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← Finding Rhythms

2024-12-31-accounts

TRUSTEES’ ANNUAL REPORT AND ACCOUNTS For the period from April 1st 2024 to 31 December 2024

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Contents

Section Page Reference & Administrative Details 2 Section 1: Trustees' Report 5 Our Mission, Objects and Statement of Public Benefit 5 Structure, Governance and Risk Management 6 ~~|~~ | | Our current position 8 April-Dec 2024 Achievements & Impact 9 ~~|~~ | | Plans for 2025 15 The Finding Rhythms Team 16 ~~|~~ | | Trustees 18 ~~|~~ Financial Review & Reserves Policy | 20 | Benefactors in April-Dec 2024 20 Statement of Trustees’ Responsibilities 21 Section 2: Independent Examiner’s Report 22 Statement of Financial Activities 23 ~~|~~ | | Balance Sheet (Chair signature) 24 Notes to the Accounts 25 ~~a~~

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Legal Name Finding Rhythms CIO Charity Registration No 1151872 Registered address c/o Beyond Profit Ltd. F114, Bolton Arena, Arena Approach, Horwich, Bolton BL6 6LB Governing Document Constitution dated 2nd May 2013; revised 12th March 2020 and 16th September 2025 (approved by Charity Commission) Trustees who served Julie Dark, Chair David Jenkins, Treasurer (resigned as Trustee 29/9/24) Gurpreet Sanghera (appointed 10/10/24) James Crabbe John Reiss Jonty Kinsella Justin Kitson (appointed 10/10/24) Martin Mulgrew (appointed 10/10/24) Robin Harris Dr Ron Dodzro (appointed 10/10/24) * Note: Martin Mulgrew subsequently resigned in June 2025 (due to relocation overseas), after the period covered by this report. Patrons Robin Millar, CBE Max Reinhardt Baroness Floella Benjamin, OBE Principal staff Robin Harris, Creative Director (resigned 31/12/24) Katie Weatherall, Business Director Catherine Bullough, Project Manager Catriona Darroch, Project Coordinator* Louise Cooke, Project Coordinator (returned from maternity leave 2/12/24) * Note: subsequent changes occurred after the reporting period. In June 2025, Katie Weatherall became Executive Director and Catherine Bullough became Programme Manager. In February 2025, Catriona Darroch became Communications and Business Development Executive until July 2025, when her contract ended. Clara Bennathan joined ~~im~~ 3

as Programme Coordinator in September 2025.
Bankers CAF Bank, 25 Kings Hill Avenue, Kings Hill,
West Malling, Kent, ME19 4TA
Insurers Chris Knott Insurance Consultants Ltd, 5th Floor,
Cavendish Place, Breeds Place, Hastings,
East Sussex TN34 3AA
Independent Examiner Teresa Fennell, It Doesn't Have to Cost the Earth Ltd,
47 St Dunstans Close, Worcester, WR5 2AJ
Website www.finding-rhythms.co.uk
Social media https://www.instagram.com/findingrhythms
https://www.linkedin.com/finding-rhythms
https://www.facebook.com/FindingRhythms

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Trustees’ Report

The Trustees are pleased to present their annual report together with the financial statements for Finding Rhythms CIO for the year ending 31 December 2024.

The financial statements comply with the Charities Act 2011, 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 2015).

CHARITY OVERVIEW

Vision : A society where no one is limited by their circumstances

Mission: We use music as a catalyst to empower people to improve their lives

Values:

Our purpose

Finding Rhythms uses music as a catalyst to empower people to improve their lives. We deliver creative projects in prisons and in the community, supporting people at risk of offending to rebuild their confidence, strengthen their sense of belonging and experience a shift in how they see themselves.

We believe no one should be limited by their circumstances. Many of the people we work with face complex, overlapping challenges and often find it difficult to engage with traditional services. Music-making offers a different way in, providing a safe space for creative expression, reflection and connection.

Led by a team of trauma-informed, professional musicians, participants collaborate to write and record original music - telling their stories and being heard, often for the first time. Along the way, they build essential life skills which open new doors, including the option to gain a formal King’s Trust qualification.

Since Finding Rhythms was founded in 2013, we have worked with more than 1100 participants in over 35 prisons as well as in community settings. We have created in excess of 100 albums of original music and almost half of our participants have achieved qualifications through our programmes.

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STATEMENT OF PUBLIC BENEFIT

People who are marginalised by society are far more likely to enter the criminal justice system (CJS). Many in prison have faced social and economic deprivation, mental health problems, poor educational attainment and addiction. These experiences erode self belief, confidence and a sense of purpose, leaving individuals isolated from the wider community and stuck in a cycle of offending.

Mental health plays a big part in this story. Over 90% of people in prison live with at least one condition, such as depression, anxiety, PTSD or substance misuse[1] . Nearly half of men and one in five women have attempted suicide. These experiences are often longstanding, shaped by trauma, instability and exclusion. And for many, they continue well beyond release.

In the community, key moments to intervene are missed. Particularly since Covid, school exclusions have risen significantly, with increasing numbers of young people not in education, employment or training. Add that to a 73% cut in youth services since 2010[2] , and too many young people are left without safe spaces, support or purposeful activity, putting them at greater risk of exploitation or of taking the wrong path.

Reoffending rates remain alarmingly high. Figures show that at least 42% of prison leavers are reconvicted within a year, costing the UK £18bn annually. A year after release, 72% are still not in employment[3] . Without proper support to reintegrate into society, the cycle of crime continues.

Our music interventions offer a space for self-reflection, self-expression and positive change. This empowers individuals to shift their mindset and break the cycle of offending. Our approach is backed by robust evidence which shows that collaborative music-making improves our wellbeing, builds community and teaches us useful skills for the future.

Structure, Governance and Risk Management

Finding Rhythms was founded as a Charitable Incorporated Organisation with a Constitution dated 2nd May 2013. The Charity Commission granted prior approval for an amendment to the constitution on 5 August 2025. The Trustees formally adopted the amendment by resolution on 16 September 2025, at which point the changes took effect.

During the financial year ending December 2024, ten Trustees served on the Board of Finding Rhythms and they are referred to throughout this report as the Trustees or the Board. The Trustees represented a broad range of skills and experience, spanning business, education,

1 - https://www.centreformentalhealth.org.uk/wp content/uploads/2023/04/CentreforMH_PrisonMentalHe althServicesInEngland2023.pdf

2 https://ymca.org.uk/wp-content/uploads/2025/01/ymca-youth-services-beyond-the-brink.pdf

3 https://prisonreformtrust.org.uk/wp-content/uploads/2024/02/Winter-2024-factfle.pdf

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governance, communications, music and the criminal justice sector. They do not receive any remuneration for their roles as Trustees.

Day-to-day management of the charity was the responsibility of the Business Director, who was supported by the Project Manager, Project Coordinator and Communications and Business Development Executive, and with continual support and advice from the Trustees. During April-December 2024, the Board met formally three times and held a number of less formal meetings with the executive team to guide and further develop operational procedures and systems, and to ensure the charity continued to meet its charitable objectives.

The Trustees have reviewed the major risks and are confident there are appropriate systems in place to manage them.

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Our current position

In this financial period, despite the shortened length, which was due to us moving our financial year end for administrative reasons, a number of milestones were achieved.

The period began during a relative downturn in our prison programme, caused by the uncertainty brought about by the general election and change of government. This gave us the opportunity to build our “through the gate” programme which we have named Making Waves. The programme took its first participants at the end of March 2024 and as of September 2025 has welcomed 50 participants through our music studio doors. Making Waves has taught us an incredible amount about bringing participants into our own space and providing frontline services without involving a delivery partner. It has also facilitated a closer relationship with our participants which means we can see the greater impact we are having. Making Waves alumni were invited to the Clinks conference to perform some of the music they have created with us.

By the end of the period, the prison estate was experiencing slightly less uncertainty and we were being commissioned for multiple projects including returning to HMP Chelmsford and other prisons. We also continued our partnership with National Literacy Trust working on creative writing music projects with young people at HMP Feltham and Oakhill Secure Training Centre.

In the community, in addition to our Making Waves programme, we delivered through the year at Harmood School who work with children with SEMH (Social, Emotional and Mental Health) needs, and also at YMCA LandAid House’s new youth hub. As well as working to prevent people entering the criminal justice system, we supported people who have recently left prison working in our first approved premises, Katherine Price Hughes House.

Music created in this period was awarded an impressive 16 Koestler Awards, which is our biggest achievement for a number of years. This included music made in Making Waves, which also attracted press coverage from South London Press and Crack Magazine. Our ongoing work with Harrow Mental Health Services was nominated for an illustrious HSJ Patient Safety Award for ‘ Improving health outcomes for minority ethnic communities’.

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April-December 2024 Achievements and Performance

A snapshot of our project delivery:

15 projects delivered:

144 participants:

115 group sessions delivered across all projects

174 studio sessions delivered as part of our Making Waves programme

14 albums produced

12 delivery partners

27 partners referred participants to the Making Waves programme

Below is a summary of the aims for 2024-25 outlined in last year's Trustees’ Annual Report and Accounts and our achievement in fulfilling them.

Aim: Increase the number of mental health partners and participants we work with

Result: We presented our mental health work at two Narrative Therapy conferences, which resulted in being commissioned by the acute services team at Park Royal Hospital, Brent. We also did our first project with OPD teams in HMP Standford Hill and Swaleside and were commissioned for three projects at High Down.

Aim: Develop a sustainable, long term model for our “through the gate” community offer Result: Making Waves has been a great success in terms of the demand for the services and the impact it is achieving for participants. We have secured several multi-year grants for its continuation and have developed a plan for growth and expansion of the programme.

Aim: Increase the number of prevention/youth (under 18) partners and participants we work with

Result: We have included people at risk of offending in our referral criteria for Making Waves and built relationships with partners to support this. After a pilot project in 2023, we now deliver throughout the year at the YMCA Landaid House studio space working with young people in their local communities.

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Aim: Develop and implement a musician training process that upskills existing and new musicians

Result: We created a comprehensive Musician Handbook for our programme facilitators, which includes a code of conduct, and revisions of our lyrics policy and King's Trust material. We delivered training to implement and embed the Handbook and developed a plan for regular reflective practice for musicians which began in 2025.

Aim: Improve our comms and evaluation processes to drive income and partnerships

Result: We tightened up our evaluation framework and redrafted our participant surveys to better respond to our expected outcomes. We engaged Dr. Dean Wilkinson, Senior Lecturer of Forensic Psychology at Edge Hill University, to externally evaluate our Making Waves programme. We received pro bono support from Creative Impact Club to refresh our brand and develop a branding toolkit to improve our communications and also from Action for Race Equality to develop a marketing strategy and plan.

Aim: Increase diversity within our governance structure and operations

Result: We ran a campaign to recruit Trustees and four people were invited to join the Board, thereby increasing our diversity in terms of race, gender and age. We ran a recruitment campaign for musicians which has resulted in us working with more practitioners with lived experience of the criminal justice system. We are in the process of forming a project board of participant alumni which will have its inception meeting in 2025.

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Our Impact

Our evaluation data collected in this period demonstrates that we help participants develop in these critical areas known to contribute to desistance from crime:

WELLBEING

We give participants the chance to shine at something, and feel better about themselves.

Participant feedback

“It's helped me to get through emotions I'd been keeping in my mind, helped bring them out and try and overcome them.”

“Sometimes in the past I’ve felt like a nuisance, but not here. I felt really listened to and that felt good.”

Partner feedback

“This project has shown our participants that their offences do not define them: they have so much more to offer as human beings. The FR facilitators struck a beautiful balance of praise and leadership, while also empowering the men to believe in themselves.”

SKILLS

Our programmes develop many transferable skills and participants have the chance to gain a King’s Trust qualification and receive employability-focused mentoring.

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Participant feedback

“This has made me realise I can't just show up anywhere at any time because I will miss out. It reminded me that you've got to be on time for everything.”

“Finding Rhythms has helped me look at what I need to do to gain employment when I am

released, such as identifying short term goals that will help towards my long term goal.” - Tristen

Partner feedback

"Even when people had lyrics or ideas already, the discipline of constructing it into a track and persisting with it has many benefits - working together as a team, taking turns, co-creating something.”

RELATIONSHIPS

The creative process facilitates participants to work as a team, communicate effectively and shift how they are viewed by others.

Participant feedback

“It's been very rewarding. I didn't think I would really be a part of it in the way I have. I am pleased I have as it made me feel a part of it all with memorable friends.”

“I’ve gained interpersonal skills like communication, being able to express how I’m feeling, and communicate how tracks are structured.”

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Partner feedback

“Despite the residents being extremely different, they were supportive and

respectful throughout the whole process. The interactions with the facilitator were always positive and grew stronger each week.”

Making Waves impact

Independent evaluation

Researchers at Edge Hill University undertook an independent evaluation of Making Waves and reported significant benefits in the following areas:

Musical skill development and aspiration

“It more than lived up to my expectations. When you’ve got the studio space set-up - it’s got a professional feel about it. This is the first music course I’ve done outside of being in prison”. - Christopher

Emotional wellbeing

“You let everything out in a musical sense - some things on your mind, if you keep them in your mind you can go crazy. When you’re doing this, it keeps your mindset stable. It’s good for your mental health”.

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Personal and social development

“I feel like [this project] helps you reach your best potential, really express yourself in different ways… I feel more confident in myself… I’m more talkative as a person and I'm becoming more social”.

CASE STUDY: Making Waves programme ‘Jack’

When Jack was referred to Making Waves, he felt stuck. After serving time in prison, he wanted to move forward, but a lack of opportunities and low confidence was holding him back. Music was his passion, but past gang affiliations made local studios unsafe.

He arrived at his first session 50 minutes late, hood up, barely speaking. His first tracks he recorded expressed the violence he’d experienced and witnessed, and the impact this had on him. But over time, things changed. He built trust with Tom, his Making Waves music facilitator, who introduced him to new perspectives and ways of storytelling. Jack started arriving early, writing lyrics in his spare time, and evolving his music to explore deeper and more thoughtful themes.

Through Making Waves, he completed a King’s Trust qualification, connected with a mentor, and even stepped up to the mic at a live event, performing his tracks to an audience for the first time. When there are free slots in the studio, Jack is keen to take up the opportunity.

Since the programme, Jack has been accepted onto a Physical Trainer course and is to become a member of the Making Waves project board.

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Plans for 2025

Programme objectives

Operational objectives

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The Finding Rhythms Team (as at October 2025)

Katie Weatherall | Executive Director

Katie leads the charity and is responsible for fundraising and partnerships as well as overseeing the team. She has over 15 years’ experience working in the non-profit arts sector. She has worked in roles at British Underground managing their international artist development projects and British Council’s music team, managing their global Selector Radio show and music projects in Sub-Saharan Africa.

Catherine Bullough | Programme Manager

Catherine leads on the delivery and development of our programmes including our musician training provision. Previously, she has managed a range of community music programmes at Britten Pears Arts and the Philharmonia Orchestra. Catherine studied Business Management at university and found her way into the performing arts sector by working Front of House in a local theatre.

Louise Cooke | Project Coordinator

Louise leads on the delivery of King’s Trust qualifications as well as supporting projects and our finance and charity administration. She studied film and media production at the Northern Media School and came away with a Masters’ degree in Film Production and Screenwriting. Since then, she has worked on various independent and commercial media projects. More recently she has also spent time working with young filmmakers on workshops.

Clara Bennathan | Programme Coordinator

Clara joined Finding Rhythms in September 2025 and supports the delivery of Making Waves. She has a background in arts and outreach and believes strongly in the therapeutic potential of creativity, having personally and professionally witnessed the transformative power of music-making.

Titash Sen | Communications Lead

Titash is Communications Lead at Finding Rhythms, bringing over eight years’ experience in communications across the arts and charity sectors. A multidisciplinary artist, she is passionate about the power of creativity to spark change. She supports the charity in sharing its stories and impact.

Aron Kyne | Project Leader

Aron has been writing and producing music individually and with other artists for over 10 years. He works closely with solo artists, providing songwriting and production in a wide variety of different genres, but specialised in soul, R&B, Hip Hop, pop and Jazz. Aron has experience of working in a wide range of settings including prisons, low secure units, hospitals and youth clubs.

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Fred Harper | Project Leader

Fred Harper Is a drummer, producer, writer and stage performer. After attending the BRIT school in London, he went on to graduate from the Leeds College of Music with first class honours. Fred considers community and charity work to be the most important contribution musicians can make to society. As well as his recent work with Finding Rhythms, he devised a programme with the charity ‘Sense’, to deliver online music workshops to deaf-disabled children who were shielding, with the use of vibrating body packs.

Tom Ireland | Project Facilitator

Tom has been a studio engineer and vocal producer for the last 8+ years, having graduated with a 1st in BSc Music Technology. Specialising in mainly Hip Hop and R&B, he’s worked with the likes of Wretch 32, Avelino, IAMDDB, Lil Macks, plus many more. He is also a singer/songwriter and has worked with a multitude of producers in Drum & Bass – with over 1 Million streams on Spotify alone.

Thabo Mkwananzi | Project Facilitator

Thabo is a singer who is drawn to making music which educates, entertains and empowers the listener. He credits this to being raised on a diet of Bob Marley, Michael Jackson and Dolly Parton. Born and raised in Zimbabwe, Thabo started singing in church where he and his childhood friends formed an acapella group. After moving to the UK, he joined a hip hop soul band and honed his craft as a songwriter and a performer. Since then he has released 3 solo EPs, toured with artists like Seal and collaborated on music with Idris Elba and Naughty Boy.

Marcelle | Project Facilitator

Marcelle has been singing since age 11. Her sister introduced her to the recording studio and since then she has had the pleasure of working both there and as a live performer. Her work as a session singer has seen her perform alongside Joss Stone, Jeff Beck, JP Cooper, Michelle Williams and others in venues as prolific as The Royal Albert Hall, Wembley Stadium, and The Jazz Cafe. As a solo artist Marcelle is steadily growing her craft in the field of jazz/fusion/soul, her performances include appearances at the EFG London Jazz Festival and the We Out Here Festival.

George Handley | Project Facilitator

George is a bass player, producer, and DJ from London. Having studied at Leeds Conservatoire, he’s toured all over Europe with various projects and played at venues including The Barbican, Royal Festival Hall, The Natural History Museum, O2 Academy Leeds, and many others. Adept on several instruments, George has been involved in musical projects from West End theatre to RnB showcases to playing with artists such as Emile Sande, Greg James and Jodie Harsh.

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Trustees

Julie Dark | Chair

Julie is a strategic leader with extensive communications and marketing experience within the creative industries (BBC, Guardian, ITV, Technicolor) and in higher education (University of the Arts London, Queen Mary University of London). She has established communications infrastructures and led complex projects within challenging high-profile environments in the UK and internationally. Julie is passionate about theatre and music, both as a performer and a spectator. She is also a fervent advocate for greater equality and inclusion in society.

David Jenkins | Treasurer (resigned as a Trustee 29/9/24)

David had an early career in international banking, followed by some years restructuring industrial companies in the former Soviet Union and Eastern Europe. From 2002 he was the non-creative executive and director of Squint/Opera, a digital agency, until it was acquired in 2022. Since then, he has continued this role with their two offshoots: Doodle Productions introduces young children to STEAM topics through magazines, animation video and digital content; Spaceform creates digital twins for major construction and engineering projects. He stepped down as a Trustee of Finding Rhythms in 2024, having served the maximum permitted period, but continues as Treasurer.

Prof. James Crabbe

James is an Emeritus Professor of Biochemistry and ran a Special Interest Group on Education in the Criminal Justice System for the Educators’ Company in the City. James was a magistrate in the youth and adult courts and has written about music education in prisons. A former freelance recording engineer and producer, he works with young talented musicians for the Worshipful Company of Musicians on outreach projects in schools. James is a former National Leader of Governance and in 2021 celebrated his first 10 years as Chair of Governors of a Further Education College, which is now part of the Bedford College Group.

Dr. Ron Dodzro

Ron holds a Doctorate in Clinical Psychology from University of Hertfordshire. Ron has an interest in developing creative, trauma-informed interventions which are accessible and meaningful for individuals and communities. One of his well-known works is a report named ‘The Life of a Top Boy: Community Trauma and Violence.’ It amplifies the voices of those with first-hand experience of the community violence which dominates our headlines and unpicks the psychological impact of community violence through a lens of trauma.

Robin Harris

Robin is the founder of Finding Rhythms and a Musical Director, Composer & Producer who works across a variety of fields in the music industry and is currently the Musical Director for The Ritz (London) and Soho House (London). He has led more than 25 Finding Rhythms projects after founding the organisation in 2012. He is passionate about music education and

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re-connecting people with their creative selves.

Jonty Kinsella

Jonty studied Food Science and Nutrition at London University, then went on to teach for 44 years, including at university level and in secondary schools. During this time, she was chief examiner for an A-level syllabus, a curriculum developer in the field of design and technology, a researcher into how children form scientific concepts, author of textbooks and reviews, and a co-author of a BBC schools television series. Jonty also served for 10 years as a magistrate and chair in both the South West London adult court and the Central London Family court. She was also a staff-elected governor for a large comprehensive school in London.

Justin Kitson KC

Justin is a KC barrister practising from London chambers and has strong connections to both London and the North of England. An amateur pianist, he has been involved with numerous arts charities over the years. Through his work and interests in music, Justin is passionate about the power of music to transform the lives of individuals and their communities.

John Reiss

John is an experienced business and not-for-profit leader. He is Executive Chairman of Premier, the UK’s largest communications agency specialising in entertainment, arts and culture. John is also Chair of a portfolio of entrepreneurial businesses including multiplex cinema operator Peckhamplex, and an internationally based creative design agency. He is a member of BAFTA, a patron of the arts and active in charitable organisations, having chaired Missing People for 10 years. He is currently a Trustee of Mountview Academy of Theatre Arts.

Gurpreet Sanghera

Gurpreet is a litigation partner at media, entertainment and commercial law firm Simkins LLP. Having had an insight into the prison system through a friend, she recognises the need for reform and the lack of resources and guidance available to young people who unfortunately end up in the system and find it difficult to break the mold. Born and bred in London, she is increasingly concerned about the rising crime rates among teenagers and is keen to find ways to help curtail the current problem.

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Financial Review & Reserves Policy

There was a deficit for the period 1[st] April – 31[st] December 2024 (‘the Period’) of £4,961 (year ending 31[st ] March 2024 – deficit £72,454). Total income in the Period was £186,422 (year ending 31[st] March 2024 - £178,296). Total expenditure in the Period was £191,383 (year ending 31[st] March 2024 - £250,750).

The funds of the charity as of 31 December 2024 totalled £81,050 (31 March 2024 - £86,011). Of this, £35,000 was allocated to a designated contingency fund; £22,550 was restricted funds and the balance of £23,500 was unrestricted. During the current financial year, our programme delivery has further increased, and we continue to receive greater levels of commission fees from both prisons and our community partners. This reflects the value they attribute to our programmes. We continue to widen our reach both in prisons and the community, and therefore building and maintaining long term relations with Trusts and Foundations continues to be a priority, as well as diversifying our sources of funding. We have successfully generated funding commitments to support our Making Waves programme well into 2026.

Reserves Policy

As at 31 March 2024, Trustees designated part of the charity’s unrestricted reserves to a contingency fund to be managed by the Board, equal to approximately six months of operating costs, (i.e., net of programme costs). The Trustees will continue to review this policy regularly, considering the operating costs of the charity and the associated risks.

The financial statements have been prepared in accordance with the accounting policies set out in the notes to the accounts and comply with the charity’s governing document, the Charities Act 2011 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 issued in October 2019.

Benefactors in the nine months ending 31[st] December 2024

The Board wishes to thank all those individuals and organisations who have supported the Charity with grants and donations. Note 2 of the accounts includes a list of all grants received, restricted and unrestricted, for this and the previous financial period. Our website lists all those who have supported us over the past five years. We continue to receive generous donations from private individuals which we value highly. The support we have obtained from our benefactors during this and previous years has enabled us to expand our programmes steadily, in line with our resources, as the opportunities have arisen.

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Trustees’ responsibilities in relation to the financial statements

The Board of Trustees is responsible for preparing a Trustees’ annual report and financial statements in accordance with applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice).

The law applicable to charities in England and Wales requires the Trustees to prepare financial statements for each year which give a true and fair view of the state of affairs of the charity and of the incoming resources and application of resources of the charity for that period.

In preparing the financial statements, the Trustees are required to:

The Trustees are responsible for keeping proper accounting records which disclose with reasonable accuracy at any time the financial position of the charity and to enable them to ensure that the financial statements comply with the Charities Act 2011, the applicable Charities (Accounts and Reports) Regulations, and the provisions of the Trust deed. They are also responsible for safeguarding the assets of the charity and taking reasonable steps for the prevention and detection of fraud and other irregularities.

The Trustees are responsible for the maintenance and integrity of the charity and financial information included on the charity’s website in accordance with legislation in the United Kingdom governing the preparation and dissemination of financial statements.

Approved by the Trustees on 07.10.25 and signed on their behalf by:

Julie Dark Chair of Trustees

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Independent Examiner’s Report to the Trustees of Finding Rhythms

I report to the Trustees on my examination of the accounts of Finding Rhythms (“the Charity”) for the 9 months ended 31 December 2024.

Responsibilities and basis of report

As the Charity Trustees of the Charity you are responsible for the preparation of the accounts in accordance with the requirements of the Charities Act 2011 (‘the Act’).

I report in respect of my examination of the Charity’s accounts carried out under section 145 of the Act and in carrying out my examination I have followed all the applicable Directions given by the Charity Commission under section 145(5)(b) of the Act.

Independent examiner’s statement

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

  1. accounting records were not kept in respect of the Charity as required by section 130 of the Act; or

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

  3. the accounts do not comply with the applicable requirements concerning the form and content of accounts set out in the Charities (Accounts and Reports) Regulations 2008 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.

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.

Signed: Teresa Fennell

Date: 17th October 2025

Teresa Fennell, ACMA CGMA

It Doesn't Have to Cost the Earth Ltd 47 St Dunstan’s Close, Worcester, WR5 2AJ

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statement of Financial Activities 9 months ending 31st December 2024 12 months ending 31st March 2024 Unrestricted Re&ricted Total funds funds Funds Unrestricted Restricled Total funds funds funds Income from: Donations Charitable actiwties Investments Total income 63,462 1,000 2,024 66,486 61,491 124,953 58,445 59,445 26,689 47,821 74510 103,380 103,391 395 151,201 178,296 395 27,095 119,936 186,422 Expenditure Raising Funds Charitable actmties Total ex endlture 79,980 79,980 111,402 191,383 111,402 191383 73,089 73,089 177,661 250,750 177 661 250 750 Net incomel ex enditure Transfer between funds Net movement In funds Reconclllatlon of fund& Total fvnds brought forwdrd 71,995 14,016 86,011 117,990 40,476 158,466 Total funds carrled forbvard The statement of ffinancial actimties includes all gains and losses recognised in the year. All income and expenditure derive from continuing actilities. The notes on pages 25 to 31 fomi an integrnl part of the )Inancial statements. 23

Balance Sheet 9 months ending 31st December 2024 12 months endlng 31st March 2024 Notes Totsl Funds Total Funds Current assets Debtors Cash at bank and in hand Total C￿￿ent assets 11,693 86,386 98,079 20,030 105 763 125,794 Creditots.. amounts fallin due within one Net GUnEnt assd liabilitie ear 12 17,029 39,783 Total a￿tS les Cu￿ent liabilities Total net assets/ labllltle Funds of the Chartty D8signat8d- Contingency Fund General Unrestricted Funds 14 14 35,000 23,500 35,000 36,995 58,500 71,995 Restricted ￿ndS 14 22,550 14,016 Total funds The notes on pag8s 25 to 31 form an integral part of the financial statements. Appr¢wed by the trustees on h October 2025 and signed on their behalf by.. Julie Dark, Chair of Twstees 24

Notes to the kcounts Noto 1: Accounting Policies The Frinc ipal ac counting polic i es adoptad, j udgemonts and kay sourcas of estimation uncertainty in the wep¥atic thg fin anc ial statoments aro as follows.. a) Basis of preparation The financi al statem ents ha￿E been prepared in accordan ce with the Accounting and Repcrting by ch￿itIeS. Statement of Recommended Practi ce appl icable to chanties in preparing their accounts in accordanc e with the Financial Reporting Standard appl icabl8 in thg UK and R9public of Ireland IFRS 1021, second edition - October 2019 (Ch ariti es SO RP (FR8 10211,th e Financial Rgporting Standard applicable in the UK and Republic of Ireland (Ffts 1021. Tha financial statements haw been prepared under thg historic81 cost conbention, Thg accounts h￿9 baen prgpar&J in accordanc e with the Chantios Act 2011 Finding Rhythms meets th e definition of a public ben efit entity under FRS 102. Assgts and liabilities initially rbrowis ed al historic al c ost or Iransacti on value unless otherwise slated in the relevant ￿cOUntIng pcAicy ncies. b) Prfrparatlon of the accounts on a golng concem basls The Trustees consider that there are no matérial uncertaintiés about the Charity's ability to continue as a going concern. c) Incom6 Inc ome i s recogn ised when the Ch arity has entitlem ent to the funds, any pèrform8nce conditions attached to thè itemlsl have been mel, it is probabl 8 that the income will be receiNEd and the amount can be measured reliably Inc ome from go￿rnment and other grants, whether 'capital' grants or 'renue' grants, is recognised when the Charity has entitl ement to the funds, any performanc e conditi ons have been met, it Is probabl& that the income will be receiv￿ and the ac count can be measured reliably and is not deferred. Donations recognised when the Charity rec elves the funds. d) Tax reclalm on donaljons and glfts Gift aid is Included In income when there Is a val Id declaration trom the donor. Arty Gift Aid amount r￿0￿Er on a cbnaion is c ons idered to be part of the gift and i s treated as an addition to the same fund as the initia donatic unless the donor or the tewns of th 8 appeal have specified othenNi se. e) Donated servi ces and faciliti e s Donated professional serNic os and donatod facil ities aro recognised as income when the charity has contrd 0￿Er the item. any conditions associated with the donated item haNE been met. the receiFt of ￿onoMiC benefit from tho use tho Charity is probable and that econom ic benefit can bo measured reliably In accordance ￿rith the Ch&itios SORP IFRS 1021 gengr81 voluntger time Is not recognised but is refgrred to in the Trustee's annual repcrt fj FLnd accounting Un rastri cted fvjn ds ara funds receivéd which ha￿ no restrictions placed on their use and are avai18ble to spend on tiwties that further any of th 8 pu rpos gs of the charity Designated funds are unrestricted fvjnds of the charity which the Trustees ha￿ decickd a their discretion to set ide to use for a specific purpose. Restricted funds are ￿ndS v¥hi ch th e donor has spec ifiod are solely to bo usod fcr particular actiiit1￿. 25

Notes to the Accounts (contlnuedl g) Intere* receivable Interest on funds held on deposlt is included when receivab18 end the amount can be measured reliably by the Chanly, this Is normally upon notification ol the interest paid or payable by the Bank. h) Expondltur Ex penditure Is recognised once there is a legal or constructive obligation to make a payment to a third party, it is probable that $6ttlèm@nt will bé rèquired and the amount ol th6 obligation can bé m @asured r61iably Ex penditure on chanlable actiKities Is Incurred on directly undertaking the activities which ￿rther the Chanly's obi&ctiVes, as well as any associated support costs Al expandilure Is shown InclusiKe of I￿acoVerable VAT 11 Allocation of support costs Support cost s ar6 those Kjnclions that assist the w(yk of thé Charity but do not directly undertake chantable actiiAties. Support costs include back office costs, finance, personnel, payroll and govemance costs. Support costs ma￿ been allocated bgtween govemanca costs and olhgr support. Govemance costs compnse all costs irwolmng public accountability ol the Chanly and its compliance with regulation and good practice Jl Debtors Ekbtors (including trade and other debtors l are measured on initial recognition a settlement amount after any trade discounts Subsequently, they are measured at the cash or other consideration expected to be received. Prepayments are valugd at Ihg amount prgpaid. k) Cath at bank and In hand Cash al bank and In hand Includes cash and short-tami highly liquid invaslments with a short matunty ol I hree months or less from the dale ol acquisition or opening ol the deposit or similar account. I I Crndltors and provlslons Creditors and promsions are recognised where the Charity has a present obligation resulting tom a past e￿￿rnt that nll probabl y rasult In the transfèr of Kjnds lo a third party and th6 amount due lo settla the obligation can bè measured or eslirnaled reliably Creditors and proiisions are normally recogni5ed at their settl ement amount after allowing for any trade discounts due. m) Corporntion Tax The Chanly Is exempt from tax on income and gains falling within section 505 of the Taxes Act 1988 or section 252 of thè Taxation of Chargeable Gains Act 1992 to thè 6xlent that these arè applied to Ils charitable objects. n) Key estlmates and accountlng Judgements In applying the Chanly's accounting policies. tha Trustees are requirad lo make iudgaments, estimatas and assumptions in deterrnining the c8rying amounts ol assets and liabilities. The Trustees, judgements, estimates and assumptions are based on the best and most rdiable emdence available al the lime when the decisions are made, 8nd ar6 based on histoncal 6xperi6nce and oth(¥ fad0￿ that are consideréd to bè applicable DLie to th6 Inherènt subjectpiity inV)l￿d in making such judgements, eslimales and assumptions. the actual results and outcomes m ay differ. Estimates and judgements are continually evaluated. ReKisions lo the accounting eslimales are recojnised in the p6nod In which th6 estimat6 15 rèvised. if th6 r6Msion affects only that period. or in thè period of ré￿ sion and ￿tUre penods. if the reiision affects both current and future periods. The Charity does not currently have any significant accounting estimates or aroas ofiudgemont. 26

Not• 2: Analysis of Income from Grants and Donations 31st December2024 Unrostri cte d Re cto d 31st March 2024 Total Total Alchemy Foundation Allen Lane Foundation Arts Council England City & Mel welfa￿ Charity Garfield Weston Foundation Goldcrest Chantable Trust Green Hall Foundation m85 Wise Ttust hn R M U￿aY Charitable Trust King Charf85 111 Chanlable Fund M ag9ni Trust Shanly Foundation Sirwilliam boremans, Foundation Soulhwatl< Council Sl Olav8'5 8 St SaMourfs Schools The Albort HLJnl Trust The Ashley Family The Au￿M Chantable Trust Th6 clothw0￿6r5 Foundation The Grocers, Company The Hadl&y Trust The Helen Ham lyn TnJs1 The John and Susan Bowers TNst The Leigh Trust The National Foundation for Youth M usic The Wèinstock Fund Unil&d Sl Samours Ch8nly M ayor of London's Violence Reduction Unil 1,000 6,742 6,742 1.450 4,000 27.500 2,000 27,500 2,000 2,000 350 350 15,000 5,000 5,000 500 500 2.000 3.300 950 3,000 3,000 2,000 2,000 6.000 20,000 20,000 6,100 6,100 5.000 5,000 5,000 3.000 800 1.500 11,871 4.000 1,000 1,000 2,000 2,000 38,574 38,574 7.250 John Reiss Other5 3.750 1.362 3,750 1,437 4.968 421 75 Total 124 963 Analyds of Gov•mm•nt grants Included abov•.. Art5 Council England southwa￿ Council M8yor ofLondon's Violence Reduction Unit 1,450 950 38,574 38,574 7,250 27

te 3- Income from Charitable ALtivitles 31& Decembor Xi24 LITe&rlcted ￿ stri cte d Total fvnds 31 st March %Y24 Total Sale of CDS and merchandise Commerci81 Serrfce fees Contributi ons from risons Total 5Q¥J 48,945 9, OCI) 500 48,945 10,000 44.447 58.933 1,000 Nbte 4: Incom• from Inv•slm•nts 31 December X124 Ltrr•strid•d R£ stri cte d Total fvnds 31 & March 3)24 Total Interest from current S8￿n Total s ac counts 2,024 2,024 395 Nbt• 6: Exp•ndllur• on Charltabl• Actlvltl¢$ 31 * December2024 31 * March 3)24 Musicians, fees and related costs Wort<shop equipmgnt, instruments & matenas sign and printing Other Workshop costs Mentoring Costs Support C￿t5 (note 61 GCVern￿ce costs (note 71 59,789 1,415 2,222 7,617 2,275 111,333 111.891 5,888 6.586 1.289 122.498 2,595 Nk)t• 6: Supp¢)rt Costs 31 * December2024 31 * March 3Y24 Staff costs (note 91 Staff trakpl, trai ning and recruitment Offic e general costs [b￿lOpm￿l ol website Promotional materials 102,333 1,424 6,660 655 261 112.446 3.007 5,335 630 1,080 Nbte 7: Governance Cos 31 * December2024 31 * March 3Y24 Accountancy fees Inc￿pend￿t examin￿ fees 5,482 1,250 1.595 1.000 Nk)te 8: Details of Certain items of expenditure Net inc omellexpenditurel is stated after chargi ng 31 st tbcember2cf24 31 st March 2)24 Trustee emoluments (see Note 101 Intspend￿t examiners fee 17,627 1.29) 23.503 1.000 28

te 9.. Staff Co&s 31st December2024 31& March 2024 Salaries and wages Social security costs Pension costs Idelined contribution scheme) Total staff costs 95.592 4.397 2.345 101,427 8,854 2,164 112446 No empl(JJees received empl(yge benefits (excluding employer pension costs) for the reporting period of more than £￿,000(2023. none) 9a Averag• héad count In the y•ar 31st D6c6mbor2024 31 st March 2024 Total 9b K•y Managèmènt Pérsonn•l The Trusle&s consider the Charity's ksy managemgnl parsonnel to b8 the Trusleas and the Business Diraclor. Tha remuneration of the key m￿agement personnel is as follows. 31st Décémb•r2024 31 * March 2024 Salaries and wages Social security costs Pension costs Idelined contribution scheme) Total staff costi 48.750 4,845 64.000 6,322 t• 10: Tru*eo Remun•ratlon, b•neflts and •xp•nws Robin Harris. loundar of tha Charity and part-tim8 emplcyed Cr&alive Director since Ils formation, v¥as appoint8d a Trustee at a meeting ol the Trustees on 8th January 2021 All Charity Commi ssion requirements were met Salary paid lo Robin Harris I￿ h is role as Crgalive Direct(K for the 9 months ended 31 sl December 2024. £17,250 12024. £23,000) Pension c onlribulions made on his tehall totalled £37 712024. £5031 Robin Harris resigned from his post as CreatlV8 Director on 31 sl Dec ember 2024. He continues to act as a Trustee I(￿ the Charity No other Twstees were remunerat￿, and no TIu5tees rec ewed any benefits in cash or in kind12023 £nill No Trustee claimed ex penses 12024. £nill. Trustee indemnity insurance is covered in the Charity insurance policy. Nbte 11: Debtors 31st Dfrcfrmbor2024 31 * March 2024 Trade debtors Accrued rwenue Prepaid expenses Total debtors 13,665 6,365 10.000 1.693 29

Note 12= Cre ditors 31 st D•c•m ber 2024 31* March2024 Deferred Income (Note 131 Trade Creditors and accrua15 H M R￿nlle & Cust(Kns Other Creditors 11,422 1,917 2, 990 700 19.665 17.528 1.895 695 Note 13= Defe￿e￿ Income 31 st Decem ber 2024 31 st March 2024 Balance at 1 April Amount released lo Income from Chanlable Aclikilies Amount delowod In year Balance a 31 March 19,665 13,665 5,422 8,000 4.500 16.165 Not• 14: Stat• m•nt of Funds Balance at 31 Incomlng March 2024 Resources Re￿Urc•S Expendod Balanc• at 31 Decemb•r Translers Designated ￿rnds General tunds 35.000 36.995 35, 000 23, 500 66.485 79, 980 Allen Lar King Ch8rf&s 111 Communly Fund Sl Olm's & Sl Samourfs Schools Th6 Ashley Family The Clolhwort<ern Foundation The Grocern, Company The W6inslock Fund United Sl sawOu￿ Chanly Maycf olLondon's Vidgnce Reduction Unil Conlnbulions from Priscns Comm6rcial service 166s 6,742 5.000 3.000 6. 742 5, 000 3. 000 6,000 6, 000 292 5, 000 3,016 6,100 5, 808 5,000 3.016 2.000 2. 000 38,649 38, e49 9,000 49.445 9, 000 49,445 111 402 TOTAL FUNDS 191383 30

)te 14: Statement of Funds (cortlnued) Prlor Year Compwatlve Balance at 31 I￿omIng March zr23 Re￿ure•S P￿UrCeS Exp•nd•d ealance at 31 March l)24 Tranrfers Eesign8ted funds General fun( 35.000 82.990 117.990 27 095 27,095 73.089 Ans CoLJncil En Jand Oty & Met VV8llaY& Charity Gre1￿ Hall FoLJndaiion 7.238 1,450 4,000 2,000 8.688 4.000 2.000 Shanly Foundaion 2,000 2.CQO Sir Willi￿n 8oremans' Foundation Souter Charit8blè TnJsl Soulhwark Council The Ashl￿ Family The Groce￿, Comparty The National FOUndatic￿ for Youth Music Tho Portal Twst The WeinSt￿k Fund Tho Worshipful Company ol for proiéKls In HMP Chelmsford M￿Or of Lond￿ s Violenco Peduclion Unil Conlribulicfjs from Prisons Commercial sennce fe 3,300 3.300 1.580 950 1.580 950 6,000 5,000 11,871 6,000 5,000 26.000 5.000 37.871 5,000 984 4,000 3,016 658 658 7,250 T.￿0 58,933 44447 151201 58.933 44 447 177661 40476 TOTAL FLNDS 1684 178 Nbt• 16: Pmalyas of Nt As•ots 8•￿¢n Fund• Lknr•rl¢t•d Relct•d Total funds Nel asss I Iliahliti&sl 58.9)0 22,550 81,C60 Ptlor Year Comparetlve Lknr•rlctsd Rrlct•d Total funds Nel assets I Ili8kJliliFJsl 71.5 14,016 86.011 Nbt• 16: ￿lat•d Parties There wwe no tr￿saCtIOnS with relaed pèTties In the 9 months ended 3151 D￿ember 2024123124 none). 31