BLACMEX, the UK’s first Black Music Export Office, has called on the government to commit to funding support.
In an open letter here to the Prime Minister, as well as the Secretary of State for both Culture, Media and Sport (DCMS) the Department for Business and Trade (DBT), the organisation said that “Black British music is one of the United Kingdom’s most powerful global assets”.
It follows the latest round of Music Exports Growth funding announced by the BPI in partnership with the Department for Business and Trade.
The open letter from BLACMEX’s Kwame Safo & Audrey Gray is signed by industry figures from organisations including Notting Hill Carnival, Black Lives In Music, Jazz Re: Freshed, UD, Trench Magazine, PRS Foundation, Musicians’ Union and more.
“From 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,” it stated. “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.”
We stand ready to work with the government to build an industry that is equitable, sustainable and globally competitive
BLACMEX
BLACMEX said the UK's Creative Industries Sector Plan 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”.
The letter urges the government to take 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,” the open letter concluded. “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.”
FOLLOW 
