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A post shared by Ed Sheeran (@teddysphotos)

The initiative comes amid growing concerns over cuts to arts funding and the diminishing role of music in the national curriculum. Reports have shown that music education in state schools has suffered significantly over the past decade, particularly in economically disadvantaged areas. The open letter argues that without proper funding, music will become an exclusive privilege for wealthier students, further deepening inequalities in the industry.

Sheeran, who himself benefited from state-funded programmes in his youth, stressed the importance of ensuring that young people, regardless of background, have the chance to pursue a career in music. In his Instagram post, the musician said: “As a young music student and aspiring artist, I benefited from opportunities in and out of school to learn & grow. Unfortunately, after decades of defunding and de-prioritising, music is no longer a right for all children – it’s a luxury for only a few.”

Other notable artists who have co-signed the letter include Paloma Faith, Annie Lennox, and Myles Smith, who also commented on Sheeran’s post stating: “Governments need to realise the importance of music not only as a cultural export and financial hub, but as the foundation and key feature of our society and community. Growing up in working-class Luton, access to music wasn’t just a way out – it was a way of living. It gave me purpose, belonging, and a voice. That’s why investing in music matters. It changes lives. It changed mine.” In January 2025, Sheeran has established the Ed Sheeran Foundation, aiming to empower children across the UK with meaningful music education. The foundation seeks to address the decline in music education within state schools by providing support and advocating for equal access to high-quality music programs. ​

 

 

 

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Additionally, The UK-based charity, Youth Music, invests in grassroots organisations and young creatives to ensure all young people have access to music. Over 25 years, Youth Music has invested over £263 million to secure music’s future and improve industry representation, making the next generation of creative talent more diverse and inclusive.​In November 2024, they partnered with Spotify to create a dedicated fund aimed at supporting 15 grassroots youth spaces across the UK that were facing imminent closure or struggling to survive.

The letter calls for a long-term funding commitment to improve music education infrastructure, hire specialist teachers, and provide instruments to students in need. Whilst the government has yet to issue a formal response, campaigners hope that growing public support will put pressure on policymakers to act swiftly. This bold move by Sheeran and his fellow artists signals a crucial moment for the future of music education in the UK.

A report by the Cultural Learning Alliance revealed both a lack of engagement and a lack of staff to facilitate music education in schools across the country, revealing shocking statistics such as a 41% decrease in students enrolling in GCSE Music courses between 2010 and 2023. 

During this same period, student participation continued to decline with A-Level Music entries dropping by 46% since 2010. These trends highlight the urgent need for greater funding and support.  

“The ongoing defunding of music education in state schools in UK is having a corrosive effect on the entire music profession. Early-years education is imperative to ensuring a career in music is a viable option to talented students of all backgrounds.” https://t.co/KbpNZEMbeF.

— Jennifer Johnston (@jjohnstonmezzo) April 21, 2024

Speaking to MXDWN, Undici, a band formed at the BRIT School in 2022, underscores the importance of a structured and supportive music curriculum. The bassist, Campbell, reflected on the stark contrast between his previous schooling and the opportunities at BRIT, which he described as a space that “facilitates discussion and actively wants to help artists evolve.”

The BRIT school is a performing arts school in London, known for producing top talents in music, theatre, film, and digital media, notably Adele, Amy Winehouse, and Tom Holland. 

Undici have made an excellent start to joining these world renowned alumni, winning the 2024 Battle of the Bands Junior competition and developing a distinctive sound. Campbell credits their diverse musical influences for their unique style, saying, “Each member’s vastly different tastes and styles is a key strength of the band, providing us with different viewpoints to share with each other and giving us a unique sound.” 

 

 

 

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Similarly, emerging producer and DJ Oscar McCree, shared his experience as a student at BIMM Institute, a group of colleges specialising in contemporary music education.

With state-of-the-art facilities and promoting industry connections, McCree cites the BIMM as playing a pivotal role in his artistic growth by “pushing him out of his comfort zone” and giving him the freedom to evolve his sound. However, he reflected that his GCSE Music course sparked his passion for music production.

Initially focused on dance music, McCree has shifted towards more ambient sounds, constantly expanding his production abilities. His latest release ‘Alone’ showcases his experimental approach and was released just over a month after his DJ debut in Chelsea, an energy-infused event that marks the beginning of many more for the rising artist. 

While these institutions may not be accessible to all, they can serve as inspiration for the national music curriculum. Their success proves that focus on creative subjects and structured support for emerging talent is vital to sustaining the UK’s creative industries.

Reports such as the Night Time Industries Association study on the importance of electronic music as well as government discussions on AI and copyright policy suggest potential changes in the music industry’s landscape.

The decline of music education in UK state schools presents a significant challenge, not just for aspiring musicians but for the creative industry as a whole. Both Undici and Oscar McCree highlight the significance of creative spaces for supporting artists and connecting them with others in these sectors. The industry is at risk of losing future talent before it has a chance to develop, thus urgent investment in education is vital for its survival. 

UK Music Chief Executive @jnjokugoodwin departs after three years at helm to join Prime Minister Rishi Sunak as Director of Strategy.

Read here: https://t.co/JfsM4dRZBd pic.twitter.com/Bqg7Nx710N

— UK Music (@UK_Music) August 31, 2023

Njoku-Goodwin was named CEO of UK Music, a trade body that represents the collective interests of the UK music industry, back in 2020 and was perhaps most notable for steering the industry through the Covid-19 pandemic-helping to secure the safe return of live performances throughout the country. He was also instrumental in creating the National Plan for Music Education and leading the arguments on copyright protection for artists in light of the continuing emergence of Artificial Intelligence.

Speaking of his role as CEO, Njoku-Goodwin said, “the UK music industry is one of this country’s great national assets and it’s been a privilege to represent it for the past three years. Leading UK Music through what was the toughest of times for our sector during the pandemic, when the music industry faced an existential struggle, has been an immense honour.”

A very welcome recommendation from @cj_dinenage & @CommonsCMS. It’s vital that we ensure AI enables human artistry and creativity, not erode it. So strong copyright & IP protections must at the heart of any approach to seize the opportunities of AI. https://t.co/W2Nolh8NtY — Jamie Njoku-Goodwin (@jnjokugoodwin) August 30, 2023

Njoku-Goodwin expressed his belief that the music industry is now in a much better place than it was when he first came into the role, confident that he has now provided a road map on how the industry can continue to thrive in a post-Brexit UK and with modern challenges that continue to impact musicians and stakeholders.

“I think the pandemic probably had a big impact in terms of making people realise how much they missed it.”

UK Music Chief Executive @jnjokugoodwin in the @guardian discussing the demand for big-name tickets.

Read: https://t.co/sYqrr7VuOA pic.twitter.com/jaKq6mIWZZ

— UK Music (@UK_Music) August 19, 2023

Njoku-Goodwin previously welcomed the European Union Brexit Trade Deal that provided points on travel-a key concern for British based touring artists, while also expressing some concerns that continued bureaucracy and delays would put tours at risk, adding further uncertainty for musicians performing on the continent. The ex-CEO said at the time of the deal, “the Prime Minister has promised there will be no non-tariff barriers, so it is vital that Government delivers on this promise and ensures there are no barriers to British musicians working and touring through Europe. We will be seeking urgent reassurances on this from Government.”

Njoku-Goodwin’s role in the National Plan for Music Education will see the government commit to enabling children and young people to learn to sing, play an instrument and have the opportunity to further their interests in the music industry, including professionally. The plan also sets out how music education would look in schools, allowing students the chance to take music qualifications during their secondary education, such as GCSEs and A Levels.

V welcome to see @Keir_Starmer talk about the importance of music education and creativity – not only for supporting the talent pipeline, but for developing the skills we all need in the modern workplace. Every young person should have access to a high quality music education https://t.co/P4dod1xjmD — Jamie Njoku-Goodwin (@jnjokugoodwin) July 12, 2023

Njoku-Goodwin was thanked by various members of UK Music, following the news of his stepping down. UK Music deputy chief executive Tom Kiehl has been named CEO in the interim.

In it the DOE outline their vision for music education and how it can be achieved through partnerships with schools, music hubs, and the creative sector. It’s main goal as per the government website is “to enable all children and young people in England to learn to sing, play an instrument and create music together and also have the opportunity to progress their musical interests and talents professionally“. It also notably promises a new £25 million fund to help schools purchase new instruments in order to provide thousands of pupils around the country a gateway into music. This will include adapted instruments for pupils with special educational needs and disabilities in an effort to provide equal opportunity for all.

For some this may come too little too late, after all it’s only a year and a half since the government released a campaign of posters around London and the rest of the UK suggesting people in the arts should retrain due to the pandemic. Causing much outrage at the time and further distancing themselves from an artistic community that already largely loathed them, Rishi Sunak didn’t do the government any more favours when he continued to hammer home the message on ITV news. When asked whether arts workers should simply try and find another job in a different sector, Sunak said: “I can’t pretend that everyone can do exactly the same job that they were doing at the beginning of this crisis“, before going on to say that everyone will have to “find ways to adapt and adjust to the new reality“.

@BreesAnna @SueC00K a concert pianist friend had just shared this. An HM Government poster. The government’s blatant plan to destroy the Arts. Last week the Chancellor (I think) was saying that people in the Arts should retrain and get a proper job. How low can they stoop? pic.twitter.com/dqp52s6pyG

— Richard Winzar (@RichardWinzar) October 12, 2020

How widely and effectively this new pledge from the government will help the UK’s music scene is up in the air. It’s hard to ignore the sneaky suspicion that the money might be better spent reviving the hundreds of venues around the country that were forced to close during the pandemic, or rebalancing the wholly inadequate way streaming royalties are paid to artists. Only time will tell, at least there is someone somewhere that cared enough to type up all 83 pages. You can read the plan here.