## **2024-25 OmniMusic Annual Report** > **Find out more: www.omnimusic.org.uk** # **It was the best morning ever of my life! Participant, FamJam** ."6orton, Manchester ## **OmniMusic** **Charity Registration Number: 1171097 Trustees' Annual Report and Financial Statements for the year ended 31 March 2025** |Welcome|5| |---|---| |Administrative Details|6| |Vision and Need|7-8| |What is AMT? Is it like Music Therapy?|9-11| |Our Programmes and Process|12-13| |Trustees’ Annual Report|14-20| |Meet Josh: Case Study|21-22| |Our Impact|23-27| |Our Future Plans|28| |Financial Review Independent Examiner Report|29-31| |Accounts|32-36| |Our Supporters|37| ## **Hello!** **We believe everyone has the human right to take part in cultural life and express themself creatively. We are OmniMusic, a disability music charity with ambition.** We are a team of specialist music practitioners, music therapists and creative technologists. Our work is dedicated to children, young people and adults with profound and multiple learning disabilities, SEND (Special Educational Needs and Disabilities) and sensory differences. We support the individuals, and the people who support them - their families, teachers, and keyworkers- to reach their fullest potential for creativity, communication and joy. Our core values are **Ambition, Equity, Connection, Learning and Listening** ; we challenge ourselves to grow and get better on behalf of the people we serve. Our beneficiaries are at the heart of everything we do. We listen to their needs and desires to develop the high-quality programmes, specialist practitioners and instruments required to make it possible for people with profound physical and learning disabilities to make the music that matters to them. We encourage ambition and excellence in the music we make together. By using Assistive Music Technology (AMT), alongside traditional and adapted instruments, we ensure equitable access to music through enjoyable, accessible and inclusive sessions. Our experienced team of professional musicians and creative technologists have over 20 years collective expertise within SEND music making, AMT and Arts for Health, helping us craft programmes that deliver skills, social and wellbeing benefits of music. We partner with a variety of stakeholders including SEND Education spaces, Community Adult and Social Care settings, and national music and disability organisations. We can’t wait to share our work with you. ## **Administrative Details** **Trustees:** Sarah Denman Adrian Neil Hooper (Chair) Phillip Howley Mark Ludlam Thomas Northey Maria Isabel Rivera Rivera Mark Rowland **Charity Address:** **OmniMusic** 23 High Street Stockport SK1 1EG **Bankers: Barclays** Leicester LE87 2BB **Accountant and Beyond Profit Ltd independent examiner:** Bolton Arena Arena Approach Horwich Bolton BL6 6LB ## **Our Vision** **By 2030, every child in Greater Manchester will have lifelong access to high quality, musicmaking in their learning and leisure time.** ## **The Need** **Every child should be entitled to a rich, quality music education** Department for Education oe **Yet, whilst specialist demand is growing...** **38k** disabled children and young people in GM (2021 Census) **60k** figure set to rise by almost double by 2030 (ONS) **Struggling services can’t cope with the existing need...** **52%** unable to find teachers to suit their access needs* **27%** council music services hold any accessible instruments* *Youth Music Report ## **What is AMT?** You’ll see we refer to **Assistive Music Technology or AMT** a lot. We think it’s great! AMT is technology that enables Disabled people to have freedom in creating and performing their own music. This technology consists of widely available music production hardware/software and tools developed especially for this purpose, like switches and sensors which can be fitted into a person’s wheelchair or own devices. It may also include elements of Alternative and Augmentative Communication (AAC) - technology used by Disabled people to interact and communicate day-to-day. Like Professor Stephen Hawking, who used AAC to translate his facial movements through a computer to convert into his famous voice audio... except we use it to make music! We use AMT alongside traditional or adapted instruments such as guitars, keyboards, and drums to ensure that our sessions are accessible and enjoyable for everyone. We strive to always find an instrument to suit the individual’s physical, sensory and cognitive needs, and if it doesn’t exist, we make it! Our specialist creative technologists develop and hack this equipment to ensure that our participants' needs are met. **We focus on amplifying our participant’s ability, not disability.** ## **Is it the same as Music Therapy?** ## **Similar approach, difference outcomes** OmniMusic's approach plays a part in a wider spectrum of music interventions which support both learning and wellbeing in participants. We proudly partner with complementary organisations across this spectrum to ensure that every child can access music-making in the way best suited to them. Whilst there are many overlaps with music therapy, we focus on the creative outputs first, confident that the therapeutic benefits follow. Our use of AMT and adapted instruments aims to give as much autonomy and control to participants over creating and playing the music that matters to them, especially where traditionally instruments may not be physically or cognitively accessible. We have trained music therapists in our team of freelance practitioners, and they may incorporate music therapy modalities in their practice to meet the needs of some of our participants in the most complex cases. However our work is creativity-driven, not clinical. 1.1 Music Melland School, Gorton. Manchester ## **Our Programmes** ## **Learning: SEND Education Enrichment** Our work in formal learning settings includes SEND special schools and colleagues across Greater Manchester, where our new year-round partnership programmes combine: **+ group music workshops;** - **+ 1:1 music sessions;** - **+ performance and recording opportunities;** - **+ learning resources and staff CPD* for lasting legacy.** ## **Community: Adult Music Programmes** Our work in community settings includes adult community day services across Greater Manchester, combining: - **+ group music workshops;** - **+ small group skills extension sessions;** - **+ performance and recording opportunities;** - **+ and music accreditation opportunities.** ## **FamJam: Public Access Music-making** Our new public access pilot programme for Disabled people and their caregivers to make music together: - **+ group music workshops;** - **+ better access provision within cultural venues.** ## **Tech CPD: Strengthening our Sector** Our approach to music-making is highly specialised. OmniMusic develops both the tools and teams required to deliver impact to the widest reaching beneficiaries: **+ Assistive Music Technology CPD training;** - **+ industry advice and guidance on AMT use;** **+ new tools + instrument adaptations.** *Continuing Professional Development (CPD) ## **Our Process** ## **Pre-Sessions: Information Gathering** To get the best outcomes, before any music-making we meet with teachers, support workers, senior leadership teams and music practitioners to discover: **+ How our music programme can help achieve a partner’s wider goals;** **+ Set baseline evaluation and outcomes for individuals;** **+ Each learner’s physical, cognitive and sensory needs, interests and triggers; + Training required for staff;** **+ Expectation setting for staff and participants.** ## **In Sessions: Person-led Co-creation** Practitioners plan activity whilst keeping flexibility for the evolving needs of learners: **+ Matching participants to instruments based on their needs and interests; + Creating original music led by participants’ interests and engagement levels; + Reimagining popular songs with new lyrics or music;** **+ Exploring sounds and sensory feedback of digital and acoustic instruments.** ## **Post-Session: Reflective Practice** Evaluation is critical to our impact, we use this data to shape and inform our future session and programme planning. We carry out weekly, termly and annual evaluation: **+ In-person meetings, practitioner forms, staff observations and mood scales; + An End of Year Impact Report is created for each programme partner; + Case study sharing with partners and practitioners.** ## **Culmination: Celebration** Celebrating participants’ achievements and sharing the material made by disabled music-makers is an important part of every OmniMusic project. We celebrate with: **+ Original music recorded professionally and uploaded to digital music platforms; + End of year showcase in professional music venue; + In-house sharing to peers and family; + Certificate of Participation.** ## **Trustees Annual Report** ## **Structure, governance and management** Omnimusic is a Charitable Incorporated Organisation (Foundation) with the Charity Registration Number 1171097. The governing document of Omnimusic is a constitution dated 12 January 2017. Trustees are appointed by resolution passed at a properly convened meeting. Trustees meet at least 4 times per year. ## **Objectives and Activities for the Public Benefit** The objects of the charity are: - (a) the relief of children, young people and adults who have physical or learning disabilities, or both, in particular through: - 1.the application of specialist technology that enables them to create, play and perform music; - 2.the development of new and emerging technologies in order to increase the opportunities for Disabled people to make and enjoy music; - (b) the advancement of the education of such people in musical and technological skills. The Trustees confirm that they have referred to the guidance contained in the Charity Commission’s general guidance on public benefit when reviewing the charity’s aims and objectives and in planning future activities and setting the grant making policy for the period. ## **Activities** ## **Our Key Activities and Achievements** In 2024–25, OmniMusic worked with 437 Disabled participants from across the Greater Manchester boroughs of Stockport and Manchester, delivering 245 weekly workshops through partnerships with 4 SEND schools and 1 Adult Disability Service, and the pilot of FamJam: a public, open access offer to Disabled people and their caregivers. Together, we created 2,032 new opportunities for inclusive and accessible music-making using our approach which blends the use of traditional, adapted and assistive music technology, supported by our team of 14 specialist music practitioners. Our participants included children and adults with Profound and Multiple Learning Disabilities (PMLD), most living in 1–5% most deprived wards in England, according to the English Indices of Deprivation 2025. We’ve strengthened our operations, governance and infrastructure, guided by our core values and a clear vision for the future. This year has seen deeper collaboration with programme partners, bolder reach across Greater Manchester, responsive evaluation and braver positioning with new strategic allies for future growth and scale. ## **Programme Delivery** From September to July we have delivered weekly group and 1:1 music workshops across 5 settings: 4 SEND Special Schools and 1 Adult Disability Day Service. Each of these settings also benefit from support worker CPD to ensure a long-lasting legacy. In response to need, we have received funding to pilot FamJam, a bi-monthly, open access public programme for Disabled people and their caregivers. We continue to be artistically ambitious on behalf of our participants. Their music was showcased in professional settings, including our annual concert at The Bridgewater Hall and community performances to audiences of 548. We’ve become a Registered Centre for Trinity College, Sounds of Intent and AQA Unit Award Schemes, and from 2025 will begin formally recognising the learning journeys of our students. We’ve invested in digitising our evaluation framework, helping us track impact and make data-driven changes to programme design, strategy and fundraising. Our commitment to co-creation, flexibility and responsiveness remains central to our work. Improving access to Assistive Music Technology (AMT) has been a key focus. Thanks to a recent consortium-based funding opportunity, we’ve laid the groundwork for a regionwide Accessible Instrument Library with all 10 Local Authority Music Services and the GM Music Hub. A £25,000 equipment donation from Lifelites enabled us to distribute new instruments and software across all of our settings. With Youth Music support, our Creative Technologist has prototyped an online AMT Digital learning tool for musicians. ## **Workforce Development** We delivered 8 specialist training events for 95 music professionals, offered CPD to 22 teachers and support workers, and created 14 paid work opportunities at or above Living Wage, including one year-long traineeship for an entry-level practictioner. OmniMusic is proudly a disability-led organisation with more than 50% of our people identifying as D/deaf, Disabled and/ or neurodivergent. Our core team includes 3 employees and 2 key consultants. We’ve expanded our talent pipeline with paid roles for Disabled and neurodivergent musicians and early-career practitioners, building a more inclusive, representative workforce for the music industry. **We’ve seen far richer results with OmniMusic sessions than any of our other interventions. It’s incredible what’s been achieved. Headteacher, Partner School** Famjam Participant and Parent, Stockport ## **Sustainability and Resilience** Demand for our services continues to grow; with requests for deeper, more embedded programmes with existing partners and weekly external enquiries from schools, adult services and families – often for projects beyond our capacity to deliver at our current scale. Wherever possible we have met the need within our current means, offering free access to online digital resources and developing a pilot concept for public access, FamJam, which launched in Summer 2025. Our strategic priorities now focus on growing our capacity in order to meet rising demand sustainably. As a disabilityled organisation, our strength lies in lived experience. We’re mindful of the risk of burnout and are committed to supporting our team as we grow. After a period of growth and change, OmniMusic has reached a ‘new normal’. With a refreshed board, bold vision and ambitions to scale, we’ve diversified income and converted partnerships into revenue-generating agreements, some multi-year commitments from key partners. Our revenue model now contributes 21% to turnover, strengthening our resilience in these challenging times. ## **Strategic Partnerships** Our 2025–30 strategy brings clarity and confidence. We proudly co-created with Heaton School, Melland High School, Castle Hill School and Pear Tree School, and work with partners including Disability Stockport, Merseyway Innovation Centre, GM Music Hub, One Education, Nordoff & Robbins, Drake Music and Stockroom. To do this, we’ve gratefully secured support from Stockport Metropolitan Borough Council, UK Government, The Fore, Youth Music, National Lottery, Foyle Foundation, People’s Neighbourhood Trust and Broome Family Trust. ## **Summary** We are ready! OmniMusic is rooted, resilient and responsive. We aim to use our expertise to partner and collaborate with other organisations, bringing clarity to our added value. With your support, we will continue to grow our impact, champion Disabled voices and create lasting change through music. ## **Meet Josh*** ## **A Case Study** Josh is 15, he has profound and multiple learning disability, complex health needs, non-verbal and uses a wheelchair. OmniMusic’s weekly music sessions provide an inclusive, level opportunity for him to thrive. He is a very animated student, with a wry sense of humour, however his communication skills are extremely limited. Within just a few minutes of using the Digit Music CMPSR, (one of our specialist items of AMT equipment designed for users with limited movement), Josh was able to recognise a pattern: if he moved the joystick, a violin, guitar or piano sound played, when he stopped, the sound also stopped. Josh’s support team, quite literally saw the lightbulb moment in his eyes, when he realised that he had complete control over the sound of this instrument attached to his wheelchair. He purposefully moved the joystick to make a violin sound, following a beat, which contributed to part of a track which was showcased as part of Stockport Town of Culture Festival Finale and later featured on BBC Radio. To see the recognition that he had full agency over this experience; something that is severely lacking in the rest of his life; was profound. To give Josh an identity as a musician, not just as a Disabled person, is life-changing. Sadly Josh passed away over Christmas 2024; Josh’s legacy from his short life lives on through his music. *name changed r4 School, Stock **2024-25 Impact Figures** **2032 432 245** individual opportunities Disabled music-makers workshops delivered **14 95 12** AMT specialists trained living wage jobs created valued partnerships **1 32** award proudly won original pieces of music **2** media features ## **Our Growth Journey** **OmniMusic had a period of growth in 2022-25 with new leadership and a passionate new team; increasing our turnover by over 300% and in turn our impact.** Thanks to the ongoing generosity of our supporters, we are proud to have significantly increased our reach and impact for Disabled people across Greater Manchester. Here is just a snapshot of what you have helped us to achieve in such a short time: 2022-23 2023-24 2024-25 500 **----- Start of picture text -----**
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# **He’s a different person now after OmniMusic. He gets involved in all aspects of the centre and is way more confident. Support Worker, Adult Day Centre** ## **2024-25** ## **Impact Data** ## **90% Creative, Cognitive and Social Skills** 90% of participants said they learned new creative skills, with observations from partner staff reporting improved social capacity and communication skills. ## **94% Improved Wellbeing and Confidence** 94% reported improved wellbeing and confidence, with staff and families reporting that confidence extending beyond OmniMusic sessions into other activities and home-life. ## **Immediate results** Staff noted shifts in engagement and focus after just one OmniMusic session; sharing that concentration in our sessions far exceeds that of other activities in the setting. ## **Holistic Wellbeing Benefits** Our partners have reported a greater sense of calm in individuals, fewer incidents of sensory triggers and reduction in stress responses, eg: seizures, following our visits. ## **So, what’s next?** ## **Learning: SEND Education Enrichment** Building on our learning, we’ll continue to roll out across Greater Manchester SEND education settings, ensuring all children and young people in every borough have regular access to inclusive music-making, high quality cultural experiences and appropriate instruments, by 2030. ## **Community: Leisure-time Music-making** Working in partnership with a diverse breadth of local to national organisations, OmniMusic will continue to elevate the quality and aspirations of music-making in leisure time for Disabled people, by creating spaces for participants to come together with peers and caregivers, and showcasing work on ambitious professional on and offline platforms. ## **Workforce: Training & Development** As our work grows, so does our need for specialist practitioners- making workforce development a priority for the years ahead. By 2030, our vision is to train 25 music specialists and created 5 entry-level paid traineeships to secure a talent pipeline. We will continue to integrate teacher and key worker CPD alongside online resources. ## **Technology: Discovery & Dissemination** Our team of Creative Technologists sit at the heart of our programmes responding to need and enabling participation. We continue to build partnerships and share learning to secure equitable access to music for Disabled people, and demystify access to AMT tools and technology. ## **Financial Review** ## **Reserves Policy** OmniMusic aspires to have 3 months running costs at any one time held as reserves. This is to protect against any drop in income and may be spent in the following ways including, but not limited to: cover staff salaries cover freelance practitioner fees take advantage of new opportunities for large-scale organisational development opportunities capital purchases and expenditure **At 31 March 2025 the total value of free reserves, ie unrestricted funds was £22,698, which amount to 3.5 months of overheads.** ## **Trustees’ responsibilities in relation to the financial statements** The charity trustees are 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 charity 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: select suitable accounting policies and then apply them consistently; observe the methods and principles in the applicable Charities SORP; make judgements and estimates that are reasonable and prudent state whether applicable accounting standards have been followed, subject to any material departures that must be disclosed and explained in the financial statements; prepare the financial statements on the going concern basis unless it is inappropriate to presume that the charity will continue in business. The trustees are responsible for keeping proper accounting records that 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 **Monday 17 November 2025** and signed on their behalf by: ## po fem **Name: Adrian Hooper Position: Chair** ## **Independent examiner’s report to Trustees of Omnimusic** I report to the trustees on my examination of the accounts of Omnimusic (the Charity) for the year ended **31 March 2025** . ## **Responsibilities and basis of report** As the charity trustees of the Trust 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 Trust’s accounts carried out under section 145 of the 2011 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 Trust as required by section 130 of the Act; or - 2.The accounts do not accord with those records. 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:** **Date:** 17 November 2025 ## **Emma Willder, FCMA, CGMA, CG(Affiliated) Fellow of the Chartered Institute of Management Accountants** Beyond Profit Ltd Bolton Arena Arena Approach Horwich Bolton, BL6 6LB ## **Accounts** ## **Receipt and payment accounts for the financial year ending 31 March 2025** ## **Statement of Assets and Liabilities as at 31st March 2025** Notes to the accounts 11 Receipts and Payment accounts ReC￿ptS and payments accounts are statements that summarise the movement of cash into and out of the organi5ation during the financial year. In this context'cash" I￿udeS cash equivalents. for eXam￿e, bank acwjnts V+here cash can be readily wthdrawn to pay for debts as they bewme due. 21 Grants Unrestricted funds Restricted funds 2025 Total funds Broome Family Trust National Lottery Community Fund Postcode Loitery Stockport M8C Stockport MBC IUKSPQ The Fore Youth Music 20,IK)O 23,000 4,280 44,500 15.000 7,918 114,698 20.000 23,000 4.280 44.500 15.000 7.918 119,698 Prlor y￿r comparatlve Unrestricted funds Restricted lunds 2024 Total funds Broome Family Trust CDL Fund Postcode Lottery Power to Change Stockport MBC Ioigilesll Stockport MBC IUKSPO The Fore Youth Music 1.0 20.530 12.000 1.500 80.347 15.000 8798 20,$30 12.000 1.500 80,347 15,000 8.798 31 Charltlable •xp•ndltur• Unr•$iri¢i•d funds R•strl¢t•d funds 2025 Totsl funds Accountancy Equipment Governance Insurance IT Costs Other 8dminislralalive costs Other project costs Other stsffing costs Phone & Internel Premises costs Printing. postage and stats'onery Subconlr8cI staff Travel & accomodalion Salaries & wages 2.780 2.780 35 852 449 2.000 414 35 852 477 2.259 2.832 142 28 259 2,418 142 153 55.718 97 1.921 60,577 87 11.565 240 67.283 203 66.999 144,102 68 920 83,525 Prlor year comp&r•tlv• Unresirict•d fund$ Restricted fund$ 2024 Totsl fund$ Accountancy Equipment Governance Insurance IT Costs Other administratative costs Other project costs Other staffing costs Phone & internet Premises costs Printing. postage and $l*ionery Subcontract staff Travel & accomodation Sa18ries & wages 1.CES 2.265 107 538 1CNS 3,816 953 107 594 2.585 13,298 6.705 4( 2.479 9,482 5.752 352 3,552 3.552 19 86.928 695 32.296 151,450 14 21.373 508 6.414 67.555 187 25 882 116,502 Omnimusic ## **Notes to the accounts** ## **Signed by:** **Adrian Neil Hooper, Chair On behalf of the Trustees of OmniMusic Date: Monday 17 November 2025** # **It’s like the lights come on when she’s with you. On OmniMusic day she signs “happy”. It’s amazing to see her so alive. Parent, Brinnington, Stockport** (•yV *J È Fam"Jam Parts . ar ## **Generously funded by:** Broome Family Trust **Proud to partner with:** ## **Thank you** **omnimusic.org.uk** e: info@omnimusic.org.uk **Find out more: www.omnimusic.org.uk**