUE AFTER MORE THAN ONE YEAR

~~Other loans (see note 16)~~
~~184,580~~
~~211,370~~
2024 £
2025 £
16. LOANS
Amounts falling due in more than five years:
Repayable by instalments:
~~Other loans~~
~~184,580~~
~~211,370~~
2024 £
2025 £
An analysis of the maturity of loans is given below:

17. ANALYSIS OF NET ASSETS BETWEEN FUNDS

----- Start of picture text -----
Unrestricted Restricted 2025 Total 2024 Total
fund funds funds £ funds £
----- End of picture text -----

Unrestricted
fund		 Restricted
funds		 2025 Total
funds £		 2024 Total
funds £
Fixed assets 2,169,849 - 2,169,849 2,232,687
Current assets
Current liabilities
Long term liabilities		 33,947
(123,789 )
(184,580 )		 64,648
-
-
98,595
(123,789 )
(184,580 )
136,465
(141,464 )
(211,370 )
~~1,895,427~~ ~~64,648~~ ~~1,960,075~~ ~~2,016,318~~

The notes form part of these financial statements

The notes form part of these financial statements

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FINANCIAL STATEMENTS

NOTES TO THE FINANCIAL STATEMENTS - for the year ended 31 March 2025 (Continued)

18. MOVEMENT IN FUNDS

----- Start of picture text -----
Comparatives for movement in funds
Net Net
At 1.4.24 At 31.3.25 At 1.4.24 At 31.3.25
movement movement
£ £ £ £
in funds in funds
Unrestricted funds Unrestricted funds
General fund 1,964,551 (69,124) 1,895,427 General fund 2,071,44 (106,894) 1,964,551
Restricted funds Restricted funds
Foyle Foundation 26,200 (26,200) - Esmee Fairbairn 14,510 (14,510) -
Sony Social Justice Fund 25,567 (25,567) - Foyle Foundation - 26,200 26,200
Brit Trust - 30,000 30,000 Sony Social Justice Fund - 25,567 25,567
Awards for All - 19,648 19,648
Garfield Weston Foundation - 15,000 15,000 14,510 37,257 51,767
51,767 12,881 64,648 Total funds 2,085,955 (69,637) 2,016,318
Total funds 2,016,318 (56,243) 1,960,075
Comparative net movement in funds, included in the
above are as follows:
Net movement in funds, included in the above are as follows:
Incoming Resources Movement
Incoming Resources Movement resources expended in funds
resources expended in funds
Unrestricted funds
Unrestricted funds General fund 728,359 (835,253) (106,894)
General fund 698,083 (767,207 ) (69,124)
Restricted funds
Restricted funds Esmee Fairbairn - (14,510) (14,510)
Foyle Foundation (1) (26,199) (26,200) Foyle Foundation 30,000 (3,800) 26,200
Sony Social Justice Fund 126 (25,693) (25,567) Sony Social Justice Fund 32,115 (6,548) 25,567
Brit Trust 30,000 - 30,000 Soho House Foundation 25,000 (25,000) -
Awards for All 19,648 - 19,648
Garfield Weston Foundation 15,000 - 15,000 87,115 (49,858) 37,257
64,773 (51,892) 12,881 Total funds 815,474 (885,111) (69,637)
Total funds 762,856 (819,099 ) (56,243)
----- End of picture text -----

19. RELATED PARTY DISCLOSURES

There were no related party transactions for the year ended 31 March 2025.

DETAILED STATEMENT OF FINANCIAL ACTIVITIES - for the year ended 31 March 2025

INCOME AND ENDOWMENTS











 EXPENDITURE
Raising donations and legacies
Marketing
72,177
86,466
Development and fundraising costs
13,149
12,974
~~85,326~~
~~99,440~~
Charitable activities
Wages
237,330
242,767
Social security
19,764
20,011
Pensions
3,453
2,862
Programme marketing costs
8,407
19,079
Other programme costs
33,485
27,767
Project management
58,669
43,932
Artists’, tutors’ and mentors’ fees
118,290
184,980
~~479,398~~
~~541,398~~
2024 £
2025 £
2024 £
Donations and legacies
Donations
9,523
5,621
Gift aid
90
90
~~9,613~~
~~5,711~~
Investment income
Deposit account interest
74
322
Charitable activities
Grants
378,985
329,337
Trusts and foundations
171,000
208,703
Corporates
73,897
104,948
Earned
129,287
166,453
753,169
809,441
~~Total incoming resources~~
~~762,856~~
~~815,474~~
2025 £		 Support costs
Management
Rent, rates and servicing
122,954
98,732
Insurance
7,681
8,086
Telephone
3,820
3,698
Furniture, fixtures and equipment
2,131
6,553
Travelling
662
545
Computer expenses
16,811
28,859
Subscription and fees
2,932
828
Depreciation on fixed assets
68,890
68,390
~~225,881~~
~~215,691~~
Finance
Bank charges
497
702
Bank interest
10,759
12,454
~~11,256~~
~~13,156~~
Exceptional items
Related party loan written off
(3,964)
-
Other
Staff welfare and Training
12,438
8,990
Governance costs
Trustees’ expenses
376
48
Accountancy
8,388
6,388
~~8,764~~
~~6,436~~
~~Total resources expended~~
~~819,099~~
~~885,111~~
~~Net expenditure~~
~~(56,243)~~
~~(69,637)~~
2024 £
2025 £

The notes form part of these financial statements

The notes form part of these financial statements

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FUNDERS AND PARTNERS

UD Music Foundation benefits from a wide network of UK-wide partnerships across music, education and the creative industries. The organisation has developed long-standing music education partnerships, including with local Music Hubs and the University of East London (UEL), alongside relationships with National Portfolio Organisations such as East London Dance, Create Define Release and Music for Youth. UD also works closely with major record labels, including Sony Music UK, Universal Music UK and Warner Music UK, and with UK Music members and music industry trade bodies.

↓

These include AIM (Association of Independent Music), BPI (British Phonographic Industry), MMF (Music Managers Forum), MPG (Music Producers Guild) and PPL (Phonographic Performance Ltd), who support UD’s work through development funding, in-kind mentoring, professional expertise and work experience opportunities for underrepresented artists and workforce entrants.

During the year, UD received support from a range of trusts, foundations and corporate partners, including:

→ Arts Council England

→ Awards for All

→ Brit Trust

→ Converse

→ Esmée Fairbairn Foundation → The Foyle Foundation → Garfield Weston Foundation → Paul Hamlyn Foundation → PRS Foundation (Talent Development Partner) → Sony Social Justice Fund

UD has been a National Portfolio Organisation (NPO) of Arts Council England since 1999. In 2022, the organisation was invited to join an expanded National Youth Music Organisation (NYMO) cohort, cofunded by Arts Council England and the Department for Education, recognising UD’s role as a nationally significant pipeline for nurturing Black music practitioners. UD is also a Talent Development Partner within the national network convened and funded by the PRS Foundation.

The trustees record their sincere thanks to all funders and partners for their continued financial and in-kind support, which enables UD to deliver its charitable objectives and sustain high-quality provision for young people.

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