8iACK UVES IN MUSIC UMtTED IA company limited by guarantee) Yearendiw 3tst March zirL5 number 12959686 Iiiiilliii *AEHP4(44Y" 1611212025 COMPANIES HOUSE A17 Black Lives in Music Limited Annual Report and Accounts- 31 March 202S INDEX Pale No Le8al and *thini5trati¥e Inforrnali Trustees Remyt lrtdepe￿ Exwninerfs Repryt Ststement of Fin3ncialAclNitse5 io-ii Balance Sheei 12 atement of Cash Fto Notes to the Financial Ststements 15-20 Black Lives in Music Lirnited Annual Report and Accounts- 31 March 2025 LEGALAND ADMINISTIIATIVE INFORMAT1014 Oirertorsand Tn￿l•e5 Charissev A eeaumont Moses C￿e￿i￿YT8 Kienda Hoji jar￿SA M Joseph Qrphy E Robinsoft J￿eaCe Thompson The Trustees of the Charitable Company. Black Li¥e5 in Musk I"BLiM"l. arè also directors fort￿ purposes of Company law. FUFI narne and ¥Odress oltharhy Wack in MUS￿ Limited Kin8s Place Y)York Wav London NI 9AG Company Number. 12959686 Ch¥#abkSt•tus Black iNes in Music is re8i5tered with the Charity C¢Mnmi55ion aThJ it5 tharity re8iStratw number 15 1201584. The directors confiim that during the year BLIM ha5 complied with the requirements of th¢ Chèrity Commission and other bodies suth as HM Revenue & Custom¥ In order to maintain its Charitab￿ status. This yearhas bèen onè of rémarkable 8rov4th. toura8e3nd clarityfor Bl¥k Lives in Music. As Chair. I have had the privilegeof witnessin8 the strength and commitmeni that define th￿ or8anisatron. In a sector where Inequality remains deeply embedded. 8kn"M continues io stand as a force for justice, di8nity and chon8e. Ow work has demanded re5ilienre, but it ha5 a150 revealed the extratydinary imp•¢tthat is posslbltwhen truth. artbstry and community come togèthef with purpose. OLiM's InfluEnte on national pvlicy has been partic¢Jiorly signffjieant. We continued our Yltal engagement with the Women and Equalities Select Committee, havTrn8 fitst contributed extensi¥pSy to its landmark Mi599ynyin Mu*c report. kn January 2025. the Committee once ¥in ulled upon BLIM to provide evidence. th15 time drawirtÈ on the exiensh¥e lived experience findings from our Your Safety YL¥Jr Sav bullying and harassment searth. Our testimony illuminated thé dual discfimination faced by Black and Global Masority women, the dange￿ of infom)al power strudures, and the widespread lack of safe reportin8 mechani5rn5 acr055 the music workforte. When the ComThuttee published its follow up report latèr in the y￿r. BLIM'S èvidenre was a￿lfi prominentlytiied. li affiffl￿d what our research has consistently shown that harassmenL Mis0￿nY and dwiminatlon rernain systernic. aftd that accountsbility and cultural ￿forM are ur8entty required. Thls commitmenttotnrth telling and e4rydertt not onty ￿ldeS our pollcy work but also underpins our researth eollabordtions. One of the most 5i8nificant achièvements this year was the Race Equality in Music Event Licensin8 IREMELI proiert, commissioned by Greater London Authority and the Mayor of London. workinB alonyide UK Mu%c. LNE and the Musicians. Union. ThfouBh this researth. BLIM brought to light k>ngstandinB 81ack Lives in Music Limited Annual Report and Accounts- 31 March 2025 concerns about discriminatory policin8 and licensing practi￿ afferting Black and Asran promoters, artists and live events. The findiny Hre now shapTrn8 a new city wide under5tandin8 of equality in nlhtlife and INe musit. will inlluence how London prolects ojlture. ￿mm￿lty and creativity in the years to come. 8LiM's yfitemic reform work has also advan￿￿ in tranSf0m￿ti¥*w8Ys. The Anti-R•cist Code of Conduct is now firmfy established a5 a sertor wide standard for di8nity, behaviour, safety and equality- Created in partnership with leading legal experts aThJ supponed by CIISA. the Code sets a new expectation for how organisations s?fe8uard freelance profe5yona15 and staff. Alor4side it, our di8rtal Platfo￿ EquTI rack will launch next year. offerin8 oreanisations the ability to monitor their progress. ana￿se workforte rèpresentatbon. attess leamin8 resource5 and commit to continvou5 irnpro¥ement. These developments represent a major step forward for stnKtural accountability tn UK music Ouf artistlcarml educational Tlth has continued to expand with imp¥t and inteniion. Th? aa$5iCal￿ Black FÈstival crèatÈd a powerful cultural moment, bringin8 more than fve hundred people together to celebrate Black and Global Majority excellence in ¢lassical rnUSiL Wrth performantt5 from outstanding artists. wodd prÈmièrÈs vrith the 88C Symphony Orthestra. children's wryk5hops and our Emerying Talent Competition, tht festival demonstrated what a More indusive future for ¢la55ical music can look like. Our thank5 extend to all sponsofs and partner5 includingA8RSM. Warner Cla55tC5. Art5 Counol En8Lind and Kings Pla￿. Our work in orchestral reform ha5 been equalFy irnpacrful. RecfUitin8 Ctassical continues to break new ground by (￿ati11&fo11. iransparent and supportNe audition pathways for Global Majority orchesiral musicians in partnership with Six major UK ortheslras. Al￿S￿de thi5. the 10-Potnt Orchestral Plan developed with the Musicians, Un¢on and the Association of British Orthestras has been émbrattd by ensembles aeross the country and is redeffinl￿ recwrf¢rnent norms within the sertor. We have deepefied ourtommitmentto developingthe next generatth of creative leaders through BLIM Connert, Equalisef. Turn It Up and the Conductors in Residence scheff￿. Eath initiatb¥e nurtures talent, builds tonfidencÈ and open5 door5 th3t have historically remained c105ed. The Condurtors in ResTrdence programme. dell¥efed with Guildhall Young Arttsts. broughtartisttc brilltance and leadership ro their roles. Equaliser. delNered with Serious, the Royal Albert Hall and the Bar￿Can. has erown into a powerful pathway for Global Majority prodtscer5. pfoBrammers and rUI￿ra1 inntrAtors. supportin8 their progress￿ into roles that shape the creativè landscape. This yearfs progress rtfietts the shared strÈn8th of our entire organisation. I want to exwess my deepest appreoation to ourfounders, R08erWi￿0n and Charisse 8eaumoni. whose Vision and commitment establr5hed BLIM rts)t as a momentary intervent￿n but as a Wine movement rootèd in justice. artlstry and community power. They continue toguide this or8anisation with inte8rity, insighi and è b￿￿f in what the future of musi¢ can be when everyone is given th• opportunity to fI￿rish. l also extend my gratlbjde toour Board of Tntstees. ourTa5klorce. ovrdedlcated staff team, IYJT mentors, our partner orKanisations and the many artists and contributors whose courage and creativity drive our mission forwanl. Their support and leadership Ènsure that BLIM rem*ns a trust￿, resperted and necessary ¥oice within the music industry. A5 we look ahead, BLIM enters the comine year with clarity and COnvbCt￿. We wll continue to champion the rights and wellbeing of mv5ici¥ns. strengthen pathways into 5UStainable tsreews. and hold the stttorto the hi8hest 5tsndards of equityand accountability. Our ambition is bold, OUT purpose 15 <￿ar, and our commitment rèmains steadfast: to build a musit industrywhtre justti isthe nomi. rèpr*sentatOon is the expÈrtatOon and every mu5ioan is empowered to thrive. On behalf ofthe Board of Tru￿et$. l thank everyone Tltho has walked wilh us thés year. Together. we are shapin8 a future where the lull rithness of ourtalent is reco8nised, celebrated and protected. Jamts J05Èph Chairman 81ack Lives in Muslc Black Lives in Music Limited Annual Report and Accounts- 31 March 2025 TRUSTÉES REPORT TheTruslets present their report togetherwith the f￿anUal ststements of the Company forthe year ended 31 March 2025. Intyodyclion Since its inception in 2020. elack Lr¥es In Music IBknMI has worked within a music industry that continues to evolve in 115 understanding of equality. In the immediate aftermath of the global Black Live5 Matter movement, followiD8 the murder of George Fjoyd. there was 4 5tgnificant in¢rease In public attention and philanthTOPiC interest in racial justice. This led to new projects bein8 Liunched and existin8 organ￿atIOns, including BLIM. re￿1¥In8 muth needed 5UPPOrt to expand tt*irworf¢. Cfver lime. hovmftr. this initial 5urgeof interest has become le55consistent. Earlycorporate enthusta5m and one off donations ha¥e not afways translated into lon¢ef tem partnerships or fecurring income. Thts has created a more uncertsin funding environment for tharitie5 like BLIM. whith are continuTrnK to deliver ongoing PTO8rammes. research ar￿ ad¥ocary in supF*M of Global Majority musicians and professlonals. In this context. BLIM madethe¢artful decision lo adjust membetship fee5 whde Maintaini￿ discounted options for5rrtraller or low income or8anisations.This has helped us keep our work SUStsin3ble, ali8n with the scale of our activity and safeguard accessforthose with fewerfinancial re50ur¢e5. Despite widerfinantial pressures. we have ained the supportofoverone hundred memberoryanisations and continued to respondtoincreasingdemand for ourexperti5e. trainiry and prograrnn￿. Throughout this period ¢wrapproath has remained rooted in tollaboration. BLIM continues to work closely with or(h￿tra5, festivals. venues, labels. education Instit￿￿n5 and grassroots organisations acr05S the UK. Through our"critical friend" rn￿e1, we offer partners space for honest reflertion and prartical support. always with the aim of helping them build mort indusive cultures and prattices. Our membership has grown to more than one hundred organisations. our prograrnmes have reached 451x1 creatives, and our campaigns aNI ffledia presente have coniributed to national and iniemational conveFSations about egualrty ID music. We have also strengthened our intemal capauty. Establishing an offlce base at Kin8s PIK¢ has allowed staff to collaborate in person more retularty. supportingcommunitatN)n. crèativtty and Care withln a 8rowingteam. Thls ha5 been important as our pro8rarnme pwifolio and external cornmitments ha¥e8rown. Oblettl¥esand attlvtile5 Black L￿Ve$ rn Music ts a Black led natronal organisatioTr working to address inequality In the UK music industry. Ourwsion isof a music sector inwhith everyone. re8ardlessof back8round. fee15 that thty belon& are respeded and have fair actess to OPE￿rtunItIes. Our network of member organisaiions now stretches across all four countries of the UK and together we focv5 on removing barriers that have histryitally limited the partlcipatlon and pro8ression of Global Maiority musicians and professionals. We use data and in5i8ht to nform our to hi8hli¥ht where chan8e is Still needed ahd to support or8anisations in their efforts to become more ¥nclusNe. We WO￿ with orthestrzs. venues, promoters, festivals, labels, publishers conservatoires. vnTrversitfjes and schools. and we aim to build eenuine, long-term relationships that entouF• openntS5. Itarning and shar￿ r+sp￿sIbIlIty. The charity was estsblished forthe public benefiL ￿ objects indude advanciTrJ ihe art of muslc across c1o5sical. jazz afid ather genre5: prorn¢)ting tquality and diversity in the music industry,. providing advict. training and support relating to diversity. inclusion and anti-ratism for organisaiions involved in music perfofmance, production and education.. and commissionin8 and sharin8 research on diversity and indusion. We also exist to help organi5atiQn5 develop and meet d4ver5ity and indusion targets,. to 5UPPOrt. develop and train Black and Global MalofÉty musicians throu8h mentorin& vo(ational Opportunit￿ on and off stage. and wellbeln8 support,. tts prtsènt performantÈ proiecls that feature Black and Global Majority arti%ts: to offèr bursar￿5 tts help those on low incomes acce$5 instruments. lessons and development opportunities.. to promote fflusic educotion and scholafship5 for Black and Global Majority leJmers of all ages.. and to undertake ¢ompJementsry ¢hartsble activities that help furthèr these aims. Black Lives in Music Limited Annual Report and Accounts-31 March 2025 These objectNes are deltvered throuÉh a broad pro8Trmme that brin85 tO8ether re5earth, advocw, t3￿nt developmenL performance, technlcal training and partnèrship work at loc31. national and international lèvels. Prggrnmme Impartand Key Outco During the period. 8bM's work continued to make a positrve difference across three interconnected areas. treating more opportunitie5 for Global Majority artists. supporting 5tructUfal and cultural change in the mu51 industry. and recognisingand olebrating the contribution of Global Majorrty communities io musical lrfe. Impro¥td opportunities for fjlubal Malwity A major strand of Btim's aetiwty I￿uSt$ on opening up genuine pathways rnto sustainable careers. Our Recruiting Classtcal initiati¥e remains a key part of this wotrt The stheme was developed in response to the undeirepresentatron of Blxk and Gtobal Majority ￿ayerS in UK orthestras, particularly within string settions. Under RÈcruitin8 a￿S¢cal. Global Maioritystrin8 players a￿ invited to apply for guaranteed, screened auditions forextras lists teading orchestras, supportèd by profe55ional ￿￿t￿lment se$5itsns sueh as mock auditions. serttonal rehearsa&and excerpt masterdasse& n this period. Rewiting aassrcal e¥panded to work with six major orchestras.. the London PhilharrTroni¢ Orchestra, Bournemouth Symphonyorthestrn. Royal Liverpool PhTrlhamionic Orthestra. Royal Northwn Sinfonia, Royal Philharmonlc orchestra.and fjty of BirminBham Symphony Orchestra. Earlier cycles have already seen Global Ma5ority players pla￿d on extras lims and en8a8ed for profe￿10￿01 work with these ensembles. We broadened our work by conneaing with more orthestns and introducing Woodwind Professional l)evelopment Schemes. The emphasis shifted towawds building stronB relationshlps and offering tailored audition support 50 that musicians could grow in conffidence and improve their success rate. Across three years, the initiative has attrarted 350trapplicationsfrom musiuans fromglobal majoritybackgrounds. 38 musioan5 have performed with partrter orchestTrs throu8h freelance opportunities. Three muycians secured long-tem positions in major orchestras. Pmfessioftal Oe¥elopmtnt Sthemes have supprlrted over 65 musitians to date. The inTrtiative ha5 been recognised with an Associaiion of 8rit15h Orchestras CtJ55ical Music Award. T*￿rtIn0 the settorfs appreciation of its practical impact on reuuitment pathways. 8LiM Connect. our four-rnonth mentoring proEramme. ￿ntinUed to support Global Majority earlyPoint Plan for IncI￿l¥e Prartice in orchestras. devdoped with the Musicians. Union and the Association of British Orchesiras. remained an important framework this year. By encouraging inclusive recruitment prattiCè5. includinB clearer pr(xes￿, fairer audition arrangements and trainin8 for audition pane15, the plan supports orthestras in aligning their internal system5 Wlth thèir pvblic commitments to diversity. 35 orchestras and thoirs havesiBned up io the plan, signaljing a shafed desire to e¥ot¥e howt3￿nt is identrfied and supported. WitNn music edvcation. BLIM strengthened its role in supportlng a mofe dNerse teaching and assessrnent workforte. In 2024. WÈ collaborated with ABRSM to widen acctss to it5 exarniner roles. er)touraÈing Black and Global Majority instrumental and vocal teathers io app￿ for the autumn 2024 £xaminer TTalninB Pfo8ramme. This work helped demyst￿ the application process, made the pathway feel more open and welcomin& artd supported candidates to understand the txpettations of the role. By creatin¢ space for a broader range of educator5 to enter the field of as5e55rnent. thi% collaborat￿Tr is helping ènsure that young musitians see themselves reflected in the professionals who ￿luate and encourage their progress. It 0150 contribute5 to a more representative and t￿raIlY aware approath to assessmenL sirer8thenin8 the foundations of musi education a¢ross the UK. Thi5 commitment to education continued through 0urgng0i￿ partnership with Music Masters and Birmin8ham Csty Universivs Sthool of Education and Social Wwk continued to support a MO￿ divÈrse music edutation workforce. Through fully funded places on the Musitians of Change teacher training programme. participants receive specialist trainin8 in Broup and en5ernble teachi￿ and gain a Level 7 qualbr￿litin, helping music education in schoo15 better reflect the diversity of the communities it serves. 8LiM has also remained active in licensing and policy conversations. The Race Equality Fn Music Event Licert5inB IREMEL) projert, commissioned èy the Mayor of london. Greater london Authoriry and MOPAC. addresses Con￿rn5 abovt how li￿nSing and enforcement prartices can impac¢ Black and South Asian music èvents. 8rin8LD8 together the Marfs Night Czar. local licensbng authorities. the Metropditan Police, Musicians. Union. UK Music, LIVE. promoters, artist5 and securrty rtpresentative5. AEMEL Seeks to identify good pratttte. sharè learning and support consist￿t and transparent decisi￿ rnakin8. In addityon to *)ur role within REMEL eLiM was invtted to give ￿Idence to the London Assembly on the specific barriers faced by Black and Brown people in the nvdht-tirne Ètonomy. contributing to 8 wider review of salety. discriminaiion and access. We hiBhli8hted concems raised by industry wofessi¢)nals and community members, drdwinB attention to the cumulatwe impart of venue policie5. enforcement prK¢ices and cultural bias. We emphasised how these barriers can limit artistic exprèssion. restrid career development and contribute to sense of extlusion in spatès Whe￿ creativity should be céltbraied. ThTrs contribution helped ensure these issues were fecognised in or*oing discussions and future recommendatiorts. At • national level. BLIM'S researth has Cont[n￿ to rnfom parliamentary scrutifty of industry culture. The Women and Equaliiies Select Committee's 2024 report. Misoqynyln MUSK, drew heavityon evldence fr(XD BLIM Black Lives in Music Limited Annual Report and Accounts- 31 March 2025 and other sertor partner5 in describing experiences of abuse. harassment and discriminotbon fated by women working ￿ musit and in recommending steps towards betterprottctions and accountability. In January 2025 our Chief Executive gave f(rrtheror31 evidence to the Committee's folloW￿P session Misowry in the Music Industry Inquiry sharing emergin8 findings from the Your Safety Ytyjr Sarf bullyin8 and harassment research and hi8hlightinB in particular thè txperitntes of Black and Global Majorlty womèn and othtr undtfftpresenttd Sroups. The Committee's 2025 follow.up report. Misogyny in Mus￿.. On Repeot. noted thai pro8ress atross the industry had been slower than hoped and aeain oted Bknm's evidence in callin8 for fvrther •ctitsn. Includin8 Stronger regulatoryframeworks and sector ¢ommTrtments. In parallel. has been de¥eloping syattiol tools to help or￿nISatiOnS respond. Anti-Racist Code of Condurt Sets out a Ser￿ of expertatK>n5 around behaviour. wellbein8 and Inclu￿On, informed by our research and extensfft t(msvliation. EquiTrack. our inclusion aTha1￿￿5 tool. will help organi5akn.ons to monitor their own progres5 over time. to understand their worklorce make-up and to access learnin8 tailored to their need5. To8ether. these tools are intended io support gradual. measurablè irty>ro¥ement aThJ to gr¥e organisations a clearer picture of where they are and where they wish to be. BLIM'S work is al￿abOut ackn¢)wledKin& celebrating and 5haringthe cultural and artIst￿ContrIbutIOnS of Global Majority wmmunities. In addition to our perfomance projects. we have taken part in hi8h-profTrle events, conferen￿5 and festiva15. induding WOMEX in manCh￿ter in 2024, where we stren8thened relatbtin5htP5 Wlth partners suth as the 8ritish Countil and Arts Couml Wales and connected UK work to ￿der intemational tonwersations. Through participation in summits. roundtables and advisory tounci15- including the POWER UP x Black lives in Music panel at Eurosonic Noorderslae in January 2025 - Bbm's leadership has been able to bring perspectives from Blackand Global Majority communitie5 int0 Spaces where policy. fvnding and strategic direCt￿)n5 aTe bein8 discussed. iookingAhead Looking ahead. BLIM plans to continue deepening and widenlng its impatt. The fsndings of the Race Equality In Music E¥Ènt Licensing IREMELI research, developed in partnership with organisatN)ns includin8 Musicians Union, LIVE and UK Music will be published and shared acro￿ the sector. offering a clearer pirture of the Itved experiences of 61ack and Global Majonty professionals and others working in music today. These insights will 5UPPOrt implementation of our Anti-Raclst Code of cOnd￿t and Equitrack inforn conversations abwt rewtir￿ 5UPPOrt and accountability. We will continue to Wofk fundraising con5ultsnts such as Achates to strengthen financial resilience, and Trustees W511 receive further trainin8 to 5UPPtsrt their rote in building new partnerships and engaglng SUPPOrte￿. Our membership base is ￿peCted to continue 8Thin& with oreanisations including Youth Music joinin8 the network. and we an¢iopate an Increase in membership of around ten percent as mre organisotions seek structured support around belong¥nE and representation. We Y•ill continue to develop and refine pro8rarnmes such 35 Recruiting aasslcal. Equaliser, Turn It Up. Connect, Classically Black and Conductors in Residen￿. ensuring that Black and Global Majority musicians and professionats erKountef SUPPOrt, opwtunrty ènd erKtyJragemeni at every stage of their pathwav. Through all of ¢hss. we intend to mantain the blend of researth. practKal tools. dialogue and ¢featlvity that has defined Biim's ththto dète. Stru¢tyre. 8•wrnance and manag¢m*rt 81ack Lives in Music is a registered tharity lthaiity Thjmber 12015841 and a company limi(ed by guarantee (company number 129596861. Tfustees art appointed through an open recnjitment process whith includes application. references and interview with existing Board members and senior management. All Trustee5 are expettèd to familiarise th*nselves with Bi&PKs Charter and Code of ConducL which stt out our organisational values. principtes and expectaiions. Black Lives in Music Limited Annual Report and Accounts-31 March 2025 The 8vard is cuirenity chaired by James Joseph. wtih Moses l*ediwura as Vice Chair. Other Trustees includè Janeace Thomp50n, Or %￿nd3 Hoji and Orphy Robinson MBE. Alex Spofforth as our r*on*xecutive treasurer bringing together e¥perience in artist managemenL di¥ersity and induslon, educatlon, finance, law and performance. BLiM's advisory group traskforcel brings tO8ethLY leadin8 musicTrans and industry professionals from across the UK, including Pzulette Long OBE, Dr Mykzell Riley, Yvelle Griffith 08E, Cleveland Watki5s MBE, Shabaka H￿ChingS andothefs. TheTaskforee supports thttharitywith insight. reftettion and Buidance. helpingus ensure that our work remains zrounded in the realities of the communit*5 we sep*. The oper3tional team is a 5malS. dI￿r5e group of fourlull-time and three part-time staff mtmbers. 5UPPQrted bv a network of freelance prartitioners, n￿lOr5 and facilitators wbo as&st with pr(y&ramme delNery and evaluation. Collertr¥ely* our stsff and freelancets bring experience ￿ musicians, educators, tour managers, cuknral Wofkers and zdministraiors. This mix of skills and INed experien￿ is central to our abilityto undèrstand th* issw we address and to desiln pro8rammes that are piactKal, sensitive and effecti¥e. The Board of Trustee5 15 responsible for the charl￿5 overall strategy. So¥ernan￿ and financial o¥ersiBht. Dav- t￿daY management ss delegated to the thief Execufy"¥4 Director ol Operations and senior team. who report regularly to the Board. Approved by the Board of Trustees and signed on ts behaLf bv: C Y A BEAUMONT Trustee Black Lives in Music Limited Annual Report and Accounts- 31 March 2025 INOEPENDENT EXAMINER'S REPORTTOTHE TRUSTEES OF BLACK UVES IN MUSIC LIMITED I report to the trustees (who are also Oirectors for the purpose of company lawl on my examination of the fin3nctal siatements of 81ack Lives in Music I'the charitable compan￿} (or thè year ended 31 March 2025 which ttsmpri5e the Sratement of Financial ActNities. Ihe balance Sheet. the Ststement of Cash Flows and related note Thi5 report Trs made solely to the charitV5 tn￿ee5. as a body. in accordance with sertion 145 of the Charities Aci 2011. My work has been undertaken so that I might Mate to the charrtr the preparation of the fin3ncial statements in a¢¢rydan￿ with the requirements of the Companies kt 2(￿ I'the 2(*)6 Arfl. Hzving Satisfied rnyself that the financial statements of the Charitab￿ company are not required to be audited under Part 16 of the Art and are eligible for independent examination. I repprt in respect of my examination of thè tharitable compan￿5 finar￿la1 thtements carried ￿Jt under section 145 of the Charities Act 20111.the 2011 Act'l and In tarrying out my éxamination I have followed all the applicable Directions gNen by the Charlty Commissron under Sert1￿ 145lsllbl of the 2011 Act. An independent eXaMinat￿n does not in¥ol¥e gathering all of the evidence that woutd be required in an audit and consequently does not cover all of the matters that an auditor considers ir4 81vi￿ their opIn￿n on the financtal statements. The planningand conduttof an auditgo beyond the limited assurance thatan independent examination can pr0¥4de. Consequently, l expre55 no opinion a5 to whethei the financial statement5 pre5enl a 'true and fairf ¥lew and my report is limited to those specific matters set out in the Independent examinees statement. independwrt wminerfs statemeAt Since the Charitable Companvs gr055 I￿orne excÈeded £250.1W. Your exafft￿er musi be a member of a body listed in section 145 of the 2011 Aei. I confirm that l am qualified to undertake the exèminatw as a member tsf ICAEW. which 15 one of the145ted bodie5. I have completed my examination. I confimi that no material matters have come to my attention in connertion with the examtnation gwing cause to believe that in any material respect: a¢¢ounting records were n)t kept in respert of the d￿ritable ct)mpany as requlred by sertlon 386 of the 2006Art: or the financial statements do not accord with those retords.. or > finamal ststements do not compty with the accountin8 requirements of sertion 396 of the 2& Art other than any requirement that the finanool statemènts give a 'tn* and fair vrew whith is not matter conside￿d as part of an independent examination. or the financial statements have not been pre￿red in accordantÈ with the methods and prirKiple5 of the Statèment of RecommÈnded Prathce for ¥counting and reporting by charities applitable to tharitles preparing therr accounts in acconjance with the Financial Be&￿ing Standard applicable in the UK and Republic of Ireland IFRS 1021. Ihave noconcerr&and havecorneacross noother matters inconnectionwiththeexaminationto whKh attention should be drawn in thts rèport in wder to enablÈ a proper y￿rStandIn￿ f the financial ststements to be reached. 9 West Ertd Kemsing Se¥enoak5 Kent TN15 6PX ALIN J CQPLESTON FCA COPLESTONS 10 Black Lives in Music Limited Annual Report and Accounts- 31 March 2025 STATEMENT OF FINANCW ACTNITIES IINCWDING INCOME AND ExpENDrnJRE AccouNrl FOA THE YEAR ENOEO 31ST MARCH 2025 ilnrestrirted Restrirted Funds Total Fund5 2025 Total Funds 2024 Turnover 69.276 69.276 78.127 Grants and donatwJn5 112.188 451.952 587,817 566,520 MembeTshTrp sub5ulptMms 195 19.5(Kl 20,453 SponsO￿h1P sntomÈ 7.S 14.750 Totsl IntomÈ 232,141 451.952 684,093 679.850 Dirett event ￿$ts 137,270 137,270 Staff costs io 104.574 185.228 289.802 260,270 Contrxtors 69.649 123364 193,013 Con5ultoncy 53.368 53,368 127.41S Marketing 40.935 40.935 91.150 OeprKiation 2SY) Support costs li 123,453 123.453 72.168 Tolal EN￿dIll 298,584 540,165 838,749 551.293 Mov•ment In Ffflds 166.4431 88.213 1154.6561 128,557 Adjust Reserve brought forward 699 {66.4431 188.2131 1154.6561 129.256 Balances brr￿lhtfor￿3rd 122.212 88.213 210.425 81.169 8alances at 31 March 2025 £55.769 £55,769 £210,425 See page 12 for the split ofthe 2024 comparative figures. The notes on pages IS 10 20 flym an integral part ofthe5e finarKial stateffMts. Black Ltves in Music Limited Annual Report and Accounts- 31 March 2025 STATEMENT OF FINANCIAL ACTNITIES IINCLUDING INCOME AND EXPENDITURÉ AccouNT} FOR THE YEAR ENDEO 31ST MARCH 2024 Unrestrirted Funds Restritted Fund5 Total Funds 2024 Not Tumover 78.127 78,127 Grant5 and donation5 144,853 421,667 566,$20 Membership subscriptfjor Sponsorship income 20.453 14.750 20.4S3 14,750 T*)tal Income 25&183 .42.1,667 .679,850 Staff costs io 145.381 114.889 260,270 Consultancy 127,415 127.415 Marketing 91.150 91.150 Depreciation 290 290 Support¢osts li 72.168 72.168 Total ENp•ftd1￿fe 217A39 333.454 55L293 M¢mm¢rt In Fund5 88.213 128,557 Adjust Reserve broutht forwafd 699 Release of restricted funds I60.￿10) Net M(wern•ts tft Funds 101.043 28.213 129.256 8alance5 brou8htforward 21,169 81,169 Balances at 31 Marth 2024 £122.212 £88.213 E210.425 The notes on p3ge$ 15 to 20 fonn an inte8ral wiof these financiJ ststements 12 Black Lives iro Music Limited Annual Report and Accounts- 31 March 2025 BAiANCE SHE AT 315T MARCH 2025 2025 2024 Notes FIXED ASSETS T4￿Ible Assets I￿50 2,138 CURRENT ASSET5 Oebtor5 27m8 32.262 Cash ai bank and in hand 85.248 194.759 112,3 227.021 CREDITORS Amounts I￿ling due within one year {58,3871 118.8341 NET CURRENT ASSEts 53,919 208.187 TOTAL A55ETS LES5 CURRENT LIA81UTIES 55.769 210,425 £55.769 £210.425 FUNDS Un￿StrICted 55.769 122.212 Restricted 88,213 RESERVES £55.769 £210.425 For the ye¥ ended 31st Marth Z025. the ￿MpanY was entiued to exemption from audit under section 477 of the Companies Act rel*in8to small Compan￿5. Olrectorf responsil*lities r￿•ti￿t9￿￿•￿dil01th¢ffin•rKI￿l sts¥vrtentsfrrftt**¥bvTAti*￿se¢1￿￿417. •Kith*nornemtwry mwTrbesshw• reques￿ anau¢litwnumtth se£tKffi476ollhoAcL These financtal statements have been prepared in accordance wtth the micro-entRy provislons and deU¥ered in attordance with the Prow￿on$ applicabbè to companie5 subiert to thè small companie< regbmè. Approved bythe Board of Directors and authorised for issue on 9th Oecember 2025 and syed on their behalf by.. C Y A BEAUMONT Diredor Company re8iStratron number 12959686 {EnÉland and Wa￿) The notes on pa￿$ 15 to20 fvnn an inte8rn1 part ol these financial ststernents 13 Black Lives in Music Limited Annual Report and Accounts- 31 March 2025 STATEMENTOF CASH FLOIfyS FOR THE YEAR ENOED 3tsT MARCH 2025 2025 2024 Net cash {absort>edllprovided by operatini a￿1vItIes. li￿,991) 138,415 Cash Ilows from 1Th¥eth￿ ￿l¥It0. Purchase of t￿￿￿bIe fTrxed assets 15201 12,2551 Net ush labsorbedllpmwded by inv•stinB arti¥ib 15201 12,2551 Chany in ta5h and •q¥Prfatents hbthe year 1109.5111 136.160 Cash and osh equbvalents bfoughi forward 194,759 58.599 Cash and cashtyilvalertts (arritd frnvd £85.248 £194.759 Net mtsvtment in funds.. 1154.6561 129.256 .Adjvstments for: Depr￿latIon tharge5 290 Decrea5ellincreasel in debtors 5,204 (3.3701 IDeueaselTincrea5e in Cfeditors 39.553 12.239 £l1(*,9911 £138.415 The notes on pa8es 15 to Zoform an inteyal part ofthese fmanaal Strte￿nts 14 Black Lives in Music Limited Annual Report and Accounts- 31 March 2025 NOTES To THE Flp4NC￿L STATEMENTS Gene ILL Black Li¥ts in Music LKnited is a private cOM￿n¥ limited by8uorantee and irKorporated in EnBland and Wale5. The re8iStered office is at King5 Place. 9JYork Way. London. Nl 9AG The printipal xtountirtg pdiaes applied in the preparation of these finanoal ststement5 are set out betrow. These Oicies have t>een consisiently applied unless otherwise stated.. Stat lance The auounts have been prep•red in accord¥n¢e wilh &atement of Re£ommended Pfattiee: Accounting •nd reporting by c￿ritieS preparin8 theit ac¢ounts in attordante with ihe Finarttial Reportin8 Standard applioble In the United Kin8dom and Republic of Ire￿nd If RS 1021 and the Charities Act 2011. These set out the recomrnended treatrnent of materiil traiis•ttion5 and batsnces in thE aCcOur￿ of charitie5. In ￿rtiCular. they mike a di5tinclion betsRen fund5 received and balan￿$ held for the general purposes of the¢harity I"UArestriaed funds'land ihose recer4ed or held.for purposes specified bythe donor I"Re5tritied funds"l. bl fpr The a(£OUnts have been ￿ePa￿d under the trMstOriC C05t con¥ention arKI ieneralty in atcordance with the accrnalsconcepL unless r￿ed belw. L4 The aCC￿￿nts have been prepared and are presented in Pour￿ $￿in& which isthe operational ¢urren£yof thtcompany. Thi5 i5tonsistent with previous yea￿. dl Funds Stfutt The cornparty has Re5tficted and UnrestrKted furKI5. Restricted fvrKls are funds whith areto bt Used in aCmrdar￿wlth specrfK restrict*on5 imposed bythe donor orthe constilution of thecompany. Oetaifs of these are given In Nore 6 to the UnrestfKted fundscompriseihose fvnds**hth thetrustees arelree to usefN anypurpose in fvrthenrKeoftht (hatita￿ obiects. Revenue ntlron l income o rtcognised oncethe rompany has errtiilement tothe income. It 15 probable that it will be received and the an￿Unt ofthe incorne¢an be measured ￿lably. Subscrrption inwne 15 credited on a ￿$1& with theexcemion of sub5¢rlptfons le￿1¥ed In tespea QffUw￿ periods T*hth art •c¢ounttd fw on aft accruals basis. LNinaii)ns￿￿ Itgxies¥e reCo￿lsed when the conyany•w5 been infomied both of the4rno￿t and setttenRnt date. In the event t￿1 Conditi(￿saPpty befts￿ the companywill become entltled to thefvrrt bncome isdeftrrtd until the conditions are md. l other in¢¢Jn* ￿ ￿￿11*￿ on a rereipt5 ba5i5except where it relate5to future event5. 15 Black lives in Music Limited Annual Report and Accounts~31 March 2025 NDTESTOTHE FIp4ANCIAL STATEMENTS- continued nditure Reco Liabslities are recognised as exP￿diture aS￿l0n asthere is a legal ortonstructive obligat cornmittin8 ￿ that expenditure. it is probable ihat senknentwill be required and the amountof the obli8ètw ran be Measu￿ ￿lIably. All expendtture is ac(tyJnted fori)n an accrualsbasis. IrrecU￿rabIe VAT is included in the expenditure heading tot*hich it relates to. Re5￿rrest%pended are rrKluded 4Vithin the appropriate heading towhKhtheyrelate. Dirert Costs relatingto Ktivities in fvrth¢r3n￿ of the Synagogue's tharl￿ble objeas are included a5 cosrsof Ihose artivitres. General olke adMIn￿atIOn costs are sho¥m separately 35 5uth and ère not apportioned au05S Costs of actY¥ities Inany way. GLverna￿e o)sts comprise all costs invol¥inB the publlcac¢ounts￿11tyo1theC0fftpaftvand its complranct ¥•ith reeul•tK)n and 9ractite. Donations •nd we payments madeto thwd p•ties in the fvrtheiance ofthethar4tab objetts ofthe compwry. Trustee5 make dOnat￿n$aftd yaTrtsfrom fund5 held and I￿11•ble for such purposes. They are accounted for when the payment f•lls dyeto be made. FLYed Tanwble r￿ed assets are hekl at histo￿31 cost kss a¢£umulated dePre0a￿On ony impa[m￿Trt h)sses. DepreCiat￿n Ls pro¥ided at the follo￿ rares in order to write off each asset over its kmated useful lrfe; Computers . reduore tsalaft￿ at 33% h) The company is a re8rstered charity and therefore not liabbt for I￿orne or torporniion taxes on income derwed from its tharttsble actiwbes. as it 1311$ within the Various exemptions available to rwstered tharilie Pensions The company does not operate a pehsroA xheff*for its emplwes. It contributes tothe personal pen5i0n¥w8￿entsQfCert1ifterntheeS4nd thecostsarethar8edtO8eneral fvndsastheyarise. 16 Black Lives in Music Limited Annual Report and Accounts-31 March 2025 NoTEsTo THE FINAN0ALsTATE￿NT5- continued offi Equipment Total COST Balance at lstApril 2024 3.654 Additions in the year 520 520 Balan¢e at 3tst Mar