Co-founder of Black Lives in Music (BLiM), Roger Wilson, sounds weary: “It is not unusual to turn up to a concert hall and be barred entry by security guards, assuming that you couldn’t possibly be playing there,” he says. Wilson has worked in the classical music industry for over three decades, including 12 years as an educator at the Royal Opera House. He says black musicians like him still walk into music venues, only to be “directed to the cleaning department”.
That’s why, together with Charisse Beaumont, Wilson founded BLiM in 2020. Its mission was simple: to create a level playing field for black, Asian and ethnically-diverse (BAME) classical music professionals in an industry that is infamously resistant to change. Getting there, though, has proved less simple.
The same year BLiM was founded, George Floyd’s death in America sparked outrage and action across the globe. In its wake, Wilson says BLiM gained a lot of initial backing. But three years on, is momentum still on their side?
Wilson says that many in the industry who were “shamed” into speaking out after Floyd’s murder are growing silent again: “They are looking into the rearview mirror and 25 May is becoming a blur.” He says since then, progress has been “glacial”.
This doesn’t come as a surprise – racism has long been entrenched in the classical music industry. A 2021 report by BLiM found that 73% of black music professionals have experienced racism. More than one in eight agree their race creates barriers to career progression.
They are looking into the rearview mirror and 25 May is becoming a blur
Roger Wilson
Pianist Nia James has experienced these barriers first-hand as a freelance educator. She always speaks to new students’ parents on the phone before meeting them in person. “That part always goes very smoothly,” she says. “But when I turn up to their house they’ll look at me like, ‘What are you doing here?’ One person asked for copies of my passport and driver’s licence. I felt insulted.”
James says this can turn into a vicious cycle. As instances like these discourage black people from taking up classical music professionally, there are fewer black classical musicians. Classical music is then “not really targeted to a black audience”, further discouraging aspiring musicians of colour.
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Wilson struggles to give advice to those who find themselves in these hostile environments. “Why would you go there?” he asks rhetorically. He resents the fact that so many black musicians have to rely on “personal strength and resilience” just to do things that white musicians take for granted.
He also emphasises the intersection that exists between race and economic circumstance. Wilson believes financial hurdles, like costly music lessons, instruments and sheet music, are the “first barriers” for aspiring black musicians. James agrees; she says parents of black music students are more likely to have to ask for discounts on her tutoring services.
Since 2020, Wilson says BLiM has made significant inroads, winning one small battle at a time. In Autumn 2022, it set up Recruiting Classical in collaboration with four leading UK orchestras, including the Royal Philharmonic Orchestra. They offered open auditions, exclusively for musicians from global majority ethnic groups. Following this initiative, 12 successful applicants have now gone on to be extras in the orchestras. “That dispels the myth that the talent is not already out there and that talent of the global majority do not want to engage with classical music,” says Wilson.
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BLiM has garnered support from the Musicians’ Union and the government’s Independent Parliamentary Standards Authority for their UK Music Industry Anti-Racism Code of Conduct. Signatories (like orchestras and record labels) have now committed to mandatory training, data collection and accountability processes. Those who are seen to not follow through could face legal action.
Anecdotally, James has noticed a change. This year, for the first time ever, she saw an image of a black girl on the cover of a piano textbook. “I was shocked,” she says. “That was really cool to see. Before diversity was not even being given a thought; now there is a bit more openness.”
James believes this openness is vital if classical music wants to attract a younger audience as they are more aware of “what is going on in the world” and want to see that reflected in the industry.
Orchestras continue to cite issues of time, bandwidth and capacity as to why certain things can’t happen
Roger Wilson
Even though BLiM’s membership is growing every day, the public’s priorities are not necessarily what they were in May 2020. Wilson says the cost of living and public funding cuts are hindering growth: “Orchestras continue to cite issues of time, bandwidth and capacity as to why certain things can’t happen.”
As a result, Wilson still has young musicians complaining about the same kind of racism he faced 30 years ago. The classical music industry still “offends and disarms black people”, propelling racist myths, such as the presumption that black musicians struggle to sight-read. “I’m angry every day,” he says.
Wilson has changed his attitude toward calling out specific companies that remain silent on diversity. He has previously refused to name and shame organisations. Now, he doesn’t rule out the possibility.
Regardless, he remains resolute that a collaborative approach is always the best way forward: “Anger has never got black people anywhere, with the police for example. It’s easy to be fobbed off as someone who doesn’t deserve to be in the space.”
BLiM is currently working with powerful Chief Executives. Bill Chandler, the director of the BBC’s Concert Orchestra, Michael Eakin, Chief Executive of the Royal Liverpool Philharmonic and James Williams, the managing director of the Royal Philharmonic Orchestra, have all made changes within their organisations, in consultation with BLiM. “These folk don’t have to do this and literally put their necks on the line,” says Wilson. “I applaud and salute them for that. They get stuff done.”
It’s easy to be fobbed off as someone who doesn’t deserve to be in the space
Roger Wilson
However, you don’t have to be a director at the BBC to make a change. Ordinary musicians can be effective allies. “Every single one of us is a fixer,” explains Wilson. “Whether it is our friend’s wedding or birthday party and someone says to us, ‘Can you please fix for me a group?’ Are we going to fix people we know, that look like us? This is a chance to champion people from different backgrounds.”
As a black musician, James believes there are things she can do as well. Knowing she will often be one of the few non-white audience members in a concert hall, she will always try to book the best seat possible. “I know I will be a minority there, so I always want to represent.”