An Open Letter to the UK Government 2026
From: BLACMEX, the UK’s first Black Music Export Office
To the Prime Minister, The Secretary of State for Culture, Media and Sport (DCMS), The Department for Business and Trade (DBT) and all those responsible for the future of the UK’s creative industries
Black British music is one of the United Kingdom’s most powerful global assets.
From Jazz, Reggae, Soca, Jungle and Drum & Bass, to Grime, Drill, UK Rap, Gospel and Afro-fusion, Black music created in Britain has shaped global culture, and positioned the UK as a creative leader on the world stage, driving billions in economic value. These genres are far from fringe or niche; they are central to the UK’s contemporary cultural identity and international influence.
Yet despite this success, the infrastructure supporting Black music remains fragile, underfunded, and structurally disadvantaged.
BLACMEX, the UK’s first Black Music Export Office was established to address this imbalance and to ensure Black British artists, creators, executives, and independent businesses are able to access the same opportunities, protections, and long-term sustainability afforded elsewhere in the creative economy. Our work has demonstrated both the global demand for Black British music and the systemic barriers that continue to limit its growth.
The UK's Creative Industries Sector Plan, a key component of the United Kingdom's broader 10 year strategy for growth, was encouraging and yet missed a real opportunity to build upon the cultural impact and economic power Black music genres have generated globally and continue to contribute to the UK’s global footprint.
We are writing to call on the UK Government to take decisive action across the following measures:
Commit to long-term, ring-fenced funding for Black music export and infrastructure
Short-term project funding is insufficient to address decades of underinvestment. Black music requires sustained, strategic support that allows for planning, international relationship-building, and talent development over time. This is an investment in growth, not a subsidy.
Recognise Black music as strategic national cultural infrastructure
Black British music should be formally recognised as a core pillar of the UK’s creative industries and export strategy. Its global impact rivals that of film, television, and fashion, yet it is rarely treated with the same seriousness in policy or funding decisions.
Ensure equitable access to export support and international opportunities
Government-backed trade missions, showcase platforms, touring support, and export finance must be accessible to independent Black artists and talent development organisations—not only to major labels or legacy institutions. Without equitable access, global success remains concentrated and exclusionary.
Review the priority markets listed under the Creative Industries Sector Plan
The current list of countries is not expansive enough and has shocking omissions across the Caribbean and sub-Saharan Africa. Huge blocs which contribute and collaborate with diasporic communities in the UK. Allowing room for the potential expansion of the countries listed in the Creative Industries sector plan, can build towards greater diversity of trade missions, and also discovery of new global markets with strong music portfolios.
Use Black British music as a pillar of international cultural diplomacy
In a post-Brexit landscape, Black British music offers unparalleled soft power—particularly across Africa, the Caribbean, Europe, and North America. Strategic intentional support would strengthen trade relationships, enhance cultural exchange, and boost the UK’s global standing and attractiveness. Black music genres have the undeniable flexibility to penetrate beyond traditional anglophone markets, presenting new touring opportunities for UK music talent.
Black British music already delivers extraordinary returns for the UK. What it lacks is a system that matches its contribution with meaningful, long-term support. Failure to act risks not only continued inequality, but the erosion of one of the country’s most valuable cultural exports.
We stand ready to work with the government to build an industry that is equitable, sustainable, and globally competitive.
The question is not whether the UK can afford to invest in Black music.
It is whether it can afford not to.
Yours Sincerely, Kwame Safo & Audrey Gray, BLACMEX
On behalf of artists, creators, executives, and independent music businesses working with Black music genres in the United Kingdom and internationally.
Organisation, show support for the BLACMEX Open Letter to the UK Government BY SIGNING HERE
Music Creators and Performers, show support for the BLACMEX Open Letter to the UK Government BY SIGNING HERE
supporting Signatories since 28TH FEB 2026
Afaron Gordon, Momentum Music Talent Agency, UNITED KINGDOM
Afronaut, UNITED KINGDOM
A Morgan, UNITED KINGDOM
Alex Phountzi / NameBrandSound, UNITED KINGDOM
Aluna/Alunageorge, UNITED KINGDOM / USA
Ammo Talwar, Punch Record, UNITED KINGDOM
Amy Gadiaga, UNITED KINGDOM
Amy Jayne, LabelWorx, UNITED KINGDOM
Andy Lemay, Resident Advisor, UNITED KINGDOM
Angela Mwandanda, Recording Industry Of Kenya (Rike), KENYA
Annie Mac, UNITED KINGDOM / IRELAND
Anthea Hudson, Notting Hill Carnival Ltd, UNITED KINGDOM
Anthony Olanipekun, JAZZ Re:Freshed, UNITED KINGDOM
Benjamin Demelemester, Centre National De La Musique, FRANCE
Bizzle Osikoya, The Plug Entertainment, NIGERIA
Carla Marie, UNITED KINGDOM / JAMAICA
Carl Loben, DJ Mag, UNITED KINGDOM
Charisse Beaumont, Black Lives In Music (BLIM), UNITED KINGDOM
Chiedu Oraka, UNITED KINGDOM
Chrystal Lecointe, UNITED KINGDOM / DOMINICAN
Christine Osazuwa, Measure of Music, UNITED KINGDOM
Danny J Lewis, UNITED KINGDOM
David is a King/ Dirty Danger, UNITED KINGDOM
Demuir, CANADA
Derek Debru, Nyege Nyege, UGANDA
DJ Flight, UNITED KINGDOM
DJ Karnage, UNITED KINGDOM
DJ Supa D, UNITED KINGDOM
DJ YUKI, UNITED KINGDOM
Dr Adesegun Adeosun Jnr, Smade Entertainment Group & Afronation, UNITED KINGDOM / NIGERIA
Dr Bellegarde-Smeralda, Rolling Stone Africa, UNITED KINGDOM
Dr Kienda Hoji, Music Industry Academia And Lawyer, UNITED KINGDOM
Dyn Dyn, UNITED KINGDOM
ECKOES, UNITED KINGDOM
Eddie Hatitye, Music In Africa Foundation, SOUTH AFRICA
Eneeks, UNITED KINGDOM
Erire, UNITED KINGDOM
Fabio, UNITED KINGDOM
Felix Howard, Kassner Music, UNITED KINGDOM
Footsie, UNITED KINGDOM
Ghostpoet, UNITED KINGDOM
Gillian Dunn, Black Music Alliance Australia, AUSTRALIA
Godwin Tom, Creative Business Academy For Africa, NIGERIA
Hagan, UNITED KINGDOM
Handson Family, UNITED KINGDOM
Harinala Rambolamanana, La 113ème, REUNION ISLAND
House Gospel Choir, UNITED KINGDOM
Ife Okonkwo, Youth Music, UNITED KINGDOM
Jaguar, UNITED KINGDOM
Jamz Supernova, UNITED KINGDOM
Janai, UNITED KINGDOM
Jean-Elie, Afreximbank, DR CONGO
Jen Smith, Creative Industries Independent Standards Authority (CIISA), UNITED KINGDOM
Jennifer Cooke, THE NETHERLANDS
Jiggs Thorne, MTN Bushfire, ESWATINI
Joe Frankland, PRS Foundation (PRSF), UNITED KINGDOM
Jordan Crowley, Makino Agency, UNITED KINGDOM
Jose Luis Seijas, Latino Life, UNITED KINGDOM
Joseph Patterson, Trench Magazine / Complex UK, UNITED KINGDOM
Julia Toppin, University of Westminster, UNITED KINGDOM
Julien Jaubert, Les Flammes, FRANCE
Jumpin Jack Frost, UNITED KINGDOM
Jusnah Gadi, Young Music Boss, UNITED KINGDOM
Kabba, UNITED KINGDOM
Kaleena Zanders, USA
Karen Nyame KG, UNITED KINGDOM
Karizma, USA
Kasra Mowlavi, Critical Music Ltd, UNITED KINGDOM
Keir Tyrer, Shogun Audio, UNITED KINGDOM
Keith Kirk, Code Group Music, UNITED KINGDOM
Kelli-Leigh, UNITED KINGDOM
Kimberly Oxide, Oxide Consulting Agency, MAURITIUS
Kwame Asabere, The Music Suite, UNITED KINGDOM
Larizzle, UNITED KINGDOM
Laura Brosnan, Hyperfrank, UNITED KINGDOM
Laura Patricia Torres López, Mercado Musical Del Pacífico - Ministerio De Las Artes, Las Culturas Y Los Saberes De Colombia, COLOMBIA
Leigh Morgan, b:electronic | believe, UNITED KINGDOM
LEMFRECK, UNITED KINGDOM
Lorenz Herrmann, Busara Promotions, TANZANIA
Martha BoltonFounder, NOT BAD FOR A GIRL, UNITED KINGDOM
Melissa Jimenez, TT Creative Ltd, TRINIDAD & TOBAGO
Michael Kill, Night Time Industries Association (NTIA), UNITED KINGDOM
Mobolaji Agoro, Pitch Scotland, SCOTLAND
Mr Mints, UNITED KINGDOM
Nadia Khan, This Is CTRL, UNITED KINGDOM
Naomi Pohl, Musicians' Union, UNITED KINGDOM
Neal Thompson, FOCUS Music Cymru Cyf. (FOCUS WALES), WALES
Ned Archibong, QM Records, UNITED KINGDOM
NGDOMMark Force, UNITED KINGDOM
NikNak, UNITED KINGDOM
NSG, UNITED KINGDOM
Obi Asika, National Council For Arts And Culture (NCAC), NIGERIA
Olaf Furniss, Wide Events CIC, SCOTLAND
O'Neil Dennis, AStepFWD, UNITED KINGDOM
Pamela McCormick MBE, UD Music Foundation, UNITED KINGDOM
Paris Cesvette, UNITED KINGDOM
Patrick Hinton, MIXMAG, UNITED KINGDOM
Peter Adarkwah, BBE, UNITED KINGDOM
Propa, UNITED KINGDOM
Ray Paul, The Playmaker Group / Brukout, UNITED KINGDOM
Richard Koeck, AHRC Creative Cluster, Music Futures, UNITED KINGDOM
Richy Muirhead, Pitch Scotland, SCOTLAND
Roger Wilson, Black Lives In Music (BLIM), UNITED KINGDOM
Sacha Lord, Night Time Industries Association (NTIA), UNITED KINGDOM
Sam Interface, UNITED KINGDOM
Sam ‘ whiskas’ Nicholls, Launchpad, UNITED KINGDOM
Selena Faider, UNITED KINGDOM / FRANCE
Serena Johnson, Conscious Youth C.I.C, UNITED KINGDOM
Shannon-Latoyah Simon, UNITED KINGDOM
Shao Dow, UNITED KINGDOM
Sheryl Nwosu, Black Music Coalition, UNITED KINGDOM
Shortee Blitz, UNITED KINGDOM
Sifiso Gcabashe, The Dig Global, SOUTH AFRICA
Silvia Montello, ASSOCIATION FOR ELECTRONIC MUSIC / VOICEBOX MUSIC CONSULTING, UNITED KINGDOM
Sir Spyro, UNITED KINGDOM
Sonny Wharton, UNITED KINGDOM
Stush, UNITED KINGDOM
Swiss, UNITED KINGDOM
SYREETA, UNITED KINGDOM
Tania Walcott, Natives, UNITED KINGDOM
Tippa / Tippa Demus, UNITED KINGDOM
Toby Egekwu, Finesse Foreva, UNITED KINGDOM
Toddla T, UNITED KINGDOM
Unathi Lutshaba, South African Cultural Observatory, SOUTH AFRICA
Yaw Owusu, Nothin But The Music Limited, UNITED KINGDOM
Yussef Dayes, UNITED KINGDOM
Zed Bias, UNITED KINGDOM
Zero T /Bruk Rogers, IRELAND
