DIVERSITY MUSIC INDUSTRY WORKFORCE 2018 #Selfieleave Campaign at Westminster

Home , 2020 in British music

DIVERSITY MUSIC INDUSTRY WORKFORCE 2018 #SelfieLeave Campaign at Westminster

Winners at Women in Music Awards 2017

UK Music at SXSW’s British Music Embassy FOREWORD Michael Dugher 4 Keith Harris OBE 5 Felicity Oliver 6

OVERVIEW The Big Picture 7 Key Findings 8 Ethnicity & Sex 9

RESULTS Ethnicity 10 Sex 14

CASE STUDIES Arit Eminue 16 Sony Music 17 PPL 18 Handle Recruitment 19 Futures Group 20 PRS for Music 21

EXAMPLES OF MEMBERS’ ACTIVITIES 22

THE FUTURE 24

ACKNOWLEDGEMENTS 25 CONTENTS 4 MICHAEL DUGHER Chief Executive Officer of UK Music As UK Music’s recent ‘Measuring future surveys in the years Music’ report demonstrated, ahead. Because the simple our industry is doing extremely fact remains that we still need well at the moment - growth, to do much more to improve exports and our contribution opportunities for people from to the economy are all on the all backgrounds and every up, and our amazing creative part of the UK to work and be talent continues to do Britain successful in our industry. proud around the world. We are in a tremendous position But just because things are as an industry to lead the way going well, that does not mean when it comes to breaking that we as an industry can sit down the diversity barriers that back and shy away from some still remain. of the more difficult challenges we face. Chief amongst these I would like to pay tribute to all for me is how we can improve the members of our Diversity our diversity. Taskforce for all their incredible and inspiring work for UK Music. To do that, we need to know They are not afraid to ask tough exactly what is really happening questions and they are right out there. That is why UK Music to demand more action. They have worked hard to produce have my total support. Tackling the data we are publishing in the injustices that still exist in this 2018 Diversity Report. Our our industry is a huge personal survey is only a snap shot, but priority for me. it is one that gives a revealing insight into all sectors of the British music is a world-leading workforce. success story and one that we as a country should be very proud I hope it will prove invaluable of. But I want us to be equally to companies, recruiters and proud of our diversity as an policy-makers in their vitally industry. Whilst we can point important efforts to boost to significant improvements in diversity and inclusion. It is a recent years, the truth is we measure of the good progress still have much more work to we have made in the music do. industry - but it should also act as a renewed call for us Just imagine how much more to redouble our efforts going successful our industry could forward. be in the future, if we could only deepen the well from which we This survey maps out several draw our talent? positive developments and ongoing challenges that we will continue to track with FOREWORD 4 5 MICHAEL DUGHER KEITH HARRIS OBE Chief Executive Officer of UK Music Chairman of UK Music’s Diversity Taskforce As UK Music’s recent ‘Measuring future surveys in the years I suppose that the headline Music’ report demonstrated, ahead. Because the simple message this year is that our industry is doing extremely fact remains that we still need progress has been slow but well at the moment - growth, to do much more to improve steady. This frankly is what exports and our contribution opportunities for people from we always believed that it to the economy are all on the all backgrounds and every would be. The survey remains up, and our amazing creative part of the UK to work and be an important tool in terms of talent continues to do Britain successful in our industry. making sure that some of the proud around the world. initiatives put in place across We are in a tremendous position the industry are bearing fruit. But just because things are as an industry to lead the way going well, that does not mean when it comes to breaking We are continuing to keep our that we as an industry can sit down the diversity barriers that focus on ethnicity and sex as back and shy away from some still remain. the most obvious indicators of the more difficult challenges that things are changing, whilst we face. Chief amongst these I would like to pay tribute to all remembering that diversity for me is how we can improve the members of our Diversity in the industry is about much our diversity. Taskforce for all their incredible more than that, with socio- and inspiring work for UK Music. economic background being To do that, we need to know They are not afraid to ask tough amongst the important but exactly what is really happening questions and they are right often neglected areas which out there. That is why UK Music to demand more action. They Keith Harris began work in the music needs attention. have worked hard to produce have my total support. Tackling industry in 1974. He joined Motown the data we are publishing in the injustices that still exist in in 1976 and rose to become General There have been many this 2018 Diversity Report. Our our industry is a huge personal Manager. In 1978, Keith moved to Los indicators of progress made survey is only a snap shot, but priority for me. Angeles to work with Stevie Wonder and over the past couple of years it is one that gives a revealing became his Operations Manager. and I would like to thank those insight into all sectors of the British music is a world-leading individuals and companies that He returned to the UK in 1982 and formed workforce. success story and one that we as have contributed to making a country should be very proud his own management company. Keith has been involved with the management this survey a valid and robust I hope it will prove invaluable of. But I want us to be equally of various UK-based artists, and still document. to companies, recruiters and proud of our diversity as an represents Stevie Wonder. He holds policy-makers in their vitally industry. Whilst we can point an Honorary Doctor of Letters Degree I cannot let this opportunity important efforts to boost to significant improvements in from the University of Westminster and pass to recognise the diversity and inclusion. It is a recent years, the truth is we was awarded an OBE for services to the magnificent work done by Ele measure of the good progress still have much more work to music industry in the Queen’s Birthday Hill over the past three years we have made in the music do. Honours of 2015. on behalf of this taskforce, industry - but it should also and to welcome Felicity Oliver act as a renewed call for us Just imagine how much more As well as his role leading the UK Music who has already demonstrated Diversity Taskforce, Keith is also a to redouble our efforts going successful our industry could that she will be a very capable Consultant in Performer Affairs at PPL. forward. be in the future, if we could only replacement. deepen the well from which we This survey maps out several draw our talent? positive developments and ongoing challenges that we will continue to track with FOREWORD 6 FELICITY OLIVER Head of Diversity at UK Music As a woman who has recently the terms ‘sex’ and ‘ethnicity’ for joined the music industry, I this report. The chart highlights am pleased to have taken on that only 6.38% of those who this role at such a pivotal time. responded as male were BAME. The significant increase inThe figure is in sharp contrast to the number of young females the finding which showed that entering the music industry is almost twice as many female extremely welcome. BAME responded.

While it is great news and The fact that only 17.8% of hopefully a trend that will survey responses came from continue in future years, we want BAME workers shows we must this to be the case across all age not take our eye off the ball. A profiles. significant proportion of the music industry is based in Our study also identified areas London and the South East (see where we need to do more to map on page 7) where BAME improve inclusion. Analysis from representation makes up 30%** the UK music industry workforce of the London workforce. This survey reveals a comparatively demonstrates we have more low number of BAME (Black, work to do to ensure the industry Asian, and Minority Ethnic) is truly reflective of our diverse males. population.

The chart* (below) shows those We want the music industry to be respondents who identified a sex a beacon and set the standard and ethnicity. As explained in our for what diversity and inclusion methodology on page 25, we use in the workforce should be.

0.65% 11.2%

38.62% 43.15% KEY Male White Male BAME Female White Female BAME Prefer not to say ethnicity 6.38%

* This chart relates to those that indicated either a male/female sex in relation to that question in the survey and does not include the 1.7% that did not respond ** Source: 2011 Census - Office for National Statistics (ONS) FOREWORD 6 9

FELICITY OLIVER THE BIG PICTURE Head of Diversity at UK Music As a woman who has recently the terms ‘sex’ and ‘ethnicity’ for ETHNICITY SEX joined the music industry, I this report. The chart highlights am pleased to have taken on that only 6.38% of those who this role at such a pivotal time. responded as male were BAME. The significant increase inThe figure is in sharp contrast to the number of young females the finding which showed that entering the music industry is almost twice as many female extremely welcome. BAME responded. 17.8% BAME 80.6% WHITE 49.1% FEMALE 49.1% MALE While it is great news and The fact that only 17.8% of PREFER NOT PREFER NOT hopefully a trend that will survey responses came from 1.6% TO SAY 1.1% TO SAY 0.6% OTHER continue in future years, we want BAME workers shows we must this to be the case across all age not take our eye off the ball. A AGE profiles. significant proportion of the WORKFORCE music industry is based in CONCENTRATION Our study also identified areas London and the South East (see 16-24 where we need to do more to map on page 7) where BAME 10% improve inclusion. Analysis from representation makes up 30%** the UK music industry workforce of the London workforce. This survey reveals a comparatively demonstrates we have more 25-34 low number of BAME (Black, work to do to ensure the industry 37% Asian, and Minority Ethnic) is truly reflective of our diverse males. population.

* 35-44 The chart (below) shows those We want the music industry to be 23% respondents who identified a sex a beacon and set the standard and ethnicity. As explained in our for what diversity and inclusion methodology on page 25, we use in the workforce should be. 45-64 27% 0.65% 11.2% 65+ 3% 0% 50%+

CITIZENSHIP* 38.62% 43.15% KEY UK 87% Male White Male BAME EUROPEAN 13% Female White Female BAME NORTH AMERICA 2% Prefer not to say ethnicity 6.38% AU / NZ 2% * This chart relates to those that indicated either a male/female sex in relation to that question in the survey and does not include the 1.7% that did not respond ** Source: 2011 Census - Office for National Statistics (ONS) OTHER 3% OVERVIEW FOREWORD * Respondents include those with multiple passports. 10 9

KEY FINDINGS ETHNICITY & SEX This is the second time that UK BAME (Black, Asian, and Minority Music has published our Music Industry Diversity Survey with a 2.2pp Ethnic) representation up among focus on ethnicity and sex. UK workforce Ethnicity A total of 2,748 people White BAME responded to the 2018 survey which aims to track progress Representation of female workers UK Population 87.2% 12.8% in the music industry in 3.8pp in UK music industry increases these key areas. A diverse London Population 59.8% 40.2% workforce is a powerful and profitable workforce. We intend London Workforce 70% 30% to continue measuring the progress within the industry BAME representation up among Music Industry Survey 2016 84.4% 15.6% over the coming years. 7.4 pp senior managers Music Industry Survey 2018* 80.6% 17.8% Our survey revealed that 17.8% of respondents were Source: 2011 Census , Index Mundi from BAME backgrounds this year – higher than the 15.6%, BAME representation grows in the when the findings were last 5.7pp 16-24 age group published in 2016. This is a Sex higher percentage than the 12.8% of the UK population that Male Female are from a BAME background. This may be explained by the concentration of parts Female representation rises in the UK Population 49.3% 50.7% 10.7pp 16-24 age group of the music industry in London where BAME representation London Population 49.8% 50.2% among the workforce stands at 30%. London Workforce 56% 44% BAME representation up among When it came to sex, this Music Industry Survey 2016 53.6% 45.3% 10.8pp apprentices and interns year there was an equal number of male and female Music Industry Survey 2018** 49.1% 49.1% respondents to the survey. This

Source: Statista, Index Mundi using Office for National is an improvement on 2016 Statistics (ONS) data where females were under- Of the music Of the music represented, making up only 49.1% industry are 17.8% industry are 45.3% of survey respondents. female BAME * 1.6% of respondents did not identify an ethnicity. See infographic on page 7. The survey, launched in 2016 ** 1.7% of respondents did not respond as either female or male. by the UK Music Diversity * Note: PP refers to percentage points See infographic on page 7. Taskforce, is carried out annually with the findings published every other year. OVERVIEW OVERVIEW 9

ETHNICITY & SEX This is the second time that UK Music has published our Music Industry Diversity Survey with a focus on ethnicity and sex. Ethnicity A total of 2,748 people White BAME responded to the 2018 survey which aims to track progress UK Population 87.2% 12.8% in the music industry in these key areas. A diverse London Population 59.8% 40.2% workforce is a powerful and profitable workforce. We intend London Workforce 70% 30% to continue measuring the progress within the industry Music Industry Survey 2016 84.4% 15.6% over the coming years.

Music Industry Survey 2018* 80.6% 17.8% Our survey revealed that 17.8% of respondents were Source: 2011 Census , Index Mundi from BAME backgrounds this year – higher than the 15.6%, when the findings were last published in 2016. This is a Sex higher percentage than the 12.8% of the UK population that Male Female are from a BAME background. This may be explained by the concentration of parts UK Population 49.3% 50.7% of the music industry in London where BAME representation London Population 49.8% 50.2% among the workforce stands at 30%. London Workforce 56% 44% When it came to sex, this Music Industry Survey 2016 53.6% 45.3% year there was an equal number of male and female Music Industry Survey 2018** 49.1% 49.1% respondents to the survey. This

Source: Statista, Index Mundi using Office for National is an improvement on 2016 Statistics (ONS) data where females were underrepresented, making up only 45.3% of survey respondents.

* 1.6% of respondents did not identify an ethnicity. See infographic on page 7. The survey, launched in 2016 ** 1.7% of respondents did not respond as either female or male. by the UK Music Diversity See infographic on page 7. Taskforce, is carried out annually with the findings published every other year. OVERVIEW 10 BAME White 11 2016 2018 2016 2018

+2.2pp BAME representation in the 2018 24 workforce fell by -4.7pp to survey rose by +2.2 percentage 73.7%. points (pp) on the 2016 results. 2018 The rise in BAME representation, In a welcome sign, BAME particularly among new 2016 17.8% representation was up starters, suggests that 15.6% significantly in the 16-24 age organisations are making group. It rose by +5.7pp on the greater efforts to widen their +5.7pp results two years ago. BAME talent pools. Recruitment workers now make up more processes are taking account than one in four (25.9%) of of the need for stronger 2018 those in the 16-24 sector of the BAME representation. Some 25.9% workforce. organisations have introduced 2016 their own internal diversity According to the survey, 17.8% taskforce to monitor how they 20.2% of the UK music industry are addressing the issue. workforce are now BAME – up from 15.6% in 2016. UK Music and the Diversity Taskforce are continuing to The across-the-board increases work with industry recruiters in BAME numbers, particularly and companies to encourage among young adults, suggests greater BAME representation. the work under way within the industry to encourage diversity Nurturing and boosting and inclusion is having a workforce diversity adds to positive impact. the strength of the UK’s world- leading musical output that Initiatives such as encouraging contributes £4.5 billion to the employees and managers to economy. boost equality and diversity,

AGE as well as appointing a specific person in the organisation to lead on diversity is already bringing the issue to the forefront.

BAME representation among workers aged 45 to 65 increased by +1.4pp to 11.4% of the workforce. However, the figure is still below the 12.8% BAME total representation for the UK Total 16-24 25-34 35-44 45-64 65+ population as a whole.

The level of white representation among the 16- ETHNICITY & & ETHNICITY 10 BAME White 11 2016 2018 2016 2018

BAME representation in the 2018 24 workforce fell by -4.7pp to survey rose by +2.2 percentage 73.7%. points (pp) on the 2016 results. The rise in BAME representation, In a welcome sign, BAME particularly among new representation was up starters, suggests that significantly in the 16-24 age organisations are making group. It rose by +5.7pp on the greater efforts to widen their results two years ago. BAME talent pools. Recruitment workers now make up more processes are taking account than one in four (25.9%) of of the need for stronger those in the 16-24 sector of the BAME representation. Some workforce. organisations have introduced their own internal diversity According to the survey, 17.8% taskforce to monitor how they of the UK music industry are addressing the issue. workforce are now BAME – up from 15.6% in 2016. UK Music and the Diversity Taskforce are continuing to The across-the-board increases work with industry recruiters in BAME numbers, particularly and companies to encourage among young adults, suggests greater BAME representation. the work under way within the industry to encourage diversity Nurturing and boosting and inclusion is having a workforce diversity adds to positive impact. the strength of the UK’s world- leading musical output that Initiatives such as encouraging contributes £4.5 billion to the employees and managers to economy. boost equality and diversity,

AGE as well as appointing a specific person in the organisation to lead on diversity is already bringing the issue to the forefront.

BAME representation among workers aged 45 to 65 increased by +1.4pp to 11.4% of the workforce. However, the figure is still below the 12.8% BAME total representation for the UK population as a whole.

The level of white representation among the 16- ETHNICITY & & ETHNICITY 12 BAME White 2016 2018 2016 2018

2018 18.8% SENIOR MANAGEMENT +7.4pp 2016 11.4% SENIOR EXECUTIVE

MANAGEMENT

ENTRY-LEVEL OPERATIONS

ENTRY-LEVEL BUSINESS CAREER

2018 35.2% APPRENTICE/INTERN +10.8pp 2016 24.4% ETHNICITY & & ETHNICITY 12 BAME White 13 2016 2018 2016 2018

The level of BAME apprentices The BRITs Voting Academy and and interns hired in the UK established a new Diversity music industry has risen Advisory Committee. significantly since 2016 by +10.8 percentage points (pp), The organisers also carried 2018 according to our survey. out a review of the programme 18.8% content for the awards SENIOR MANAGEMENT This encouraging pattern was ceremony to ensure higher pp repeated across all tiers of the levels of female and BAME +7.4 career ladder. representation among 2016 performers and presenters. 11.4% In 2016, BAME workers at the SENIOR EXECUTIVE apprentice or intern level These and other changes represented one in four (24.4%) contributed to a rise in the of the workforce, but the new number of nominations related figure of 35.2% means that just to female artists (excluding the over one in three workers in the Global Success Award) from MANAGEMENT music industry at entry level are 38% in 2017 to 48% in 2018. now from BAME backgrounds. In 2018, 27 (42%) of the 64 At senior management level, award nominations (excluding BAME representation grew the Global Success Award) were substantially by +7.4pp in 2018 for BAME artists or featured ENTRY-LEVEL OPERATIONS to 18.8%. BAME artists in the line-ups. The BRIT organisers expect the By repeating the survey on an levels of diversity in 2019 to be annual basis, UK Music and consolidated and are hopeful the Diversity Taskforce will be of further progress. ENTRY-LEVEL BUSINESS able to continue to map BAME representation at all levels

CAREER within the industry. 2018 We hope to see the big rise in 35.2% BAME new starters reflected APPRENTICE/INTERN among senior management to +10.8pp the same extent in the years ahead. 2016 24.4% One major success in increasing diversity in the music industry has been the BPI’s staging of The BRIT awards.

In a drive to better reflect the diversity of British music, The BRITs organisers reshaped ETHNICITY & & ETHNICITY 14 Female Male 15 2016 2018 2016 2018

+3.8pp A top priority for this year’s a key factor that contributed survey was to focus on the to the large gender pay gap in balance of males and females some parts of the industry. 2018 working in the music industry. 49.1% The 2018 results show the level However, there is strong 2016 of females rose by a healthy evidence that making sure 45.3% +3.8 percentage points (pp) to more females are in senior 49.1% - up from 45.3% in 2016. posts is good for business and +10.7pp profitability. The increase in female 2018 representation means the According to a report by * 65.3% figure now almost mirrors the consultants McKinsey , 50:50 male/female balance for companies with the best the UK population as a whole. records for gender diversity on their executive teams were There was a particularly strong 21% more likely to enjoy higher 2016 +10.7pp increase in females than average profitability. 54.6% aged 16 to 24 working in the industry. This means that two Measures already in place in the out of three (65.3%) workers in music industry to help improve this age profile are female. gender diversity include paid intern schemes and attractive In 2018 we have seen an maternity pay policies. encouraging +6.3pp increase among female workers aged Growing numbers of staff are 35 to 44 and a welcome +6pp now being coached or mentored increase in females aged 45 to – especially females who are 64. about to start maternity leave or are returning to work after However, there remain fewer having a child. women overall in these age groups, highlighting an issue Some companies offer bespoke with the retention of females development programmes, aged 35 and over. often with females making up more than two-thirds of Unequal caring responsibilities, employees who benefit. maternity discrimination and the gender- pay-gap can be These are positive initiatives, barriers to females returning to but more work must be done AGE work once they have families. to improve diversity across the There is room for improvement workforce. in all these areas in our Total 16-24 25-34 35-44 45-64 65+ industry.

The lower number of females than males in senior posts was

SEX & & SEX * Delivering through Diversity January 2018 - McKinsey & Company 14 Female Male 15 2016 2018 2016 2018

A top priority for this year’s a key factor that contributed survey was to focus on the to the large gender pay gap in balance of males and females some parts of the industry. working in the music industry. The 2018 results show the level However, there is strong of females rose by a healthy evidence that making sure +3.8 percentage points (pp) to more females are in senior 49.1% - up from 45.3% in 2016. posts is good for business and profitability. The increase in female representation means the According to a report by * figure now almost mirrors the consultants McKinsey , 50:50 male/female balance for companies with the best the UK population as a whole. records for gender diversity on their executive teams were There was a particularly strong 21% more likely to enjoy higher +10.7pp increase in females than average profitability. aged 16 to 24 working in the industry. This means that two Measures already in place in the out of three (65.3%) workers in music industry to help improve this age profile are female. gender diversity include paid intern schemes and attractive In 2018 we have seen an maternity pay policies. encouraging +6.3pp increase among female workers aged Growing numbers of staff are 35 to 44 and a welcome +6pp now being coached or mentored increase in females aged 45 to – especially females who are 64. about to start maternity leave or are returning to work after However, there remain fewer having a child. women overall in these age groups, highlighting an issue Some companies offer bespoke with the retention of females development programmes, aged 35 and over. often with females making up more than two-thirds of Unequal caring responsibilities, employees who benefit. maternity discrimination and the gender- pay-gap can be These are positive initiatives, barriers to females returning to but more work must be done AGE work once they have families. to improve diversity across the There is room for improvement workforce. in all these areas in our industry.

The lower number of females than males in senior posts was

SEX & & SEX * Delivering through Diversity January 2018 - McKinsey & Company 16 ARIT EMINUE Director, DiVA When I started DiVA, apprenticeships were viewed as less than what they are: a great way for businesses of any size and talent of any age, race and demographic to develop the skills they need to remain competitive.

UK Music, the BPI, Universal Music, PPL, the BBC and Endemol are a handful of our clients who have created opportunities that have helped level the playing field. There is still work to be done at senior level but we’re on our way to creating waves there too.

I am often asked whether I find entrepreneurship harder because I’m a mum or because I’m black or because I’m a woman. Truth is, running a business is hard work period. Whether you’re a man or woman you need clients, a team, a tonne of resilience, a great support network, emotional intelligence and a propensity for hard work.

Yes, there are those who have disrespected my hustle with racist or sexist remarks, however, my company is called DiVA for a reason; it lets them know how much I care. I prefer to lead by example and align STUDIES myself with partners who have shared values and a passion to find and develop the best creative talent. CASE CASE 16 17 ARIT EMINUE Director, DiVA SONY MUSIC When I started DiVA, Attracting and developing this we have also partnered with apprenticeships were viewed the next generation of music The Smallest Things charity to as less than what they are: a executives, through our fully become the first private sector great way for businesses of any paid Internship Scheme, company to offer paid extended size and talent of any age, race has been a powerful and leave to parents whose baby is and demographic to develop culture enhancing programme born prematurely, helping to the skills they need to remain within Sony Music. A diverse support individuals in what may competitive. LIZ JEFFERY approach to recruitment has be one of the most challenging HR Director meant that this year’s cohort moments of their life. UK Music, the BPI, Universal of 28 exceptional music Music, PPL, the BBC and professionals is 64% female Endemol are a handful of compared to 36% male and 57% our clients who have created white compared to 43% BAME. opportunities that have helped To help them thrive, our HR level the playing field. There is team lead them on a tailored still work to be done at senior programme designed around level but we’re on our way to knowledge, skills and idea creating waves there too. generation. Since its inception five years ago 42% of our I am often asked whether I interns have gone on to take find entrepreneurship harder permanent roles within Sony because I’m a mum or because Music. I’m black or because I’m a woman. Truth is, running a Paying attention to the lack business is hard work period. of female leadership within Whether you’re a man or woman the music industry made us you need clients, a team, a reflect on the level of support tonne of resilience, a great we give working parents at key support network, emotional milestones in their life. Adding intelligence and a propensity to our existing maternity for hard work. and paternity support we have launched a coaching Yes, there are those who programme that supports both have disrespected my hustle mothers and fathers, both prior with racist or sexist remarks, and during parental leave and however, my company is called on their return to work. The DiVA for a reason; it lets them coaching supports our parents know how much I care. I prefer to have both a fulfilling work to lead by example and align STUDIES and family life. We also believe myself with partners who have in the power of networks and shared values and a passion have introduced both a working to find and develop the best parents group and a buddy creative talent. system for new parents both, aimed at providing additional peer support. Complementing CASE CASE 18

PPL PPL aims to continue to retain, We have created a Preferred hire, develop and promote the Suppliers List; all of these best people to ensure our talent agencies have been asked pool is as wide as possible to provide their equality and - regardless of someone’s diversity policies and details of gender, family background, how they monitor this. sexuality, age or disability. KATE REILLY We now advertise on Director of People We are active in five key ethnicjobsite.co.uk which and Organisational areas: equality and diversity means we can advertise on Development initiatives, training, recruitment, websites focused on the employee engagement and LGBT, Disability and the BAME apprenticeships. PPL is also candidate markets. working closely with UK Music in supporting the equality and In 2018 PPL received The diversity agenda. Company Award: Diversity in the Workplace at Music Week’s We have been approved as annual Women in Music Awards. Disability Confident as part of our drive to make sure we are as But our efforts are effective inclusive as possible. We work only if they are embraced by with external organisations like our employees. So, embedding Stonewall to promote equality equality and diversity within and diversity into the business. our company DNA has been a priority. Training is a vital component of our equality and diversity We use our internal magazine efforts, while education is key – PULSE – to highlight religious to preventing discrimination, festivals and cultural customs. active or passive, in the We have also incorporated workplace. equality and diversity into social events to help engage In terms of training, we have our employees. designed and developed eLearning on Unconscious Bias We have welcomed apprentices alongside wider mandatory to PPL over the last three years eLearning modules. We have and continue to do so today. also revamped our internal workshop on equality and STUDIES diversity.

Recruitment is an area where we have been able to make real and effective changes to our operations to support greater equality and diversity. CASE CASE 18 19

PPL HANDLE RECRUITMENT PPL aims to continue to retain, We have created a Preferred At Handle Recruitment, it is our the mind-set of some clients, hire, develop and promote the Suppliers List; all of these job to attract and source the who expect a shortlist ‘by the best people to ensure our talent agencies have been asked very best talent for our clients. end of the week’. We have most pool is as wide as possible to provide their equality and This can only be done through success working with clients - regardless of someone’s diversity policies and details of a commitment to equality, with a long-range vision, who gender, family background, how they monitor this. diversity and inclusion, so we recognise the benefits of sexuality, age or disability. are constantly evolving our investing time in the process KATE REILLY We now advertise on GILL BELL search practices to reach an and identifying areas of Director of People We are active in five key ethnicjobsite.co.uk which Director of People ever-wider pool. compromise to draw up a more and Organisational areas: equality and diversity means we can advertise on diverse shortlist. Development initiatives, training, recruitment, websites focused on the All Handle consultants are employee engagement and LGBT, Disability and the BAME trained in all aspects of talent Given this extra time, we can apprenticeships. PPL is also candidate markets. diversity and are fully aware proactively search, use referral working closely with UK Music of our obligations around networks and tap into those in supporting the equality and In 2018 PPL received The selection and positive action. communities to unearth great diversity agenda. Company Award: Diversity in candidates. the Workplace at Music Week’s We have always had great We have been approved as annual Women in Music Awards. success in finding young,We recently launched Creative Disability Confident as part of talented individuals from Breakthrough (partnering with our drive to make sure we are as But our efforts are effective diverse backgrounds who are networking groups Women in inclusive as possible. We work only if they are embraced by desperate to join the music Music and The Dots). This is with external organisations like our employees. So, embedding industry. We are connected a progressive new mentoring Stonewall to promote equality equality and diversity within with a number of communities, programme to support women and diversity into the business. our company DNA has been a resources, charities and mid-career as they climb the priority. organisations to reach entry- ladder. We have designed and Training is a vital component level candidates from under- facilitated the programme, We use our internal magazine of our equality and diversity represented groups. matching brilliant young talent – PULSE – to highlight religious efforts, while education is key with experienced female festivals and cultural customs. to preventing discrimination, Handle currently partner The leaders in creative industries, We have also incorporated active or passive, in the Amy Winehouse Foundation allowing them the chance to equality and diversity into workplace. and Bauer Academy’s Making learn from those who have social events to help engage Creativity Work programme already navigated their way to In terms of training, we have our employees. to deliver ‘Employability the top. designed and developed Workshop Master Classes’ We have welcomed apprentices eLearning on Unconscious Bias and in 2019 will be sponsoring And how do we measure to PPL over the last three years alongside wider mandatory Young Guns Network events. the impact? We regularly and continue to do so today. eLearning modules. We have monitor our diversity statistics also revamped our internal Ensuring a diverse shortlist for at three critical stages of workshop on equality and job vacancies at senior levels is the recruitment process: STUDIES diversity. a more challenging area. BAME candidates who register with candidates are often under- Handle, candidates we shortlist, Recruitment is an area where represented at this level due and candidates selected by we have been able to make real to the legacy of historical non- clients. This helps us to identify and effective changes to our diverse hiring choices. where to focus our efforts. operations to support greater equality and diversity. It can be a challenge to shift CASE CASE 20

FUTURES GROUP The Futures Group engages “yes it should!” with emerging executives and creators from across Where the group confronts the industry in a board style uncomfortable truths, it format. The aim is to connect does so with sincerity and their frontline experiences professionalism. This is with industry level policy important in an industry where, ANDY EDWARDS making and conversations with traditionally, we focus so much Chair, Futures Group government. on presenting a positive image that negative experiences The primary concern when are often left unspoken and recruiting the group was what unchallenged. people did: A&R, producer, performer, lawyer, agent etc; The process is two-way. Older but we also achieved a 50:50 executives learn to be more male/female split and BAME open-minded in hearing a representation of around 25%. more diverse range of views, Having a diverse group of no matter how challenging. people in the room is essential Younger executives learn to to how the group functions. convey and contextualise their own authentic experiences In discussing talent pipeline, with a sense of purpose to win the group highlighted the hearts and minds. socio-economic background of artists to ensure creating The Futures Group is an music, as a career, is accessible exemplary collection of to all. The group felt strongly individuals who point to a that it was the responsibility bright and progressive future of the industry to find and for our industry. develop talent, but that talent pool must be as diverse as possible.

The group’s contribution to UK Music’s diversity work focused on unhelpful stereotypes such as “angry black woman,” which created a powerful narrative. Black women in the STUDIES group played a pivotal role in putting this on the agenda and speaking their truth, overcoming well-meaning concerns about whether or not this should be raised, the resounding conclusion was, CASE CASE 20 21

FUTURES GROUP PRS FOR MUSIC The Futures Group engages “yes it should!” PRS for Music set up a team Our Values Ambassadors help with emerging executives of Values Ambassadors to to ensure that we are self- and creators from across Where the group confronts help the organisation uphold aware and doing what we can the industry in a board style uncomfortable truths, it its company values. They as an organisation to promote format. The aim is to connect does so with sincerity and represent each department diversity and act inclusively. their frontline experiences professionalism. This is from across the business and with industry level policy important in an industry where, act as both a think tank and ANDY EDWARDS making and conversations with traditionally, we focus so much PAMELA HARDING vehicle to help ensure positive Chair, Futures Group government. on presenting a positive image Director of HR action is taken and insights that negative experiences around diversity and inclusion The primary concern when are often left unspoken and are fed back to the business. recruiting the group was what unchallenged. people did: A&R, producer, On hand to support their The PRS Foundation has supported more performer, lawyer, agent etc; The process is two-way. Older respective teams and executives learn to be more than 6,300 new music initiatives and but we also achieved a 50:50 managers, our Values given out over £29.5 million in grants to open-minded in hearing a male/female split and BAME Ambassadors help monitor support improvements in diversity both representation of around 25%. more diverse range of views, progress and ensure that all on the stage and behind the scenes of Having a diverse group of no matter how challenging. areas of the organisation are the UK music industry. In 2017, 40% of people in the room is essential Younger executives learn to embedding the behaviours music creators supported were BAME, to how the group functions. convey and contextualise their that we want all our people to and 53% of recipients were either sole own authentic experiences demonstrate daily. female artists or mixed groups. In discussing talent pipeline, with a sense of purpose to win In 2017, PRS Foundation launched the group highlighted the hearts and minds. Upskilled with unconscious Keychange; investing in female music socio-economic background bias training and a ‘toolkit’ of creators and innovators driving the of artists to ensure creating The Futures Group is an practical approaches adapted future success of the music industry. music, as a career, is accessible exemplary collection of to highly relevant day-to-day Keychange not only takes positive to all. The group felt strongly individuals who point to a situations, Values Ambassadors action to empower women, but through that it was the responsibility bright and progressive future lead peer-to-peer, team, its Manifesto for Change unites national of the industry to find and for our industry. and company-wide activities governments, European Parliament and develop talent, but that talent throughout the year, including: the European Commission to achieve pool must be as diverse as ‘How To’ sessions, providing gender parity across the entire music business. possible. ideas and activities on how to facilitate values development Keychange also encourages festivals The group’s contribution to UK internally; values video diaries; across the world to commit to a 50/50 Music’s diversity work focused and values awards to celebrate gender balance by 2022 (across live line- on unhelpful stereotypes diversity and inclusion through ups, conferences and commissions). Since its launch in September 2017, such as “angry black woman,” storytelling and recognition. which created a powerful more than 140 festivals have signed up. narrative. Black women in the Our values are ingrained in PRS Foundation is also helping Festival STUDIES group played a pivotal role our surroundings, featuring on Republic to run their Rebalance in putting this on the agenda mugs, communal chalkboards, programme which provides female-led and speaking their truth, and company presentations bands, musicians and solo artists with overcoming well-meaning – a constant visible reminder, studio recording time and a slot at a Festival Republic or Live Nation Festival. concerns about whether or helping us to bring them to life PRS Foundation is investing in female not this should be raised, the every day. producers-mentors to work with these resounding conclusion was,

CASE CASE emerging artists. 22

AIM AIM is a pioneering force & highly speakers being women. AIM active in the area of inclusivity was a founder of Music Week’s in the recorded music industry, ‘Women in Music Awards’ & has leading industry activities for years held many successful around ‘Women in Music’. AIM ‘Women in Music’ events now partners with Stonewall including free public speaking & sponsored/worked with training to broaden the pool many charities with BAME & of women speakers for both gender focusses. Diversity & AIM’s and others’ events. Many inclusion are integral to all of aspects of the ‘Women in Music’ AIM’s work. AIM ensures that events will be rolled into AIM’s the judging panel for the AIM new multi-day conference, AIM Independent Music Awards is Connected, alongside a broader diverse. The 2018 winners over- inclusivity and diversity focus. indexed in many diversity & This will include keynotes inclusion aspects. AIM House at from role models, inspirational The Great Escape 2018 included stories, networking, support, a ‘safe space’ & activities with education on key issues, HR & Shesaid.so, Love Music Hate internal training guidance. Racism, Stonewall, Attitude is Everything & Girls Rock London. Many AIM members use apprenticeships, internship AIM has long strived for gender schemes and hiring practices balance at all events. Its 2018 aimed at encouraging women digital music conference and BAME candidates. achieved the majority of

MPG The MPG continues to support the Parental Pay Equality campaign, and members have also contributed to the Normal Not Novelty programme of workshops for female producers and engineers. While women are still underrepresented amongst the membership, last years MPG Awards had record numbers of female winners, and female membership has doubled in the last 2 years. MEMBERS’ ACTIVITIES MEMBERS’ OF EXAMPLES 22 23

AIM BPI AIM is a pioneering force & highly speakers being women. AIM The BPI launched its BRITs which provide people from active in the area of inclusivity was a founder of Music Week’s Apprentice Scheme in January England and Wales with a paid in the recorded music industry, ‘Women in Music Awards’ & has 2018 with financial support opportunity to work at an leading industry activities for years held many successful from The BRIT Trust - the independent record label or around ‘Women in Music’. AIM ‘Women in Music’ events music industry charity funded music company where they can now partners with Stonewall including free public speaking in large part by proceeds learn about the recorded music & sponsored/worked with training to broaden the pool from the annual BRIT Awards, industry, receive practical many charities with BAME & of women speakers for both which also helps to support ‘hands on’ experience, develop gender focusses. Diversity & AIM’s and others’ events. Many The BRIT School. There are 10 relevant skills and make key inclusion are integral to all of aspects of the ‘Women in Music’ apprentices on the scheme contacts. The programme AIM’s work. AIM ensures that events will be rolled into AIM’s - six working in London and aims to give people from the judging panel for the AIM new multi-day conference, AIM four outside the capital. Their disadvantaged and diverse Independent Music Awards is Connected, alongside a broader 15-month apprenticeships backgrounds an exciting, high diverse. The 2018 winners over- inclusivity and diversity focus. are due to be completed in quality opportunity to fast- indexed in many diversity & This will include keynotes April 2019 when a second track their career in the music inclusion aspects. AIM House at from role models, inspirational round of apprenticeships will industry. The Great Escape 2018 included stories, networking, support, commence. a ‘safe space’ & activities with education on key issues, HR & Shesaid.so, Love Music Hate internal training guidance. The BPI and BRIT Trust work with Racism, Stonewall, Attitude is DiVA to deliver apprenticeships Everything & Girls Rock London. Many AIM members use apprenticeships, internship AIM has long strived for gender schemes and hiring practices balance at all events. Its 2018 aimed at encouraging women MUSICIANS’ UNION digital music conference and BAME candidates. achieved the majority of The Musicians’ Union (MU) for female musicians, in is committed to achieving partnership with the brilliant equality for all members, and SheSaidSo. raising awareness of issues affecting musicians. The scheme will launch in MPG late January 2019 and see 10 The MPG continues to support From the closure of LGBT+ pairs of mentors and mentees, the Parental Pay Equality music venues and accessibility working across the music campaign, and members have for disabled musicians to industry, embark on a 6 month also contributed to the Normal tackling sexual harassment programme of professional Not Novelty programme of and improving representation development. workshops for female producers of BAME musicians , the MU and engineers. While women continues to lead the way on are still underrepresented instigating change and creating amongst the membership, last an industry where every years MPG Awards had record musician has equal access to numbers of female winners, opportunity. and female membership has doubled in the last 2 years. In 2019 the MU are excited to launch a mentoring scheme MEMBERS’ ACTIVITIES MEMBERS’ OF EXAMPLES 24

Secondly, the uncertainty surrounding Brexit remains a THE THE 24 25

We hope this UK Music survey significant issue. Around 13% of has identified some positive those music industry workers developments and some key we surveyed hold passports challenges when it comes from European nations outside to improving diversity in the the UK. The industry is rightly music industry. worried about what the future holds for them. While there are still many issues to address when it Finally, vast numbers of those comes to creating an inclusive who work in our brilliant and welcoming environment industry are self-employed and for people from all many of them either have or backgrounds, the UK Music will have families. Throughout this project we have received Diversity Taskforce has support from all parts of the music identified three key areas: We fully support the fantastic industry. Without their collaboration campaign by Parental Pay and enthusiasm this report would not be Firstly, we believe the music Equality – founded by self- possible. industry should lead the way employed music producer Olga Each member of UK Music has granted when it comes to closing FitzRoy - to extend shared us access to their data and permission ethnicity pay gaps. parental pay to the self- to survey their own membership directly. employed. We would like to thank everyone on One audit carried out in 2018 the UK Music Diversity Taskforce for all by London Mayor Sadiq Khan At present, the policy does not their work and invaluable support in found that BAME public sector extend to the self-employed producing this report. employees were paid up to 37% which means mothers have to METHODOLOGY For all media enquiries contact: less than white people for the be the primary care-giver in an Vincent Moss same job. baby’s early months and denies UK Music surveyed 2,748 respondents who worked [email protected] in the music industry between July to September For all policy enquires contact: fathers the chance to spend 2018. The survey asked questions on the protected We support proposals outlined more time with their children. characteristics as defined by the Equality Act 2010. Tom Kiehl & Felicity Oliver in a Government consultation [email protected] Sex and ethnicity were agreed as the focus of [email protected] for mandatory reporting of Securing these changes will the published report in advance of the survey For all research enquires contact: ethnicity pay gaps as a way of help put the music industry at commencing by the UK Music Diversity Taskforce. ensuring fairness and equality. the forefront of creating the A benchmark for both these characteristics was Natalie Williams [email protected] most inclusive, diverse and set when we reported the results in 2016. There is In the same way as gender successful workforce possible. potential in future years to expand the scope of This report was designed by pay reporting is helping the published results. Beatriz Ribeiro at UK Music tackle discrimination against Under the Equality Act 2010, ‘sex’ rather than All material copyright © UK Music 2018 females, we believe ethnicity ‘gender’ is listed as a protected characteristic. We except where otherwise indicated have used the term ‘sex’ throughout the report as pay reporting could combat UK Music the survey specifically asked ‘what sex are you?’. Savoy Hill House the issue faced by many BAME Therefore this report publishes results on ‘sex’ members of the workforce in 7-10 Savoy Hill FUTURE following Office for National Statistics guidance. London the creative industries and Further information can be seen here: WC2R 0BU elsewhere. https://style.ons.gov.uk/house-style/gender- and-sex/ T: 020 3713 8444 Secondly, the uncertainty This publication uses the term ‘ethnicity’ Twitter: @UK_Music surrounding Brexit remains a throughout as the question in the survey asked Email: [email protected] ‘what is your ethnic group?’. Website: www.ukmusic.org THE THE ACKNOWLEDGEMENTS