UK Music has made EDI central to its mission, spearheaded by its Diversity Taskforce. This team has introduced two transformative frameworks: the Ten-Point Plan and the 5Ps action plan.
To dig deeper into the story behind these initiatives, we spoke with Eunice Obianagha, the Head of Diversity at UK Music; Ammo Talwar, Chair of UK Music’s Diversity Taskforce; and Paulette Long, the Deputy Chair of the Diversity Taskforce. Together, they shared insights into the origins, impact, and valuable lessons learnt from these frameworks that are setting the stage for sustainable change across the creative industries.
What motivated UK Music to tackle EDI at the industry level?
The drive for change came from the bottom up. It began with a group of eight individuals, primarily of Black heritage, who were tired of facing barriers in the industry due to their ethnicity. They brought a diversity charter to the attention of UK Music, aiming to push the industry to better reflect the communities it serves. However, the industry resisted for about four years before adopting the charter, with the murder of George Floyd acting as a turning point.
The motivation was clear: to create an industry workforce that reflects the diversity of the people behind the music and the communities it represents. Our motivation is also about building a better working environment for everyone in the sector and nurturing creativity which is essential for maintaining the UK’s position as a global leader in music.
How does the work of the Diversity Taskforce fit within the broader goals of UK Music?
The Diversity Taskforce is a group of leaders including representatives from each of UK Music’s ten trade body member organisations and some independent voices. The taskforce aims to influence not just our members but the wider music industry. While our frameworks are designed to set standards across the industry, we also make every effort to follow these principles internally across the members. This approach allows us to share and pass on best practice to our members, who can then share it within their own networks, creating a ripple effect.
It's also about role modelling. From what we've seen so far, working with members has enabled us to demonstrate what good practice looks like to the rest of the industry. By challenging what’s happening now, we’re collectively activating change.
The work we do goes both ways—our members influence us, and we influence them. When the organisation, its members, and the wider community are all working in sync—that’s when change becomes supercharged.
What risks do you perceive from not addressing EDI in the music industry?
A major risk is losing talent. When people feel unsupported or excluded, they find other paths to develop their artistry or even leave the industry altogether. This is especially true now, with so many independent avenues available for artists. Unlike decades ago, musicians no longer need the traditional industry to succeed, which puts even more pressure on the sector to stay relevant and inclusive.
Secondly, exclusion damages the industry's reputation, making it appear outdated and out of touch. Following on from this, it can be financially harmful also.
As an example on both of the above points, we've seen genres like Afrobeats and Grime develop outside the traditional framework, forcing the industry to play catch-up. Then by the time it responds, it’s often reactive—mimicking rather than innovating.
Ignoring EDI leads to missed opportunities and markets because the industry isn't engaging with talent or audiences in a meaningful way.
What are the essential elements of the Ten-Point Plan and the 5Ps action plan?
The Ten-Point Plan is like an instruction manual, step-by-step actions to complete within a two-year timeframe. It’s designed to ‘jumpstart’ EDI progress, with clear milestones, monitoring, and accountability outcomes.
The 5Ps Action Plan, on the other hand, offers more flexibility. It provides a framework centred around People, Policy, Procurement, Partnerships, and Progress. By tailoring their approach to these pillars, organisations can build their own EDI strategies and hit the key objectives while addressing their unique circumstances.
The 5Ps also take a longer-term view. It’s about embedding EDI practices and aiming for a point where these practices are second nature, things organisations do instinctively because they’re simply the right thing to do.
Leadership plays a pivotal role in setting the tone and pace for progress. That’s why the 10-Point Plan emphasises the importance of naming a “Responsible” and an “Accountable” person for EDI efforts, someone who could be pressed to act and held to account.
Ultimately both frameworks are focused on creating sustainable, lasting change that will reshape the industry over time.
What makes these frameworks different from previous approaches.
Firstly timing. The 10-Point Plan, launched in 2020 and was born out of a period of social distress that affected the music industry by really highlighting feelings of hurt and disenfranchisement that had not previously been confronted.
This moment required us to be more radical in how we approached consensus-building. It wasn’t just about following numbers and data, it was important for us to unpack lived experience.
With all of this, we aimed to create something meaningful, tangible, and pointed. We weren’t afraid to call things out and propose SMART goals—some aspirational, some easily achievable. For instance, getting rid of terms like “urban” and “BAME” reflected what people of colour had been advocating for a long time and was relatively straightforward to implement.
Another critical factor in developing these frameworks was the diversity within the group that created them. Without varied backgrounds and perspectives, and the willingness to have challenging conversations, neither strategy would have come to life.
The right combination of people, in the right space, at the right time, made all the difference.
What issues do the Ten-Point Plan and 5Ps action plan aim to address?
The frameworks aim to tackle deep-rooted inequality and bias.
For many years nobody wanted to talk about diversity so the first issue it aims to address is simply starting a conversation about diversity and keeping it in conversations. Talking about it is the baseline, and from there, we can move towards change.
Another issue is the lack of diversity in decision-making spaces. When this is present, it impacts who is invited into the room, who gets opportunities, and whose voices are heard. This work aims to address the problem of homogeneity in leadership by pushing for targets around senior leadership diversity, executive boards, and training requirements.
Who are you aiming these two frameworks at?
The main audience for these frameworks is anyone leading EDI efforts—CEOs, HR directors, talent managers, and EDI specialists. We also want people within organisations who feel something isn’t quite right to flag it and take action. The goal is to get these frameworks into the hands of decision-makers and those who can drive change from within.
While the focus is on the music industry, we believe the Ten Point Plan and 5Ps are adaptable to other sectors within the creative industries. They’re already drawing interest from outside the UK, with countries like Spain and Australia taking note. The flexibility of the Ten-Point Plan and 5Ps Framework means they can be applied to any sector or organisation, which gives enables them to be powerful tools for driving change globally.
How are you getting your message out to all the people you want to use the frameworks?
Our communications team plays a key role in spreading the word about what we're doing, but the UK Music Diversity Taskforce also acts as ambassadors for the work. It’s about leveraging the influence of respected people who can speak out and draw attention to these efforts. The key is relationships—connecting with others and understanding how to engage those who might not ordinarily think to look in this direction.
How do you know that the two frameworks are working?
We’ve seen cultural shifts, especially in the language we use. Terms like “Black” being used instead of ‘Urban”. That shift alone is a significant marker of change. The conversation has started, and it’s not going back in the box.
Additionally, partnership and initiatives included in our “Moving the Dial on Diversity” report are great indicators of progress. This work continues to grow, embedding EDI into the fabric of the industry.
Another success is the Seat at the Table report, which also draws from the Ten-Point Plan. This report highlights the progress made in diversifying executive boards and leadership teams, showing that the conversation is evolving and having a real impact.
Member organisations and some beyond have and are, taking a closer look at areas they hadn’t prioritised before such as their procurement processes.
While change takes time, the shift in language, confidence, and ongoing initiatives proves that we’re on the right path, and the momentum is building.
What advice would you give to other organisations considering similar initiatives?
Just do it. Start the conversation and embrace co-design. Most importantly, listen. Leaders often only hear what aligns with their own views, but real progress comes when you listen deeply to everyone. Make sure there's diversity in the room as you shape your strategy, and ensure that the person accountable for EDI is visible.
Lastly, be mindful of your organisation’s size, capacity, and resources when planning your approach. Tailor it to what you can realistically manage and execute. Keep monitoring as you go.
If this conversation has sparked ideas for your own EDI journey, visit UK Music to learn more about their EDI approach and the resources available to help your organisation take the first step.
With thanks to Literal Humans for their support with drafting this case study.
Explore other case studies today at diversity.wearecreative.uk/case-studies.
