GMS x Ninja Tune: Exclusive Live Showcase

GMS x Ninja Tune: Exclusive Live Showcase

By The GMS Team

On May 4th the GMS x Ninja Tune Exclusive Showcase took place at the iconic Fabric in London.

The audience was treated to tasty food, lots of drinks, a special playlist of unreleased music from some of Ninja Tune’s biggest artists, and life performances from TSHA, Weval, Working Men’s Club that got us moving all night. While James Heather captivated everyone with his beautiful piano performance, for which the room went completely silent.

We would like to say thank you to Ninja Tune and Just Isn’t Music for collaborating with the GMS, for organising this special event, and putting together such a great line up of artists and music.

Thank you to everyone who joined us for a night of great fun and brilliant music. We hope to see you all again very soon!

Those of you who couldn’t be there, this is what you missed out – “Ninja Tune x GMS After-Video”

Meet The Performers

James Heather: Inspired by Ludwig van Beethoven, Claude Debussy & his neighbour’s Acid House radio show, composing on piano became a passion. His art takes as much from electronic music in sensibility & post-rock in its meditative builds as it does its classical & jazz grounding. Heather is one of the new school set of ‘post classical’ artists flourishing and standing out in the wake of the wider public’s overdue but now burgeoning relationship with this varied genre.

TSHA: Hotly tipped by everyone from Annie Mac, Zane Lowe, Bonobo and Gorillaz to Billboard, NME, Crack, Mixmag and DJ Mag, TSHA is rapidly emerging as one of the most exciting talents coming out of the UK. Her recent EP “OnlyL’’ showcased a confident creative who is constantly developing and refining her own distinct feel and sound.

Weval: The duo hail from Amsterdam, where they have been cultivating a unique sound that balances high energy electronic funk and emotive synth arrangements with bold, beautifully composed melodies and songwriting.

Working Men’s Club: A synthpop band that combines synth-rock, Krautpop, jolting dancefloor energy and the sonics of Cabaret Voltaire. Their music takes you on a journey through variety of sounds, eras and genres.

Listen to the GMS x Ninja Tune playlist

GMS D&I COMMITTEE NEWSLETTER – Michael Roberts, BCE Interview

By The Diversity & Inclusion Committee

One of the GMS Diversity and Inclusion committee’s aims is to improve opportunities and access to careers in music supervision and sync. We all know that without experience or knowledge of the sector, the music industry can be alienating and routes in, elusive.

Big Creative Education (BCE) are trying to change that, with their mission to; develop talent, transform lives and create careers in the creative industries.

Founded by Alexis Michaelides in 2000, BCE is the largest creative college in East London, providing education and vocational pathways to aspiring creatives of all ages and stages. We spoke to Michael Roberts, Apprenticeship and Traineeship Employer Engagement Manager at BCE, to hear more about how BCE is equipping students through its programmes, and what more can be done to make a difference.

As an overview, the BCE umbrella encompasses a variety of programmes, including; Academy (BCA), college and training campus (BCT), independent school (BCIS) and co-working space (Creative Works). The BCE courses, including Media Film/TV and Music Production among others, are aimed at people 16-17 upwards, with academy students achieving a 97% vocational success rate and many learners progressing on to university or apprenticeships.

Mike quotes some of the statistics we are still seeing in the creative industries: “According to a DCMS report, the creative industries accounted for 5.9% of the UK’s economy in 2019, contributing an estimated £115.9 billion. In 2017, a GLA Creative Industries report highlighted that 95% of London’s Creative Workforce were from advantaged socio-economic backgrounds, with a mere 5% sitting outside this group. As an organisation that champions diversity and inclusion, this is a stat that needs addressing urgently.”

So working with the next generation of the music industry, what does BCE see as some of the biggest barriers to entry?

Mike reflects: “The music industry is incredibly competitive and fast paced, so it takes a certain type of resilience to carve out a successful career. Whilst the last decade has seen a surge of self-starters and bedroom producers catapult into the spotlight, there is still a huge disconnect in understanding the “mechanics” of the industry. A lack of awareness from aspiring creatives on the multitude of roles in the music industry, coupled with the challenges employers face to engage hard-to-reach talent, results in a wave of untapped potential. Historically the music industry trades on ‘who’, as opposed to ‘what’ you know, which often present barriers to entry, not to mention the very delicate
subject of ‘cultural fit’.”

However, they are working hard alongside employers to counter some of these barriers.

“The earlier a company establishes a connection with pipeline talent, the easier it is to identify synergy, mutual aims and objectives. BCE works with employers to develop entry-level roles, mentoring opportunities, trainee and work experience placements and industry panels. Companies with the ability to host workplace tours, masterclasses and/or cultivation events can offer invaluable insights to the industry and its demands. In return, organisations are able to gain an edge over the competition with regards to accessible talent, reach and audience following.”

Moreover, Mike highlights that diversifying entry-level routes in to the industry could contribute towards the bigger picture of greater representation.

“Music as an art form meets few barriers with regards to consumption, and is embraced by audiences far and wide from multiple backgrounds. We believe the music industry should be reflective of the unique position it holds and representative of its diverse reach. Equal access must be demonstrable at both ends of the work-force, entry-level and senior leadership. In many cases, accessibility starts with awareness. There are already some innovative programmes that focus on bridging gaps between
demographics and widening participation. The Royal Albert Hall’s Young Producer Scheme is a brilliant example of one approach to this. Through the development of similar schemes by more companies and connecting with talent earlier, the music industry can make great strides in trying to improve equal access.”

Mike comments that “the creative industry has been incredibly adaptive in the face of a global pandemic and promises to remain a valuable asset to our economy. However, there is progress to be made if the industry is to be more reflective.”

Some of BCE’s aims on the road to supporting this progress include:

It’s true that the music industry in particular utilises internships for entry-level roles, but BCE are advocating for the benefits of apprenticeships and how they can be successfully implemented for both employer and employee.

“The opportunity to develop solid employability programmes for the music industry is vast, yet it still feels as if we have merely scraped the surface… Whilst our apprenticeship provision is effective with proven success, it is not utilised to the degree it should be. We are striving to be the training provider of choice for creative industry placements and urge more companies to connect, large and small.”

BCE have already supported the likes of ITN and CSM with apprenticeship programmes, helping them access hard to reach talent, which they’d like to roll out even further.

What You Can Do

Outside of apprenticeships, there are several other ways in which organisations and experts can actively support and inspire. For example:

If you or your organisation would be interested in exploring any of these opportunities with BCE, please feel free to reach out:
0203 873 5800 / 07479 097 949

The UK and European Guild of Music Supervisors

GMS D&I Committee Newsletter – Roger Wilson, BLiM Interview

By The Diversity & Inclusion Committee

After partnering with Black Lives in Music this year, the GMS recently ran two invaluable anti-racism workshops for its members, led by BLiM Director of Operations, Roger Wilson. Roger has many years of experience on both sides of the stage as a musician, educator, tour manager and administrator, and runs BLiM alongside Chief Executive Charisse Beaumont.

Last month also saw the release of the first ever BLiM survey report, ‘Being Black In the Music Industry’, understanding the issues of diversity in the music industry. Roger kindly shared his time with us to reflect on the report findings and what it says about the music industry at large.

BLiM have released the results and findings of their survey which set out to capture data on the experience of music industry executives and creators.

The evidence is irrefutable: “…near two thirds, (63%) of Black music creators that have experienced direct / indirect racism in the music industry and the nearly ¾ of respondents (71%) that have experienced racial microaggressions.  35% of Black Music creators have felt the need to change their appearance because of their race / ethnicity, rising to 43% of Black women.” (Roger)

As Roger emphasises: “To be clear, I do not believe these stats and facts are surprising to Black people – the report confirms that this is the experience for the majority of Black people in the industry.”

And we need to do something about it.

When asking Roger about their hopes for the impact of the report, he continues: “As my esteemed colleague, friend and BLiM co-founder Charisse Beaumont would say; data rules supreme. Data gathering underpins a key part of the BLiM model. There will be more reports on the Black experience but also on corporate efforts to diversify. These will provide opportunities for benchmarking progress and to give us a better understanding of the direction of travel, year on year.

“…[We] hope that the report will galvanise the industry into working collaboratively to kick out racism and support the ecology with equality of opportunities and support for wellbeing – it’s not a pipe dream, we can do this, but we need to be brave, both individually and collectively while working together.”

It only takes reading Caroline Criado-Perez’s book, ‘Invisible Women’, to reflect on the impact that a lack of representative data can have on societal infrastructures and decision-making, so let’s make sure these stats do not go unheard. This intersection of race and gender is also reflected in the statistics.

Roger: “Looking at the orchestra sector, in 1970 4% of the population of the world’s professional orchestras were women, this rose to 12% in the early 80’s and now currently stands at over 40%. This direction of travel is thanks to a concerted attempt to address gender inequality in the classical sector. We need to adopt the same approaches to supporting Black women in the industry. We need to be honest about where we are with the intersection of race and gender – evaluate, acknowledge, discuss and act. The sector needs to provide transparency in data on pay as a way to start addressing the issue of pay disparity.”

Moreover, the pay statistics in the report reveal that: “White music industry professionals earned more than Black professionals for their work within the industry pre-covid (£2,459 vs £1,964 per month). Black female industry professionals earned £1,811 per month compared to white women industry professionals who made £2,270 (£459 more per month) pre-covid.”

So how can we as an industry make a difference?

Amongst many projects, Roger comments on BLiM’s involvement with the PRS Foundation, through which BLiM has “helped young musicians with performance opportunities, unemployed talented people of colour to get exciting jobs, organisations to recruit a diverse team at governance level and we have supported individuals with their spiritual and pastoral needs – they’re all success stories!”

Moreover, BLiM held round tables inviting initial responses from the industry, which they feel have been positive.

“In terms of informing our future vision and aims, I think it’s safe to say that the warmth in the room has given us real encouragement to dream big and aspire to help our industry colleagues to bring real and discernible change in the industry.”

As a starting point for progress in the next five years, Roger outlines just a few of their hopes for the industry:

So where can we go from here?

Roger: “Self-education is really important. Being on the front foot in the fight against prejudice and not being content with passive behaviour.”


What You Can Do

If you’re interested to know how you can get involved, please reach out to the
GMS Diversity & Inclusion Committee at

For mental health resources and therapy: Black Minds Matter

The UK and European Guild of Music Supervisors

A Discussion with Open Up Music: Opening up music to young disabled musicians

By The GMS Team

This month we had the wonderful opportunity to speak with Open Up Music to discuss their organisation further, we touch on initiatives, accessibility, Open Orchestras, The National Open Youth Orchestra, Clarion and More.

Open Orchestras helps special schools set up accessible orchestras so that hundreds of young disabled people get first access to music education every year. 

– Can you tell us more about what this entails and how you started developing this?

We initially piloted Open Orchestras in 2013-15. At the time, there was a clear lack of ensemble music-making opportunities for young disabled people. Most mainstream schools had a school orchestra. None of the special schools we spoke to did. Fast forward to 2021 and Open Orchestras is behind the largest community of inclusive youth orchestras in the UK. We work with special schools, Music Education Hubs and arts organisations to create equal opportunities for young disabled people to learn an instrument and “be part of the band”. By the end of their first year in the programme, most Open Orchestras are ready to share their music. That first performance is often a revelation for everyone on stage and in the audience! 

What Open Orchestras does is create a space for music as a creative subject – not just therapy. Through the orchestra, we introduce weekly rehearsals, train and mentor staff to work with a diverse group of musicians, also sharing teaching resources and adapted music that every young person can play. For previously isolated young people, this could be their opportunity to shine and through music, make friends. Some musicians play acoustic instruments, others accessible instruments – such as the Clarion, our innovative electronic instrument that can be played on iPad or PC with any part of the body. 

Once their orchestra is established, schools can run it sustainably year after year – the oldest has been with us since the beginning. This year, there are 41 Open Orchestras around the country, each supporting 8-18 year old disabled musicians to make their own music, play independently and expressively. Open Orchestras is also a community that’s really supportive, and endlessly creative. Because our repertoire comes in “building blocks” that can be arranged flexibly according to participants’ playing styles, no two orchestras will play our music the same way!

 Ibrahim, Chadsgrove School Clarion player:
“I think it is important for schools to give young people the opportunity to be in an orchestra, as it is a chance for them to explore and experiment with how great they can be. My advice is not to be nervous; give it a try and have fun reaching your potential!”. Watch him play ‘Walking In The Air’ with his orchestra.

The National Open Youth Orchestra (NOYO) is the world’s first disabled-led national youth orchestra. It pioneers an inclusive orchestra model where talented disabled and non-disabled musicians rehearse and perform together. 

— Perhaps you can touch on the NOYO and Friends event discussing this?

“I like the word influential to describe NOYO because there aren’t other orchestras, youth ones, who are as passionate about showing disabled people can play on the same stages as non-disabled people.” Holli, NOYO harpist

We launched the National Open Youth Orchestra in 2018 to provide a progression route for talented young disabled musicians. Through it, we’re hoping to create the conditions for them to shape not only their own future, but also the future of orchestras. 

At the heart of NOYO are partnerships with leading arts organisations who deliver NOYO regionally: Bristol Beacon, Barbican, Guildhall School of Music & Drama, Bournemouth Symphony Orchestra, Midlands Arts Centre, B:Music and Services For Education. Together, we’ve started building this ecology of organisations working collaboratively to create accessible opportunities in music.

In the coming years, this ecology needs to grow and engage as many music organisations as possible, so that young disabled people nationwide:

We hope you can be part of this ecology. A starting point could be joining us as a guest speaker for a “NOYO and Friends” session. They’re informal Zoom get-togethers for NOYO Musicians to find out from the professionals about working in music. Past guests have included Mark Bowen from the Idles and Lloyd Coleman from the Paraorchestra …  Please email our Pastoral Support officer if you’d like to take part

We understand that Open Up Music has also developed the Clarion. an innovative accessible instrument that can be played expressively with any part of the body, including eye movement. An incredible development! –How did this idea come to be? I noticed that this also is used through the Open Orchestras, when did you realise or decide this was something you wanted to share further and develop into an application? How does this help disabled musicians?

Conventional instruments can be disabling due to their shape, size or the need to bow, pluck or blow them. Clarion was developed with young disabled people and their teachers to remove those barriers. Available on iPad and PC, it can be played using mouse or finger touch, but also head movement or eye movement. It works seamlessly with assistive technology like Eyegaze or Infrared head trackers.

It’s currently played by Open Orchestras and National Open Youth Orchestra musicians. We’re working on ways it could be shared more widely.

NOYO Residential

There needs to be a greater representation of disabled people in music. The development of Clarion can support this, giving talented disabled musicians an instrument they can show prowess at. Starting to play Clarion doesn’t require musical skills, but like all good instruments, it takes practice to play well.

It’s expressive – the sound it makes is down to how each note is hit, and it can be customised to meet a musicians’ needs with a variety of sounds and settings to choose from… But a lot more can be done, like giving it its own sound.

Our ambition is to make Clarion a professional-grade orchestral instrument, comparable in its range to traditional instruments. We’re hoping that in the future, through alliances with disabled musicians, tech specialists, professional orchestras, composers and accreditation bodies, we can develop an accessible instrument worthy of disabled musicians’ passions, abilities, and hard work.

What does Open Up Music see as some of the current barriers to inclusivity and how are you striving for greater accessibility in this industry?

Before starting NOYO, we commissioned a feasibility study from Sound Connections, which highlighted a number of key barriers that might prevent talented young disabled musicians from fulfilling their potential. Barriers identified included:

Instruments – for example, musicians who may not be in a position to play traditional orchestral instruments are excluded by the four conventional sections of an orchestra (strings, woodwinds, brass, and percussion)

Fixed repertoire – disabled musicians may require more flexibility (reasonable adjustments) in certain aspects of their music-making. The inviolable nature of much orchestral repertoire also limits the potential diversity of instruments that orchestras might otherwise include. 

Entry requirements: many young disabled musicians haven’t benefited from a music education that can equip them with musical qualifications. 

Low expectations: a lack of disabled musical role models hampers the expectations of young disabled people, their families and teachers.

Recently, NOYO musicians contributed to the Youth Music Reshape Music report, “which illustrates in very stark terms that the views, lived experience and expertise of Disabled people are still absent in the planning and delivery of music education and music-making.”

At Open Up Music, two values that guide our work in driving change are “Community” – we believe in collaboration and supporting each other to make positive change happen, and “Influence” – working alongside young disabled musicians to influence and challenge preconceptions of what they can achieve in music.

Open Orchestras Musicians

What is Open Up Music’s experience when you have worked with composers on commissions in the past?

Creating exciting new music is central to the work we do with the National Open Youth Orchestra. When in 2018, Liam Taylor-West won a British Composer Award for ‘The Umbrella’, our first major commission, he credited the young musicians: “Our fine-tuning in rehearsals gave the whole piece a truly collaborative feel. Thank you for helping me decide which bits to leave in, and which to chuck!”. The opportunity to feed into how music is composed and played is what makes NOYO “more enjoyable” and “more creative” according to members.

For a composer, working with NOYO involves embracing a certain degree of flexibility. If music is going to benefit from the injection of creativity that diversity can bring, we need to be more adaptable in approaching the music we play, more flexible about which instruments this new music is composed for, and more open to rearranging existing repertoire for different instruments and musicians.

Next year, NOYO will premiere What Fear We Then?, a new piece by Alexander Campkin co-commissioned with the Bournemouth Symphony Orchestra. Alexander visited NOYO rehearsals in London, Bournemouth and Bristol over a year, workshopping with the young musicians, and also learning about the electronic instruments played by the orchestra such as the Linnstrument, Seaboard Rise and Clarion. 

Diversity can act as a catalyst for being innovative with music. After all, Beethoven and Mozart were at the forefront of experimenting with new instruments and repertoire in their time!

What can our GMS members do to support Open Up Music?

We’d love to see you in the audience for the first NOYO concerts next summer – ticket sales will be announced on our website at, and through our newsletter (please subscribe). Follow us on social media, on twitter and instagram.

Find out more about our programmes at None of this work is possible without our partners and supporters, so please donate if you’re in a position to do so. Every gift helps to open opportunities. 

BFI London Film Festival 2021 – The Music Supervisors & Composers

By The GMS Team

The full festival program has been announced for the 65th BFI London Film Festival in partnership with American Express, with a multitude of feature films from some of the world’s greatest filmmakers and emerging talent.

We would like to take this opportunity to highlight and celebrate all the music supervisors and composers who have been involved in the making of the movies that are showcased at the 2021 LFF. Congratulations!

ProjectsYear________CountryMusic Supervisors Music By


7 Days2021US
Amanda Delores / Patricia Jones

Ali & Ava2021UKConnie Farr / Dom FarleyHarry Escott
All Is Vanity2021UK
Tristan Seewer
All My Friends Hate Me2021UKClaire FreemanWill Lowes / Joe Robbins
The Alleys2021Jordan
Nasser Sheraf
The Ape Star2021Sweden / Norway / Denmark
Tania Naranjo / Minna Weurlander
As in Heaven2021DenmarkKristian LethKristian Leth
Azor2021Switzerland / France / Argentina 
Paul Courlet

Babi Yar. Context2021Ukraine / Netherlands

Bad Luck Banging or Loony Porn2021Romania
Jura Ferina / Pavao Miholjevic
The Bang Straws2021UK
Aaron Cupples
A Banquet2021UK
Cj Mirra
Becoming Cousteau2021US
Danny Bensi / Saunder Jurriaans
Benedetta2021France / Netherlands
Anne Dudley
Benediction2021UK / USEd Bailie / Abi Leland / Letizia Pacchioni
Bergman Island2021France / Belgium / Germany / Sweden / MexicoRaphael Hamburger

Between Two Worlds2021FranceRebecca Delannet / Astrid Gomez-MontoyaMathieu Lamboley
Boiling Point2021UK
Aaron May David Ridley
The Box2021US / MexicoMauricio Gonzo Arroyo

Bull2021UKCarmen Montanez Callan

Captured2020Hong Kong
Rob Hurry / Wayne Hurry / Anna Kotousov-Buntovnikova
Citizen Ashe2021UK
Jongnic Bontemps
Clara Sola2021Sweden / Costa Rice / Belgium / Germany
Ruben De Gheselle
Will Turner
A Cop Movie2021MexicoJavier Nuño / Joe Rodriguez
Cop Secret2021Iceland
Kristján Sturla Bjarnason
Costa Brava Lebanon2021Lebanon / France / Spain
Nathan Larson

Diseased and Disorderly2021UK
Jem Finer
The Divide2021France
Robin Coudert
Dopesick2021USAmanda Krieg Thomas
Drive My Car2021Japan
Eiko Ishibashi

ear for eye2021UKIain Cooke / Estera Dabrowska
Baker Karim
Earwig2021UK / France / BelgiumWarren EllisNicolas Becker / Warren Ellis /  Augustin Viard
Encounter2021UK / USPhil Canning / Jed Kurzel
Les Enfants Terribles2021Turkey / Germany / France
John Gürtler / Jan Miserre

The Feast2021UK
Samuel Sim
Suvi-Eeva Äikäs
A Film about a Pudding2021UK
Madison Willing
Uno Helmersson
The French Dispatch2021US / GermanyRandall PosterAlexandre Desplat

The Good Boss2021SpainLourdes HernándezZeltia Montes
The Gravedigger’s Wife2021Finland / Germany / France / Somalia / Qatar
Andre Matthias

The Hand of God2021Italy
Lele Marchitelli
The Harder They Fall2021USMichelle Silverman
Hinterland2021Austria / Luxembourg
Kyan Bayani
The Hole in the Fence2021Mexico / PolandFernando Heftye

Inexorable2021Belgium / France
Vincent Cahay

Juju Stories2021Nigeria / France
Philippe Razol

King Richard2021USSusan JacobsKris Bowers

Lamb2021Iceland / Sweden / Poland 
Þórarinn Guðnason
Language Lessons2021US
Gaby Moreno
Last Night in Soho2021UKKirsten LaneSteven Price
Leave No Traces2021Poland / Czech Republic / France
Ibrahim Maalouf
Lingui, the Sacred Bonds2021France / Germany / Belgium
Wasis Diop
The Lost Daughter2021US / Greece
Dickon Hinchliffe
Love, Dad2021Czech Republic / Slovakia
Viera Marinová
Luzzu2021MaltaBlake JesseeJon Natchez

Martin and the Magical Forest2021Czech Republic / Slovakia / Germany 
André Feldhaus / Carsten Rocker
Marx Can Wait2021Italy
Ezio Bosso
Mass2021USKevin SeatonDarren Morze
Maya and the Three2021US / Mexico
Tim Davies
The Medium2021Thailand
Chatchai Pongprapaphan
Memoria2021Colombia / Thailand / France / Germany / UK
César López
Memory Box2021France / Lebanon / Canada / Qatar
Charbel Haber / Radwan Moumneh
Mona Lisa and the Blood Moon2021USJoe RudgeDaniele Luppi
Money Has Four Legs2021Myanmar
Lone Lone Kavan / Ko Ko
Mothering Sunday2021UKRupert HollierMorgan Kibby
Mothers of the Revolution2021New ZealandKaryn RachtmanLachlan Anderson
Munich – The Edge of War2021UK
Isobel Waller-Bridge

Natural Light2021Hungary / France / Latvia / Germany
Santa Ratniece
The Neutral Ground2021USSarah BrombergSultana Isham
Nitram2021AustraliaJemma BurnsJed Kurzel
Nudo Mixteco2021MexicoRodrigo Castillo FilomarinoRuben Luengas

Odd-Job Men2021Spain
René-Marc Bini
Our Men2021France / BelgiumAngele Monchaux

Paris, 13th District2021FrancePierre-Marie DruRone
Passing2021UK / USAlexandra EckhardtDevonté Hynes
Petite Maman2021France
Jean-Baptiste de Laubier
Petrov’s Flu2021Russia / France / Germany / Switzerland

The Phantom of the Open2021UKPhil CanningIsobel Waller-Bridge
The Power of the Dog2021UK / US / Australia / Canada / New ZealandAndrew KotatkoJonny Greenwood
Prayers for the Stolen2021Mexico / Germany / Brazil / QatarFernando HeftyeLeonardo Heiblum / Jacobo Lieberman

Quant2021UKIan Neil
Queen of Glory2021USRico ‘Superbizzee’ Washington

Red Rocket2021USMatthew Hearon-Smith
Rehana2021Bangladesh / Singapore / Qatar

Robin Robin2021UK
Benedict Please / Beth Porter
Ron’s Gone Wrong2021US / UK / Canada
Henry Jackman

The Sea Ahead2021Lebanon / France / Belgium / US / Qatar
Joh Dagher
See for Me2021Canada
Joseph Murray / Lodewijk Vos
She Will2021UKPhil CanningClint Mansell
Small Body2021Italy / France / Slovenia
Fredrika Stahl
The Souvenir: Part II2021UKCiara Elwis / Maggie Rodford
Spencer2021Germany / Chile / UK / USNick AngelJonny Greenwood
Stiletto: ‘A Pink Family Tragedy’2021Turkey / Germany
Uran Apak
The Storms of Jeremy Thomas2021USEstera Dabrowska
Sundown2021France / Mexico / Sweden


A Tale of Love and Desire2021FranceMartin CarauxLucas Gaudin
Titane2021France / Belgium
Séverin Favriau / Jim Williams
The Tragedy of Macbeth2021US
Carter Burwell
True Things2021UKConnie FarrAlex Baranowski
Peter Michael Davison

The Velvet Underground2021USRandall Poster

What Do We See When We Look at the Sky?2021Germany / Georgia
Giorgi Koberidze
What We Shared2021UK
Timothy Nelson
White Building2021Cambodia / France / China / Qatar
Jean-Charles Bastion
Wild Indian2021US
Gavin Brivik
Wood and Water2021Germany
Brian Eno
The Worst Person in the World2021Norway / France / Sweden / Denmark / USGoran ObadOla Fløttum

GMS Diversity & Inclusion SoulEndvr Interview

In our second instalment of our interview series, we speak to Jay PhelpsFounder of SoulEndvr. Not only a renowned trumpeter, composer and band leader, Jay is the Founder of casting agency and production company SouldEndvr, specialising in providing the UK’s best black and ethnic minority musicians for Television, Film and Advertising.

SoulEndvr was founded in response to the lack of diverse representation for musicians and composers in our industry. Jay recounts: “I have been working within the industry for over twenty years and have come across the same questions being asked time and time again by production teams and / or music supervisors. “Do you happen to have any other Urban friends for the role?” Or “Could you recommend any other black musicians?” For years I’ve been happy to put my friends forward for work but there comes a time when the question has to be asked: why are we not permanently on their books?”

“This is coupled with my initial filming experience on the TV set of Stephen Polliakoff’s ‘Dancing on the Edge’, where I was in an all black band on-screen, miming an all white band who did the recording. Myself and the other trumpet player from the on-screen band were the only ones offered to do some of the recording session because of the obvious solo sections for our characters. As a young musician in his 20s, it astonished me that the producers chose black musicians solely for our image, yet didn’t think we were competent enough to record the parts we were going to be miming.”

Although we see a more conscious effort being made when casting decisions are visible, it’s those with the responsibility to make decisions behind the camera who also need to step up to increase representation. Jay echoes: “The barriers or parameters have always been set by those actually doing the casting / fixing. When you know a job will be done correctly and precisely by individuals you’ve worked with before, why change anything? Though it is a fair statement to say “If it ain’t broke, why fix it?”, but…what if you’re unable to see what is broken in the first place? It’s simply a fact that white casting agents and music supervisors far outnumber those of ethnic minority backgrounds in the UK (far exceeding the percentage in relation to the population) and though the black image is utilised now more than ever on-screen, off-screen we are not seeing many changes, especially in music. There has just simply not been enough diversity amongst the casting agents and music supervisors to leverage from a diverse contacts list of musicians and composers.”

As in other sectors too, it’s clear that more can be done at an earlier stage in young people’s careers, to improve accessibility and awareness of music careers. “We can’t expect people of different backgrounds to just come from thin air and into the industry at a professional level. Much has to be done at the foundational level before we see any tangible change. More thought needs to go into programs designed to help those who typically cannot afford to seek out a passion in the arts. I would eventually like to create a scheme that aids those who want to get involved in music management, music supervision or as casting agents from black and ethnic minority backgrounds.”

But he does have hope for how the music industry can do better when it comes to representation and inclusion. “As someone of colour I have always taken it upon myself to lead and book bands that are as diverse as possible. My reason being that I feel the music is at its best when there’s a multitude of stories to tell. Here in London like no other place in the world, there are millions of stories being told by a plethora of different cultures and the bar is being set and reset daily. All it takes is some effort and investigation, because you’ll be surprised what you find when you really want to know.”

The SoulEndvr roster continues to develop and expand in to other areas. Looking for an orchestra? In an exciting new development, SoulEndvr has also recently put together an orchestra to add to their roster, hand-picked from the finest ensembles in the country. These musicians have all worked with each other and bring together years of session and concert experience. As Jay describes: “A healthy addition to the session world”.

In conclusion, what’s important to Jay is the focus on talent. “The directors of the company, Tara Wakefield, Pritpal Ajimal and myself are all ethnic minorities, although I don’t want SoulEndvr to just be seen as the go-to casting agency for black and ethnic minority musicians and composers. I’d rather we are looked upon as an agency that can book great talent across the board. This means to utilise our service for any job is a way of supporting a black-owned business. We have white musicians and composers on our books too and when we say we specialise in black and ethnic minorities, this is to represent and further emphasise the necessity for representation within the industry… We can now accommodate for pretty much any role, including black and ethnic minority hair and make-up artists.”

They also produce live events, namely ‘OST’ (Original Soundtrack), where they show short films with a live band improvising throughout, formed of the who’s who of the
London jazz scene.


If you want to support or access the SoulEndvr roster, please get in touch directly at or Instagram.
They are happy to provide options to suit any request.

The GMS is proud to launch a new editorial series for its members.

The GMS recognises the existing diversity gap in our sector and the part we can all play in affecting change. Our new interview series will highlight organisations and communities that enable greater inclusion and access in our industry.

Through our conversations we will reflect on some of the barriers to our sector, highlight existing career-access programmes, thus encouraging new initiatives and partnerships to create lasting impact. We hope that these conversations will inspire, educate and provide a catalyst for new collaborations to work towards greater inclusion and representation in our Supervision / Sync sectors, as well as the sectors with which we intersect.

For our first spotlight in the series, we speak to Natalie Wade, CEO and Founder of Small Green Shoots, the hugely impactful organisation offering unique career-entry programmes and opportunities in the entertainment and creative industries. Notoriously difficult to infiltrate, the barriers to the music industry become near-on impenetrable for young people facing difficult life circumstances.

Natalie concurs; “The industry tends to employ people they know, employ within their own network and connections and the only way to get in is often through being a part of the social scene or through unpaid work experience. You’re also expected to be confident and out-going and a lot of young people I worked with aren’t privileged. They don’t feel entitled, and this often means they don’t feel confident enough to put themselves forward. At Small Green Shoots we give them responsibilities to help them realise their potential and help grow their own confidence.”

One of Natalie’s main motivations for founding Small Green Shoots was “[the] lack of diversity in executive positions within the music / entertainment industry.

“Where I grew up [there were] loads of people passionate about music but no one had connections… I wanted to level the playing field.”

Small Green Shoots helps and supports young people (the “Shoots”) by offering an alternative to the conventional system for education, training and entry in to these industries. The programmes involve paid classroom learning, vocational training, internships and access to creative grants, allowing the Shoots to build a career as opposed to just seeking a job.

One of the current Shoots, Erin, gives her own perspective on how this practical experience has supported her personal development, as well as the importance of SGS as an organisation: “Small Green Shoots has been key to my professional development but more importantly integral to helping me to navigate the start of my career. I started at SGS with little to no confidence in myself and where I was going after graduating from university. From my first day at SGS, I have been learning through doing which is something that university could not offer me… There is truly no other place like SGS, it needs to be supported and protected if we are to help more people like myself to figure life out.”

Not only is this an opportunity for the young people, but an opportunity for our music and creative businesses to diversify our workforce and benefit from a wider pool of talent. For Natalie, this means digging deeper to open up hiring practices: “The music industry can do better by NOT employing people that are just like themselves and dig a little deeper to find diversity. Not just in income, race or culture but personality. There are a lot of extremely skilled young people out there and once you spend the time getting to know them you will notice this.”

Despite the obstacles that currently exist, there are impactful means of countering some of the barriers from within the industry. In Natalie’s view, practical experience goes a long way. “Secondments are vital as the young people get to understand a different working environment, and how departments within organisations work alongside each other. They learn how to perform in different environments and also get the chance to develop their own network. It also gives employers and line managers a chance to get to know the young people beyond an interview and CV.”

Lorita spent her secondment on a TV series with Leland Music: “I asked myself a question many people in my position have asked themselves: how do I become / learn to become a music supervisor if I’m not equipped enough to have a job as a music supervisor? There are no music supervision courses I can take, so what’s the next step? And that’s where secondments like these take their place. Having an opportunity like this with a company like Leland Music is one-in-a-million. It will allow me to gain all the skills I need to become a full-time music supervisor with firsthand experience. It will bring me one step closer to achieving my dream job. I can’t thank Small Green Shoots and Leland Music enough for creating the space for more secondments and work placements in this industry.”

Moreover, following an initial three month internship at Concord, young Shoot Amber is now staying on for a further six months. Amber said about her time: “Working alongside Concord has been a great experience for me. Not only is it such a supportive environment, but I’ve also gained so much knowledge into the publishing side of music [and] what happens behind the scenes within sync… Small Green Shoots has also been offering extra support and checking in on me and my progress which I really appreciate.”

Sara Lord (Concord): “I could go on for hours about how great Small Green Shoots are. Suffice to say that Natalie and the team there provide an incredible service, not only to us, the companies who are looking for interns, but more importantly to their Shoots – young people who want to get into the creative industries. Natalie paired us with Amber… she is so amazing, I’m sure she will be running the show one day very soon.”

What You Can Do

There are several ways that you can help to support Small Green Shoots and provide opportunities for young people. In addition to secondments, you can sponsor a Shoot through the Young Shoots Programme and also offer shadowing opportunities. If you just want to chat through an idea or see how it might work for your organisation, please reach out to

The UK and European Guild of Music Supervisors

The GMS Diversity & Inclusion Committee

The UK and European Guild of Music Supervisors recognises the existing inequalities, prejudices and diversity gap in our sector and the part we can all play in affecting change.

In response to the events of last year and the ongoing inequality in our sector, the GMS has formed a Diversity and Inclusion Committee to not only address the issues in our community but to help to educate, support and assist where we can be a catalyst for change.

Our community needs us to find ways together towards a more inclusive industry. As a committee, we are dedicated to education and making the necessary changes, in turn inspiring our community to do the same. It is our aim to initiate new opportunities to break down the barriers to entry for minority groups and create a lasting impact. We are an open, collaborative committee and we hope to encourage our community to be part of the solution both together and in our independent work and lives.

As an initial step, we are pleased to announce our partnership with Black Lives In Music through which we hope to start conversations and build relationships to expand the opportunities for people of colour in the music industry. Black Lives in Music is made up of a number of partners who are all working towards a joint goal of dismantling structural racism in our industry and providing better professional opportunities.

Read the Black Lives in Music Charter here. More on our partnership to come.

What You Can Do

You will be seeing more from the committee as we roll out our initiatives working towards our goals.

And if you’re inspired to do something today: reach out to people in your community and see how you can help.
Follow Black Lives in Music to read, listen and share their work.

Finally, if you wish to find out more or get involved yourself, please always feel free to reach out to the committee at this email address: 

Further Resources

ReadBlack Lives Matter UK

ReadGuide to Allyship

ReadWhy Are There So Few Black Music Supervisors?
by Jumi Akinfenwa

ReadThe Year of Performative Allyship
by Aisha Nanor Martin

ReadMe and White Supremacy
by Layla F. Saad

ReadNatives: Race & Class in the Ruins of Empire
by Akala

by Sathnam Sanghera

ReadWhy I’m No Longer Talking to White People About Race
by Reni Eddo-Lodge

ListenAbout Race Podcast
by Reni Eddo-Lodge

ReadHow to Be An Anti-Racist
by Ibram X. Kendi (plus upcoming podcast ‘Be Antiracist’)

ListenIntersectionality Matters podcast
with Kimberlé Crenshaw

WatchLeigh-Anne: Race, Pop and Power
by BBC

The UK and European Guild of Music Supervisors

Provisional Membership Update

We would like to announce that we are decreasing the price of our provisional membership.
After recent discussions here at GMS, we have decided to lower our provisional membership to £35/€45 from our old price of £100/€110.

If you already have a Provisional Membership, your next renewal will come to the updated price.

More about the membership:

Provisional Membership is for individuals who are at the start of their supervision career i.e. studying a relevant course or undergoing work experience. The applicant will be in the process of building their supervision credits. It is also open to individuals wishing to pursue a career in Music Supervision but who have not yet had access to relevant courses or work experience placements

We encourage applications from people who are currently under-represented in the digital and creative sector. This includes women, people who are Black, Asian or Minority Ethnic, D/deaf, Disabled and Neurodivergent people, people from the LGBTQ+ community, as well people from lower socio-economic backgrounds. If the membership fee is prohibitive then please contact

2020 BIFA Awards – Celebrating the Music Supervisors and Composers Involved

By The GMS Team

We would like to take this opportunity to highlight and celebrate all of the Music Supervisors and Composers who have been involved in the making of the movies at the 2020 BIFA’s. Congratulations!

Music Supervisor: Sarah Bridge

Composer: Nainita Desai **** Nominee for Best Music

Music Supervisor: Connie Farr **** Nominee for Best Music

Assistant Music Supervisor: Dom Farley

Composer: Emilie Levienaise-Farrouch **** Nominee for Best Music

Music Supervisor: Guillaume Clément

Composer: Ludovico Einaudi

Composer: Roque Baños **** Nominee for Best Music

Composer: Paul Corley **** Winner for Best Music

Music Supervisor: Abdullah Al-Wali

Composer: Dickon Hinchcliffe

Music Supervisor: Jen Moss

Composer: Adam Janota Bzowski **** Nominee for Best Music

Music Supervisor: Jen Moss

Composer: Ludovico Einaudi

Composer: Hutch Demouilpied

Music Supervisor: Phil Canning

Composer: Terence Dunn

Music Supervisor: Dom Farley

Composer: Blanck Mass

Music Supervisor: Phil Canning

Composer: Jo Paterson

Composer: Tim Morrish

Composer: Natalie Holt

Music Supervisor: Phil Canning

Composer: Nascuy Linares

Composer: James Pickering

Composer: Abel Korzeniowski

Music Supervisor: Kle Savidge

Composer: Jack Halama, Natalie Holt

Composer: Richey Rynkowski

Composer: Philip Achille, Tony Coote

Composer: Baba Adefuye, Thomas Farnon

Composer: Cato Hoeben

Composer: Pascal Babare, Thomas Rouch, Cornel Wilczek

Music Supervisor: Leyla Varela

Composer: Roger Goula

Composer: Daniel Pemberton

Music Supervisor: Gary Welch

Composer: Aisling Brouwer

Music Supervisor: Connie Farr

Assistant Music Supervisor: Dom Farley

Composer: Amanda Brown

Music Supervisor: Jess Moore

Composer: Pink Noise

Composer: Julia Holter

Music Supervisor: Maggie Phillips, Christine Greene Roe

Composer: Volker Bertelmann, Dustin O’Halloran

Music Supervisor: John Boughtwood

Composer: Dario Marianelli

Composer: Wojciech Golczewski

Music Supervisor: Sarah Bridge

For a full list of 2020 BIFA winners and nominees, head to the website HERE