BRIT Trust Diaries: Abram Wilson CEO Mercy Welbeck on the charity becoming EQTY in Music

Today marks a significant moment for the Abram Wilson charity as we take on a new name: EQTY in Music (pronounced Equity In Music). As an organisation supporting minoritised young people and musicians to carve out their own equitable space in the music industry, our new name reflects both the evolution of our work and the mission that drives it. 

The UK’s music industry is globally admired for its creativity and cultural influence. The recent Black Music Means Business report commissioned by UK Music highlights the immense impact of music originating from Black music genres on the UK's recorded market, estimated at £24.5 billion over the last 30 years. Despite this incredible success, access to opportunities within the sector remains uneven. Too many young people minoritised by race and/or class still face barriers that restrict their ability to develop musical skills, connect with professional networks, and therefore pursue long-term careers in music; we know these challenges first-hand. From limited access to training and mentorship, to the lack of visibility and representation across professional pathways – the obstacles are real, but not immovable. If we want to continue seeing the UK music industry flourish, addressing these systemic barriers and fortifying our talent pipeline is essential.

Our journey began in 2012 when Jennie Cashman Wilson founded the charity in memory of her husband, the jazz trumpeter Abram Wilson.  Over the past decade, our programmes and partnerships have expanded considerably, alongside the increasing need to address systemic issues and level the playing field for minoritised musicians. As a result, working with Brand by Me, we undertook a strategic rebrand to better reflect the evolution of our work and the mission that drives it. Our redefined purpose, values and bold new identity has sharpened our focus and look, as we embark on this new chapter in our history. 

EQTY in Music is part of the ecosystem of support for our communities, with collaboration and co-design at the heart of our work. My own experience as a Black female artist, songwriter, and producer in the UK music industry presented some difficulties often reported by musicians from similar backgrounds. I am certain that without the combined support of many music organisations including the Abram Wilson charity itself, I too would have been one of the many musicians opting to leave the industry due to the lack of financial sustainability. It is this lived experience, alongside the experiences of those we work with, that shapes our collaborative approach; and we believe working in tandem with organisations across the industry will enable the biggest impact in the lives of our participants. This vision hugely excites us and fuels our day-to-day hustle!

Along the way, we have been so fortunate to work with partners who share our values. Support from The BRIT Trust has played a particularly important role in enabling the next stage of our work, driving forward the development of Beyond The Mix, our brand new career development programme rolling out over the next year in the North West and London, supporting emerging jazz-inspired musicians from minoritised backgrounds. Our programmes are co-designed, shaped by the people closest to the challenges. Our inaugural Artistic Board of 13 members, including Donae’O, Jamz Supernova and Ashley Henry, have been instrumental in contributing to its development. The BRIT Trust funding also powered co-design workshops I recently had the pleasure of leading with Year 9 students in Manchester. We are co-designing a new 16-18 offer, from concept through to delivery, which will be The Bridge between our career development work and our long-standing music education programme Future Sound. 

In 2025 Future Sound continued to expand and deepen its impact. Last year we reached 3000+ young people through assemblies and 1,000+ through music workshops across North West England. This led to 76% improved musical skills, 85% improved teamwork, and 82% of participants wanting more music in schools. I was particularly proud of our lasting impact, with a partner school reporting 125% increase in GCSE music uptake and 55% rise in tuition participation. 

As many reading this might agree, music has an extraordinary ability to connect people, enhance wellbeing and confidence, and change lives for the better. That has certainly been my own story. When minoritised musicians are able to access the right support and opportunities, the benefits extend far beyond individual careers; they enrich communities, audiences, and the cultural life of the UK. With the continued support of partners such as the BRIT Trust, EQTY in Music’s ambition is to nurture a community of inspired, equipped musicians carving out their own creative futures and reinvigorating the industry. 

To learn more about EQTY in Music head to: www.eqtyinmusic.org.uk