LifeBeats
Business Plan
1. Executive Statement
1.1 Business Overview
LifeBeats is a non-profit organisation dedicated to enriching the lives of the local community through accessible music workshops, instrument lessons and live music performances.
Our primary focus is to bring music to communities that have less exposure to the arts. These groups include primary schools, youth organisations and care homes, ensuring people of all ages and backgrounds can experience the joys of music, whether that be as a learner, collaborator or listener.
1.2 Financial Overview
As a non-profit organisation, our financial plan is centered around securing funding to sustain and grow our services rather than to generate profit. We anticipate operating on a combination of grants, donations, and later, income from paid workshops and corporate events.
Year 1:
- Primarily funded by grants and donations.
- Focus on free workshops in care homes, primary schools and youth organizations.
- Expected funding: £662.99
- Expected costs: £662.99
- Net financial position: Break-even
Year 2:
- Introduction of paid workshops (small scale).
- Expected funding: 10 paid sessions per month so 120 over the year. As we will be at the entry level we expect to be paid on the lower end of standard workshop costs at £120 for a 2 hour session with 2 facilitators. 120 x 120 =£14,400
- Expected costs: £500 for purchase of additional instruments
- Net financial position: + £13,900 (to be immediately reinvested in expanding transport capabilities and instrument purchase)
Year 3:
- Further expansion to prisons, hospitals, and corporate events.
- We will use the revenue gained from the previous year to purchase a van which will allow us to expand our reach and capability.
- Aiming for sustainable revenue streams to reduce reliance on grants.
- Expected funding: 20 paid workshops a month in primary schools so 240 per year. As more experienced we can start charging the median hourly rate for music teachers per hour in primary schools. This is £37, (“Music Teachers’ Fees and Rates Survey Results 2024”). For 2 facilitators + 2 hours =£148 per session. 148 x 240 = £35,520 We also aim to host 3 corporate events per month so 36 per year. A standard entry rate charged is £25 per person for a 2 hour session. Workshops will have between 10 and 20 people at a minimum (10 x 25 = 250 x 36 = 9000), and a maximum (9000 x 2 = 18,000). Overall expected funding between £44,520 – £53,520
- Expected costs: Van purchase – £6000 (taken from previous years profit). The remaining £7,900 of last yeast profit will be reinvested into upgrading instruments, paying for fuel and insurance and paying for free workshops for community events. We also plan to begin paying our facilitators, allowing them to dedicate more of their time solely to the organisation. That works out as minimum ( 44,520 /2 = £22,260 per facilitator) and maximum ( 53,520 /2 = 26,760) Total = £44,520 – 53,520
- Net financial position: Break even
All revenue generated through corporate events and paid workshops will be reinvested into expanding LifeBeats community outreach and paying facilitators.
1.3 Vision Statement
Our vision is to create an accessible community music initiative that will enrich the lives of those with limited access to the arts through interactive workshops, lessons and performances.
1.4 Business Objectives
Short Term
- To establish and maintain a regular schedule of workshops across various community settings
- To provide high-quality, inclusive and accessible music sessions tailored to different age groups and abilities.
Medium Term
- To collaborate with existing organisations, (Art Forms, West Yorkshire Music Hub, etcetera), and local charities, (Leeds Music Trust, Music House, etcetera), and establish LifeBeats as a recognised and dependable community resource.
- To secure funding to expand and develop our initiative through grants and paid workshops
Long term
- To expand into workshops in prisons, rehabilitation centres, corporate events and hospitals.
1.5 Opportunities and Threats
Opportunities:
- Growing awareness of the benefits of community music for mental health and social well-being. – (Global Wellness Institute, 2025)
- Potential partnerships with local councils, schools, and charities to expand funding opportunities and reach.
- Severe lack of musical education and exposure in primary schools and care homes, creating demand for our service. – (Lord Boateng, 2025)
- High demand for corporate events with large revenue potential to support and fund outreach projects. (Indeed Editorial Team, 2023)
Threats:
- Competition from other music organisations such as Art Forms or West Yorkshire Music Hub. However, collaboration and partnerships could easily turn this into an opportunity.
- Financial dependence on grants and donations for the first year until paid workshops for youth groups and eventually corporate events provide revenue.
- Potential challenges for instrument transport if we cannot secure funding for a van.
1.6 Exit Strategy
Best case
With the eventual expansion of the company being a key target for us, by year 3 we will look to appoint a new director to handle the running of the company, allowing us to dedicate more of our time to planning and facilitating sessions, expanding outreach and expanding the facilitator team’s staff.
Worst case
We will regularly assess whether we are meeting our targets and integrate feedback into improving our service. At the 6 month mark, we aim to have delivered approximately 60 sessions and gained positive feedback and results.
To formally assess the viability of the project we will conduct:
- Surveys and conversations with participants to measure the impact on confidence, mental health, engagement levels and skills development
- Feedback from facilitators on the effectiveness of sessions and any operational challenges
If we are below target after the first 6 months, we will use this feedback to implement the necessary changes and continue to gather further feedback. Integrating this should lead to a continued improvement of the service. However, if after the first year, we still are not meeting targets then we will cease operations.
In this event, we will donate any resources to local community organisations, charities or schools. Furthermore, as our investments are largely non depreciating assets, they can be resold at a similar value if necessary, ensuring a degree of financial security to any investors.
2. Business Summary
2.1 Business Details
LifeBeats Project
Ash Road
Leeds
West Yorkshire
LS6 3HD
Telephone: 07899490806
Email: lifebeats@gmail.com
VAT Details: Not VAT Registered
Legal Status: Community Interest Company (CIC) – Limited by Guarantee
Financial Year Start Month: April
2.2 Bank Details
Business Bank Account
Ash Road
Leeds
West Yorkshire
LS6 3HD
Account Manager: Leo Thomas
2.3 Key People
Leo Thomas
Job Title: Co-Director
Skills: With a decade of practice, tuition and real world experience, I am a competent rhythm and percussion specialist. My formal training in community workshop leading and music education has led me to work across multiple primary schools in Leeds, all the while being mentored by some of the best music leaders in the country. By combining these skills with my passion for community work I aim to establish LifeBeats as a highly beneficial and dependable community initiative.
Responsibilities:
- Workshop planning and facilitation
- Project management.
Chloe Dyason
Job Title: Co-Director
Skills: An accomplished flautist, (having played alongside orchestras such as Manchester Camerata and Opera North), and music and dance education specialist, Chloe has extensive training and experience in community workshop leading and as a supporting musician. Chloe’s expertise spans both education and performance, with a specialism in working with younger children.
Responsibilities:
- Workshop planning and facilitation
- Outreach and partnership development
- Administration and operational support.
2.4 Advisors
James Redwood, A respected music leader who will advise on session structures and the accommodation of different needs during workshops
Leeds conservatoire faculty members and mentors to provide advice on funding and expansion.
3. Market Research
3.1 Market Research
We have identified a growing demand for interactive and inclusive music workshops in the following areas:
- Primary Schools: “around half of primary schools did not offer instrumental lessons”, (Mercer, 2023) A gap that we intend to fill.
- Care Homes: Interactive music sessions and performances benefit mental health and build relationships in the community. (Live Music in Care, 2018)
3.2 Types of Customer
- Schools
- Care homes
- Community centres
- Youth clubs
- Local arts councils and charities
3.3 Types of Product and Service
Year 1
- Music workshops for children and young people
- Music tuition for children and young people
- Music sessions for older adults
- Live performances for older adults (Both interactive and passive)
- One-off community music events, (festival workshops, play in the parks, introductory sessions)
Year 2-3 onwards
- (All of the above) +
- Training and CPD
- Music tuition in prisons and rehabilitation centres
- Live performances and interactive sessions in hospitals
- Corporate events. (Team Building workshops, etcetera)
3.4 Marketing and Promotion
- Social media outreach
- Networking with schools and care homes
- Website showcasing services and impact stories
- Word-of-mouth and testimonials
3.5 Main Competitors and competitor analysis
- Established community music organisations
- Music therapy providers
- Local schools with existing music programs
2 of our main competitors are artforms and Orchestras Live.
Art forms
Selling point: Well funded by Leeds city council, Artforms offers structured music education with experienced practitioners.
Our Usp: Artforms focusses on formal education and tuition whereas we offer a more creative approach grounded in co-creation and experimentation.
Orchestras Live
Selling point: It is a national organisation that brings together professional orchestras with schools and provides high-quality performances within this collaboration.
Our Usp: We bring a smaller, more agile and flexible team, allowing us to tailor workshops to individual groups and be more flexible in our timetabling and funding, something larger organisations can’t always do.
4. Start-Up Costs and Funding
LifeBeats is seeking funding to acquire essential instruments and transportation to facilitate our workshops.
Immediate financial needs – (Stage 1: Months 0-6)
Consists solely of performances and workshops in care homes with minimal set-up. The sessions will consist of live performances with the opportunity for participants to join in vocally or with a selection of accessible instruments.
| Item | Quantity | Unit cost | Total cost |
|---|---|---|---|
| Bike trailer for instrument transport | £60 | £60 | |
| Mixed percussion box | 1 | £129.99 | £129.99 |
| Keyboard (borrowed from Uni) | 1 | £0 | £0 |
| Cajon (owned) | 1 | £0 | £0 |
| Flute (Owned) | 1 | £0 | £0 |
| Cello (Owned) | 1 | £0 | £0 |
| Total cost | £189.99 |
Second stage investment (Stage 2: Months 6-9)
As we move into leading workshops and instrument lessons in primary schools and other youth organisations we will require additional instruments to facilitate larger group sessions.
| Item | Description/ Justification | Quantity | Unit Cost | Total Cost |
| Djembes | Small Djembes, (8 inch diameter heads), are perfect for young children. They are also quieter than other drums and so will be more controllable for a class of primary school children. | 2 sets of 5 Djembes | £179 | £358 |
| Ocean drum | Single Ocean drum can add a full timbre to any percussion piece. | 1 | £30 | £30 |
| Boomwhackers | Brilliant for combining rhythmic work with melody and harmony and very fun to play. | 1 set of 28 | £85 | £85 |
| Total | £473 |
This funding will enable us to expand our reach and capacity to transport instruments between workshops swiftly.
Group feedback and development.
I initially intended this to be a solo project with a specialism in rhythm workshops in primary schools. When I brought some questions I had prepared to my seminar group such as whether they thought there would be a big enough market for just drum workshops in primary schools it was suggested that it wouldn’t be too hard to include some vocal work. This got me thinking about my skill set and whether I could be capable of running such sessions. In the end the advice led me to form a whole new project idea with multiple facilitators offering a much more flexible service tailored to whatever the school would like, rhythm, vocal, instrumental, compositional etcetera. My seminar group also made a good point saying that if I already had all these instruments purchased and skills in leading schools then why not do some work in care homes or youth groups as it wouldn’t be too hard to edit my session plans for a different audience. This then spiralled into me going from initially thinking all workshops would be free and just funded by grants to realising that if I expanded the service then I could charge those organisations who could afford to pay and even do some corporate events to generate good income which would then fund the outreach projects I initially aimed to do with those groups that could not normally afford access to the arts. When I brought this back to my group the next week they made the very good point that if I intended to do so many workshops then using a bike and trailer to get between would be inefficient and time consuming. We discussed potential other transport options and initially thought that a large uber each time could work but if the project went on for many years as I hope it will then eventually just buying a van would work out as cheaper.
Bibliography
Indeed Editorial Team. “17 Benefits of Team Building for Your Organization.” Indeed Career Guide, 28 Feb. 2023, www.indeed.com/career-advice/career-development/benefits-of-team-building.
“Live Music in Care: Regular Music Making Enhances the Working and Living Environment for Care Home Residents and Staff | CHWA.” Culturehealthandwellbeing.org.uk, 2018, www.culturehealthandwellbeing.org.uk/news/blog/live-music-care-regular-music-making-enhances-working-and-living-environment-care-home. Accessed 15 May 2025.
Lord Boateng. “Access to Musical Education in School – Hansard – UK Parliament.” Parliament.uk, 2 May 2025, hansard.parliament.uk/Lords/2023-10-18/debates/2C3AAB43-8FDB-4749-95F6-3525ACA89170/AccessToMusicalEducationInSchool.
Mercer, Sam. “Music Mark Produce Summary of Ofsted’s Music Subject Report.” Artforms Leeds, 14 Nov. 2023, artformsleeds.co.uk/music/music-mark-produce-summary-of-ofsteds-music-subject-report/. Accessed 15 May 2025.
“Music Teachers’ Fees and Rates Survey Results 2024.” Independent Society of Musicians, ISM – Independent Society of Musicians, 22 Feb. 2024, www.ism.org/advice/music-teachers-rates-2024/.
