| Registered number |
| Charity Registration number |
| 1088823 |
| Northern Roots | |
| Report and accounts | |
| Contents | |
| Page | |
| Company information | 1 |
| Directors' report | 2 - 9 |
| Independent examiner's report on the accounts | 10 |
| Profit and loss account | 11 |
| Balance sheet | 12 |
| Notes to the accounts | 13 |
| Company Information |
| Directors |
| K Dubois |
| B Mamuini (resigned 21 April 2024) |
| S Eskias (appointed 27 November 2024) |
| L Naruse |
| Secretary |
| Accountants |
| Bell Anderson Limited |
| Lindum |
| 264-266 Durham Road |
| Gateshead |
| Tyne and Wear |
| NE8 4JR |
| Registered office |
| Office 44 |
| 63 High Bridge |
| Newcastle upon Tyne |
| Tyne and Wear |
| NE1 6BX |
| Registered number |
| Charity registration number |
| 1088823 |
| Registered number: | |||||||
| Trustees' Report | |||||||
| The Trustees present their report and accounts for the year ended |
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| The accounts have been prepared in accordance with the accounting policies set out in note 1 to the accounts and comply with the governing document, the Companies Act 2006 and follow the Charities SORP (FRS 102) . Structure, governance and management The Charity is a company limited by guarantee. The company was established under the Memorandum of Association which established the objects and power of the charitable company and is governed under the Articles of Association. In the event of the company being wound up members are required to contribute an amount not exceeding £1. The Trustees have assessed the major risks to which the Charity is exposed, and are satisfied that systems are in place to mitigate exposure to the major risks. |
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| Objectives and activities | |||||||
| Trustees | |||||||
| The following persons served as Trustees during the year: | |||||||
| O Nuga (appointed 25 June 2025) | |||||||
| K Dubois | |||||||
| B Mamuini (resigned 21 April 2024) | |||||||
| S Eskias (appointed 27 November 2024) | |||||||
| L Naruse | |||||||
| Achievements and performance | |||||||
Introduction This report is prepared by the Trustees of Northern Roots to accompany the annual accounts. It outlines our activities, achievements, challenges, and financial position during the reporting period |
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| Programming Overview of Activities Northern Roots delivered a dynamic programme of development and performance throughout 2024–25. Highlights included: • Showcase Concerts: Four concerts at Pilgrim, Newcastle, plus three large-scale MOBO Fringe events (two at The Glasshouse International Centre for Music and one at The Grove, Byker), featuring Northern Roots associate artists performing to new audiences and engaging sector leaders. • Education in Schools: In partnership with the Newcastle Branch of the North East Music Hub, we delivered 17 sessions on the history of Black Music and creative songwriting to over 1,000 young people. Four trainee facilitators shadowed the lead facilitator, gaining valuable experience in education delivery. • Community Programmes: Collaborations with Tyneside Cinema and GLOW Cultural Education Partnership brought screen, dance, and music projects to six community settings, led by four Black creatives. • Mentoring and Artist Development: Ongoing support for young artists through mentoring relationships with Rob Rez (Only Grind Studios), Kema Kay, and Kay Greyson. Bi-weekly studio sessions provided progression routes into Loft Music Studios. |
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| Programme Expansion: Liverpool • We expanded our work into Liverpool, exploring the legacy of Black musicians from the 1960s and their influence on popular music culture. Led by Kema Kay, Adam Collerton and Georgia May, the project is capturing survivor testimonies through filmed interviews and portraits by Liverpool photographer Ean Flanders. These portraits, alongside short films created by emerging Black Liverpool filmmakers Zion Joshua and Ruben Landim, will form an exhibition which will show at the Victoria Gallery at Liverpool University. The programme is delivered in partnership with Toxteth community group Mandela8, ensuring strong local collaboration and impact. The programme epitomises Northern Roots dedication to raising the voices of Black and Minoritised artists, supporting high quality artistic expression and consistent high quality mentoring for emerging creatives. Impact • 50 artists employed across programmes. • 1,150 young people engaged in workshops. • Showcase concerts reached approximately 300 attendees. • MOBO Fringe events attracted audiences of around 1,000. This activity strengthened visibility for Black music in the North East and created pathways for emerging talent. Innovation Strategic partnerships enabled a holistic programme of mentoring, education, and outreach. By embedding trainee facilitators and community-led projects, Northern Roots ensured both sustainability and relevance. |
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| Future Plans In 2025–26, Northern Roots will consolidate these achievements by: • Sustaining supportive artistic spaces and mentoring relationships. • Building on the momentum of the MOBOs to further amplify Black music and musicians in the region. • Expanding education and outreach programmes to deepen community impact. |
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| Jumpin’ Hot Club Programming In 2024–25 Jumpin’ Hot Club (JHC) delivered a landmark programme that combined touring innovation with strong local activity. • Jumpin’ Hot Revue Tour: After six months of preparation, JHC launched its first small UK tour in September to mark the forthcoming 40th anniversary. The “Jumpin’ Hot Revue” featured Martin Stephenson, Rob Heron, Errant Moose, Rupert Hughes, and Shipcote, performing both solo sets and collaborative ensembles across Sheffield, London, Warwickshire, Bath, Leamington Spa, Glasgow, Newcastle, and Durham. Venue fees covered all costs, and reviews praised the tour for “spreading joy and musical spirit far and wide.” • Country Cantina Festival: The 11th edition took place in Easington, Co. Durham, with 12 artists across two days. Despite poor weather, strong bar takings offset slower ticket sales. Highlights included Diana Jones’ Appalachian folk resonating with local mining heritage, and Lady Nade’s Nina Simone tribute. • Audience Growth: Attendance increased following publication of Jumpin’ Hot Club: Where Good Music Belongs, with all shows selling out in Jan/Feb 2025—a first in JHC’s history. • Venues and Residencies: o Central Bar, Gateshead: Six near-capacity shows, including Nat Myers, Amanda Ann Platt, and Peter Bruntnell. o Gosforth Civic Theatre: Ten shows, including Kathryn Williams’ album launch, Errol Linton’s Reggae Blues, The Delines’ sell-out standing show, and Aurora Strings with Shipcote. o Cluny2 & The Cluny: Twenty-two gigs featuring Martha Spencer, Chuck Prophet, Otis Gibbs, Emily Barker, and Nora Brown & Stephanie Coleman. |
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| o The Globe: Hosted artists such as Jenny Connors, Angel Snow, Elaine Palmer, and Sam Lewis, though operational challenges led JHC to explore alternatives. o Little Theatre, Gateshead: Annual show with Boo Hewerdine and Heidi Talbot, supported by new chair Eddie. Overall, JHC maintained and expanded its audience base post-Covid, delivering a varied, high-quality programme across multiple venues. The year demonstrated resilience, innovation, and strong community engagement, laying foundations for future projects and the 40th anniversary celebrations. |
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| Fundraising | |||||||
Northern Roots continues to build strong relationships with funders to deliver creative programmes that drive social change in partnership with our stakeholders. Despite operating in an increasingly precarious grassroots music environment, the trust and loyalty earned through nearly 40 years of programming has enabled us to sustain a vibrant programme of events, artist development, engagement, and leadership initiatives. Major Funders and Supporters We are grateful for the continued support of Lloyds Foundation, Youth Music, and the Community Foundation. Their investment ensures our programmes remain fit for purpose, impactful, and responsive to the needs of the communities and stakeholders we serve. This support has created tangible change for participants, partners, and audiences, strengthening our role as a trusted organisation in the region. |
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| Plans for Sustainability Northern Roots is committed to long-term resilience. We regularly review our operations and embed efficiencies, working closely with partner venues, organisations, artists, and audiences to ensure our work remains relevant and financially sustainable. Our approach includes: • Diversifying fundraising streams and strengthening donor relationships. • Expanding reach and engagement through inclusive marketing, social media, and outreach. • Collaborating with industry partners to ensure programming fills genuine gaps and meets community needs. • Pooling resources with partners to deliver high-quality programmes cost-effectively. This strategy ensures that Northern Roots can continue to deliver meaningful cultural work while maintaining financial stability in a challenging sector landscape. |
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| Engagement and Outreach Community Connections In 2024–25 Northern Roots deepened partnerships with organisations including We Make Culture, Help Musicians, Sister Shack CIC, Cultural Freelancers CIC, and Pilgrim. We also strengthened ties with the North East Music Hubs, delivering partnership programmes across Newcastle schools as part of the MOBO Awards Fringe. As a lead partner in the Fringe, we ensured Black North East artists were central to programming and sector conversations. Audience Development Working with partner venues and their marketing teams, we maintained strong reach and visibility. By increasing content and collaborating directly with artists, we expanded audiences and engagement. Through leadership development, we supported Kema Kay and Kay Greyson to access industry spaces, advocate for themselves, and represent the wider community. |
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| Advocacy and Visibility Northern Roots remained active in regional and national policy discussions. Kay Greyson contributed to the Music City Advisory Board, while Leila d’Aronville engaged with the North East Combined Authority, the North East Music Hub advisory board, and the What Next? Leadership group. These roles ensured Northern Roots’ voice was present in shaping cultural policy and practice. Evaluation Operating at both grassroots and strategic levels, Northern Roots continues to be agile within the industry while providing a safe, inclusive space for artists and audiences. Our work supports sector development with value, access, and equity at its core. |
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| Leadership Staff and Volunteers In 2024–25, Kema Kay and Kay Greyson participated in the Hold the Door Open leadership programme, designed to empower grassroots and freelance creatives to channel their leadership potential. This experience helped refine their roles within Northern Roots: Kay Greyson now leads on Policy and Strategy, while Kema Kay focuses on Community and Engagement. Both roles nurture the strengths of the team and extend the organisation’s reach. Safeguarding and Inclusivity Northern Roots has strengthened its safeguarding framework, ensuring all trustees and staff are fully trained and supported by clear, robust structures and review processes. Working with regional partners such as We Make Culture, we have embedded policies that safeguard everyone connected to the organisation and foster safer, more inclusive spaces for artists, staff, and audiences. Strategic Direction As Northern Roots approaches its 40th anniversary, succession planning and leadership development remain priorities. We are committed to nurturing Black and Global Majority artists and creatives and those who are lesser represented in music and culture, ensuring they are equipped to lead within the sector. This work will continue into the coming year, building the next generation of Northern Roots and shaping a cultural landscape that reflects equity, resilience, and shared vision. |
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| Challenges Northern Roots continues to operate in a complex and often hostile environment for grassroots cultural organisations. • Sector Pressures: The grassroots music sector remains precarious, with rising costs, limited resources, and increasing demands on organisations to deliver more with less. Sustaining high-quality programming while maintaining financial stability requires constant adaptation and efficiency. • Community Division: We exist in a wider climate of division, where communities across the North East and the UK are experiencing heightened polarisation. This has been compounded by incidents of racist violence in our region and nationally, which have created fear and insecurity for many of the communities we serve. • Response and Resilience: These challenges underscore the importance of Northern Roots’ work in building safe, inclusive spaces and fostering cohesion through culture. By centring Black and Global Majority artists and communities, we actively counter narratives of division and provide platforms for resilience, creativity, and solidarity. • Learning and Adaptation: We continue to learn from these challenges, embedding safeguarding, equity, and advocacy into our practice. Our commitment is to remain responsive, ensuring that Northern Roots not only survives but thrives as a beacon of cultural unity in difficult times. |
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| Financial Position | |||||||
| Summary of Accounts Headline figures for income, expenditure, and reserves are provided in the accompanying accounts. As a small organisation, Northern Roots experiences natural fluctuations between periods of delivery and planning/consultation, which can result in uneven patterns of expenditure versus income. These cycles ensure that programmes remain well resourced and commitments to artists and young people are consistently met, even when outgoings temporarily exceed incoming funds. Key Trends Our financial model reflects the realities of grassroots cultural work, where funding receipts and delivery schedules do not always align. Despite this, we have maintained strong programme delivery and continued to prioritise investment in artists, young people, and community engagement. Reserves Policy It is the charity’s policy to maintain unrestricted reserves equivalent to three months’ expenditure. Due to changes in funding sources and the timing of receipts, this has not always been achievable while pursuing our aims and objectives. Over the past year, fundraising and financial planning have focused on securing longer-term programme funding and building reserves to meet this target. Core costs have been carefully reviewed, with efficiencies achieved through remote working and scrutiny of non-salary expenditure. We continue to seek core funding and unrestricted income to strengthen resilience. |
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| Future Outlook Our fundraising strategy will prioritise both core and project funding that supports Northern Roots’ mission while enabling innovation in practice. Alongside business development support, this approach will underpin a more sustainable financial model, ensuring the organisation can continue to deliver meaningful cultural and social impact in a challenging sector environment. Conclusion The Trustees confirm that Northern Roots continues to deliver its charitable objectives, strengthen its impact, and remain committed to equity, inclusion, and community transformation |
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| Small company provisions | |||||||
| This report was approved by the board on |
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| R Perdik | K Dougherty | ||||||
| Chairman | Secretary | ||||||
| Northern Roots | ||||
| Independent examiner's report on the accounts | ||||
| Report to the trustees, directors & members of Northern Roots on accounts for the year ended 31 March 2024 Set out on pages 1 to 9 of the financial statements. Charity no.: 1088823 Company no.: 03539586 |
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| Responsibilities and basis of report | ||||
| I report to the charity trustees on my examination of the accounts of the Company for the year ended 31/03/2024. As the charity’s trustees of the Company (who are also the directors of the company for the purposes of company law), you are responsible for the preparation of the accounts in accordance with the requirements of the Companies Act 2006 (“the 2006 Act”). Having satisfied myself that the accounts of the Company are not required to be audited for this year under Part 16 of the 2006 Act and are eligible for independent examination, I report in respect of my examination of your charity’s accounts as carried out under section 145 of the Charities Act 2011 (“the 2011 Act”). In carrying out my examination, I have followed the Directions given by the Charity Commission (under section 145(5)(b) of the 2011 Act. | ||||
| Independent examiner's statement | ||||
| I have completed my examination. I confirm that no material matters have come to my attention which gives me cause to believe that: • accounting records were not kept in accordance with section 386 of the Companies Act 2006; or • the accounts do not accord with such records; or • the accounts do not comply with relevant accounting requirements under section 396 of the Companies Act 2006 other than any requirement that the accounts give a ‘true and fair’ view which is not a matter considered as part of an independent examination; or •the accounts have not been prepared in accordance with the Charities SORP (FRS102). I have no concerns and have come across no other matters in connection with the examination to which attention should be drawn in this report in order to enable a proper understanding of the accounts to be reached. |
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| Bell Anderson Limited | ||||
| Chartered Accountants | ||||
| Lindum | ||||
| 264-266 Durham Road | ||||
| Gateshead | ||||
| Tyne and Wear | ||||
| NE8 4JR | ||||
| 12 December 2025 | ||||
| Statement of Financial Activities | |||||||||||
| for the year ended |
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| Notes | Unrestricted | Restricted | |||||||||
| funds | funds | 2025 | 2024 | ||||||||
| £ | £ | £ | £ | ||||||||
| Income from | |||||||||||
| Donations and legacies | 3 | - | - | ||||||||
| Charitable activities | 4 | 71,043 | 49,997 | 121,040 | 121,895 | ||||||
| Other trading activities | 5 | 48,605 | 48,605 | 33,759 | |||||||
| Other operating income | - | - | - | ||||||||
| 119,648 | 49,997 | 169,645 | 155,726 | ||||||||
| Expenditure on | |||||||||||
| Raising funds | 6 | 58,241 | |||||||||
| Charitable activities | 7 | 53,277 | 99,680 | 152,957 | 74,307 | ||||||
| Total Expenditure | 111,518 | 99,680 | 211,198 | 127,056 | |||||||
| Net (expenditure)/income before transfers | 8,130 | (49,683) | ( |
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| Net (Expenditure)/income for the year/Net movement in funds | 8,130 | (49,683) | ( |
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| Fund balances at 31 March 2024 | 670 | 94,691 | |||||||||
| Fund balances at 31 March 2025 | 8,800 | 45,008 | |||||||||
| Registered number: | |||||||
| Balance Sheet | |||||||
| as at |
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| Notes | 2025 | 2024 | |||||
| £ | £ | ||||||
| Fixed assets | |||||||
| Tangible assets | 8 | ||||||
| Current assets | |||||||
| Cash at bank and in hand | |||||||
| Creditors: amounts falling due within one year | 9 | ( |
( |
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| Net current assets | |||||||
| Net assets | |||||||
| Funds | |||||||
| Restricted funds | 45,008 | 94,691 | |||||
| Unrestricted funds | |||||||
| Total funds | |||||||
| R Perdik | |||||||
| Chair | |||||||
| Approved by the board on |
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| Notes to the Accounts | ||||||||
| for the year ended |
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| 1 | Accounting policies | |||||||
| Basis of preparation | ||||||||
| Turnover | ||||||||
| Tangible fixed assets | ||||||||
| Fixtures, fittings, tools and equipment | 20% reducing balance | |||||||
| Debtors | ||||||||
| Creditors | ||||||||
| Provisions | ||||||||
| Pensions | ||||||||
| 2 | Employees | 2025 | 2024 | |||||
| Number | Number | |||||||
| Average number of persons employed by the company | ||||||||
| Employment Costs | 2025 | 2024 | ||||||
| £ | £ | |||||||
| Wages and salaries | 49,071 | 47,991 | ||||||
| 3 | Donations and legacies | 2025 | 2024 | |||||
| £ | £ | |||||||
| Donations & gifts | - | 72 | ||||||
| - | 72 | |||||||
| All donations for 2023 are unrestricted | ||||||||
| 4 | Charitable activites | 2025 | 2024 | |||||
| £ | £ | |||||||
| Restricted Funds | ||||||||
| Community Foundation | 5,000 | 7,500 | ||||||
| BFI | 9,197 | - | ||||||
| National Foundation Youth Music | 13,500 | 37,320 | ||||||
| Restricted Grants - NE Screen | 5,600 | - | ||||||
| Virgin | - | 5,700 | ||||||
| Core Projects | 16,700 | - | ||||||
| 49,997 | 50,520 | |||||||
| 2025 | 2024 | |||||||
| £ | £ | |||||||
| Unrestricted Funds | ||||||||
| Unrestricted income - Merchandising etc | 840 | 3,695 | ||||||
| Unrestricted Core Grants | 69,203 | 67,680 | ||||||
| Unrestricted grants - Other Projects | 1,000 | - | ||||||
| 71,043 | 71,375 | |||||||
| 5 | Other trading activities | 2025 | 2024 | |||||
| £ | £ | |||||||
| Ticket sales | 48,605 | 33,759 | ||||||
| 48,605 | 33,759 | |||||||
| 6 | Raising funds | 2025 | 2024 | |||||
| £ | £ | |||||||
| Bank charges | 226 | 203 | ||||||
| Accountancy fees | 4,089 | 3,600 | ||||||
| Adverts | 614 | 23 | ||||||
| Artists | 1,475 | - | ||||||
| Depreciation | 217 | - | ||||||
| Insurance | 508 | - | ||||||
| Mentoring costs | 1,200 | - | ||||||
| Other legal and professional | 34 | 65 | ||||||
| Printing, postage and stationery | 4 | 14 | ||||||
| Rent | 25 | - | ||||||
| Subscriptions | 288 | 288 | ||||||
| Sundries | 123 | 43 | ||||||
| Software and IT | 417 | 522 | ||||||
| Travel and accommodation | (50) | - | ||||||
| Wages | 49,071 | 47,991 | ||||||
| 58,241 | 52,749 | |||||||
| 7 | Charitable activities | |||||||
| 2025 | 2024 | |||||||
| £ | £ | |||||||
| Unrestricted activities | ||||||||
| Artists, Support fees & Riders - JHC | 42,050 | 22,831 | ||||||
| Advertising - JHC | 1,738 | 4,908 | ||||||
| Mentoring costs - JHC | 236 | - | ||||||
| Travel and subsistence - JHC | 3,996 | 3,482 | ||||||
| Travel and subsistence - BFI | 678 | - | ||||||
| Venue Hire - JHC | 2,328 | 3,272 | ||||||
| Video & Sound Engineering - JHC | 1,150 | 1,300 | ||||||
| Motor Expenses - JHC | 684 | - | ||||||
| Postage - JHC | 39 | - | ||||||
| Sundry - JHC | 30 | - | ||||||
| Bank charges - JHC | 8 | - | ||||||
| Software - JHC | 340 | - | ||||||
| 53,277 | 35,793 | |||||||
| 7 | Charitable Activities (continued) | 2025 | 2024 | |||||
| £ | £ | |||||||
| Restricted activities | ||||||||
| Mentoring Costs - Community | 200 | 5,040 | ||||||
| Mentoring Costs - BFI | 1,070 | - | ||||||
| Mentoring Costs - Youth Music | 43,090 | 17,800 | ||||||
| Mentoring Costs - Other Projects | 7,895 | 5,000 | ||||||
| Mentoring Costs - Wellbank | - | 900 | ||||||
| Mentoring costs - Schools work | 2,550 | - | ||||||
| Mentoring Costs- Sadlers Wells | - | 400 | ||||||
| Artists,Support fees & Riders - BFI | 2,030 | - | ||||||
| Artists,Support fees & Riders - Community foundation | 700 | 1,020 | ||||||
| Artists,Support fees & Riders - Wellbank | - | 530 | ||||||
| Artists,Support fees & Riders - Youth Music | 6,365 | 1,020 | ||||||
| Artists,Support fees & Riders - Other | 6,446 | 637 | ||||||
| Artists, Support fees & Riders - JHC | 2,385 | - | ||||||
| Artists, Support fees & Riders - NE Screen | 500 | - | ||||||
| Advertising - JHC | 2,307 | - | ||||||
| Advertsiing - Other projects | 178 | 1,236 | ||||||
| Venue Hire - Youth Music | 1,267 | - | ||||||
| Venue Hire - Other projects | 1,049 | 40 | ||||||
| Video & Sound Engineering - Youth Music | 2,100 | 1,830 | ||||||
| Video & Sound Engineering - BFI | 4,371 | - | ||||||
| Video & Sound Engineering - Community Foundation | - | 335 | ||||||
| Video & Sound Engineering - Shears | - | 1,080 | ||||||
| Video & Sound Engineering - Other projects | 240 | 358 | ||||||
| Video & Sound Engineering - JHC | 120 | - | ||||||
| Video & Sound Engineering - MLK | 600 | - | ||||||
| Video & Sound Engineering - NE Screen | 600 | - | ||||||
| Consultancy - Community Foundation | - | 300 | ||||||
| Consultancy - Other Projects | 4,875 | - | ||||||
| Consultancy fees - Youth Music | - | 700 | ||||||
| Software - BFI | 66 | - | ||||||
| Sundry - Youth Music | 57 | 52 | ||||||
| Sundry - BFI | 231 | - | ||||||
| Postage - Other | - | 186 | ||||||
| Subscriptions - Other | - | 50 | ||||||
| Travel - BFI | 1,429 | - | ||||||
| Travel - Youth Music | 1,425 | - | ||||||
| Travel - NE Screen | 112 | - | ||||||
| Travel - Other Projects | 422 | - | ||||||
| Wages and salaries - Community Foundation | 5,000 | - | ||||||
| 99,680 | 38,514 | |||||||
| 8 | Tangible fixed assets | |||||||
| Fixtures and fittings | ||||||||
| £ | ||||||||
| Cost | ||||||||
| At 1 April 2024 | ||||||||
| At 31 March 2025 | ||||||||
| Depreciation | ||||||||
| At 1 April 2024 | ||||||||
| Charge for the year | ||||||||
| At 31 March 2025 | ||||||||
| Net book value | ||||||||
| At 31 March 2025 | ||||||||
| At 31 March 2024 | ||||||||
| 9 | Creditors: amounts falling due within one year | 2025 | 2024 | |||||
| £ | £ | |||||||
| Trade creditors | ||||||||
| Taxation and social security costs | ||||||||
| Other creditors | ( |
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| 10 | Restricted funds | Balance at | Incoming | Resources | Balance | |||
| 1 April 2024 | Resources | Expended | 31 March 2025 | |||||
| £ | ||||||||
| Community Foundation | 28,596 | 5,000 | 900 | 32,696 | ||||
| BFI | 9,197 | 9,197 | - | |||||
| Other Projects | 19,105 | 16,700 | 29,067 | 6,738 | ||||
| The Shears Foundation | - | - | ||||||
| NE Screen | 5,600 | 1,212 | 4,388 | |||||
| National Foundation Youth Music | 46,990 | 13,500 | 54,304 | 6,186 | ||||
| 94,691 | 49,997 | 94,680 | 50,008 | |||||
| 11 | Other information | |||||||
| Northern Roots is a private company limited by guarantee without share capital and incorporated in England. Its registered office is: | ||||||||
| Office 44 | ||||||||
| 63 High Bridge | ||||||||
| Newcastle upon Tyne | ||||||||
| Tyne and Wear | ||||||||
| NE1 6BX | ||||||||