Règistered Charrty Number.. 1182594 IN PLACE OF IN PLACE OF WAR CIO TRUSTEES, REPORT AND FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2025 IN PLACE OF WAR CIO CONTENTS Page Refer¢n¢e and admini$trativ¢ infomiation TNstees' Report Statèmènt of financial aetivitiès 25 Balance sheet 26 Notas to thè flnanclal stat•mènts 27-35 IN PLACE OF WAR CIO REFERENCE AND ADMINISTRATIVE INFORMATION Trustèès Sir Richard Mande- Chair Torn Shoie Nadia Khan Martin Bremner (appointed 21 March 20251 Maria Ad)Illeos (appointed 21 March 20251 J8rnes Thompson George Adelman13ppointed 21 March 20251 Darren Cormack Claire O'Neill (appointed 17 December 20241 Celena Nair (appointed 18 March 20251 Anna Berenfeld Charity Registration Number 1182594 Key Management Personnel Ruth Daniel (Chief Executivel Principal Otrice First Floor Swan Buildings 20 Swan Street Manchester m4￿w Independent Examlner Bowdon Accounting Services Ltd. Bartle House Oxford Court Manchester M2 3wa Bank Triodos Bank, Deanery Road, Bristol, United ￿'ngdoM Trust￿$, Annual R•port For the year ended 30 June 2025 The trustees present their report and the unaudited financial statements ol In Place ol War CIO for the year ended 30 June 2025. Reference and 8drninisti8live inform8tion sel out on p8ge 1 forms part of this report. The 5t8letnents cornply th c￿[rent statutory requirements, the charity's oonstitub.on and the Ststement of RecDmrnended PraCtI￿- Ao¢ounting and R8POrting by Ghoritl8s {FRS 102). Purpose8 and aims The object ol the CIO is to advance in life and help young people, particularly those living in sites ol war, revolution, conflict arbd human rights abuses and amongst those whose lives have been adversely affected by war. revolution, conflict or human rights abuses through the mediurn of art providing support and activities which develop their skills. capacities and capabilities to enable them to participate in society as mature and responsib￿ individuals. In Place of War CIO'S main activities.. We work in conflict situations across 26 countries, primarily in Africa, the Middle East. Latin America 3nd the Balkans. Through 8n iterative gpproaGh of piactice backed by and info￿l￿g robust academic research, we support grassroots change-makers through 3 strategic pillars.. Conflict Climate Change Social Injustice Through the development of Cultural spa￿$.. we support communities to develop sale creative Spa￿$, partscularty targeting youth Educaty"on and entrepreneurialisrn." we provide 8 University-certified 'Train the Tr8iner' programme that enables young entrepreneurs to set up new creats.ve businesses. We also have an altemative education programme called 100 Creative Agents of Change, which helps young people unlock their agency and exchange with change-makers across the worfd, to design and implement their own creative advocacy projects. Artistic collaboration." we pro￿de performan￿ opportunities for women musicians of colour, and theatre training and community performance with able-bodied and disabled actors. Conflict and Climate.. we have a new project called Earthsonic. using music to tell the siories of climate change to inspire personal and systemic action, espeaally focused around sharing the stories ol where conflict is affecting climate change. The ttustees reviewthe 8irns. objectives and artivities of the charity each year. This report looks 8t what the th8rity has achieved and the outcomes of its work in the reporting period. The trustees report the success ol each key activity and the benefits the charity has brought to those groups of people that it Is set up to help. The ￿VIeW also helps the trustees ensure the charity's aims. objectives and activities remain focused on its staled purposes. The trustees have referred to the guidance contained in the Charity Commission's general guidanTr on public benefit when reviewing the charity's aims and objectives and in planning its future activities. In particular, the trustees consider how planned sctivib.es will contribute to the aims and objectives that have been set. AchievernentB and performance The charity's main activities and who It tries to help are described below. I￿1 its charitable activities locus on lasting social change and are undertaken to further In pla￿ of W8r CIO charity's charitable purposes for the public benefit. Key areas of activity during the year induded". Ongoing support to grassroots culiural organisations through training. rnentoring. equipment provision and small-scale grants. Continued delivery and devdopment ol the Earthsonic programrne, using Music and sound to communicate the impacts of climate change and engage young people in creative climate action. Delivery of education and capaaty-building programmes designed to strengthen leadership, sustainability and organisational resilience among artists and cultural practitioners. International and UK-based exchanges, residencies and leaming programmes that facilitated peer learning, collaboration and knO￿edge exchange across borders. Where projects concluded during the year, outcomes were reviewed and learning c8Ptured to inform future prograrnme design. New projects initiated during the period focused on deepening partnerships, strengthening govemance and embedding environmental and access considerations across the organisats'on's worf(. The trustees consi(ler that the charity conb.nued to deliver public benefit through these activities by expanding a￿esS to cultural participation, supporting livdihoods. strengthening community infrastructure and amplifying under- represented Vol￿8. Proj•et by Proj•ct braakdovm Earthsoni whole ramme overview Project dates: September 2023- ongoing Project leads.. Ruth Daniel, Saria Tourbah Earthsonic is In Pla￿ of War's overarching dimate programme, using music and sound to tell the story of climate change in ways that are human, ernotional and grounded in lived experience. The programme responds to a wdening gap between dimate science and public engagement, recognising that data alone is not enough to create understanding, empathy or action. Earthsonic brings together artists, suentists, Indigenous communities and grassroots organisers to translate ecological change into sound, story and shared cuttural experien￿. During June 2024- June 2025. Earthsonic operated as a Mult￿$t19￿d progr8rnrne spanning sound archiwng. artist development, education. place-based delivery and putAic engagement. Activity in this peiiod focused on strengthening lon*terrn infrastruoture Ip8rticul8rfy the Sounds Archivel, piloting new partiupation pathways for young people and artists facing barriers. and developing major creative works that would18ter reach public audiences. This was also a consolidation year. ernbedding care-led, ethical collaboration models across all Earthsonic strands. Across the programme, Earthsonic prioritised access, dignity and agency. Work was designed to redistribute resources. knowledge and visibility towards those c105e5t to climate disruption. while building platforms that Ixn sustain creative and educational activity beyond individual proieds or funding cydes. Outputs & activity lJune 2024- June 202SI: Delivery and coordination ol multiple Earthsonic sub-projects (Archive, Fund, Futures, Local, Live and creative commissions) Development and application of ethical frameworks for sound collection and artist collaboration Programme management across UK and intemational partners Integiation of creative piactice, climate edutstion and public engagement Impact= Earthsonic continued lo estsblish itself as a credible interd1￿1p1in3ry model for climate 51orytelling through rnusia During the period, it strengthened cross-seclor ￿latIOnShipS be￿en artists and environmental experts, supported early-stage creative work that would later reach large audiences, and invested in infrastructure that enables sustained partiapation rather than one-off interventions. Sounds Archive Project dates: Ongoing Project lead: Merfyn Driver The Earthsonic Sounds Archive docurnents. preserves and activates sounds of the Earth and clirnate change from 8round the world. It functions as a core piece of infrastiuctuie for the Earthsonic piogiarnme. providing ethically Soul￿d environrnenl81 recoidings th81 enatje musiGians, young people and communities to engage Gre8lively wth climate change. biodiversity Ios5 and ecological storytelling through sound. During June 2024- June 2025, the Sounds Archive deliver&J activity across four interconnected areas.. publication of curated Sound Banks, dired support for music projects, mentoring and skills development. and public actsss. Four curated SoLJnd Banks were PLJblished in collaboration with partners Including Sound of the Year Awards, RSPB. Xèno Canto and sound recordist Izabela Dluzyk, with two further Sound Banks (Earthsonic FLJnd and Sounds of Firel developed foi release in eady 2026. The Archive directly supported mU￿pIe music rdeases during the period. Sounds from the Archive were sampled across every track of The Last Scream album, as well as two singles from The Last ScRam Vol. 2, each accompanied by speaes-led online storytelling. Additional sound collections were curated to support projects including Flow, Sailing the Sonic Sea, Natural Connections (Myanmar) and the developing Sounds of Conflict project. Alongside cr8atlV8 d&liv8ry. th8 Archiv8 played a c8ntral ro18 in mentoring and skills developm8nt. Young p80pI8 re￿iVed guidance In sound recoiding and 8rchiving through th8 Earthsonic Fund and Earthsonic Future5, Wlth wid8r skills sUPPOrt delivered vi3 Earthsonic Local and Earthsonic Live. In mid-2025, the Archive was op8n8d to the public. enabling tree sound downloads and submissions via Soundcloud. Development also began on the Earthsonlc Radio concept. laying the groun(knork lor expanded public engagement from 2026. Outputs & activity lJun• 2024- Juna 20251= 4 Sound Banks putlished Iwth 2 8ddition81 banks prepared for 20261 Support for 2 albums and 2 singles U51ng archive sounds 19 sound collections comprising 1,000+ sound files Sounds from 130+ confimied species, induding 11 extlnct specles 12 young people from three continents receiving direct mentoring Hundreds more supported indirectly via Earthsonic Local and Live Audièncè & èngag•mènt= 2,568 Sounds Archive webpage views 86,887 social media views across Sounds Archive content Sound Banks a¢￿ssed in 50+ countrles 96 public sound downloads 2 public sound submissions Impact= The Sounds Arthive became a core enabling platform for Earthsonic. direcdy underpinning creative production, educ2tion and public engagement By making selected sounds freely available, the Archive encouraged musicians and the public to incorporate environmental sound into creative practice. wth downloads exceeding expectations destyte minimal promotion. Mentoring activity delivered particularly strong impact, equipping young people with technical, creative and transferable skills. One Earthsonic Fund participant secured direct employment as a result of their involvement. Engagement data showed that sound-led content, especially collaborative posts with athsts and partner organisations, achieved high reach and significantty extended Earthsonic's audiences. Quote.. "Listening closely to the environment through recording changed how l understand my relationship to nature.. Participant arthson Project dates: December 2024- ongoing Project lead= Medyn Driver Partner.. Roland The EarthSoni¢ Fund is a largeled micro-funding and mentoring programme designed to widen access lo n8ture sound recording for Global Majority young people (aged 18-301 tscing barriers linked to conflict, dimate change and social injustice. Delivered in partnership wth Roland and the Sound of the Year Awards. the Fund equip5 participants wth tools, skills and confidence to explore nature sound recording as a creative and professional pathway, while contributing new sounds to the Earthsonic ecosystem. During June 2024- June 2025, the Earthsonic Fund moved into adive ddivery. Six recipients were selected in cooidin3tion wth trusted gias5roots cultural org3n15ations across tnultiple region5. Each participant received a nature sound recording kit IRoland R-07 recorder. he3dphones 3nd windshield) alongside 3 £500 microgrant, typically sh8ied beb￿een the participant and their partner organisation. Participants were supported through structU18d rnentoring. technical guidance and documentation, with training covering sound recording practiTr, metadata. archiving and ethical fi'eld recording. Support was delivered primarily online, with In-person field mentoring provided where possible. induding ongoing support lor the Helsinki-based participant EduGational materials were developed and translated into participants, languages. and participant profiles were shared via the Earthsonic website and social media. AJI participants were supported to prepare recordings for submission to the Sound of thè Yèar Awards In 2026. Outputs & actlvlty lJune 2024- June 20251: 6 young ￿0p1a support•d across West Papua Ilndonesial. Ecuador, Colombia. Finland and the UK 6 sound recording equipmènt bundlès distributed 6 mierogrants of £500 Issued At least 30 minutes of sound rèeordings submitted by 5 partiapants lequipment delays affected one patticip3nti Hundreds of individual sound recordings collected, most with detailed rnetadata Soundscapes recorded across rainforest, coastal, waterfall, national park and bIc￿1Verse reserve environments Audlence & engagement: 579 views across Earthsonic Fund webpages 15,015 Instagratn views across Earthstsnic Fund content 1,991 TikTok views on a single Fund-related reel Impact= The Earthsonic Fund SUC￿$sfullY introduced participants lo nature soundscape recording. building highly transferable creative and technical skills. Participant feedback indicated in￿eased confidence, deeper connection to local environments and strengthened interest in environrnentsl action. A significant and unexpected outcome was the dirèct èmploymènt of on• participant, Inti Manobanda Manobanda. who worked as a digital content creator with partnei organisation El T•rr•no (Ecuadorl for sever months as a direct result of skills developed through the Fund. Pattiapants. recoidings will also contribute to future Sound Banks and Eathsonic projeGts. extending the impact of the programme beyond its immediate ddivery period. Engagement data showed particularty strong performance for collaborative posts featuring partiapants, reinforcing the value of centring young voices and lived experience within dimate and biodiversity storytelling. Quote.. Walking with the microphone in hand is a form ol connection. It has taught me to stop, to tune my ears. and to respect the rhythm ol the mountain.. Earthsonic Fundp8rticipant TAKKUUK Project dates= 2023- ongoing Project lead= Ruth Daniel, Partnèrs.. BICEP. Zak Norman Ivisual artist)," Charlie Miller Ifilmmakerl, Ninja Tune TAKKUUK is an irnmersive audio-wsual film, installation and touring project created by BICEP in collaboration wth In Place ol War and Earthsonic. The project ￿ntre$ Indigenous artists from the Arctic region, weaving perspectives on culture. language, identsty, colonialism and environmental change into a globally accessible cultural work that connects climate change to lived experience. During Junè 2024- June 2025, TAKKUUK was in its final dèvèlopmant and pr•-launch phasè. Activity during this period focused on pioduction, coordinab.on and preparation for pU￿1C launch. as the project evolved from Concept into a completed filrr and installation. This induded creative development with artists and Collaborators. finalisation of audiovisu818ssetS, Partnership coordination. and planning for launch, comrnunications and touring activity. The work undertaken during this period laid the foundations for TAKKUUK'S public premiere and wider dissemination, which took place after the end of the reportlng perlod. Outputs & activity lJune 2024- June 20251= Completion ol the TAKKUUK film and installation content Finalisation of soundtrack material in preparation for release Partnership development and coordinats.on with artists, labels and venues Planning and preparation for public launch, communications and touring Development ol participab.on pathways linking aLJdiences to Earthsonic's ￿der work Impact= Within the reporting period. TAKKUUK represented a significant strategic investment ft>r Earthsonic. positioning the programme to deliver its most ambitious public-facing work to date. The project strengthened partnerships with internationally recognised artists and collaborators. elevated Indigenous4ed climate storytelling wthin Earthsonic's portfrAio. and expanded organisational capauty to ddiver large-scale. cross-platform cultural projects. The development WO￿ undertaken during this phase ensured trat TAKKUUK was prepared lo reach wide international audienTrs and to convert cultural engagement into deeper participation through Earthsonic's movement and calls to action once publidy launched. Project dates= January 2025- ongoing Project leads.. Mertyn Driver, Holly Johnson Fontanelli The Last Scream is a music and storytelling series built from rare and urgent biodiversity ￿e0rdIngS. Including the last known recoidings of extinct Species alongside sounds of endangeied and nevdy discovered species. Working wth biologists. sound recordists and specialist archives. the project brings biodiveisity loss and extinction into cuKuial Spa￿ through music. using sound as a bridge between wenlific knowledge and public engagement During June 2024- June 2025, The Last Scream moved into active delivery. combining sound sourcing, rights and licensing, artist collaboration, research and release management. The team sourced recordings from scientists and specialist arthives, secu￿￿ permissions through li￿nCe agreements. curated sound collections for artists, and managed associated administmtion inclLiding rights and royalty flows. Aongside the music, the project delivered substantial editorial and storytelling outPLit, Including species research, track-level narratives, and artist and species profiles published across the Earthsonic website and soo81 ch8nnds. Key milestones during the period induded the release of The L8sf SGre8m Vol. 7 album in February 2025, preceded by the single TIK TIK TIK. Work on Vol. 2 also began during the reporting period, with the release of Poq in April 2025 and continued curation and mastering across the year. Outputs & aetivity lJun• 2024- Juna 20251= 1 album released (The L8St SC￿eM Vol. 11 3 singles released11 from Vol. 1." 2 trom Vol. 2 activity) Collaboration with 18 artists lincluding at least 7 new to Earthsonicl Major archive partnership with Fonoteca Neotroplcal Jacques Vlelllard IUNICAMP, Brazlll New connections with additional archives, InstitLrtions, scients.sts and recordists Track-level storytelling, editorial content and artisvspeaes profiles published Audien¢e & engagement= 38,098 total streams across all releases 33,000+ streams lor the single Poq alone 86,663 Instagram vlews across Ihe Last Scream content Impa¢t= Th8 Last Sor88m significanyy expanded E8rthSonic's oreatwe 8nd scientific network, enaNing deep collaboration between artists. 8rchives and biodiversity specialists. The project successfully tianslated cornplex ecological issues into a¢￿SSIble cultural outputs, bringing extincts'on and biodiversity105S to glob81 musi¢ audien￿$. Performance data demonstrated the Importan￿ ol dear, specific storytelling. The strong response to Poq which significantly outyierfoimed eadier ielea5es showed that track-level narrative and species context direclly drive listener engagetnent and playlisting. This Insight informed a strategic shift toward regular, story-led single releases. building sustained attention over time rather than relying on albutn-only launches. Quot•'. I came together wth friends and 8cquaintanTrs. 1018ment the extinGtion of this biid. I wanted to support this iniliats've to awaken the conscience to respect and take care of our e￿syStemS and Mother Earth." Ch'umilkaj, artist Earthsonlc Local Project date8= May 2025- ongoing Project lead8'. Hannah Overton & Rozenn Logan Earthsonlc Local is a plac&based education and skills programme delivered in partnership wth grassroots rnusic venues across England. The project supports young people aged 1UO to develop skills in musi>rnaking, sound recording and environmental storytelling, while increasing knowledge of climate change and local biodiversity. By embedding delivery wthin local venues. Earthsonic Local stiengthens grassioot5 Infiasttudure, itnproves access to creab.ve production. and supports IotrAlly rooted dirnate engagetnent. During June 2024- June 2025, Earthsonic Local was in its development and mobilisation phase, with actwity beginning in May 2025. Work during this period focused on curriculum development. partner engagernent and delivery planning. A structured four-module programme was developed, covering dimate and biodiversity. music and environmentalism, sound recording and archiving, and practical music-making. Venue partners were onboarded, delivery models refined, and equipment and software support secured in preparation for in-person delivery beginning later in 2025. While workshops weie ddwered after the end of the reporting period, the work undertsken during this phase established the operational. educational and partnership foundati(￿$ required for pr￿[8￿Me rollout. Outputs & activity lJun• 2024- Juna 20251= Development of a new four-module climate and music education programm8 Onboaiding of gr35SlOOts venue partners 3cross England Delivery ￿annIng for in-person workshops Flow Project date8= June 2025- ongoing Project leads.. Nikita Llerena. Ruth Daniel Flow tells the story of the dimate crisis through water and women's Vol￿$, using music and storytelling to amplify experien￿$ ol drought, flooding, displacement and environmental disruption. The project cent￿S women arts.sts and frontline perspectives, recognising that the majority of climate impacts are water-related and that women are disproportionately affected. During June 2024- June 2025. Flow entered its initial mobilisation and devdopment phase. formally beginning in June 2025. Activity wthin this reporting window focused on establishing the collaboration and confirrning artists lartists and collaborators engaged at this stage included Shingai, Sohini Alam. Keila, Jaloo. Bebé Salvego. Nadlne Shah, and Madame Gandhll, aligning artistic direction ahead of ￿earSalS, recording and public delivery at COP in the subsequent period. Outputs & aetivity lJun• 2024- Junè 20251= Project mobilisation and start-up activity lJune 20251 Initial artist confirmats'on, alignment and creative ￿ann1Trg Narrab"ve and collaboration framework development Sailin the Sonie Sèa Project dates: March 2025- ongoing Project leads.. Earthsonic Team, in colLqboration with the University ol Victoria Partners.. Sonic Sea Symposium (University olvictorial". Indigenous partners., o￿an Ne￿rkS Canada Salllng the Sonlc Sea is a research-led, place-based music and listening project developed wth the University ol Victoria's Sonic Sea Symposium and Indigenous partners. The project ￿ntreS listening as both method and message, using underwater sound to explore ecological change while honouring Indigenous relationships with land, w8ler and all beings. Through ethical collaboi8tion between Indigenous knowledge holders. soho18rs. musici8ns. students and intemational composers. the project connects environmental research with Greative practi￿ and cultural storytelling. During June 2024- June 2025, Sailing the Sonic Sea moved into active ddivery. Planning began in March 2025, leading to the Sonlc Sea Symposlum held from M June 2025 in Victoria, British Columbia and on the Salish Sea. Earthsonic supported the symposium through documentab.on and storytelling. wth audio-visual material captured to support n8tr8tive development and future releases. In parallel, Earthsonic and the University of Victoria issued an international open call inviting composers. musicians. students and creative practitioners to create new work using underwater recordings provided by Ocean Ne￿￿Tk$ Canada. Submissions were reviewed and curated following the symposium, with selected works forrning the basis of an initial EP. Earthsonic also began coordinating curation, agreements, metadata and production planning for future releases. OutPLrts & activity lJune 2024- June 20251= Delivery of a multl4ay Sonlc Sea Symposlum IS-8 June 20251 featuring hydrophone listening. collaborative storytelling and music-making Underwater soundscape recordings captured alongside video and photographic d￿mentatIOn International open call for compositions using Ocean Networks Canada underwater recordings 23 music submissions retsived to date. forming the basis of an initial EP Initial EP prepa￿￿, with a full-length album in development for future release Impact- Within the reporting period, Sailing the Sonic Sea successfully activated a model of ethical. place-based collaboration linking academic research, Indigenous knowledge and musi¢ creation. The strong response to the open call, reflected in the volume and diversity ol submissions, demonstrated the project's ability to stimulate meaningful artith"c engagement wth climate change, ocean listening and place. The pmjed also strengthened Earthsonic's rÈsÈarch partnerships and expanded its capacity to work wth environmental data and underwater sound 85 creative m8teiial. By embedding Indigenous peispectives and research-led listening practices at the core of the projeot. Sailing the Sonic Sea established a culturally grounded pathway foi future public engagement through music and sound once ieleases ale launched. Natural Connèctions Project dates= January 2025- ongoing Project leads.. Jenna Mackle Partners.. Gitameit Music Institute Imyanmarl Natural Connectlons is an international music collaboration betrween the UK and Myanmar ex￿OrIng dimate change through sound. Delivered as part of Earthsonic, the project brings together UK electronic musitsans, Myanmai traditional musiaans and community members to create new music using environmental soundscapes from dimate- affected region5 of Myanmar. The project combines dimate storytelling, cultural preservation and cross-Cu￿u[al coll8boration, while oonlribuling new materi81 lo E8rthSonic's glob81 sound 3rGhive. During June 2024- June 2025, Natural Connections was in its actlve research. recordlng and partnershlp phase. Planning and coordination took pla￿ early in 2025, followed by the collection ol environmental soundscapes by 11 community members in Myanmar. These recordings captured local environments affected by dimate change and formed the foundation for subsequent creative work. During the same period, elght elder tradltlonal muslclans worked with these recordings to capture traditional music samples, ensuring that cultural knowledge and musical heritage were embedded within the project's sound materi81. Alongside field recording. soundscapes were prepared for indusion in the Earthsonic global archive. expanding its geographic and cultural scope. Cross-border collaboration frameworks were also eSta￿iShed to support later stages of music production involving artists based in the UK and Myanrnar. Outputs & actlvlty lJune 2024- June 20251: Environmental soundscape recordings collected across multiple regions of My8nmar 11 community members engaged in field recording activity 8 tradltlonal muslclans contributs.ng cultural and musical samples P￿paratIOn ol sound materials for indusion in the Earthsonic global sound archive Strengthened international partnership betr4een In Place of War and Gitameit Music Institute lrnpact= Within the repotting period. Natural Connections 8n8bl8d m8aningful participation by cotnmunity members and elder musicians in an intemational. climate-focused music project. many of whom fa￿ significant barriers to digitsl a￿esS and global cultural platforms. The project supported the preservation and creative activation of traditional musical kno￿edge while embedding climate storytelling within sound-based practice. The sound materials generated during this phase significandy expanded Earthsonic's archive, adding rare and culturally specific recordings from Myanmar. The partnership modd developed through Natural Connections strengthened Earthsonic's ability to work ethically in conflict-affected and sensitive contexts. laying foundations for future intem8tion81 collaborab.on 8nd cie8tive exchange. 100 Creatlve A ents of Cllmate Chan Projèet dates= Feb 2024- June 2025 Projèet Managèr.. ￿1bhe Tieacy & Bobbi Quincey-Jones 100 Creative Agents of Climate Change is a UK-wide. youth-led art5 and dimate justice programme delivered as part of EarthSoni¢. The project connected 100 young people aged 1PAO with creative activists frorn across the UK and internationally, supporting them to develop the skills. confidence and networks needed to deliver their own community-based creative dimate projects. The programme aimed to strengthen yOLrth leadership. improve dimate literacy, and ￿ate pathways lor young peoFAe from underrepresented backgrounds to engage In climate action through the arts. 10 During June 2024- June 2025, the project delivered a mulb"_stage programme combining an online residency, seed funding, mentoring, an in-person residency, and public showcasing. Activity during this period induded a Iwo-week online residency exploring themes of art èspower and community ènd climate ècfvon. delivered by attists and 8Ctivists from the UK and the Global South. Accessibility and care were embedded throughout. including captioning. recordings, flexible participation methods and a dedicated access support worker. Following the residency, participants were invited to apply for seed funding and mentoring to develop their own ¢￿ative climate projects. Thirteen participants re￿1Ve￿ funding and tailored mentoring support, enabling the delivery of grassroots projects across England. Scodand and Wales. These projects took a wide range ol forms, induding murals, workshops, perf0mlan￿s, films. publications and participatory events, engaging local communities in climate jusb.ce through 8wessible and ¢re8live 8ppioaohes. The programme culminated in a final showcase event at the House of Commons, UK Parliament in June 2025, designed to connect youth-led creative dimale work wth fomial decision-making spaces. Supported by Members of Parliament and attended by policyrnakers, funders, cuttural organisations and sector leaders, the event provided participants with a platfonn to present their work, share lived experienTr and collectively advocate lor greater support for youth-led arts and dimate Initiatives. Outputs & activity lJune 2024- June 20251= 100 young people engaged across UK through the programme Delivery of a two-week onllne resldency with internats'onal facilitators 13 seed.funded creatlve cllmate projects delivered in communities across the UK In.person resldency supporting peer learning and project development Final Bhowcase event at the House of Commons (June 20251 wth 46 attendees from goveinrnen( cultur31 and dirnate sector5 Impact: Within the reporting period, 1(M) Creative Agents ol Climate Change significandy strengthened youlh-led creative climate action across the UK. Evaluation findings show increased confidence. skills development and leadership capacity among parts"apants, alongside improved dimate literacy and practical experience in project delivery, public speaking and advocacy. Community-bas8d projects cr8at8d 8ccessible &ntry points into dirn8t& conv&rsations. r&8ching 8udienc8s who m8y not engage with tradition81 environmental messaging and supporting dialogue around dimate justice, inequality and local irnpact. The programme also expanded partioipants, professional networks. with many reporbng new collaborations, opportunities and patrways into further climate and cultural work. The final Parliament showcase represented a crititral moment ol visibility and validation. enaNing young creab.ves to engage directty with policymakers and influents dimate discourse from the perspective of lived experieft￿. Collectively, the project demonstrated the power of 8rts-led approaches to mobilise communities. amplify underrepresented voices and connect grassioots dimate action wth national decision-making sp8ces. Quote.. "Thank you lor putting on an incredibly Inspiring and insightful gathering. It was brilliant to hear the young changemakers describe and discuss their projects." Attendee feedback. UK Parliamenf ShowGèse Event Earthsonic Cllmate Cham ions Project dates= 2024- ongoing Project lead= Saria Touibah Earthsonie Climate Champions is a global, community-led inib"ative designed to empower young people to take meaningfvl cjimate action through everyday practices and local organising. The project invrtes participants to pledge to one or more of E8rtt)Sonic's Six Acts of Sustainability andlor to organise community-based events aligned with Earthsonic's mission. By Combining individual action with collective visibility. the prqect aims to norrnalise dimale action and build an international. creativity-led nehvork rooted in environmental responsibility. During June 2024- June 2025, Climate Champions operated as an open. digital programme. Partiupantsjoined by submithng pledges via an online fom and were invited Into a password-protected community hub hosted on the Earthsonic website. The hub provided aC￿sS to practical resources linked to each Act and enabled connection between partiapants, while maintaining flexibility lor those who preferred anonymity lor safeguarding reasons. The Youth Climate Coordinator oversaw the programme, supporting partiiipation. reviewing pledges. and developing resources informed by participant behaviour and feedback. OutPLrts & actlvlty lJune 2024- June 20251: 60 individual pledgès to one 01 more of the Six Acts of Sustainability Climate Champions iepiesenled across multiple countries, including the UK. Europe. North Affleric8 and Africa 8 public member profiles published within the community hub directory A growing dataset of qualitative pledges outlining concrete, real-worfd dimate actions Impact: Within the reporting period, Earthsonic Clitnate Chatnpions detnon5trated strong early engagernent, with participants committing to practical, values-led climate actions and artioulating them In thoughtful, personal ways. Analysis of pledge dat8 showed that participants were most confident engaging with immediate. lifestyle-based adions. such as sustainable consumption, food choices and travd, while fewer engaged wth rnore complex systemic actions. This insight direcdy informed the development ol new, dearer resources within the community hub. strengthening Earthsonic's ability to support participants in translats.ng motivation into sustained action. The project also established 8 fleXI￿e particip8b.on mod81 that iesp8Ct5 differing18vds of visibility and risk, 5UPPOtting Inclusive global engagement. #Hackmuslc Projeet dates= 2018- ongoing Projeet Managar.. Marcus Ross #Hackmusic is In Place ol W8rf5 global incubator programme supporting gr3ssrwts music organis81ions working in communities affected by conflict, inequality and climate breakdown. The programme takes a holistic approach, combining micro-grants wth in-kind industry support, mentoring, equipment donations, online education and immersive work placements. During June 2024- June 2025. #Hackmusic delivered a full programme cyde supporting seven grassroots organisations across seven countries (Brazil, Cambodia, Colombia. Pakistan, Peru. South AfritrA and Ugandal. Actimty Included micrTrgrants. significant equipment donations from Ableton and Roland, tailored mentoring fro senior glob81 music industry professionals, delivery of the University of Manche8ter-￿rt1fled online educats'on prograrnme. and paid internships at Glastonbury Festival's Terminal 1 stage in June 2025. The programme mobilised over £82,000 in total economic support, strengthened organisational capacity, expanded international networks and supported participants to build studios, launch labels, preserve Indigenous musical heritage and create new cultural activity. 12 Outputs & aetivity.. £12.000 In micr￿[anIS £55.040 in music equiprnent donations 18+ hours ol senior industry mentoring 3 paid internships at Glastonbury Festival Online education prograrnme delivered 20+ new community and cultural events initiated Impact Within the reporting period. #Hackmuslc strengthened the resilience and sustainability ol grassroots rnusic organisations operating in hig￿presSUre contexts. Organisats'ons reported increased leadership confiden￿, improved systems, and greater capacity to deliver community-led cultural programmes. The progr3mme demonstrated how relatively small. flexible investment, when combined wth lon*tetm re18tionships and Industry 8¢ress. c3n unlook disproportionate Imp8d. PartiThp3ting oig8ni58tions expanded ac￿$$ lo rnusic education. preseNed local musi￿1 heritage. redU￿d operating Costs through equipment provision and created new income-generating OPFM)rtunitie5. The inclusion ol #Hackmusic within Glastonbury Festival 202S represented a aitical moment ol visibility and validats"on, linking grassroots organisations directly to global aUdIen￿S and ￿InfOrCIng In Place of War's role as a bridge between communty-based eultural practits and intemational stages Quote.. °The mindset we picked up from #HackMusic- thaf ctsètive spaces should stay open. collèborahve ènd supportsve- gève us the courage and structure tc> take on something slightly sensitive and deliver it property. Irshad Mi Khan, BlackBox Sounds Rise Above Develo rnent RAD South Africa Project dates= March 2022- ongoing Project lead= IPOW- Ruth Daniel, RAD- Adele C8mpbell Location= Lavender Hill. C8pe Town. South Africa Purpose of thè Project Rise Above Development IRADI is a cornmunity-led youth development initiative based in Lavender Hill, an area profoundly affected by gang violence. povety, and limited a¢￿$$ to safe public spaces. The project exists to provide a safe, Incluslve and conslstent communlty hub where children and young people can learn, express themselves creativdy, and build pathways towards positive futures. RAD takes a holistic. preventative 8ppro8th to youth development. iecogni51ng that sustained change requires integrated support across music. arts and culture, sport, education, food security, and wellbeing. A ￿ntral aim is to reduce children's exposure to vidence and gang ieciuitmenl by safeguarding them during high-nsk 8fter-5chool hours and scho(A holidays, while strengthening confidern￿. skills, and comrnunity cohesion over the long term. During the reporting peric￿, RAD delivered daily, year-round programming, reaching large numbers of children and young people consistently. Activity focused on consolidation and expansion of core programmes, alongside strengthening governants, safeguarding, and operab.ona systems. 13 RAD delivered struCtu￿d after-school and holiday programmes. providing supervised learning, creative actiwties, meals. and psychosocial support during periods Identified locally as highest risk. Musie and arts programming IRADmusic and RADartsl offered ouuets for self*xpression. healing and confidence-building through DJ training, rnusic production, perforrnanTr. dance. visual arts. photography, film and creative writing. Sports programmes promoted physical wellbeing, disci￿lne and teamwork, while education and youth development actimties supported literacy, numeracy. life skills and eady jotrTrreadiness. Environmental and lood-security activity continued through RADgarilens, combining community gardening, sustainability education and practical skills training. During this period, RAD also strengthened Monitoring & Evaluation systems, safeguarding protocols, and community partnerships, while navigating and stabilising a govem8nce 8nd le3deiship tr8nsib.on completed in 2025. Outputs & Activity (Jun8 2024- Jun• 20251 IO0+ children engaged daily in supervised after-school piogr8mmes 500+ unique children reached weekly across all activities Holiday programmes delivered during school breaks. rea(*ing 200+ ¢hildren per ¢y¢le Weekly sports programmes serving approximately 280 ¢hildren per week Ongoing music, arts and culture workshops IDJ skills, music production, performance, danTr, visual arts, film and writs.ngl Youth development and Jol￿readIneSS workshops delivered to targeted cohorts Community amphitheatre and g￿enzone used for performantss, dialogue and events Operational community garden providing food, training and Income4eneration opportunities Safeguarding, attendance tracking and Monitoiing & Evaluation systems embedded acioss programmes Impact RAD delivered clear and measurable impact during the reporting period. parb'cularfy in relation to child safety. participation and wellbeing. Attendance data confirms th* large numbers of Ghildren were consistently engaged in structured. superyised activity during high-risk hours. significantty reducing exposure to violence and gang recruitment Facilitator observations and partner feedback indicate improved confiden￿, emotional regulation, coopemtion and positive behaviour, especially through arts, music and sports programmes. Children demonstrated increased willingnass to collaborate. perfomi and take on iesponsibility. while youth participants showed early progression into volunteer 8nd facilitation roles. strengthening leadership pathw8yS Within the wmmunity. At a community level, RAD became a trusted and respected hub, strengthening coordinats'on btheen farnilies, schools, NGOS and local authorities. The completion ol a governance and leadership transition during this period, including the appointment ol a cornmunityémbedded Operations Manager, restored operational stability and further strengthened trust, visibility and accountability. Quote "Knowing my child Is at RAD after school gives me pea￿ of mind. I know they sie supervised. fed, and learning something positive. Parenl/Cor8giver, LgvenderHill 14 Music Sha Project dates: June 2024- July 2025 Project lead IIPOW).. Rozenn Logan Partners.. Brian Eno Studio, Bonhams Auction H￿se In Place of War embarked on a new project telling the stories of how music has shaped and changed Peop￿,3 Iwes, through the collaborative production of new works ol art and the documentation of the journey between inspiring rnUSICl8ns and wsual artists. This involved inviting visual artists to tell the stories ol musical artists, collected via conversations between the musician and the artist, and resulting In the VlSLJal artists produung a new piece of work. The artworks formed part of an exhibib.on presented at In Place of War's Fundiaising Dinner at Brian Eno's Studio in Novernbei 2024. Some of the specially commissioned piece5, by both estatAi5hed and etnerging visual artists. were also auctioned in partnership with Bonhams, to raise money to support In Place ol War's #Hackmusic Programme. Collaborations in 2024 included.. Kay Gasei x Ed O, Brien (Radioheadl 11 Karina Lax x Self Esteem 11 Ragnar Jonasson x Brian Eno 11 Jo Peel x Morris Morris Club 11 Rithika Pandey x Matthew Herbert11 Stephan Doitschinoff x Laima Leyton 11 CandiTr Purwin x Chadotte Church 11 Petrte Doll x AURORA Th8 project in 2024 was cuiated by visual art5 exp8rt Aaron Shrimpton in collaboration with In Plac8 of War's t8am, involving a diverse group of artists. The proi8Ct conb.nued Into 2025, with a focus on developing th8 project in-house Iwthout an external curator) and with higher profile artists. as well as more documentslion of the conversations between artists and musicians. Outputs & aetivity lJun• 2024- Juna 20251= Produotion of 8 new and unique artworks for auction. Sold all 8 artworks via the auction al our 2024 Fundraising Dinner 8t Brian Eno's Studio. sales totalling £31,200. The modd in 2024 was that the visual artists retained 35°k from the sale., Aaron (Curator) received 10% and 55¥0 going to In PlaTr of War. New and developed relats"onships nurtured with key influential figuresl supporters from the music industry- such as AURORA, Ed O'Breen, Charlotte Churc*, who have continued to be involved wth In Place ol War. In 2025, the project continued with conversations betrween artists and musicians taking place from May 2025 onwards. rn8ny of them I￿person which we filrned. Impact- New and developed relth"onships auoss both the visual art and music Industry as well as wth Bonhams. Funds raised for In Pla￿ of War's work, and increased visibility ol In Place of War and the projects we work wrth. 'M8de from the sketches aftera Ghat with Ed about ourchildhoods, manhoods, musiG, art, and all things in between. How we prO￿SSed, sublimated or didn t, Supp￿sSIng ourselves through life s stuff. Maybe knowing there was always a thing and unconsciously leaning into it or consciously leaning away from it, all forthe same purpose of self- protection orpreseNation."_ arts'st Kay Gasei 15 "We spoke Ébotjt the V0￿Ce. the body, wildemesses ènd animism. Tre tempt)ral trijth of songs and sound. Atone point Chérlotte used the phrase meditation on impermanence, énd these words became the spark which ignited the fjnèlpiece.". artist Candice Purwn Fundralsln Dlnner 2024 Project dates= July 2024- De￿rnber 2024 Project lead IIPOW).. Rozenn Logan Partners.. Brian Eno Studio, 9Kitchens, Red Monkey The In Place of War Fundraising Dinner & Fellowship Awards Evening, hosted by Brian Eno at his studio. took place on November 215t 2024_ The event airned to raise funds for the work of In Place of War as well as increase visibility 8nd support. from both existing and new sUPPOrtersl ielationships. We awarded In Pla￿ of Wai Fellowships to Ed O'Brien IR8dioheadl, $8ma' Abdulh8di IDJI. Charfotte Church IArtistl". and M8tyn Ware IArtisll. The evening included 8 three course dinner meal prepared by soci31 enterprise krtchen 9Kitchens, as well 85 speeches from Members ofthe change-maker network, performan￿$ and the MUSIC SHAPED 2024 aucb"on. The event r8ised £10,000 through artwork sales and pledges (after expenditure). Outputs & actlvlty lJune 2024- June 20251: New ielab"onships developed with HNIS. Exisb"ng supporterlcollabor8tor relationships nurtured. £10.000 raised for In Place of War. 4 x new Fellowships awarded and relationships further developed The work ol the chang&maker organisation amplified, with in-person representth.on from 3 chang&makers- from Venezuela, Uruguay and the UK. Impact= Critical fvnds raised for In Place of War, increased visibility, new and existing relationships developed. pather relationships consolidated. Project dates: March 2022- December 2025 Project lead: Rozenn Logan Projèet dat•s= March 2022- December 2025 Project Managèr.. Rozenn Logan Partners.. Arts Council Malts Ifunderl". Vallett8 Design Cluster Ivenue partnerl CASE Malta is a thre&year international training and development programme delivered in partnership with Arts Councll Malta, designed to build capaaty and strengthen the professional practice ol earfy to mii*career artists and creatives in Malta. The prograrnme was developed in response to research identifying the precarious nature ol arts careers In Malta, induding sustainability challenges, financial insecurity and the long-term impacts of COVID-19 on ¢￿a￿"ve livelihoods. The programme detivered five cycles of a hybrid (online and in-personl training model between 2023 and 2025, combining skills development. rnentoring and seed funding. Training focused on financial planning. fundraising. 16 business operations. digital tools and pitching. with participants supported to develop sustainatAe creab.ve and entrepreneurial practi￿. During June 2024- June 2025, CASE Malta was in its final delivery phase. encompassing Cycles 4 and S ofthe prograrnme. Actiwty during this period included the delivery of hybrid training sessions in Malta and online, allocation of rnentoring and seed funding, cohort-wde workshops bringing together participants Irorn across cydes, and a public CASE Malta event designed to connect participants wrth the wider cultural sector. The period also included structured evaluation activity, induding follow-up interviews with participants from eadier cydes to assess longer-term impact. Alongside the tiaining pr[￿raMMe, the CASE Malta Evènts Programmè continued during this period, prowding In- person networking and kn￿edge-eXCh8nge opportunities for parts.￿p8nts 8cross ￿hort$ and with the wder M8ltese and international arts community. Outputs & actlvlty lJune 2024- June 20251: Delivery of Cycl8s 4 and 5 of the CASE Malta training progratnme (online and I￿person) location of mentoring and seed funding to participants In both cydes Cohort-wide workshop bringing together participants from multiple cydes Delivery of a public CASE Malta event in Malta Ongoing mentoring delivered by international and Malta-based practitioners Follovkup interviews and evaluation activity with participants from eadier cydes Impact: Within the reporting period, CASE Matta demonstrated strong and sustained impact on participants. profe5510nal confidence. ski115 and long-term piactice. Evaluation data and follow-up interviews show that participants continued to apply leaming well beyond the end of their tr8ining cycle, p3rticul8rty in relation to strategic planning. funding applications. pitching and professional decision-making. Partiapants reported increased darity about their creative direction, stronger understanding ol institutional contexts, and improved ability to articulate and communicate their work. Mentoring was consistently identified as a key contributor to impact, providing space for reflection, challenge and support tailored to individual practice. The progiarntne also strengthened peer n8lworks. wth patticipants r8POrting ongoing collaboration, studio M51ts and profes510n81 relab"onships formed through CASE M￿ta. Across the full programme, 52 artists partiapated over five cydes, supported by 30 mentors, with É9,000 In seed funding allocated. During June 2024- June 2025. the final phase ol delivery consolidated this impact. ensuring that learning, ne￿orkS and support structures were embedded sustainably within the Maltese creative ecosystern. Quotè It wasn't just about funding-the guidance and reflection were the most valuable parts. participant CASE Malta rac Intercultural and T cultural C tenc rou h C Ilaborativ Cultural Ex Project dates: February 2025- January 2028 Project lead IIPOW).. Teresa O'Br8daigh Bean Partners.. Horyzon Europe, Nord University (Norway) INTRACOMP Is a Hoiizon Europe research and innovation pioied focused on stiengthening cultural inclusion, inleiculturgl understanding and social cohesion Ihiough arts educ8tion and collaborative cultural prgctice. The project airns to develop 8 new Intercultural and Transcultural Competence IITCI Framework, alongside ti8ining models. 17 digital tools and policy-faung outputs that support educators. artists and cuKural organisations to work more effectively across cultural boundaries. The project brings together a consortium of universities and cultural organisats'on5 acros5 Europe and beyond, combining academic research, pedagogy development, digital innovation and community-based arts practice. In Place ol War contributes sector expertise in community arts, intemats'onal CUl￿ra1 practice and ethical Colla￿)ratIOn, wth a specific leadership role within Work Package 4. During Junè 2024- Junè 2025, INTRACOMP entered its activè r•sèareh and eonsortium d•v•lopmènt phasè. wth IPOW contributing to foundational ieseaich. fieldwoik and trApacity-building activity. IPOW suprK)rted earty field research visits to arts P8rtner oig8nis8tions in April 2025. contributing practice-based insight to the development of the ITC framework. IPOW also participated in consortium-wide research activity, including crowdsourcing exercises and the drafting of shared research outputs. Ajongside research contributions, IPOW supported the establishment of a communlty of practlce for arts organlsatlons, designed to facilitate knowledge exchange and peer learning across the consortium, and contributed to the development ol capaaty-building training materials aligned with the emerging framework. Outputs & activity lJune 2024- June 20251: Contribution to the drafting and submission of a Ilterature ￿vIeW on Intercultural and Transcultural Competence Participation in consortium-wde crowdsourelng research and drafting of tt)e Expenencing Intercultural and Transcultural Competence research paper Field research visits to arts partner oigani5ations (April 20251 Contnbution to the establishment of an international community of practice for art8 organisations SupFM)rt for the development of capacity.building training linked to the ITC framework Impact: Within the reporting period, INTRACOMP stl8ngth&n8d In Place of W81's ro18 Wlthin a major Euiop8an research consottium and positioned the organi53tlOn 3t the Intersection of arts practice. Inteicultural competence and policy- relevant research. IPOW'S contributions 8nsur8d that the ernerging ITC framework w35 Infoitned by r881-woild community arts practice and the lived re81ities of organisations working across CLAlural. political and linguistic boundaries. The project also supported earty capaaty building across partner organisations, creating shared language, concepts and networks that will underpin future co-created interventions. By contributing practice-based insightto research-led processes. IPOW helped bridge academic frameworks with the needs and experientss of grassroots cu￿ra1 organisations. laying foundations for longer-term impact as the project progresses. RRRL Project dates: March 2025- June 2025 Project leads.. Ruth Daniel & Bobbi Quincey-Jones Partners.. Temiinal 1 IGlastonbury Festival)., Xcottage (rehearsal partner) GRRRL 15 a global electronic music collaborab.on bringing together wornen artists from contexts shaped by conflict. inequality and social Injusti￿. Directed by Laima Leyton Imixhell I Soulwaxl, GRRRL ￿￿treS women of colour and marginalised voices. using music as a platFoim for storytelling. visibility and collective power. The project 31igns 18 closely wth In Pla￿ of Warfs mission to amplify underrepresented voices through ethical cultural production and international platforms. During June 2024- June 2025, GRRRL delivered a m8jor public-facing rnoffleNI through 8 takeover of Glastonbury Festival's Terminal 1 stage. Activity during this period fo￿Sed on pre-production, artist coordination, rehearsals, communications and live delivery. The project culminated in perforrnanTrs at Glastonbury Festival12 30 June 20251, including a group perf0rrnan￿, individual artist sets and a panel discussion within Terminal 1 an immersive space foregrounding migration, displacement and global movement As part of this delivery. GRRRL released the single "Light Up" on 20 Jun• 2025. shotuy ahead of the Glastonbury perfoimance5. The release was titned to coincide with the live programrne. creating a joined-up cultur81 tnomenl linking recorded output, live performance and digital storytelling. The Glastonbury lineup featured six international artists.. Lel DI Dal (Brazill, AWA Khlwe Izimbabwel, SohlnS Alam IUKIBangladeshl, MABE Ivenezuelal, MC Yallah IKenyalUgandal, and OneDa IUKI, with artists travelling internationally to partiapate. Outputs & activity lJune 2024- June 20251= Delivery of a GRRRL takeover at Glastonbury Festlval's Temilnal 1 stage 1 group performance, 3 Indlvldual artlst performances, and 1 panel dlscusslon Release of "Light Up" single120 June 20251 Pre-production and rehearsal programme delivered international artists creab.on of 2 project fllms docLJmenting the collaboration Audience & engagement= 91,000 total views across GRRRL social media content during the project period 61,400 Instagram views across GRRRL content 15,300 vievts on the Light Up single release post 24,100 views on a Glastonbury Reel via WeAre8 Pre55 coverage across tnusic and culture plattorms. induding festival and tnigration-focus8d media GRRRL 2025 Project report Impact: Within the reporting period, GRRRL significantly arnFlified the visibility ol women artists from conflict-affected and marginalised contexts, placing their voices on one ol the worfd's most prominent cultural stages. The Glastonbury takeover created a higwimpact platform lor artists to perform on their own tem)s, connecting audien￿$ to global stories of Inequality, resistan￿ and creativity through music. The coordinated release of Light Up alongside the live programrne demonstrated the project's ability to align recorded output with major cultural moments. extending audience reach beyond the leslival site and strengthening GRRRL'S digital presence. Artist feedback highlights the lon*term professional and personal impact ol participation, including increased confidenTr, international exposure and sustained creative networks. Quotè.. Since 2016. being p8rt of GRRRL has been a truly transformative experience. GRRRL has gifted me meaningknl connections, a supportive community, and the enduring belief that Music has the power to transform. Lei Di Dai, GRRRL amst 19 Record L bel Earthsonic I In Place of W Project dates= 2024- ongoing Project lead= Hdly Johnson Font8nelli The Earthsonlc I In Place of War Record Label is a delivery platlomi for releasing music created through In Pla of War and Earthsonic programmes. The label exists to enable artists working In contexts shaped by conflict, dimate change and environmental degradation to release music professionally and ethirAlly, ensuring fair attribution. responsible rights management and global distribub"on. Releases are closdy linked to prograrnme activity and storytelling, often incorporating field recordings and environmental sound. The label operates as part of In Place of War's wder infrastructure, supporbng artists to navigate release proTrsses safely while connecting music to pla￿, lived experien￿ and environmental context During June 2024- June 2025, the Record Label ddivered a programme of music ieleases and collaborative projects, alongside substantial behind-the-scenes rights, metadata and distribution work. Activity included artist collaboration, production and release management, administration of nghts and royalties. and editorial storytelling around each rdease. Key releases delivered wlthln the reportlng perlod induded the launch of The Last Scream cornylation series. writh multiple singles released across the year. and in June 2025, the release of new single Light Up by GRRRL under the In Place of War label. ￿ongsIde releases, the label supported collaborative, pla￿baSed proieds induding NattJr21 Connections.. Aqyanmar and Sonic Floresta, bringing together frontline communits.es and Intemational artists to CO- create work rooted In environmental sound. In parallel, the labd strengthened its ethical and operational foundations. Durirvj the peri(yJ. a publishing adrninistration deal was established wth Sentric, and registration with PPL began, improving royalty collection and lair compensation for artists. Outputs & activity lJun• 2024- Juna 20251= 1 compilation album released Multiple singles released as part of The Last SGr88m series 1 additional single re￿aSed under the IPOW label ltight Up by GRRRL, June 20251 2 collaboratlve prolects actively supported (Natural Connections.. Myanmar, Sonic Florestal Global digital distribution and rights administration delivered Publishing administration established Isentricl., PPL registration initiated Audien¢e & engagernent= 44.7k streams across Earthsonic I IPOW releases lindependent distribution) 516 album downloads £137 digital turnover from independent releases Impaet= The Record Label en3bled arb.sts connected to In Place of W8r and Earthsonic piogiarnmes to rele8se work ethically and professionally. amplifying voices from oommunities affecied by conflict. dim8te thange 8nd environmental injustice. Releases reached 1ntern8ti0n818udien￿￿, extending the visibility of EarthSoni¢ artists and strengthening the organisation's public-facing cultural impact. Beyond audience ￿aCh, the label made a significant contribution to ethical music infrastructure. The establishment ol publishing adtninistration and rights Sy5tetns Itnproved transparency. royalty collection and artist protection, laying foundations foi sustainable. fair release pathways as the label grows. 20 lobal Music Adviso Board GAB Project dates= 2020- ongoing Project leads.. In Place of War Chair.. Kim Rowell Project Lead: Ruth Daniel The Global Music Advisory Board IGABI brings t￿ether senior leaders and practitioners from across the global music ecosystem to provide stiategic insight. practical support and industry 8t￿85 to In Pla￿ of Warfs work. Members iepiesent a wide range of disciplines Including technology, live music, labels, publishing, communications, leg81, tn8tkeb"ng. sustainability and education, wilh 8ffili8tions induding Roland. Re¥ident Advisor, Shambala, BMG and other leading organisations. The GAB exists to strengthen In Place of War's impact by mobilising industry expertise in support ol grassroots music organisations and artists working in contexts shaped by conflict, Inequality and dimate crisis. This Indudes supporting the establishment ol new music spatss, distribub.ng equipment, mentoring and capacity building, developing music educ2tion p￿raMMe$, and advising on sustainabilrty and ethical practi￿ wthin the music industry. During June 2024- June 2025, the GAB played a significant en3￿Ing role across multiple In Place ol War prograrnmes. contribLrting tirne, expertise, equiprnent, funding access and high-level advocacy. Engagement took a range of forms, from strategic advi￿ and mentoring through to hands-on delivery, introductions and in-kind donations. Outputs & actlvlty lJune 2024- June 20251: Active participation of GAB members across EarthSoni¢, #Hackmusic, GRRRL and TAKKUUK In-kind equipment and resource mobilisation, induding.. Donation of 30 Ableton Push 2 Lbnlts (Abletonl lor distribution to projects globally Donation of £50k of Roland equlpment and provision of venue spaTr lor the TAKKUUK premiere reception Donation of Teenage Englneerlng equlpment to support Earthsonic Local venues Strategic support and fundraising facilitation. induding". Support en3bling GRRRL'S performance at Glastonbury Festival. induding tunding introduction5 and Intemships at the Terminal 1 stage Auction prizes, space, professional serVi￿S and cash donations contributed by multiple members Mentoring and industry a¢ce38. including. GAB members mentoring organisations wthin #Ha¢kMusic, suth as support to 8lackBox Sounds (Paklstanl and Trackslde Creatlve (South Afrlcal Representatlon anil advocacy, with GA8 members representing In Place ol War at industry events including Amsterdam Dance Event, and participating in panels and public discussions related to Earthsonic and climate-focused work Impa¢t= Within the reporting period, the GAB significantly 3mplified In PlaTr of Warfs capacity. reach and ciedibility. Member contributions unlocked resources and opportunities that would not have been accessible through core funding alone, enabling grassroots organisations and artists to acTrss equipment, mentoring, intemational platforms and professional ￿e￿OrkS. Feedback highlighted the value of In Place ol War's decdonial, listening-led approach, with members citing the organisation's resped for local context and commitment to building with communities rather than Imposing solutions. The GAB also strengthened cross-piogi8rnme coheren￿, helping ￿nnect projects such 8s Earthsonic, #Had(Musi and GRRRL to wider industry ecosystems and public audiences. 21 Beyond tangible outputs, the GAB functioned as a critical strategic sounding board, shaping thinking around organisational storytelling. sustainability, long-tem residencies and ethical Industry practi￿. This support positioned In Place of War to grow its work while retaining its values. human scale and community-led focus. Quote.. "Mhat immediately drew me to In Place of Warwas the organisth"on's respect for local context and its commitment to listening first IPOW doesn't Impose solutions- it builds with communities. Febr1￿0 Nobre, Global Musje Advisory Board member Flnanclal revlew In Place of War CIO continued to draw income from a range of sources during the year. induding trusts and foundations. institutional funders, donations and project inoome. This diversity of income streams remains important to the charity's resilience. Total incorne for the year amounted to £681,01212024'. £441,4￿1. Total expenditure was £584,62312024'. £410,878). resulting in a surplus of £116,389 for the year12024'. surplus of £30.5301. This surplus contributes to In Place ol War's efforts to build reserves that support future projects and strengthen the organisation's long-term financi81 stability. Expenditure during the year primarity related to the delivery of charitable activities, incjuding programme delivery costs, staffing and professional fees. The trustees monitored expenditure carefully in rdation to restricted fundiThJ agreements and organisational capacity. Further detail on income and expenditure Is provided in the Statement of Finanual Activib"es and accompanyi notes. ReseNgs policy The th8rity's ieserves poliw is to ni8intsin free re5etve5 equiv8lent to approximately three rnonths of oper8ting Cost5. in oidei lo meet unforeseen liabilities and manage flu¢knalions in cash flow. At 30 June 2025, the charity held total funds of £228,831, comprising unrestricted funds of £96,317 and restricted funds of £132,514. 01 the unrestricted funds, £96,317 ￿presented free reseNes12024.' £11,065). The ttustees consider the level of reserves * year end to be 8ppropriate in light of planned activity. funding cornmthents and organisational risk. Funding Strategy The trustees continue to pursue a mixed funding strategy, combining support from trusts and foundations, institutional partners, individual donors and industry relationships. During the year, the organisation continued to develop longer- term funding ￿lationShipS and strengthen its fundraising governance and Flanning. The Global Music Industry Advisory Board and other advisory structures continued to support stiategic fundraising. partnership devdopment and advocacy_ 22 Strueturè, govèrnanea and manaoèmènt We have a board ol eleven trustees and our chair is sts'll Sir Richard Mantle. We meet four times across the year. Our trustees are from diverse backgrounds- academics, entrepreneurs and cultural execub"ves. Our management team consists of a CEO and COO, with a supporting team ol project rnanagers. finance managers and a Director of Research and Education. The organisalion is a Charitable Incorporated Organisation. Itwas incorporated on 22 June 201e as a Community Interest Company and converted to a Charitable Incoiporated Organisab"on on 22 March 2019. The tharity was estab115hed by its rx)nstitution which sets out the objects arKI powers of the charity and Its govemance. In Place of War CIO recruits new trustees by identifying gaps in skill sets 8gainst our development strategy and using our nemorks to identify candidates. Candidates are either able to apply for advertised trustee positions or 8ppio3ched and invited to sil on the bo8id. The Iru51ees perform due diligen￿ on each candidate. The new Iruslee5 sit al board levd first and then formally join the board and this is acknowledged in a trustee meeting14 per yearl and registered on the minutes. There gre no constitution81 provisions for appointment Alongside fomal governan￿, In Place ol War is supported by a number of advisory boards that ensure lived experience. artistic practice and sector expertise directty inform strategy and delivery. These Include the Global Music Advisory Board IGABI, an Artist Advisory Board and a Youth Advisory Board. Together, these advisory structures help translate frontline kno￿ledge into organisational learning and public-tscing cultural work. while governance and financial responsibility remain firmly wth the Board ol Trustees. Rdatèd partiès and rèlationships with oth•r organisations In Place of War CIO Is dosety related to and Is united in purpose with In Place ol War USA and In Place Of War, Ireland. but does not share any trustees. In Place of War USA is 8 501c3 organisation and has independent govemance. The main purpose of the USA charity is to raise funds lor In Place of War CIO. Neither charity exerts control over the other or h85 the power to appoint trustees. Transactions In the period between the Iwo entities 8re disdosed in note 10 to the accounts. The Irish entity was established to enable closer links with countries in the European Union so the work of In Place of Wai can caiiied out with greatei ease. Remuneration policy for key management personnel Trustees regularly review remuneration for key management per50nnel,' we are aware that In Place of War CIO currently benchmarks below the martfet In rdation to executive remuneration. This is a live conversation wth the executiv& and rnanagem8nt. who remain fully cofflmitted to th8 org8nis8tion. Trustees have cornmitted to rev18W remuneration as the charity grows. Plans for the futur statèmènt of r•sponsibiliti8s of thè trust•è$ The trustees confirm that they have referred to the guidance contained in the Charity Commission's general guidan on public benefit when ieviewing the airns 8nd object5 and in planning future activitie5 8nd Setting policy for the future. The trustees are responsible for preparing the trustees. annual report and the financial statements in accordance wth aprAicable law and United Kingdom Accounting Standards (United Kingdom Generally A¢￿pted Accounting Practice). 23 Charity law requires the trustees to prepa￿ finanual statements for each financial year which give a true and fair view ol the state of affairs ol the charity and ol the incoming resources and application ol resourTrs ol the charity for that period. In preparing these financial statements, the trustees are required to.. Select suitable accounting policies and then apply them consistendy Observe the methods and principles in the Charities SORP Make judgements and estimates that are reasonable and prudent State whether appli(3ble UK Accounting Standards and staternents of recommended practice have been followed, subject to any rnaterial departures disclosed and explained in the financial statements Prepare the financial statements on the going cOn￿M basis unless rt is inappropriate to presume that the charity ill conts'nue in operation The trustees are responsible for keeping proper accounting records that disclose with reasonable accuracy at any time the financial position of the charity and en8tAe them to ensure that the financial statements comply with the Charities Act 2011. They are also responsible for safeguaiding the assets of the charity and hence for taking reasonable steps for the prevention and detection of traud and othei irregularth"es. The trustees are responsible for the rnainIenan￿ and integrity of the corporate and financial infoim8tion included on the tharity's website. Legislation In th8 United Kingdotn governing the pi8paration and disS8rnination of financial statements may differ from legislation in other jurisdictions. 2210412026 This report W8s approved by the tiuslees on dale ....................................... Richfjrd joh￿ Mowtle and signed on Iheii behalf by Sir Richard Mantle (Chairl 24 IN PLACE OF WAR CIO STATEMENT OF FINANCIAL ACTIVITIES FOR THE YEAR ENDED 30 JUNE 2025 Note Unro¥tri¢t8d Funds R•$tri¢tsd Fund8 Tot•1 Funds Unre5trictsd Funds Restricted Funds Total Furbd5 2025 2026 2025 2024 2024 2024 Incomè and 8ndowm8nt8 from.. Donatsons and grants 362.314 2￿.690 646,004 146.379 2Th,878 424,257 Chanta￿e actiwlies 35.008 35,008 17,149 Total In¢oMo 397.322 2¥3,8YO 681,012 163.528 277,87 441,406 Expendtture on.. Rai￿ng fund5 10.770 10.770 Charits￿e activities 340,228 211,ZS5 551,513 182.066 218,04D 400,106 Total Expendlture 353.338 211,285 564,623 192.826 218,04D 410676 N•t Incomèllox￿ndltur•l for thè y•a 43.984 72,405 118.389 129.3081 59,838 30.530 Transferbetween funds 15 41.267 141,2671 26.071 126,0711 Net movement in fund5 85,252 31,137 116.389 33,767 30.530 Totsi Funds ￿ught fornv8rd 101,377 112,442 14.302 7,810 Tot•1 Furbd8 ¢atr*d forw8td 96.317 132,S14 228,831 11.065 112442 25 IN PLACE OF WAR CIO BALANCE SHEET AS AT 30 JUNE 2025 Not¥ 2025 2024 Fixed assets TaDgiLle assets 167 Cuyyènt assèts Debtors 13 25,157 32.059 Cash at bank and in hand 214,651 83,742 229,8QB Currnnt Ilabl1￿￿9 Creditors aM￿nIS falling duewlhin one year Nel currert assets 228,720 112,27S Total assets lèss Cuffent liabllltles 228,831 112,442 Not •88ots 22B,831 112,442 Total lunds of the char￿Y Restrcted funds 15 132,514 101,377 Unrestrided fiJnds 16 96,317 Total funds 228,831 112,442 In resp8Ctof that financial year. the chprily rnetthe crrtena for audit exemption in aGCOrdance￿llb sedion 144 of the CharrtiesAct 2011. Furthermore, the Ch8rily Cornmission did not directlhat8n Audit be undertAken Unders￿￿On 148 of the ChariliesAc12011. 2210412026 The financial statements wer8 approved bythe Trustses On Rl¢hJrd joh￿ M4Mtle Sir Richard Mantle Chair 26 IN PLACE OF WAR CIO NOTES TO THE FINANCIAL STATEMENTS FOR TrIE YEAR ENDED 30 JUNE 2025 Accounting policies 1.1 8a8rJ of Preparation of financial ststernents The accounts lfrnaDcial slat8menlsl have been prepared In accordaDce wlh the Stalementof ReGomffleThdf￿ PractKe" knounling arbd Reporting by Charities preparing their accoun￿ in aCCDrdance wth the Fin2nci£l Rewrting Stand2rd apK41ca￿e In the UK Ènd Republie of Ireland IFRS 1Q21 issued in October 2019 and the FiDanci?l Reporbng Standard applicaile in the United Kingdom and RepuLlic ol Ireland IFRS 1021 and the charl￿eSAc1 2011 and UK GenerallyAccepled Practi￿ £5 li apFAies from 1 January 2019. The ac¢ouni$ lfinantyal $iatemeni$l have been prepared 10 give 8'true8nd f$ir' view and have departed from the Charities IA¢¢ounts and Reports) R8gL4alions 2008 only lolhe extent required to provide a'lrue and fairvievl. This depathre has invotr¢ed follovving Accountiny 2nd Rewrtino by Charities. StstemeMof Rècommended Prsttits 8pplica￿le ￿ tharibes preparino theiractounts In accordance the Financial Rep)rbng Slarhdard applicaLle in the UK and Republic of Ireland IFRS 10ZI Issued in October 2019 rBlher than the Accounting And Rewrbn9 by Ch8rilies." St81emenl ol Recommended PrActitseffeclive from 1 April 2005 %thich h8S sinct withdrawn. 1.2 Judgménts and èstlmÈtss The trustees have made no keyjutymentsythich have a significani effect on the accounts. The Iruslees do not Gonsid8rlhatlherg are any sources of eslimalion uncertainty?1 th8 reporting dale Ih?I have a wgnific3nl risk of causing a Materi￿ adjus￿entIO the carrying arnountof assets and IL4bililieswilhin ihe next rermmtting penod. 1.3 Golng concern Thg Iruslees mn$iderlhatlhere $re no matenal un¢ert¥inlig$ 8boullhe ¢h8ritabLg tyJnpanl$ 8bilrfy I continue as a going concem. 1.4 Incoming resoU￿e5 Income 15 recognised ￿tten the charity has enlillemenl lothe fund5. any performance corbdilion5 attached lo the Item(51 of Income have been mei, it Is probsble th81 the In¢omewill be re¢eiv¢d $nd the amount ¢8n be me$sured re118Wy. Intome trom governmeni and othergranls, *thether'capilal' grants or'revenue. grants, is reco9nisedwhen the charity h8s enbuemenl lo the funds, any perfortn?ncp mnditions ?ttached lo Ihp grants have met, il Is probable Ih*lhe Incotnpvill rewved and the amount can be measured reliaLly and 15 not deferred. Income received in advance of a provi61(￿ of ? speoyfied setvice is defeTred until the cDteria for income recognition Are met 1.5 Interest receNable Interest on funds held on dewsil is Included when rpLeivatrle and Ihe Bmounican be rneasured rdiably by the charity,. this is normally upon n¢iifi¢aiion of th# intsrtrsi p8id or pay8tl$ byth6 Bank. 1.6 Fund o¢¢ounting Unre5tr1eted funds are Avail8ble lo spend on acti¥ilie5 th81 further any of the purp05es of ch8rity. Designated funds are unresthcted funds olthe chantymthlth the Iruslees hav8 deoded al their diBuelion to setasideto use fora srEcifiC purKM)gè Reslncted funds are donalionswhich ihedonor has sp8cified are to be solEly used forpartlcu￿rarfas of the charity's work orfor swific projects being undertaken ty the ch8rily. 27 IN PLACE OF WAR CIO NOTES TO THE FINANCIAL STATEMENTS FOR TrIE YEAR ENDED 30 JUNE 2025 Accounting policies l£ontinued} 1.7 Expenditure and irrecoverable VAT Expenditure 15 recognised orbce there Is a lega or constructive O￿lgatiOn lo make a payrnenl lo a third party. il is probaNe that setllemenl ￿111 bè required 8nd the amount of the o￿￿1g8110n can be measured rdiably. Expenditure is dassifi8d under 1hefd1o￿i￿g acbvity headings. Expenditure on charilatrAe actsvilies indude5 the costs of activities undertaken tofurther the PUTposesof the charity and their as￿l￿ted $upport ¢osi Other expenditure represents those Items notfalling Into any other heading. IrrecoverAtrAe VAT Is charged 8s a c05tag8insl the activity fOr￿ICh the expenditure was Incurred. 1.8 Opwr8tlng18Èsè8 Operating leases are leases in which Ihetiue lo the a¥sels, and the risks and r8wards of ownership, remainNth the le8￿￿. Rental charges are charged on a straight line basis over Iheierm of the lease. 1.9 Tangible fixed assets Individual fixed assets costing £500 or more are capilalised al cost and aredepreciAted 0￿r their estirnAted useful economic lives on siraiyht line b¥sis a$ fdlows". Equipment 33% 1.10 Debtors Trade and other debiof5 are reco9nised al the setlefflentamountdueafter any trade dis¢J￿nI oftered. P￿PsYmenls are ￿l￿ed al ihe atnDunl prepaid nel of any trade di¥munts due. 1.11 credito￿ and prOV￿10￿S Creditor$ 8nd provi$ion$ 8re ￿¢¢gnised where the th$niy ha$ 8 pESent0￿119¥￿0n resu￿￿9 from a pa$1 event th8t wll probatly r¢$u In the transfer of funds ID a third party and the amount due lo setue the obligation can be measured Dreslimaled rel13￿y. Creditors and provisions a￿ normally recognised al their settlement amouni arter allowno for irade discounts due 1.12 Financial instruments The ch8rily only has finawal assets 8nd financial Iiabililies Df a kind that qu2lify as basit financi21 Instrumen￿ B83ic financi81 inslruTnenls are inili3lly recognised attransaction value and subsequently measured atlh8irsetUetnenl v3tyJe with the exc8ptioD of baDk loans which 8re subsequenuy measured al amorrised cost using Ihe effective In￿reSt method. LegAI ststus The ch8rily is a charit£￿e Ineorwraled orgBnisalion registered wlh Ihe Ch£rily Commisssion In the Unl￿d Kingdom IEngland and Wales) 8nd h$s no sh8re caprtal. In the event ol the tharity ￿1￿9 wound up. ol the CIO h8ve no liability to ¢Ontributeto ils assets and Tbo personal responsibilityfor settling its debts and liabilities. 2S IN PLACE OF WAR CIO NOTES TO THE FINANCIAL STATEMENTS FOR TrIE YEAR ENDED 30 JUNE 2025 Income from donathins and12gacies Unrestrfeted fund8 Restrlcted funds Total funds 2025 Vnrestii¢t¢d lunds Restrid¢d funds TOW luna$ 2024 Donations 189,031 193.283 168.031 70.378 7,500 270.378 77,879 346.378 Grants 283.690 476.973 76.000 Total 382,314 283,890 646,004 146.379 277 878 424,257 Incomè from chArftablè Unrestricted funds R￿triCtsd funds Total fund 2025 Ufireslricted funds Restricted funds Totd funds 2024 Servi¢s$ 24,208 10,800 24,20B 10,BOO 8.940 8.209 8,940 8,209 Other Ir￿me Totsi 35,008 35,008 17,149 17,149 ¢0st of raising funds Unrestricted fund5 Restricted runds Total funds 2025 Vn￿thCted funds Re5tr1Cted fund$ Totd funds 2024 Fundrai$ing eMpen$e$ 10.770 10,770 29 IN PLACE OF WAR CIO NOTES TO THE FINANCIAL STATEMENTS FOR TrIE YEAR ENDED 30 JUNE 2025 Anatysis of expenditure charitable activities 2025 2024 AccountsnGy$nd bow)kkeepiny Adverb$ing 8nd promoiional Arrist th)mmissitsn 6,225 60,576 12.010 17,224 B2d debts 3,133 88nk ch8rge5 CharIta￿e donati￿S 2.868 3.750 Cornpuierequipmenl and sofiware ¢￿Su1￿￿¢Y Depre¢i8lion Gen8ral Expen$e$ Grsnt is$ued to organi$ation$- see nots 7 Insuran￿ £nd legal offi￿ costs 6,174 32,068 4,064 36,494 499 7,512 42,194 7,232 240 447 15.269 4.360 Office rental 4,558 3,490 Programme development Staff costs 20.107 14.300 210,454 8,964 72,286 287,fj11 Training Tra￿ 8nd 8ubsi$ten¢e 3,025 551,513 400,106 Restrictèd expenditure Unrestricted expenditure 211,285 340.228 218040 182066 400106 paid During the year, thethariiyawsrded orants totslling £42 194 in supwrt of s range ol chant8blÈ causes In furtherancè of ita objects ITotsi grant payments 2024". £240 to CorpDr?cion Eletnen to facilrtale a workshop ID La Huertal. Indgpondent Examin*rf$ R¥muntrration Independentexaffliner's fee5. 2025 2024 Accountancy Independentexafflinabo 1 620 300 30 IN PLACE OF WAR CIO NOTES TO THE FINANCIAL STATEMENTS FOR TrIE YEAR ENDED 30 JUNE 2025 Staff costs 2025 2024 staff ¢o$is during th8 yoarwsr&88 folltyws Wages and splaries i?1 security costs Employ#r pension Freelan¢¢ ¢osi$ 113,302 3,254 74,167 1,680 169,735 134315 287,fj11 211,483 lO￿ted as follDW3'. Charitable activities 287.611 211 483 2B7,611 211,483 Noemployee reThved empbyee benefits In excess of £60.00012024' Nill. The average nufflberof staff employed durirbg the peri(￿ was 312024. 11. Th& k#y m8nag6msni p￿r￿n81 of Iht ¢hanty ¢ompris* th$ Iru$i608 8nd the Chi6f Ex8¢uliv6 Offi¢tr. Th6 Iotsi wpbyes tw&fil$ of th6 k&y rnarHgernent ofth8 charity w8r8 £65.000 12024. £65.5001. io Trustee remuneration and exppnses, and related party transactions One Iruslee re￿ived travel and 5ub51stefi￿g￿￿Se5 dunng the yearof £1,376 12024. £2,210). Aooreo£le donations frorn rdaled parries were£NIL12024' £NILI. In Pla￿ of War USA is registsred In the USA as a 501lcll31 organistion. The organisAlion Is dosdy related lo In Pla￿ of War UKand Is united In purpose bui doe¥ not haveiru$iee$ In ¢ommon. Neilhèrorg8nissiion exerts ¢onirol overihe Other nty doe$ tylher organi$abon have the powerlo appoint Iruslees forlhe other. In Haceof War UK received £43.520 12024. £NILI In fuDdraised Incotme from In Plac8 of War US In PlaTrof War Irdand is registered in Ir4?nd like the USA organisabon is uDi18d in purpose and prowdes the QPPOrtunityto work acrDss the European Union. 11 does not have trustees In comrnon and doe5 not exert control of the UKcharity. Neitherorganisabon has the poV￿r lo 8ppoini IDJ$lpes forihp Olhw. During the year, In Pla¢$ of War UKdid not rt¢8iv8 any Incomtfrom In Pla¢t ol War I￿￿nd(2D24 £18,467) In Place of War Irdand owed In Place of War UK £21.860 as al the year end12024 £8.4671. There are no donations frotn rdaled pathes bthith are outside the noTrnal course of businessand rw) reslnGtsd donations from related Part￿5. Olherthan the abov8. no Iruslee or other per%)n rdaled lolhe charity had any Interest in anycontract or transacbon entered Into by the charity, Induding guarantees, during the year12024. nill. IN PLACE OF WAR CIO NOTES TO THE FINANCIAL STATEMENTS FOR TrIE YEAR ENDED 30 JUNE 2025 Tangible Fixed Assets Cost At 1 July 2024 Addilicns 4.333 AI 20 Jun# 2025 4,233 Depreciation At 1 July 2024 Charge forih8 year 4.167 At 30 June 202S 4,222 Net boo* value At 30 Junè 202S At 30 June 2024 167 12 CO￿OratIOn tax The charity Is exemptfrom taxofi income afid gainsfalliw wlhin Chapter 3 of Part 11 Df the CorpDration Tax Act 2010 or Sethon 256 of the Taxation of Ch8rgeable Gain5 Aci 1992 to the extent IhBI these are APFlied lo ils charita￿e objects. No lax charges have arisen In Ihechariiy. 13 Debtors 2D25 2024 Trade debtors 827 1,092 Other d8btor8 Prepayments and 3￿rUe￿ Income Totsi 24.330 30,967 25,157 32,059 14 Creditors.. arnounts falling due within onpyear 2025 2024 Trade creditors 6.993 Other creditors and accTuals 4,096 3,526 Tax and socia security 11.088 3.526 32 IN PLACE OF WAR CIO NOTES TO THE FINANCIAL STATEMENTS FOR TrIE YEAR ENDED 30 JUNE 2025 15 Anatysi8 of movements in restricteil funds Curfont yo•r Bwlancp at l ju￿ 2024 lth¢om Exponditur• Tt•rtsfors Balance at 30June 2025 Charitable actiwties The Linbury Tru$i- proie¢t manager 100 Agents of Ch8ngÈ M¥llJ CASE 14,94 62,218 39,802 34,847 42,000 38.190 12,0591 6,699 13,577 22,$41 7,671 134,0751 155.5771 Earth8￿1¢ E2rth Sonic Local Arts Coun￿1 RiseAbove Development Arcadia Reath C.l.C 23,211 15.000 23.850 10,815 RAD Linbury Finl Grant yanTnar Music Sumtnil MLT Org¥ni581ion81 70.000 14.8001 12,7201 16,3061 65.200 8,QOO 5,280 12,000 5,692 Total 101.3TT 283.690 132.514 Previous year Balan¢e ai 01 July 2023 B$lan¢$ 8130 June 2024 Income Expendi￿re Tr8nsfers CharitaLle 3cbvilies The Linbury Tru$i- project m$nager 100 Aoenis of ¢h8nge 1Am L£vender Hill 47,828 7,000 133,7E5 5.000 139.6781 170.5671 14,948 63,218 2,758 1S,128 17,7581 124,7841 MAlla CASE 43.973 134.3351 Mark Leonard Trust- C3rkw)n LileraGy 2,1DD Earthsonic 45.000 154.4481 9.448 RiseAbove Devebpfflenl Nordic Women Musi¢ Leadership Training Behavjour Charbge Interventions To￿1 40,000 23,211 3.000 13,0001 120 67.S10 277.878 101.377 33 IN PLACE OF WAR CIO NOTES TO THE FINANCIAL STATEMENTS FOR TrIE YEAR ENDED 30 JUNE 2025 15 Anatysis of movements in re5th¢ted funds- Icontinuedl Name of restricted Funil Description. naturp and pu￿05e￿ ofthe fund A UK prDject Supp￿l￿g 100 01 the most rnargiD8lised young p8ople ID develDp agencylhrough the arts. 100 Agents of Change l Am Lavender Hill Funding towardsthe Lavender Hill Utban Oaws CommuDityArts CeDtre. Creatin9 8 be$poke enl¢p¢neuri4 pwgramme based on fo¢u8 9￿p$WIth l¢¢al M￿leS¢ creabves. Malla CASE Mark L￿ard Tru51- eBrbon Literary Training Atrainirbg programme to Improve carL¥>n Iileracyddivered during the year A programme hosting music con￿rtS In disappearing due lo dimale change, workiw with Indiyewus musi¢ians and hiyhlighling the ¢onne¢tion between enwronmenial b￿akdo¥¥Th and local communitie5. E8rthSoniC RiseAbove Deveh)prnent N(￿di¢ Women Music Leadership Supporting the Rise Above tlevdopmenl. a (x)rnmunity venue being built in CApeTovm. Aleadership training progratnme held a0￿08& ke￿nd. 16 Anatysis of movements in unrestricted fund8 uwront yoar Balance at 1 July 2024 Expenditure Transfers Balance at 30June 2025 General fund 11,085 397.322 1353.3381 41 267 96,317 Previous year Balance al 01 July 2023 Income Exp8nditure Transfers Balanc8 al 30 June 2D24 Genèral fund 14,302 163,528 28 071 11,08S Nam• of unrostrlctèd Fund Dèscrlptlon, natur• and puYpos•s of th• fund The free resen￿ afterallO￿ng lor all designated funds. Genèral fund IN PLACE OF WAR CIO NOTES TO THE FINANCIAL STATEMENTS FOR TrIE YEAR ENDED 30 JUNE 2025 17 Anatysis of net assets bet￿eTh lunds Cuwrent year General fund Designated funds Restricted funds Totsl 2025 Tangl￿e fixed assets Nel current assetsllliabililies Totsi Previous year Gener81 fund Dewgnated funds Restricted funds TO1￿ 2024 TangiLle fixed assets Nel currpnl 8ssetsllliabililiesl Total 167 167 10,898 101,377 112,275 11.065 101.377 112.442 35 Règistered Charrty Number.. 1182594 IN PLACE OF IN PLACE OF WAR CIO TRUSTEES, REPORT AND FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2025 IN PLACE OF WAR CIO CONTENTS Page Refer¢n¢e and admini$trativ¢ infomiation TNstees' Report Statèmènt of financial aetivitiès 25 Balance sheet 26 Notas to thè flnanclal stat•mènts 27-35 IN PLACE OF WAR CIO REFERENCE AND ADMINISTRATIVE INFORMATION Trustèès Sir Richard Mande- Chair Torn Shoie Nadia Khan Martin Bremner (appointed 21 March 20251 Maria Ad)Illeos (appointed 21 March 20251 J8rnes Thompson George Adelman13ppointed 21 March 20251 Darren Cormack Claire O'Neill (appointed 17 December 20241 Celena Nair (appointed 18 March 20251 Anna Berenfeld Charity Registration Number 1182594 Key Management Personnel Ruth Daniel (Chief Executivel Principal Otrice First Floor Swan Buildings 20 Swan Street Manchester m4￿w Independent Examlner Bowdon Accounting Services Ltd. Bartle House Oxford Court Manchester M2 3wa Bank Triodos Bank, Deanery Road, Bristol, United ￿'ngdoM Trust￿$, Annual R•port For the year ended 30 June 2025 The trustees present their report and the unaudited financial statements ol In Place ol War CIO for the year ended 30 June 2025. Reference and 8drninisti8live inform8tion sel out on p8ge 1 forms part of this report. The 5t8letnents cornply th c￿[rent statutory requirements, the charity's oonstitub.on and the Ststement of RecDmrnended PraCtI￿- Ao¢ounting and R8POrting by Ghoritl8s {FRS 102). Purpose8 and aims The object ol the CIO is to advance in life and help young people, particularly those living in sites ol war, revolution, conflict arbd human rights abuses and amongst those whose lives have been adversely affected by war. revolution, conflict or human rights abuses through the mediurn of art providing support and activities which develop their skills. capacities and capabilities to enable them to participate in society as mature and responsib￿ individuals. In Place of War CIO'S main activities.. We work in conflict situations across 26 countries, primarily in Africa, the Middle East. Latin America 3nd the Balkans. Through 8n iterative gpproaGh of piactice backed by and info￿l￿g robust academic research, we support grassroots change-makers through 3 strategic pillars.. Conflict Climate Change Social Injustice Through the development of Cultural spa￿$.. we support communities to develop sale creative Spa￿$, partscularty targeting youth Educaty"on and entrepreneurialisrn." we provide 8 University-certified 'Train the Tr8iner' programme that enables young entrepreneurs to set up new creats.ve businesses. We also have an altemative education programme called 100 Creative Agents of Change, which helps young people unlock their agency and exchange with change-makers across the worfd, to design and implement their own creative advocacy projects. Artistic collaboration." we pro￿de performan￿ opportunities for women musicians of colour, and theatre training and community performance with able-bodied and disabled actors. Conflict and Climate.. we have a new project called Earthsonic. using music to tell the siories of climate change to inspire personal and systemic action, espeaally focused around sharing the stories ol where conflict is affecting climate change. The ttustees reviewthe 8irns. objectives and artivities of the charity each year. This report looks 8t what the th8rity has achieved and the outcomes of its work in the reporting period. The trustees report the success ol each key activity and the benefits the charity has brought to those groups of people that it Is set up to help. The ￿VIeW also helps the trustees ensure the charity's aims. objectives and activities remain focused on its staled purposes. The trustees have referred to the guidance contained in the Charity Commission's general guidanTr on public benefit when reviewing the charity's aims and objectives and in planning its future activities. In particular, the trustees consider how planned sctivib.es will contribute to the aims and objectives that have been set. AchievernentB and performance The charity's main activities and who It tries to help are described below. I￿1 its charitable activities locus on lasting social change and are undertaken to further In pla￿ of W8r CIO charity's charitable purposes for the public benefit. Key areas of activity during the year induded". Ongoing support to grassroots culiural organisations through training. rnentoring. equipment provision and small-scale grants. Continued delivery and devdopment ol the Earthsonic programrne, using Music and sound to communicate the impacts of climate change and engage young people in creative climate action. Delivery of education and capaaty-building programmes designed to strengthen leadership, sustainability and organisational resilience among artists and cultural practitioners. International and UK-based exchanges, residencies and leaming programmes that facilitated peer learning, collaboration and knO￿edge exchange across borders. Where projects concluded during the year, outcomes were reviewed and learning c8Ptured to inform future prograrnme design. New projects initiated during the period focused on deepening partnerships, strengthening govemance and embedding environmental and access considerations across the organisats'on's worf(. The trustees consi(ler that the charity conb.nued to deliver public benefit through these activities by expanding a￿esS to cultural participation, supporting livdihoods. strengthening community infrastructure and amplifying under- represented Vol￿8. Proj•et by Proj•ct braakdovm Earthsoni whole ramme overview Project dates: September 2023- ongoing Project leads.. Ruth Daniel, Saria Tourbah Earthsonic is In Pla￿ of War's overarching dimate programme, using music and sound to tell the story of climate change in ways that are human, ernotional and grounded in lived experience. The programme responds to a wdening gap between dimate science and public engagement, recognising that data alone is not enough to create understanding, empathy or action. Earthsonic brings together artists, suentists, Indigenous communities and grassroots organisers to translate ecological change into sound, story and shared cuttural experien￿. During June 2024- June 2025. Earthsonic operated as a Mult￿$t19￿d progr8rnrne spanning sound archiwng. artist development, education. place-based delivery and putAic engagement. Activity in this peiiod focused on strengthening lon*terrn infrastruoture Ip8rticul8rfy the Sounds Archivel, piloting new partiupation pathways for young people and artists facing barriers. and developing major creative works that would18ter reach public audiences. This was also a consolidation year. ernbedding care-led, ethical collaboration models across all Earthsonic strands. Across the programme, Earthsonic prioritised access, dignity and agency. Work was designed to redistribute resources. knowledge and visibility towards those c105e5t to climate disruption. while building platforms that Ixn sustain creative and educational activity beyond individual proieds or funding cydes. Outputs & activity lJune 2024- June 202SI: Delivery and coordination ol multiple Earthsonic sub-projects (Archive, Fund, Futures, Local, Live and creative commissions) Development and application of ethical frameworks for sound collection and artist collaboration Programme management across UK and intemational partners Integiation of creative piactice, climate edutstion and public engagement Impact= Earthsonic continued lo estsblish itself as a credible interd1￿1p1in3ry model for climate 51orytelling through rnusia During the period, it strengthened cross-seclor ￿latIOnShipS be￿en artists and environmental experts, supported early-stage creative work that would later reach large audiences, and invested in infrastructure that enables sustained partiapation rather than one-off interventions. Sounds Archive Project dates: Ongoing Project lead: Merfyn Driver The Earthsonic Sounds Archive docurnents. preserves and activates sounds of the Earth and clirnate change from 8round the world. It functions as a core piece of infrastiuctuie for the Earthsonic piogiarnme. providing ethically Soul￿d environrnenl81 recoidings th81 enatje musiGians, young people and communities to engage Gre8lively wth climate change. biodiversity Ios5 and ecological storytelling through sound. During June 2024- June 2025, the Sounds Archive deliver&J activity across four interconnected areas.. publication of curated Sound Banks, dired support for music projects, mentoring and skills development. and public actsss. Four curated SoLJnd Banks were PLJblished in collaboration with partners Including Sound of the Year Awards, RSPB. Xèno Canto and sound recordist Izabela Dluzyk, with two further Sound Banks (Earthsonic FLJnd and Sounds of Firel developed foi release in eady 2026. The Archive directly supported mU￿pIe music rdeases during the period. Sounds from the Archive were sampled across every track of The Last Scream album, as well as two singles from The Last ScRam Vol. 2, each accompanied by speaes-led online storytelling. Additional sound collections were curated to support projects including Flow, Sailing the Sonic Sea, Natural Connections (Myanmar) and the developing Sounds of Conflict project. Alongside cr8atlV8 d&liv8ry. th8 Archiv8 played a c8ntral ro18 in mentoring and skills developm8nt. Young p80pI8 re￿iVed guidance In sound recoiding and 8rchiving through th8 Earthsonic Fund and Earthsonic Future5, Wlth wid8r skills sUPPOrt delivered vi3 Earthsonic Local and Earthsonic Live. In mid-2025, the Archive was op8n8d to the public. enabling tree sound downloads and submissions via Soundcloud. Development also began on the Earthsonlc Radio concept. laying the groun(knork lor expanded public engagement from 2026. Outputs & activity lJun• 2024- Juna 20251= 4 Sound Banks putlished Iwth 2 8ddition81 banks prepared for 20261 Support for 2 albums and 2 singles U51ng archive sounds 19 sound collections comprising 1,000+ sound files Sounds from 130+ confimied species, induding 11 extlnct specles 12 young people from three continents receiving direct mentoring Hundreds more supported indirectly via Earthsonic Local and Live Audièncè & èngag•mènt= 2,568 Sounds Archive webpage views 86,887 social media views across Sounds Archive content Sound Banks a¢￿ssed in 50+ countrles 96 public sound downloads 2 public sound submissions Impact= The Sounds Arthive became a core enabling platform for Earthsonic. direcdy underpinning creative production, educ2tion and public engagement By making selected sounds freely available, the Archive encouraged musicians and the public to incorporate environmental sound into creative practice. wth downloads exceeding expectations destyte minimal promotion. Mentoring activity delivered particularly strong impact, equipping young people with technical, creative and transferable skills. One Earthsonic Fund participant secured direct employment as a result of their involvement. Engagement data showed that sound-led content, especially collaborative posts with athsts and partner organisations, achieved high reach and significantty extended Earthsonic's audiences. Quote.. "Listening closely to the environment through recording changed how l understand my relationship to nature.. Participant arthson Project dates: December 2024- ongoing Project lead= Medyn Driver Partner.. Roland The EarthSoni¢ Fund is a largeled micro-funding and mentoring programme designed to widen access lo n8ture sound recording for Global Majority young people (aged 18-301 tscing barriers linked to conflict, dimate change and social injustice. Delivered in partnership wth Roland and the Sound of the Year Awards. the Fund equip5 participants wth tools, skills and confidence to explore nature sound recording as a creative and professional pathway, while contributing new sounds to the Earthsonic ecosystem. During June 2024- June 2025, the Earthsonic Fund moved into adive ddivery. Six recipients were selected in cooidin3tion wth trusted gias5roots cultural org3n15ations across tnultiple region5. Each participant received a nature sound recording kit IRoland R-07 recorder. he3dphones 3nd windshield) alongside 3 £500 microgrant, typically sh8ied beb￿een the participant and their partner organisation. Participants were supported through structU18d rnentoring. technical guidance and documentation, with training covering sound recording practiTr, metadata. archiving and ethical fi'eld recording. Support was delivered primarily online, with In-person field mentoring provided where possible. induding ongoing support lor the Helsinki-based participant EduGational materials were developed and translated into participants, languages. and participant profiles were shared via the Earthsonic website and social media. AJI participants were supported to prepare recordings for submission to the Sound of thè Yèar Awards In 2026. Outputs & actlvlty lJune 2024- June 20251: 6 young ￿0p1a support•d across West Papua Ilndonesial. Ecuador, Colombia. Finland and the UK 6 sound recording equipmènt bundlès distributed 6 mierogrants of £500 Issued At least 30 minutes of sound rèeordings submitted by 5 partiapants lequipment delays affected one patticip3nti Hundreds of individual sound recordings collected, most with detailed rnetadata Soundscapes recorded across rainforest, coastal, waterfall, national park and bIc￿1Verse reserve environments Audlence & engagement: 579 views across Earthsonic Fund webpages 15,015 Instagratn views across Earthstsnic Fund content 1,991 TikTok views on a single Fund-related reel Impact= The Earthsonic Fund SUC￿$sfullY introduced participants lo nature soundscape recording. building highly transferable creative and technical skills. Participant feedback indicated in￿eased confidence, deeper connection to local environments and strengthened interest in environrnentsl action. A significant and unexpected outcome was the dirèct èmploymènt of on• participant, Inti Manobanda Manobanda. who worked as a digital content creator with partnei organisation El T•rr•no (Ecuadorl for sever months as a direct result of skills developed through the Fund. Pattiapants. recoidings will also contribute to future Sound Banks and Eathsonic projeGts. extending the impact of the programme beyond its immediate ddivery period. Engagement data showed particularty strong performance for collaborative posts featuring partiapants, reinforcing the value of centring young voices and lived experience within dimate and biodiversity storytelling. Quote.. Walking with the microphone in hand is a form ol connection. It has taught me to stop, to tune my ears. and to respect the rhythm ol the mountain.. Earthsonic Fundp8rticipant TAKKUUK Project dates= 2023- ongoing Project lead= Ruth Daniel, Partnèrs.. BICEP. Zak Norman Ivisual artist)," Charlie Miller Ifilmmakerl, Ninja Tune TAKKUUK is an irnmersive audio-wsual film, installation and touring project created by BICEP in collaboration wth In Place ol War and Earthsonic. The project ￿ntre$ Indigenous artists from the Arctic region, weaving perspectives on culture. language, identsty, colonialism and environmental change into a globally accessible cultural work that connects climate change to lived experience. During Junè 2024- June 2025, TAKKUUK was in its final dèvèlopmant and pr•-launch phasè. Activity during this period focused on pioduction, coordinab.on and preparation for pU￿1C launch. as the project evolved from Concept into a completed filrr and installation. This induded creative development with artists and Collaborators. finalisation of audiovisu818ssetS, Partnership coordination. and planning for launch, comrnunications and touring activity. The work undertaken during this period laid the foundations for TAKKUUK'S public premiere and wider dissemination, which took place after the end of the reportlng perlod. Outputs & activity lJune 2024- June 20251= Completion ol the TAKKUUK film and installation content Finalisation of soundtrack material in preparation for release Partnership development and coordinats.on with artists, labels and venues Planning and preparation for public launch, communications and touring Development ol participab.on pathways linking aLJdiences to Earthsonic's ￿der work Impact= Within the reporting period. TAKKUUK represented a significant strategic investment ft>r Earthsonic. positioning the programme to deliver its most ambitious public-facing work to date. The project strengthened partnerships with internationally recognised artists and collaborators. elevated Indigenous4ed climate storytelling wthin Earthsonic's portfrAio. and expanded organisational capauty to ddiver large-scale. cross-platform cultural projects. The development WO￿ undertaken during this phase ensured trat TAKKUUK was prepared lo reach wide international audienTrs and to convert cultural engagement into deeper participation through Earthsonic's movement and calls to action once publidy launched. Project dates= January 2025- ongoing Project leads.. Mertyn Driver, Holly Johnson Fontanelli The Last Scream is a music and storytelling series built from rare and urgent biodiversity ￿e0rdIngS. Including the last known recoidings of extinct Species alongside sounds of endangeied and nevdy discovered species. Working wth biologists. sound recordists and specialist archives. the project brings biodiveisity loss and extinction into cuKuial Spa￿ through music. using sound as a bridge between wenlific knowledge and public engagement During June 2024- June 2025, The Last Scream moved into active delivery. combining sound sourcing, rights and licensing, artist collaboration, research and release management. The team sourced recordings from scientists and specialist arthives, secu￿￿ permissions through li￿nCe agreements. curated sound collections for artists, and managed associated administmtion inclLiding rights and royalty flows. Aongside the music, the project delivered substantial editorial and storytelling outPLit, Including species research, track-level narratives, and artist and species profiles published across the Earthsonic website and soo81 ch8nnds. Key milestones during the period induded the release of The L8sf SGre8m Vol. 7 album in February 2025, preceded by the single TIK TIK TIK. Work on Vol. 2 also began during the reporting period, with the release of Poq in April 2025 and continued curation and mastering across the year. Outputs & aetivity lJun• 2024- Juna 20251= 1 album released (The L8St SC￿eM Vol. 11 3 singles released11 from Vol. 1." 2 trom Vol. 2 activity) Collaboration with 18 artists lincluding at least 7 new to Earthsonicl Major archive partnership with Fonoteca Neotroplcal Jacques Vlelllard IUNICAMP, Brazlll New connections with additional archives, InstitLrtions, scients.sts and recordists Track-level storytelling, editorial content and artisvspeaes profiles published Audien¢e & engagement= 38,098 total streams across all releases 33,000+ streams lor the single Poq alone 86,663 Instagram vlews across Ihe Last Scream content Impa¢t= Th8 Last Sor88m significanyy expanded E8rthSonic's oreatwe 8nd scientific network, enaNing deep collaboration between artists. 8rchives and biodiversity specialists. The project successfully tianslated cornplex ecological issues into a¢￿SSIble cultural outputs, bringing extincts'on and biodiversity105S to glob81 musi¢ audien￿$. Performance data demonstrated the Importan￿ ol dear, specific storytelling. The strong response to Poq which significantly outyierfoimed eadier ielea5es showed that track-level narrative and species context direclly drive listener engagetnent and playlisting. This Insight informed a strategic shift toward regular, story-led single releases. building sustained attention over time rather than relying on albutn-only launches. Quot•'. I came together wth friends and 8cquaintanTrs. 1018ment the extinGtion of this biid. I wanted to support this iniliats've to awaken the conscience to respect and take care of our e￿syStemS and Mother Earth." Ch'umilkaj, artist Earthsonlc Local Project date8= May 2025- ongoing Project lead8'. Hannah Overton & Rozenn Logan Earthsonlc Local is a plac&based education and skills programme delivered in partnership wth grassroots rnusic venues across England. The project supports young people aged 1UO to develop skills in musi>rnaking, sound recording and environmental storytelling, while increasing knowledge of climate change and local biodiversity. By embedding delivery wthin local venues. Earthsonic Local stiengthens grassioot5 Infiasttudure, itnproves access to creab.ve production. and supports IotrAlly rooted dirnate engagetnent. During June 2024- June 2025, Earthsonic Local was in its development and mobilisation phase, with actwity beginning in May 2025. Work during this period focused on curriculum development. partner engagernent and delivery planning. A structured four-module programme was developed, covering dimate and biodiversity. music and environmentalism, sound recording and archiving, and practical music-making. Venue partners were onboarded, delivery models refined, and equipment and software support secured in preparation for in-person delivery beginning later in 2025. While workshops weie ddwered after the end of the reporting period, the work undertsken during this phase established the operational. educational and partnership foundati(￿$ required for pr￿[8￿Me rollout. Outputs & activity lJun• 2024- Juna 20251= Development of a new four-module climate and music education programm8 Onboaiding of gr35SlOOts venue partners 3cross England Delivery ￿annIng for in-person workshops Flow Project date8= June 2025- ongoing Project leads.. Nikita Llerena. Ruth Daniel Flow tells the story of the dimate crisis through water and women's Vol￿$, using music and storytelling to amplify experien￿$ ol drought, flooding, displacement and environmental disruption. The project cent￿S women arts.sts and frontline perspectives, recognising that the majority of climate impacts are water-related and that women are disproportionately affected. During June 2024- June 2025. Flow entered its initial mobilisation and devdopment phase. formally beginning in June 2025. Activity wthin this reporting window focused on establishing the collaboration and confirrning artists lartists and collaborators engaged at this stage included Shingai, Sohini Alam. Keila, Jaloo. Bebé Salvego. Nadlne Shah, and Madame Gandhll, aligning artistic direction ahead of ￿earSalS, recording and public delivery at COP in the subsequent period. Outputs & aetivity lJun• 2024- Junè 20251= Project mobilisation and start-up activity lJune 20251 Initial artist confirmats'on, alignment and creative ￿ann1Trg Narrab"ve and collaboration framework development Sailin the Sonie Sèa Project dates: March 2025- ongoing Project leads.. Earthsonic Team, in colLqboration with the University ol Victoria Partners.. Sonic Sea Symposium (University olvictorial". Indigenous partners., o￿an Ne￿rkS Canada Salllng the Sonlc Sea is a research-led, place-based music and listening project developed wth the University ol Victoria's Sonic Sea Symposium and Indigenous partners. The project ￿ntreS listening as both method and message, using underwater sound to explore ecological change while honouring Indigenous relationships with land, w8ler and all beings. Through ethical collaboi8tion between Indigenous knowledge holders. soho18rs. musici8ns. students and intemational composers. the project connects environmental research with Greative practi￿ and cultural storytelling. During June 2024- June 2025, Sailing the Sonic Sea moved into active ddivery. Planning began in March 2025, leading to the Sonlc Sea Symposlum held from M June 2025 in Victoria, British Columbia and on the Salish Sea. Earthsonic supported the symposium through documentab.on and storytelling. wth audio-visual material captured to support n8tr8tive development and future releases. In parallel, Earthsonic and the University of Victoria issued an international open call inviting composers. musicians. students and creative practitioners to create new work using underwater recordings provided by Ocean Ne￿￿Tk$ Canada. Submissions were reviewed and curated following the symposium, with selected works forrning the basis of an initial EP. Earthsonic also began coordinating curation, agreements, metadata and production planning for future releases. OutPLrts & activity lJune 2024- June 20251= Delivery of a multl4ay Sonlc Sea Symposlum IS-8 June 20251 featuring hydrophone listening. collaborative storytelling and music-making Underwater soundscape recordings captured alongside video and photographic d￿mentatIOn International open call for compositions using Ocean Networks Canada underwater recordings 23 music submissions retsived to date. forming the basis of an initial EP Initial EP prepa￿￿, with a full-length album in development for future release Impact- Within the reporting period, Sailing the Sonic Sea successfully activated a model of ethical. place-based collaboration linking academic research, Indigenous knowledge and musi¢ creation. The strong response to the open call, reflected in the volume and diversity ol submissions, demonstrated the project's ability to stimulate meaningful artith"c engagement wth climate change, ocean listening and place. The pmjed also strengthened Earthsonic's rÈsÈarch partnerships and expanded its capacity to work wth environmental data and underwater sound 85 creative m8teiial. By embedding Indigenous peispectives and research-led listening practices at the core of the projeot. Sailing the Sonic Sea established a culturally grounded pathway foi future public engagement through music and sound once ieleases ale launched. Natural Connèctions Project dates= January 2025- ongoing Project leads.. Jenna Mackle Partners.. Gitameit Music Institute Imyanmarl Natural Connectlons is an international music collaboration betrween the UK and Myanmar ex￿OrIng dimate change through sound. Delivered as part of Earthsonic, the project brings together UK electronic musitsans, Myanmai traditional musiaans and community members to create new music using environmental soundscapes from dimate- affected region5 of Myanmar. The project combines dimate storytelling, cultural preservation and cross-Cu￿u[al coll8boration, while oonlribuling new materi81 lo E8rthSonic's glob81 sound 3rGhive. During June 2024- June 2025, Natural Connections was in its actlve research. recordlng and partnershlp phase. Planning and coordination took pla￿ early in 2025, followed by the collection ol environmental soundscapes by 11 community members in Myanmar. These recordings captured local environments affected by dimate change and formed the foundation for subsequent creative work. During the same period, elght elder tradltlonal muslclans worked with these recordings to capture traditional music samples, ensuring that cultural knowledge and musical heritage were embedded within the project's sound materi81. Alongside field recording. soundscapes were prepared for indusion in the Earthsonic global archive. expanding its geographic and cultural scope. Cross-border collaboration frameworks were also eSta￿iShed to support later stages of music production involving artists based in the UK and Myanrnar. Outputs & actlvlty lJune 2024- June 20251: Environmental soundscape recordings collected across multiple regions of My8nmar 11 community members engaged in field recording activity 8 tradltlonal muslclans contributs.ng cultural and musical samples P￿paratIOn ol sound materials for indusion in the Earthsonic global sound archive Strengthened international partnership betr4een In Place of War and Gitameit Music Institute lrnpact= Within the repotting period. Natural Connections 8n8bl8d m8aningful participation by cotnmunity members and elder musicians in an intemational. climate-focused music project. many of whom fa￿ significant barriers to digitsl a￿esS and global cultural platforms. The project supported the preservation and creative activation of traditional musical kno￿edge while embedding climate storytelling within sound-based practice. The sound materials generated during this phase significandy expanded Earthsonic's archive, adding rare and culturally specific recordings from Myanmar. The partnership modd developed through Natural Connections strengthened Earthsonic's ability to work ethically in conflict-affected and sensitive contexts. laying foundations for future intem8tion81 collaborab.on 8nd cie8tive exchange. 100 Creatlve A ents of Cllmate Chan Projèet dates= Feb 2024- June 2025 Projèet Managèr.. ￿1bhe Tieacy & Bobbi Quincey-Jones 100 Creative Agents of Climate Change is a UK-wide. youth-led art5 and dimate justice programme delivered as part of EarthSoni¢. The project connected 100 young people aged 1PAO with creative activists frorn across the UK and internationally, supporting them to develop the skills. confidence and networks needed to deliver their own community-based creative dimate projects. The programme aimed to strengthen yOLrth leadership. improve dimate literacy, and ￿ate pathways lor young peoFAe from underrepresented backgrounds to engage In climate action through the arts. 10 During June 2024- June 2025, the project delivered a mulb"_stage programme combining an online residency, seed funding, mentoring, an in-person residency, and public showcasing. Activity during this period induded a Iwo-week online residency exploring themes of art èspower and community ènd climate ècfvon. delivered by attists and 8Ctivists from the UK and the Global South. Accessibility and care were embedded throughout. including captioning. recordings, flexible participation methods and a dedicated access support worker. Following the residency, participants were invited to apply for seed funding and mentoring to develop their own ¢￿ative climate projects. Thirteen participants re￿1Ve￿ funding and tailored mentoring support, enabling the delivery of grassroots projects across England. Scodand and Wales. These projects took a wide range ol forms, induding murals, workshops, perf0mlan￿s, films. publications and participatory events, engaging local communities in climate jusb.ce through 8wessible and ¢re8live 8ppioaohes. The programme culminated in a final showcase event at the House of Commons, UK Parliament in June 2025, designed to connect youth-led creative dimale work wth fomial decision-making spaces. Supported by Members of Parliament and attended by policyrnakers, funders, cuttural organisations and sector leaders, the event provided participants with a platfonn to present their work, share lived experienTr and collectively advocate lor greater support for youth-led arts and dimate Initiatives. Outputs & activity lJune 2024- June 20251= 100 young people engaged across UK through the programme Delivery of a two-week onllne resldency with internats'onal facilitators 13 seed.funded creatlve cllmate projects delivered in communities across the UK In.person resldency supporting peer learning and project development Final Bhowcase event at the House of Commons (June 20251 wth 46 attendees from goveinrnen( cultur31 and dirnate sector5 Impact: Within the reporting period, 1(M) Creative Agents ol Climate Change significandy strengthened youlh-led creative climate action across the UK. Evaluation findings show increased confidence. skills development and leadership capacity among parts"apants, alongside improved dimate literacy and practical experience in project delivery, public speaking and advocacy. Community-bas8d projects cr8at8d 8ccessible &ntry points into dirn8t& conv&rsations. r&8ching 8udienc8s who m8y not engage with tradition81 environmental messaging and supporting dialogue around dimate justice, inequality and local irnpact. The programme also expanded partioipants, professional networks. with many reporbng new collaborations, opportunities and patrways into further climate and cultural work. The final Parliament showcase represented a crititral moment ol visibility and validation. enaNing young creab.ves to engage directty with policymakers and influents dimate discourse from the perspective of lived experieft￿. Collectively, the project demonstrated the power of 8rts-led approaches to mobilise communities. amplify underrepresented voices and connect grassioots dimate action wth national decision-making sp8ces. Quote.. "Thank you lor putting on an incredibly Inspiring and insightful gathering. It was brilliant to hear the young changemakers describe and discuss their projects." Attendee feedback. UK Parliamenf ShowGèse Event Earthsonic Cllmate Cham ions Project dates= 2024- ongoing Project lead= Saria Touibah Earthsonie Climate Champions is a global, community-led inib"ative designed to empower young people to take meaningfvl cjimate action through everyday practices and local organising. The project invrtes participants to pledge to one or more of E8rtt)Sonic's Six Acts of Sustainability andlor to organise community-based events aligned with Earthsonic's mission. By Combining individual action with collective visibility. the prqect aims to norrnalise dimale action and build an international. creativity-led nehvork rooted in environmental responsibility. During June 2024- June 2025, Climate Champions operated as an open. digital programme. Partiupantsjoined by submithng pledges via an online fom and were invited Into a password-protected community hub hosted on the Earthsonic website. The hub provided aC￿sS to practical resources linked to each Act and enabled connection between partiapants, while maintaining flexibility lor those who preferred anonymity lor safeguarding reasons. The Youth Climate Coordinator oversaw the programme, supporting partiiipation. reviewing pledges. and developing resources informed by participant behaviour and feedback. OutPLrts & actlvlty lJune 2024- June 20251: 60 individual pledgès to one 01 more of the Six Acts of Sustainability Climate Champions iepiesenled across multiple countries, including the UK. Europe. North Affleric8 and Africa 8 public member profiles published within the community hub directory A growing dataset of qualitative pledges outlining concrete, real-worfd dimate actions Impact: Within the reporting period, Earthsonic Clitnate Chatnpions detnon5trated strong early engagernent, with participants committing to practical, values-led climate actions and artioulating them In thoughtful, personal ways. Analysis of pledge dat8 showed that participants were most confident engaging with immediate. lifestyle-based adions. such as sustainable consumption, food choices and travd, while fewer engaged wth rnore complex systemic actions. This insight direcdy informed the development ol new, dearer resources within the community hub. strengthening Earthsonic's ability to support participants in translats.ng motivation into sustained action. The project also established 8 fleXI￿e particip8b.on mod81 that iesp8Ct5 differing18vds of visibility and risk, 5UPPOtting Inclusive global engagement. #Hackmuslc Projeet dates= 2018- ongoing Projeet Managar.. Marcus Ross #Hackmusic is In Place ol W8rf5 global incubator programme supporting gr3ssrwts music organis81ions working in communities affected by conflict, inequality and climate breakdown. The programme takes a holistic approach, combining micro-grants wth in-kind industry support, mentoring, equipment donations, online education and immersive work placements. During June 2024- June 2025. #Hackmusic delivered a full programme cyde supporting seven grassroots organisations across seven countries (Brazil, Cambodia, Colombia. Pakistan, Peru. South AfritrA and Ugandal. Actimty Included micrTrgrants. significant equipment donations from Ableton and Roland, tailored mentoring fro senior glob81 music industry professionals, delivery of the University of Manche8ter-￿rt1fled online educats'on prograrnme. and paid internships at Glastonbury Festival's Terminal 1 stage in June 2025. The programme mobilised over £82,000 in total economic support, strengthened organisational capacity, expanded international networks and supported participants to build studios, launch labels, preserve Indigenous musical heritage and create new cultural activity. 12 Outputs & aetivity.. £12.000 In micr￿[anIS £55.040 in music equiprnent donations 18+ hours ol senior industry mentoring 3 paid internships at Glastonbury Festival Online education prograrnme delivered 20+ new community and cultural events initiated Impact Within the reporting period. #Hackmuslc strengthened the resilience and sustainability ol grassroots rnusic organisations operating in hig￿presSUre contexts. Organisats'ons reported increased leadership confiden￿, improved systems, and greater capacity to deliver community-led cultural programmes. The progr3mme demonstrated how relatively small. flexible investment, when combined wth lon*tetm re18tionships and Industry 8¢ress. c3n unlook disproportionate Imp8d. PartiThp3ting oig8ni58tions expanded ac￿$$ lo rnusic education. preseNed local musi￿1 heritage. redU￿d operating Costs through equipment provision and created new income-generating OPFM)rtunitie5. The inclusion ol #Hackmusic within Glastonbury Festival 202S represented a aitical moment ol visibility and validats"on, linking grassroots organisations directly to global aUdIen￿S and ￿InfOrCIng In Place of War's role as a bridge between communty-based eultural practits and intemational stages Quote.. °The mindset we picked up from #HackMusic- thaf ctsètive spaces should stay open. collèborahve ènd supportsve- gève us the courage and structure tc> take on something slightly sensitive and deliver it property. Irshad Mi Khan, BlackBox Sounds Rise Above Develo rnent RAD South Africa Project dates= March 2022- ongoing Project lead= IPOW- Ruth Daniel, RAD- Adele C8mpbell Location= Lavender Hill. C8pe Town. South Africa Purpose of thè Project Rise Above Development IRADI is a cornmunity-led youth development initiative based in Lavender Hill, an area profoundly affected by gang violence. povety, and limited a¢￿$$ to safe public spaces. The project exists to provide a safe, Incluslve and conslstent communlty hub where children and young people can learn, express themselves creativdy, and build pathways towards positive futures. RAD takes a holistic. preventative 8ppro8th to youth development. iecogni51ng that sustained change requires integrated support across music. arts and culture, sport, education, food security, and wellbeing. A ￿ntral aim is to reduce children's exposure to vidence and gang ieciuitmenl by safeguarding them during high-nsk 8fter-5chool hours and scho(A holidays, while strengthening confidern￿. skills, and comrnunity cohesion over the long term. During the reporting peric￿, RAD delivered daily, year-round programming, reaching large numbers of children and young people consistently. Activity focused on consolidation and expansion of core programmes, alongside strengthening governants, safeguarding, and operab.ona systems. 13 RAD delivered struCtu￿d after-school and holiday programmes. providing supervised learning, creative actiwties, meals. and psychosocial support during periods Identified locally as highest risk. Musie and arts programming IRADmusic and RADartsl offered ouuets for self*xpression. healing and confidence-building through DJ training, rnusic production, perforrnanTr. dance. visual arts. photography, film and creative writing. Sports programmes promoted physical wellbeing, disci￿lne and teamwork, while education and youth development actimties supported literacy, numeracy. life skills and eady jotrTrreadiness. Environmental and lood-security activity continued through RADgarilens, combining community gardening, sustainability education and practical skills training. During this period, RAD also strengthened Monitoring & Evaluation systems, safeguarding protocols, and community partnerships, while navigating and stabilising a govem8nce 8nd le3deiship tr8nsib.on completed in 2025. Outputs & Activity (Jun8 2024- Jun• 20251 IO0+ children engaged daily in supervised after-school piogr8mmes 500+ unique children reached weekly across all activities Holiday programmes delivered during school breaks. rea(*ing 200+ ¢hildren per ¢y¢le Weekly sports programmes serving approximately 280 ¢hildren per week Ongoing music, arts and culture workshops IDJ skills, music production, performance, danTr, visual arts, film and writs.ngl Youth development and Jol￿readIneSS workshops delivered to targeted cohorts Community amphitheatre and g￿enzone used for performantss, dialogue and events Operational community garden providing food, training and Income4eneration opportunities Safeguarding, attendance tracking and Monitoiing & Evaluation systems embedded acioss programmes Impact RAD delivered clear and measurable impact during the reporting period. parb'cularfy in relation to child safety. participation and wellbeing. Attendance data confirms th* large numbers of Ghildren were consistently engaged in structured. superyised activity during high-risk hours. significantty reducing exposure to violence and gang recruitment Facilitator observations and partner feedback indicate improved confiden￿, emotional regulation, coopemtion and positive behaviour, especially through arts, music and sports programmes. Children demonstrated increased willingnass to collaborate. perfomi and take on iesponsibility. while youth participants showed early progression into volunteer 8nd facilitation roles. strengthening leadership pathw8yS Within the wmmunity. At a community level, RAD became a trusted and respected hub, strengthening coordinats'on btheen farnilies, schools, NGOS and local authorities. The completion ol a governance and leadership transition during this period, including the appointment ol a cornmunityémbedded Operations Manager, restored operational stability and further strengthened trust, visibility and accountability. Quote "Knowing my child Is at RAD after school gives me pea￿ of mind. I know they sie supervised. fed, and learning something positive. Parenl/Cor8giver, LgvenderHill 14 Music Sha Project dates: June 2024- July 2025 Project lead IIPOW).. Rozenn Logan Partners.. Brian Eno Studio, Bonhams Auction H￿se In Place of War embarked on a new project telling the stories of how music has shaped and changed Peop￿,3 Iwes, through the collaborative production of new works ol art and the documentation of the journey between inspiring rnUSICl8ns and wsual artists. This involved inviting visual artists to tell the stories ol musical artists, collected via conversations between the musician and the artist, and resulting In the VlSLJal artists produung a new piece of work. The artworks formed part of an exhibib.on presented at In Place of War's Fundiaising Dinner at Brian Eno's Studio in Novernbei 2024. Some of the specially commissioned piece5, by both estatAi5hed and etnerging visual artists. were also auctioned in partnership with Bonhams, to raise money to support In Place ol War's #Hackmusic Programme. Collaborations in 2024 included.. Kay Gasei x Ed O, Brien (Radioheadl 11 Karina Lax x Self Esteem 11 Ragnar Jonasson x Brian Eno 11 Jo Peel x Morris Morris Club 11 Rithika Pandey x Matthew Herbert11 Stephan Doitschinoff x Laima Leyton 11 CandiTr Purwin x Chadotte Church 11 Petrte Doll x AURORA Th8 project in 2024 was cuiated by visual art5 exp8rt Aaron Shrimpton in collaboration with In Plac8 of War's t8am, involving a diverse group of artists. The proi8Ct conb.nued Into 2025, with a focus on developing th8 project in-house Iwthout an external curator) and with higher profile artists. as well as more documentslion of the conversations between artists and musicians. Outputs & aetivity lJun• 2024- Juna 20251= Produotion of 8 new and unique artworks for auction. Sold all 8 artworks via the auction al our 2024 Fundraising Dinner 8t Brian Eno's Studio. sales totalling £31,200. The modd in 2024 was that the visual artists retained 35°k from the sale., Aaron (Curator) received 10% and 55¥0 going to In PlaTr of War. New and developed relats"onships nurtured with key influential figuresl supporters from the music industry- such as AURORA, Ed O'Breen, Charlotte Churc*, who have continued to be involved wth In Place ol War. In 2025, the project continued with conversations betrween artists and musicians taking place from May 2025 onwards. rn8ny of them I￿person which we filrned. Impact- New and developed relth"onships auoss both the visual art and music Industry as well as wth Bonhams. Funds raised for In Pla￿ of War's work, and increased visibility ol In Place of War and the projects we work wrth. 'M8de from the sketches aftera Ghat with Ed about ourchildhoods, manhoods, musiG, art, and all things in between. How we prO￿SSed, sublimated or didn t, Supp￿sSIng ourselves through life s stuff. Maybe knowing there was always a thing and unconsciously leaning into it or consciously leaning away from it, all forthe same purpose of self- protection orpreseNation."_ arts'st Kay Gasei 15 "We spoke Ébotjt the V0￿Ce. the body, wildemesses ènd animism. Tre tempt)ral trijth of songs and sound. Atone point Chérlotte used the phrase meditation on impermanence, énd these words became the spark which ignited the fjnèlpiece.". artist Candice Purwn Fundralsln Dlnner 2024 Project dates= July 2024- De￿rnber 2024 Project lead IIPOW).. Rozenn Logan Partners.. Brian Eno Studio, 9Kitchens, Red Monkey The In Place of War Fundraising Dinner & Fellowship Awards Evening, hosted by Brian Eno at his studio. took place on November 215t 2024_ The event airned to raise funds for the work of In Place of War as well as increase visibility 8nd support. from both existing and new sUPPOrtersl ielationships. We awarded In Pla￿ of Wai Fellowships to Ed O'Brien IR8dioheadl, $8ma' Abdulh8di IDJI. Charfotte Church IArtistl". and M8tyn Ware IArtisll. The evening included 8 three course dinner meal prepared by soci31 enterprise krtchen 9Kitchens, as well 85 speeches from Members ofthe change-maker network, performan￿$ and the MUSIC SHAPED 2024 aucb"on. The event r8ised £10,000 through artwork sales and pledges (after expenditure). Outputs & actlvlty lJune 2024- June 20251: New ielab"onships developed with HNIS. Exisb"ng supporterlcollabor8tor relationships nurtured. £10.000 raised for In Place of War. 4 x new Fellowships awarded and relationships further developed The work ol the chang&maker organisation amplified, with in-person representth.on from 3 chang&makers- from Venezuela, Uruguay and the UK. Impact= Critical fvnds raised for In Place of War, increased visibility, new and existing relationships developed. pather relationships consolidated. Project dates: March 2022- December 2025 Project lead: Rozenn Logan Projèet dat•s= March 2022- December 2025 Project Managèr.. Rozenn Logan Partners.. Arts Council Malts Ifunderl". Vallett8 Design Cluster Ivenue partnerl CASE Malta is a thre&year international training and development programme delivered in partnership with Arts Councll Malta, designed to build capaaty and strengthen the professional practice ol earfy to mii*career artists and creatives in Malta. The prograrnme was developed in response to research identifying the precarious nature ol arts careers In Malta, induding sustainability challenges, financial insecurity and the long-term impacts of COVID-19 on ¢￿a￿"ve livelihoods. The programme detivered five cycles of a hybrid (online and in-personl training model between 2023 and 2025, combining skills development. rnentoring and seed funding. Training focused on financial planning. fundraising. 16 business operations. digital tools and pitching. with participants supported to develop sustainatAe creab.ve and entrepreneurial practi￿. During June 2024- June 2025, CASE Malta was in its final delivery phase. encompassing Cycles 4 and S ofthe prograrnme. Actiwty during this period included the delivery of hybrid training sessions in Malta and online, allocation of rnentoring and seed funding, cohort-wde workshops bringing together participants Irorn across cydes, and a public CASE Malta event designed to connect participants wrth the wider cultural sector. The period also included structured evaluation activity, induding follow-up interviews with participants from eadier cydes to assess longer-term impact. Alongside the tiaining pr[￿raMMe, the CASE Malta Evènts Programmè continued during this period, prowding In- person networking and kn￿edge-eXCh8nge opportunities for parts.￿p8nts 8cross ￿hort$ and with the wder M8ltese and international arts community. Outputs & actlvlty lJune 2024- June 20251: Delivery of Cycl8s 4 and 5 of the CASE Malta training progratnme (online and I￿person) location of mentoring and seed funding to participants In both cydes Cohort-wide workshop bringing together participants from multiple cydes Delivery of a public CASE Malta event in Malta Ongoing mentoring delivered by international and Malta-based practitioners Follovkup interviews and evaluation activity with participants from eadier cydes Impact: Within the reporting period, CASE Matta demonstrated strong and sustained impact on participants. profe5510nal confidence. ski115 and long-term piactice. Evaluation data and follow-up interviews show that participants continued to apply leaming well beyond the end of their tr8ining cycle, p3rticul8rty in relation to strategic planning. funding applications. pitching and professional decision-making. Partiapants reported increased darity about their creative direction, stronger understanding ol institutional contexts, and improved ability to articulate and communicate their work. Mentoring was consistently identified as a key contributor to impact, providing space for reflection, challenge and support tailored to individual practice. The progiarntne also strengthened peer n8lworks. wth patticipants r8POrting ongoing collaboration, studio M51ts and profes510n81 relab"onships formed through CASE M￿ta. Across the full programme, 52 artists partiapated over five cydes, supported by 30 mentors, with É9,000 In seed funding allocated. During June 2024- June 2025. the final phase ol delivery consolidated this impact. ensuring that learning, ne￿orkS and support structures were embedded sustainably within the Maltese creative ecosystern. Quotè It wasn't just about funding-the guidance and reflection were the most valuable parts. participant CASE Malta rac Intercultural and T cultural C tenc rou h C Ilaborativ Cultural Ex Project dates: February 2025- January 2028 Project lead IIPOW).. Teresa O'Br8daigh Bean Partners.. Horyzon Europe, Nord University (Norway) INTRACOMP Is a Hoiizon Europe research and innovation pioied focused on stiengthening cultural inclusion, inleiculturgl understanding and social cohesion Ihiough arts educ8tion and collaborative cultural prgctice. The project airns to develop 8 new Intercultural and Transcultural Competence IITCI Framework, alongside ti8ining models. 17 digital tools and policy-faung outputs that support educators. artists and cuKural organisations to work more effectively across cultural boundaries. The project brings together a consortium of universities and cultural organisats'on5 acros5 Europe and beyond, combining academic research, pedagogy development, digital innovation and community-based arts practice. In Place ol War contributes sector expertise in community arts, intemats'onal CUl￿ra1 practice and ethical Colla￿)ratIOn, wth a specific leadership role within Work Package 4. During Junè 2024- Junè 2025, INTRACOMP entered its activè r•sèareh and eonsortium d•v•lopmènt phasè. wth IPOW contributing to foundational ieseaich. fieldwoik and trApacity-building activity. IPOW suprK)rted earty field research visits to arts P8rtner oig8nis8tions in April 2025. contributing practice-based insight to the development of the ITC framework. IPOW also participated in consortium-wide research activity, including crowdsourcing exercises and the drafting of shared research outputs. Ajongside research contributions, IPOW supported the establishment of a communlty of practlce for arts organlsatlons, designed to facilitate knowledge exchange and peer learning across the consortium, and contributed to the development ol capaaty-building training materials aligned with the emerging framework. Outputs & activity lJune 2024- June 20251: Contribution to the drafting and submission of a Ilterature ￿vIeW on Intercultural and Transcultural Competence Participation in consortium-wde crowdsourelng research and drafting of tt)e Expenencing Intercultural and Transcultural Competence research paper Field research visits to arts partner oigani5ations (April 20251 Contnbution to the establishment of an international community of practice for art8 organisations SupFM)rt for the development of capacity.building training linked to the ITC framework Impact: Within the reporting period, INTRACOMP stl8ngth&n8d In Place of W81's ro18 Wlthin a major Euiop8an research consottium and positioned the organi53tlOn 3t the Intersection of arts practice. Inteicultural competence and policy- relevant research. IPOW'S contributions 8nsur8d that the ernerging ITC framework w35 Infoitned by r881-woild community arts practice and the lived re81ities of organisations working across CLAlural. political and linguistic boundaries. The project also supported earty capaaty building across partner organisations, creating shared language, concepts and networks that will underpin future co-created interventions. By contributing practice-based insightto research-led processes. IPOW helped bridge academic frameworks with the needs and experientss of grassroots cu￿ra1 organisations. laying foundations for longer-term impact as the project progresses. RRRL Project dates: March 2025- June 2025 Project leads.. Ruth Daniel & Bobbi Quincey-Jones Partners.. Temiinal 1 IGlastonbury Festival)., Xcottage (rehearsal partner) GRRRL 15 a global electronic music collaborab.on bringing together wornen artists from contexts shaped by conflict. inequality and social Injusti￿. Directed by Laima Leyton Imixhell I Soulwaxl, GRRRL ￿￿treS women of colour and marginalised voices. using music as a platFoim for storytelling. visibility and collective power. The project 31igns 18 closely wth In Pla￿ of Warfs mission to amplify underrepresented voices through ethical cultural production and international platforms. During June 2024- June 2025, GRRRL delivered a m8jor public-facing rnoffleNI through 8 takeover of Glastonbury Festival's Terminal 1 stage. Activity during this period fo￿Sed on pre-production, artist coordination, rehearsals, communications and live delivery. The project culminated in perforrnanTrs at Glastonbury Festival12 30 June 20251, including a group perf0rrnan￿, individual artist sets and a panel discussion within Terminal 1 an immersive space foregrounding migration, displacement and global movement As part of this delivery. GRRRL released the single "Light Up" on 20 Jun• 2025. shotuy ahead of the Glastonbury perfoimance5. The release was titned to coincide with the live programrne. creating a joined-up cultur81 tnomenl linking recorded output, live performance and digital storytelling. The Glastonbury lineup featured six international artists.. Lel DI Dal (Brazill, AWA Khlwe Izimbabwel, SohlnS Alam IUKIBangladeshl, MABE Ivenezuelal, MC Yallah IKenyalUgandal, and OneDa IUKI, with artists travelling internationally to partiapate. Outputs & activity lJune 2024- June 20251= Delivery of a GRRRL takeover at Glastonbury Festlval's Temilnal 1 stage 1 group performance, 3 Indlvldual artlst performances, and 1 panel dlscusslon Release of "Light Up" single120 June 20251 Pre-production and rehearsal programme delivered international artists creab.on of 2 project fllms docLJmenting the collaboration Audience & engagement= 91,000 total views across GRRRL social media content during the project period 61,400 Instagram views across GRRRL content 15,300 vievts on the Light Up single release post 24,100 views on a Glastonbury Reel via WeAre8 Pre55 coverage across tnusic and culture plattorms. induding festival and tnigration-focus8d media GRRRL 2025 Project report Impact: Within the reporting period, GRRRL significantly arnFlified the visibility ol women artists from conflict-affected and marginalised contexts, placing their voices on one ol the worfd's most prominent cultural stages. The Glastonbury takeover created a higwimpact platform lor artists to perform on their own tem)s, connecting audien￿$ to global stories of Inequality, resistan￿ and creativity through music. The coordinated release of Light Up alongside the live programrne demonstrated the project's ability to align recorded output with major cultural moments. extending audience reach beyond the leslival site and strengthening GRRRL'S digital presence. Artist feedback highlights the lon*term professional and personal impact ol participation, including increased confidenTr, international exposure and sustained creative networks. Quotè.. Since 2016. being p8rt of GRRRL has been a truly transformative experience. GRRRL has gifted me meaningknl connections, a supportive community, and the enduring belief that Music has the power to transform. Lei Di Dai, GRRRL amst 19 Record L bel Earthsonic I In Place of W Project dates= 2024- ongoing Project lead= Hdly Johnson Font8nelli The Earthsonlc I In Place of War Record Label is a delivery platlomi for releasing music created through In Pla of War and Earthsonic programmes. The label exists to enable artists working In contexts shaped by conflict, dimate change and environmental degradation to release music professionally and ethirAlly, ensuring fair attribution. responsible rights management and global distribub"on. Releases are closdy linked to prograrnme activity and storytelling, often incorporating field recordings and environmental sound. The label operates as part of In Place of War's wder infrastructure, supporbng artists to navigate release proTrsses safely while connecting music to pla￿, lived experien￿ and environmental context During June 2024- June 2025, the Record Label ddivered a programme of music ieleases and collaborative projects, alongside substantial behind-the-scenes rights, metadata and distribution work. Activity included artist collaboration, production and release management, administration of nghts and royalties. and editorial storytelling around each rdease. Key releases delivered wlthln the reportlng perlod induded the launch of The Last Scream cornylation series. writh multiple singles released across the year. and in June 2025, the release of new single Light Up by GRRRL under the In Place of War label. ￿ongsIde releases, the label supported collaborative, pla￿baSed proieds induding NattJr21 Connections.. Aqyanmar and Sonic Floresta, bringing together frontline communits.es and Intemational artists to CO- create work rooted In environmental sound. In parallel, the labd strengthened its ethical and operational foundations. Durirvj the peri(yJ. a publishing adrninistration deal was established wth Sentric, and registration with PPL began, improving royalty collection and lair compensation for artists. Outputs & activity lJun• 2024- Juna 20251= 1 compilation album released Multiple singles released as part of The Last SGr88m series 1 additional single re￿aSed under the IPOW label ltight Up by GRRRL, June 20251 2 collaboratlve prolects actively supported (Natural Connections.. Myanmar, Sonic Florestal Global digital distribution and rights administration delivered Publishing administration established Isentricl., PPL registration initiated Audien¢e & engagernent= 44.7k streams across Earthsonic I IPOW releases lindependent distribution) 516 album downloads £137 digital turnover from independent releases Impaet= The Record Label en3bled arb.sts connected to In Place of W8r and Earthsonic piogiarnmes to rele8se work ethically and professionally. amplifying voices from oommunities affecied by conflict. dim8te thange 8nd environmental injustice. Releases reached 1ntern8ti0n818udien￿￿, extending the visibility of EarthSoni¢ artists and strengthening the organisation's public-facing cultural impact. Beyond audience ￿aCh, the label made a significant contribution to ethical music infrastructure. The establishment ol publishing adtninistration and rights Sy5tetns Itnproved transparency. royalty collection and artist protection, laying foundations foi sustainable. fair release pathways as the label grows. 20 lobal Music Adviso Board GAB Project dates= 2020- ongoing Project leads.. In Place of War Chair.. Kim Rowell Project Lead: Ruth Daniel The Global Music Advisory Board IGABI brings t￿ether senior leaders and practitioners from across the global music ecosystem to provide stiategic insight. practical support and industry 8t￿85 to In Pla￿ of Warfs work. Members iepiesent a wide range of disciplines Including technology, live music, labels, publishing, communications, leg81, tn8tkeb"ng. sustainability and education, wilh 8ffili8tions induding Roland. Re¥ident Advisor, Shambala, BMG and other leading organisations. The GAB exists to strengthen In Place of War's impact by mobilising industry expertise in support ol grassroots music organisations and artists working in contexts shaped by conflict, Inequality and dimate crisis. This Indudes supporting the establishment ol new music spatss, distribub.ng equipment, mentoring and capacity building, developing music educ2tion p￿raMMe$, and advising on sustainabilrty and ethical practi￿ wthin the music industry. During June 2024- June 2025, the GAB played a significant en3￿Ing role across multiple In Place ol War prograrnmes. contribLrting tirne, expertise, equiprnent, funding access and high-level advocacy. Engagement took a range of forms, from strategic advi￿ and mentoring through to hands-on delivery, introductions and in-kind donations. Outputs & actlvlty lJune 2024- June 20251: Active participation of GAB members across EarthSoni¢, #Hackmusic, GRRRL and TAKKUUK In-kind equipment and resource mobilisation, induding.. Donation of 30 Ableton Push 2 Lbnlts (Abletonl lor distribution to projects globally Donation of £50k of Roland equlpment and provision of venue spaTr lor the TAKKUUK premiere reception Donation of Teenage Englneerlng equlpment to support Earthsonic Local venues Strategic support and fundraising facilitation. induding". Support en3bling GRRRL'S performance at Glastonbury Festival. induding tunding introduction5 and Intemships at the Terminal 1 stage Auction prizes, space, professional serVi￿S and cash donations contributed by multiple members Mentoring and industry a¢ce38. including. GAB members mentoring organisations wthin #Ha¢kMusic, suth as support to 8lackBox Sounds (Paklstanl and Trackslde Creatlve (South Afrlcal Representatlon anil advocacy, with GA8 members representing In Place ol War at industry events including Amsterdam Dance Event, and participating in panels and public discussions related to Earthsonic and climate-focused work Impa¢t= Within the reporting period, the GAB significantly 3mplified In PlaTr of Warfs capacity. reach and ciedibility. Member contributions unlocked resources and opportunities that would not have been accessible through core funding alone, enabling grassroots organisations and artists to acTrss equipment, mentoring, intemational platforms and professional ￿e￿OrkS. Feedback highlighted the value of In Place ol War's decdonial, listening-led approach, with members citing the organisation's resped for local context and commitment to building with communities rather than Imposing solutions. The GAB also strengthened cross-piogi8rnme coheren￿, helping ￿nnect projects such 8s Earthsonic, #Had(Musi and GRRRL to wider industry ecosystems and public audiences. 21 Beyond tangible outputs, the GAB functioned as a critical strategic sounding board, shaping thinking around organisational storytelling. sustainability, long-tem residencies and ethical Industry practi￿. This support positioned In Place of War to grow its work while retaining its values. human scale and community-led focus. Quote.. "Mhat immediately drew me to In Place of Warwas the organisth"on's respect for local context and its commitment to listening first IPOW doesn't Impose solutions- it builds with communities. Febr1￿0 Nobre, Global Musje Advisory Board member Flnanclal revlew In Place of War CIO continued to draw income from a range of sources during the year. induding trusts and foundations. institutional funders, donations and project inoome. This diversity of income streams remains important to the charity's resilience. Total incorne for the year amounted to £681,01212024'. £441,4￿1. Total expenditure was £584,62312024'. £410,878). resulting in a surplus of £116,389 for the year12024'. surplus of £30.5301. This surplus contributes to In Place ol War's efforts to build reserves that support future projects and strengthen the organisation's long-term financi81 stability. Expenditure during the year primarity related to the delivery of charitable activities, incjuding programme delivery costs, staffing and professional fees. The trustees monitored expenditure carefully in rdation to restricted fundiThJ agreements and organisational capacity. Further detail on income and expenditure Is provided in the Statement of Finanual Activib"es and accompanyi notes. ReseNgs policy The th8rity's ieserves poliw is to ni8intsin free re5etve5 equiv8lent to approximately three rnonths of oper8ting Cost5. in oidei lo meet unforeseen liabilities and manage flu¢knalions in cash flow. At 30 June 2025, the charity held total funds of £228,831, comprising unrestricted funds of £96,317 and restricted funds of £132,514. 01 the unrestricted funds, £96,317 ￿presented free reseNes12024.' £11,065). The ttustees consider the level of reserves * year end to be 8ppropriate in light of planned activity. funding cornmthents and organisational risk. Funding Strategy The trustees continue to pursue a mixed funding strategy, combining support from trusts and foundations, institutional partners, individual donors and industry relationships. During the year, the organisation continued to develop longer- term funding ￿lationShipS and strengthen its fundraising governance and Flanning. The Global Music Industry Advisory Board and other advisory structures continued to support stiategic fundraising. partnership devdopment and advocacy_ 22 Strueturè, govèrnanea and manaoèmènt We have a board ol eleven trustees and our chair is sts'll Sir Richard Mantle. We meet four times across the year. Our trustees are from diverse backgrounds- academics, entrepreneurs and cultural execub"ves. Our management team consists of a CEO and COO, with a supporting team ol project rnanagers. finance managers and a Director of Research and Education. The organisalion is a Charitable Incorporated Organisation. Itwas incorporated on 22 June 201e as a Community Interest Company and converted to a Charitable Incoiporated Organisab"on on 22 March 2019. The tharity was estab115hed by its rx)nstitution which sets out the objects arKI powers of the charity and Its govemance. In Place of War CIO recruits new trustees by identifying gaps in skill sets 8gainst our development strategy and using our nemorks to identify candidates. Candidates are either able to apply for advertised trustee positions or 8ppio3ched and invited to sil on the bo8id. The Iru51ees perform due diligen￿ on each candidate. The new Iruslee5 sit al board levd first and then formally join the board and this is acknowledged in a trustee meeting14 per yearl and registered on the minutes. There gre no constitution81 provisions for appointment Alongside fomal governan￿, In Place ol War is supported by a number of advisory boards that ensure lived experience. artistic practice and sector expertise directty inform strategy and delivery. These Include the Global Music Advisory Board IGABI, an Artist Advisory Board and a Youth Advisory Board. Together, these advisory structures help translate frontline kno￿ledge into organisational learning and public-tscing cultural work. while governance and financial responsibility remain firmly wth the Board ol Trustees. Rdatèd partiès and rèlationships with oth•r organisations In Place of War CIO Is dosety related to and Is united in purpose with In Place ol War USA and In Place Of War, Ireland. but does not share any trustees. In Place of War USA is 8 501c3 organisation and has independent govemance. The main purpose of the USA charity is to raise funds lor In Place of War CIO. Neither charity exerts control over the other or h85 the power to appoint trustees. Transactions In the period between the Iwo entities 8re disdosed in note 10 to the accounts. The Irish entity was established to enable closer links with countries in the European Union so the work of In Place of Wai can caiiied out with greatei ease. Remuneration policy for key management personnel Trustees regularly review remuneration for key management per50nnel,' we are aware that In Place of War CIO currently benchmarks below the martfet In rdation to executive remuneration. This is a live conversation wth the executiv& and rnanagem8nt. who remain fully cofflmitted to th8 org8nis8tion. Trustees have cornmitted to rev18W remuneration as the charity grows. Plans for the futur statèmènt of r•sponsibiliti8s of thè trust•è$ The trustees confirm that they have referred to the guidance contained in the Charity Commission's general guidan on public benefit when ieviewing the airns 8nd object5 and in planning future activitie5 8nd Setting policy for the future. The trustees are responsible for preparing the trustees. annual report and the financial statements in accordance wth aprAicable law and United Kingdom Accounting Standards (United Kingdom Generally A¢￿pted Accounting Practice). 23 Charity law requires the trustees to prepa￿ finanual statements for each financial year which give a true and fair view ol the state of affairs ol the charity and ol the incoming resources and application ol resourTrs ol the charity for that period. In preparing these financial statements, the trustees are required to.. Select suitable accounting policies and then apply them consistendy Observe the methods and principles in the Charities SORP Make judgements and estimates that are reasonable and prudent State whether appli(3ble UK Accounting Standards and staternents of recommended practice have been followed, subject to any rnaterial departures disclosed and explained in the financial statements Prepare the financial statements on the going cOn￿M basis unless rt is inappropriate to presume that the charity ill conts'nue in operation The trustees are responsible for keeping proper accounting records that disclose with reasonable accuracy at any time the financial position of the charity and en8tAe them to ensure that the financial statements comply with the Charities Act 2011. They are also responsible for safeguaiding the assets of the charity and hence for taking reasonable steps for the prevention and detection of traud and othei irregularth"es. The trustees are responsible for the rnainIenan￿ and integrity of the corporate and financial infoim8tion included on the tharity's website. Legislation In th8 United Kingdotn governing the pi8paration and disS8rnination of financial statements may differ from legislation in other jurisdictions. 2210412026 This report W8s approved by the tiuslees on dale ....................................... Richfjrd joh￿ Mowtle and signed on Iheii behalf by Sir Richard Mantle (Chairl 24 IN PLACE OF WAR CIO STATEMENT OF FINANCIAL ACTIVITIES FOR THE YEAR ENDED 30 JUNE 2025 Note Unro¥tri¢t8d Funds R•$tri¢tsd Fund8 Tot•1 Funds Unre5trictsd Funds Restricted Funds Total Furbd5 2025 2026 2025 2024 2024 2024 Incomè and 8ndowm8nt8 from.. Donatsons and grants 362.314 2￿.690 646,004 146.379 2Th,878 424,257 Chanta￿e actiwlies 35.008 35,008 17,149 Total In¢oMo 397.322 2¥3,8YO 681,012 163.528 277,87 441,406 Expendtture on.. Rai￿ng fund5 10.770 10.770 Charits￿e activities 340,228 211,ZS5 551,513 182.066 218,04D 400,106 Total Expendlture 353.338 211,285 564,623 192.826 218,04D 410676 N•t Incomèllox￿ndltur•l for thè y•a 43.984 72,405 118.389 129.3081 59,838 30.530 Transferbetween funds 15 41.267 141,2671 26.071 126,0711 Net movement in fund5 85,252 31,137 116.389 33,767 30.530 Totsi Funds ￿ught fornv8rd 101,377 112,442 14.302 7,810 Tot•1 Furbd8 ¢atr*d forw8td 96.317 132,S14 228,831 11.065 112442 25 IN PLACE OF WAR CIO BALANCE SHEET AS AT 30 JUNE 2025 Not¥ 2025 2024 Fixed assets TaDgiLle assets 167 Cuyyènt assèts Debtors 13 25,157 32.059 Cash at bank and in hand 214,651 83,742 229,8QB Currnnt Ilabl1￿￿9 Creditors aM￿nIS falling duewlhin one year Nel currert assets 228,720 112,27S Total assets lèss Cuffent liabllltles 228,831 112,442 Not •88ots 22B,831 112,442 Total lunds of the char￿Y Restrcted funds 15 132,514 101,377 Unrestrided fiJnds 16 96,317 Total funds 228,831 112,442 In resp8Ctof that financial year. the chprily rnetthe crrtena for audit exemption in aGCOrdance￿llb sedion 144 of the CharrtiesAct 2011. Furthermore, the Ch8rily Cornmission did not directlhat8n Audit be undertAken Unders￿￿On 148 of the ChariliesAc12011. 2210412026 The financial statements wer8 approved bythe Trustses On Rl¢hJrd joh￿ M4Mtle Sir Richard Mantle Chair 26 IN PLACE OF WAR CIO NOTES TO THE FINANCIAL STATEMENTS FOR TrIE YEAR ENDED 30 JUNE 2025 Accounting policies 1.1 8a8rJ of Preparation of financial ststernents The accounts lfrnaDcial slat8menlsl have been prepared In accordaDce wlh the Stalementof ReGomffleThdf￿ PractKe" knounling arbd Reporting by Charities preparing their accoun￿ in aCCDrdance wth the Fin2nci£l Rewrting Stand2rd apK41ca￿e In the UK Ènd Republie of Ireland IFRS 1Q21 issued in October 2019 and the FiDanci?l Reporbng Standard applicaile in the United Kingdom and RepuLlic ol Ireland IFRS 1021 and the charl￿eSAc1 2011 and UK GenerallyAccepled Practi￿ £5 li apFAies from 1 January 2019. The ac¢ouni$ lfinantyal $iatemeni$l have been prepared 10 give 8'true8nd f$ir' view and have departed from the Charities IA¢¢ounts and Reports) R8gL4alions 2008 only lolhe extent required to provide a'lrue and fairvievl. This depathre has invotr¢ed follovving Accountiny 2nd Rewrtino by Charities. StstemeMof Rècommended Prsttits 8pplica￿le ￿ tharibes preparino theiractounts In accordance the Financial Rep)rbng Slarhdard applicaLle in the UK and Republic of Ireland IFRS 10ZI Issued in October 2019 rBlher than the Accounting And Rewrbn9 by Ch8rilies." St81emenl ol Recommended PrActitseffeclive from 1 April 2005 %thich h8S sinct withdrawn. 1.2 Judgménts and èstlmÈtss The trustees have made no keyjutymentsythich have a significani effect on the accounts. The Iruslees do not Gonsid8rlhatlherg are any sources of eslimalion uncertainty?1 th8 reporting dale Ih?I have a wgnific3nl risk of causing a Materi￿ adjus￿entIO the carrying arnountof assets and IL4bililieswilhin ihe next rermmtting penod. 1.3 Golng concern Thg Iruslees mn$iderlhatlhere $re no matenal un¢ert¥inlig$ 8boullhe ¢h8ritabLg tyJnpanl$ 8bilrfy I continue as a going concem. 1.4 Incoming resoU￿e5 Income 15 recognised ￿tten the charity has enlillemenl lothe fund5. any performance corbdilion5 attached lo the Item(51 of Income have been mei, it Is probsble th81 the In¢omewill be re¢eiv¢d $nd the amount ¢8n be me$sured re118Wy. Intome trom governmeni and othergranls, *thether'capilal' grants or'revenue. grants, is reco9nisedwhen the charity h8s enbuemenl lo the funds, any perfortn?ncp mnditions ?ttached lo Ihp grants have met, il Is probable Ih*lhe Incotnpvill rewved and the amount can be measured reliaLly and 15 not deferred. Income received in advance of a provi61(￿ of ? speoyfied setvice is defeTred until the cDteria for income recognition Are met 1.5 Interest receNable Interest on funds held on dewsil is Included when rpLeivatrle and Ihe Bmounican be rneasured rdiably by the charity,. this is normally upon n¢iifi¢aiion of th# intsrtrsi p8id or pay8tl$ byth6 Bank. 1.6 Fund o¢¢ounting Unre5tr1eted funds are Avail8ble lo spend on acti¥ilie5 th81 further any of the purp05es of ch8rity. Designated funds are unresthcted funds olthe chantymthlth the Iruslees hav8 deoded al their diBuelion to setasideto use fora srEcifiC purKM)gè Reslncted funds are donalionswhich ihedonor has sp8cified are to be solEly used forpartlcu￿rarfas of the charity's work orfor swific projects being undertaken ty the ch8rily. 27 IN PLACE OF WAR CIO NOTES TO THE FINANCIAL STATEMENTS FOR TrIE YEAR ENDED 30 JUNE 2025 Accounting policies l£ontinued} 1.7 Expenditure and irrecoverable VAT Expenditure 15 recognised orbce there Is a lega or constructive O￿lgatiOn lo make a payrnenl lo a third party. il is probaNe that setllemenl ￿111 bè required 8nd the amount of the o￿￿1g8110n can be measured rdiably. Expenditure is dassifi8d under 1hefd1o￿i￿g acbvity headings. Expenditure on charilatrAe actsvilies indude5 the costs of activities undertaken tofurther the PUTposesof the charity and their as￿l￿ted $upport ¢osi Other expenditure represents those Items notfalling Into any other heading. IrrecoverAtrAe VAT Is charged 8s a c05tag8insl the activity fOr￿ICh the expenditure was Incurred. 1.8 Opwr8tlng18Èsè8 Operating leases are leases in which Ihetiue lo the a¥sels, and the risks and r8wards of ownership, remainNth the le8￿￿. Rental charges are charged on a straight line basis over Iheierm of the lease. 1.9 Tangible fixed assets Individual fixed assets costing £500 or more are capilalised al cost and aredepreciAted 0￿r their estirnAted useful economic lives on siraiyht line b¥sis a$ fdlows". Equipment 33% 1.10 Debtors Trade and other debiof5 are reco9nised al the setlefflentamountdueafter any trade dis¢J￿nI oftered. P￿PsYmenls are ￿l￿ed al ihe atnDunl prepaid nel of any trade di¥munts due. 1.11 credito￿ and prOV￿10￿S Creditor$ 8nd provi$ion$ 8re ￿¢¢gnised where the th$niy ha$ 8 pESent0￿119¥￿0n resu￿￿9 from a pa$1 event th8t wll probatly r¢$u In the transfer of funds ID a third party and the amount due lo setue the obligation can be measured Dreslimaled rel13￿y. Creditors and provisions a￿ normally recognised al their settlement amouni arter allowno for irade discounts due 1.12 Financial instruments The ch8rily only has finawal assets 8nd financial Iiabililies Df a kind that qu2lify as basit financi21 Instrumen￿ B83ic financi81 inslruTnenls are inili3lly recognised attransaction value and subsequently measured atlh8irsetUetnenl v3tyJe with the exc8ptioD of baDk loans which 8re subsequenuy measured al amorrised cost using Ihe effective In￿reSt method. LegAI ststus The ch8rily is a charit£￿e Ineorwraled orgBnisalion registered wlh Ihe Ch£rily Commisssion In the Unl￿d Kingdom IEngland and Wales) 8nd h$s no sh8re caprtal. In the event ol the tharity ￿1￿9 wound up. ol the CIO h8ve no liability to ¢Ontributeto ils assets and Tbo personal responsibilityfor settling its debts and liabilities. 2S IN PLACE OF WAR CIO NOTES TO THE FINANCIAL STATEMENTS FOR TrIE YEAR ENDED 30 JUNE 2025 Income from donathins and12gacies Unrestrfeted fund8 Restrlcted funds Total funds 2025 Vnrestii¢t¢d lunds Restrid¢d funds TOW luna$ 2024 Donations 189,031 193.283 168.031 70.378 7,500 270.378 77,879 346.378 Grants 283.690 476.973 76.000 Total 382,314 283,890 646,004 146.379 277 878 424,257 Incomè from chArftablè Unrestricted funds R￿triCtsd funds Total fund 2025 Ufireslricted funds Restricted funds Totd funds 2024 Servi¢s$ 24,208 10,800 24,20B 10,BOO 8.940 8.209 8,940 8,209 Other Ir￿me Totsi 35,008 35,008 17,149 17,149 ¢0st of raising funds Unrestricted fund5 Restricted runds Total funds 2025 Vn￿thCted funds Re5tr1Cted fund$ Totd funds 2024 Fundrai$ing eMpen$e$ 10.770 10,770 29 IN PLACE OF WAR CIO NOTES TO THE FINANCIAL STATEMENTS FOR TrIE YEAR ENDED 30 JUNE 2025 Anatysis of expenditure charitable activities 2025 2024 AccountsnGy$nd bow)kkeepiny Adverb$ing 8nd promoiional Arrist th)mmissitsn 6,225 60,576 12.010 17,224 B2d debts 3,133 88nk ch8rge5 CharIta￿e donati￿S 2.868 3.750 Cornpuierequipmenl and sofiware ¢￿Su1￿￿¢Y Depre¢i8lion Gen8ral Expen$e$ Grsnt is$ued to organi$ation$- see nots 7 Insuran￿ £nd legal offi￿ costs 6,174 32,068 4,064 36,494 499 7,512 42,194 7,232 240 447 15.269 4.360 Office rental 4,558 3,490 Programme development Staff costs 20.107 14.300 210,454 8,964 72,286 287,fj11 Training Tra￿ 8nd 8ubsi$ten¢e 3,025 551,513 400,106 Restrictèd expenditure Unrestricted expenditure 211,285 340.228 218040 182066 400106 paid During the year, thethariiyawsrded orants totslling £42 194 in supwrt of s range ol chant8blÈ causes In furtherancè of ita objects ITotsi grant payments 2024". £240 to CorpDr?cion Eletnen to facilrtale a workshop ID La Huertal. Indgpondent Examin*rf$ R¥muntrration Independentexaffliner's fee5. 2025 2024 Accountancy Independentexafflinabo 1 620 300 30 IN PLACE OF WAR CIO NOTES TO THE FINANCIAL STATEMENTS FOR TrIE YEAR ENDED 30 JUNE 2025 Staff costs 2025 2024 staff ¢o$is during th8 yoarwsr&88 folltyws Wages and splaries i?1 security costs Employ#r pension Freelan¢¢ ¢osi$ 113,302 3,254 74,167 1,680 169,735 134315 287,fj11 211,483 lO￿ted as follDW3'. Charitable activities 287.611 211 483 2B7,611 211,483 Noemployee reThved empbyee benefits In excess of £60.00012024' Nill. The average nufflberof staff employed durirbg the peri(￿ was 312024. 11. Th& k#y m8nag6msni p￿r￿n81 of Iht ¢hanty ¢ompris* th$ Iru$i608 8nd the Chi6f Ex8¢uliv6 Offi¢tr. Th6 Iotsi wpbyes tw&fil$ of th6 k&y rnarHgernent ofth8 charity w8r8 £65.000 12024. £65.5001. io Trustee remuneration and exppnses, and related party transactions One Iruslee re￿ived travel and 5ub51stefi￿g￿￿Se5 dunng the yearof £1,376 12024. £2,210). Aooreo£le donations frorn rdaled parries were£NIL12024' £NILI. In Pla￿ of War USA is registsred In the USA as a 501lcll31 organistion. The organisAlion Is dosdy related lo In Pla￿ of War UKand Is united In purpose bui doe¥ not haveiru$iee$ In ¢ommon. Neilhèrorg8nissiion exerts ¢onirol overihe Other nty doe$ tylher organi$abon have the powerlo appoint Iruslees forlhe other. In Haceof War UK received £43.520 12024. £NILI In fuDdraised Incotme from In Plac8 of War US In PlaTrof War Irdand is registered in Ir4?nd like the USA organisabon is uDi18d in purpose and prowdes the QPPOrtunityto work acrDss the European Union. 11 does not have trustees In comrnon and doe5 not exert control of the UKcharity. Neitherorganisabon has the poV￿r lo 8ppoini IDJ$lpes forihp Olhw. During the year, In Pla¢$ of War UKdid not rt¢8iv8 any Incomtfrom In Pla¢t ol War I￿￿nd(2D24 £18,467) In Place of War Irdand owed In Place of War UK £21.860 as al the year end12024 £8.4671. There are no donations frotn rdaled pathes bthith are outside the noTrnal course of businessand rw) reslnGtsd donations from related Part￿5. Olherthan the abov8. no Iruslee or other per%)n rdaled lolhe charity had any Interest in anycontract or transacbon entered Into by the charity, Induding guarantees, during the year12024. nill. IN PLACE OF WAR CIO NOTES TO THE FINANCIAL STATEMENTS FOR TrIE YEAR ENDED 30 JUNE 2025 Tangible Fixed Assets Cost At 1 July 2024 Addilicns 4.333 AI 20 Jun# 2025 4,233 Depreciation At 1 July 2024 Charge forih8 year 4.167 At 30 June 202S 4,222 Net boo* value At 30 Junè 202S At 30 June 2024 167 12 CO￿OratIOn tax The charity Is exemptfrom taxofi income afid gainsfalliw wlhin Chapter 3 of Part 11 Df the CorpDration Tax Act 2010 or Sethon 256 of the Taxation of Ch8rgeable Gain5 Aci 1992 to the extent IhBI these are APFlied lo ils charita￿e objects. No lax charges have arisen In Ihechariiy. 13 Debtors 2D25 2024 Trade debtors 827 1,092 Other d8btor8 Prepayments and 3￿rUe￿ Income Totsi 24.330 30,967 25,157 32,059 14 Creditors.. arnounts falling due within onpyear 2025 2024 Trade creditors 6.993 Other creditors and accTuals 4,096 3,526 Tax and socia security 11.088 3.526 32 IN PLACE OF WAR CIO NOTES TO THE FINANCIAL STATEMENTS FOR TrIE YEAR ENDED 30 JUNE 2025 15 Anatysi8 of movements in restricteil funds Curfont yo•r Bwlancp at l ju￿ 2024 lth¢om Exponditur• Tt•rtsfors Balance at 30June 2025 Charitable actiwties The Linbury Tru$i- proie¢t manager 100 Agents of Ch8ngÈ M¥llJ CASE 14,94 62,218 39,802 34,847 42,000 38.190 12,0591 6,699 13,577 22,$41 7,671 134,0751 155.5771 Earth8￿1¢ E2rth Sonic Local Arts Coun￿1 RiseAbove Development Arcadia Reath C.l.C 23,211 15.000 23.850 10,815 RAD Linbury Finl Grant yanTnar Music Sumtnil MLT Org¥ni581ion81 70.000 14.8001 12,7201 16,3061 65.200 8,QOO 5,280 12,000 5,692 Total 101.3TT 283.690 132.514 Previous year Balan¢e ai 01 July 2023 B$lan¢$ 8130 June 2024 Income Expendi￿re Tr8nsfers CharitaLle 3cbvilies The Linbury Tru$i- project m$nager 100 Aoenis of ¢h8nge 1Am L£vender Hill 47,828 7,000 133,7E5 5.000 139.6781 170.5671 14,948 63,218 2,758 1S,128 17,7581 124,7841 MAlla CASE 43.973 134.3351 Mark Leonard Trust- C3rkw)n LileraGy 2,1DD Earthsonic 45.000 154.4481 9.448 RiseAbove Devebpfflenl Nordic Women Musi¢ Leadership Training Behavjour Charbge Interventions To￿1 40,000 23,211 3.000 13,0001 120 67.S10 277.878 101.377 33 IN PLACE OF WAR CIO NOTES TO THE FINANCIAL STATEMENTS FOR TrIE YEAR ENDED 30 JUNE 2025 15 Anatysis of movements in re5th¢ted funds- Icontinuedl Name of restricted Funil Description. naturp and pu￿05e￿ ofthe fund A UK prDject Supp￿l￿g 100 01 the most rnargiD8lised young p8ople ID develDp agencylhrough the arts. 100 Agents of Change l Am Lavender Hill Funding towardsthe Lavender Hill Utban Oaws CommuDityArts CeDtre. Creatin9 8 be$poke enl¢p¢neuri4 pwgramme based on fo¢u8 9￿p$WIth l¢¢al M￿leS¢ creabves. Malla CASE Mark L￿ard Tru51- eBrbon Literary Training Atrainirbg programme to Improve carL¥>n Iileracyddivered during the year A programme hosting music con￿rtS In disappearing due lo dimale change, workiw with Indiyewus musi¢ians and hiyhlighling the ¢onne¢tion between enwronmenial b￿akdo¥¥Th and local communitie5. E8rthSoniC RiseAbove Deveh)prnent N(￿di¢ Women Music Leadership Supporting the Rise Above tlevdopmenl. a (x)rnmunity venue being built in CApeTovm. Aleadership training progratnme held a0￿08& ke￿nd. 16 Anatysis of movements in unrestricted fund8 uwront yoar Balance at 1 July 2024 Expenditure Transfers Balance at 30June 2025 General fund 11,085 397.322 1353.3381 41 267 96,317 Previous year Balance al 01 July 2023 Income Exp8nditure Transfers Balanc8 al 30 June 2D24 Genèral fund 14,302 163,528 28 071 11,08S Nam• of unrostrlctèd Fund Dèscrlptlon, natur• and puYpos•s of th• fund The free resen￿ afterallO￿ng lor all designated funds. Genèral fund IN PLACE OF WAR CIO NOTES TO THE FINANCIAL STATEMENTS FOR TrIE YEAR ENDED 30 JUNE 2025 17 Anatysis of net assets bet￿eTh lunds Cuwrent year General fund Designated funds Restricted funds Totsl 2025 Tangl￿e fixed assets Nel current assetsllliabililies Totsi Previous year Gener81 fund Dewgnated funds Restricted funds TO1￿ 2024 TangiLle fixed assets Nel currpnl 8ssetsllliabililiesl Total 167 167 10,898 101,377 112,275 11.065 101.377 112.442 35 ## **Independent examiner's report on the accounts** ## **Section A Independent Examiner’s Report** **Report to the trustees** In Place of War **On accounts for the year** 30/06/2025 **Charity no** 1182594 **ended (if any) Set out on pages** 1-2 I report to the trustees on my examination of the accounts of the above charity (“the Trust”) for the year ended 30/06/2025. **Responsibilities and** As the charity's trustees, you are responsible for the preparation of the **basis of report** 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** The charity’s gross income exceeded £250,000 and I am qualified to **examiner's statement** undertake the examination by being a qualified member of ACCA. I have completed my examination. I confirm that no material matters have come to my attention in connection with the examination which gives me cause to believe that in, any material respect: - the accounting records were not kept in accordance with section 130 of the Charities Act; or - the accounts did not accord with the accounting records; or - the accounts did 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. **Date:** 05/03/2026 **Signed: Name:** Adeel Sahi **Relevant professional** ACCA **qualification(s) or body (if any):** 1 **Oct 2018** **IER** ## **Address:** Bowdon Accounting Services Ltd Bartle House, Oxford Court, Manchester M2 3WQ ## **Section B Disclosure** Only complete if the examiner needs to highlight material matters of concern (see CC32, Independent examination of charity accounts: directions and guidance for examiners). **Give here brief details of** N/A **any items that the examiner wishes to disclose** . 2 **Oct 2018** **IER**