Wizdom Layne on Navigating Leadership Transition at Sound Connections

The recent leadership transition at Sound Connections marked a challenging and exciting new chapter for the organisation. Following 14 years of dedicated leadership from Philip Flood, the charity appointed its first Co-Directors Wizdom Layne and Liz Coomb. 3 months into their roles, the pair have quickly embraced the opportunity, setting the stage for exciting growth and innovation within the organisation. 

Read on for Wizdom Layne’s insights on what it’s like stepping into such a crucial leadership role, the highlights of these early months, and the exciting future for Sound Connections. 

How have you found you for 3 months? 

It’s been an enjoyable learning curve, and I’m incredibly privileged that our previous Director, Philip Flood, has left a fantastically well organised Charity with lots of support from the board and our chair. 

My approach is to follow a model like Arne Slot, stepping into the role after Jurgen Klopp at Liverpool to build on the solid foundation already in place, rather than attempting a complete overhaul like David Moyes did at Manchester United. For me, it’s all about evolution, not revolution. 

With Philip being in place for over 14 years I realised before he left that I had to find my way to be a co-director and lead the organisation through a time of transition whilst making sure that those changes are familiar to Liz upon her return from maternity leave. 

The stability and cohesiveness of our amazing staff and freelancers have been the focus, and we have some encouraging early wins. So it’s been fun, not quite top of the Premiership and Champions League, but it’s going well. 

What’s different about being a director? 

As someone who has run my own CIC with a small staff team of 2, it’s a noticeable step up to running an organisation with 5 members of the core team, 4+ freelancers, whilst recruiting and writing a business plan, but this is precisely the opportunity that is difficult to come by as a black executive so I am relishing the opportunity and so far so good. Arts Council and trustee reporting, while fundraising, organising the annual budgeting and ensuring the staff is coping with the changes… it’s a lot, but I love it. 

I am also lucky to have Liz to work with, and we had the opportunity to create a plan before she went on maternity leave. I would be nowhere without her GANTT charts guiding the way. Liz still has some more time to grow her family, but we have stayed connected. 

What have been your highlights so far? 

It has been exciting working with the team on the new business plan and working out how we can expand and grow from the great base we started from, and Nina Swann formerly of Live Music Now having previously worked for Sound Connections has been supportive throughout. 

Employing a new staff member, including writing the job description, advertising, shortlisting, and leading the interview process, having not long ago been an applicant is wild, and I am happy with the outcome.  

One of the most exciting developments so far is our collaboration with the MOBO Awards to support their Artist Development programme, MOBO UnSung. We’re thrilled about this opportunity. Additionally, we also working with the Ed Sheeran Foundation to support grassroot music organisations from around the country over the next 3 years which is really exciting. 

Over the years, I’ve found that the music industry tends to place greater trust in talent pipelines developed from within, rather than external initiatives trying to break in from outside. Strategic relationships like these help us create more opportunities for music education and grassroots platforms, which are more widely recognised by the industry because of the credibility these partnerships bring. 

What have you started to notice that you weren’t aware of before?  

I’ve come to understand that there’s a difference between “music education,” which focuses on learning instruments to connect with a wider ensemble, band, or orchestra, and being “musically educated,” which often starts with a personal passion for music and a desire to express one’s unique sound – something that aligns more with how the industry operates. Given that many music hub leaders and cultural workers come from a conservatoire background, I’ve learned to answer “voice” when asked what my instrument is, drawing from my experience as a former MC. 

As the changes within the music hubs begin to settle, we’re excited about the opportunity to collaborate with more hubs moving forward. 

I’m also eager to launch programmes that bridge these different worlds, much like we’re doing with our new Cultivate programme with the Ed Sheeran Foundation, there will be more details about that soon. 

What are you looking forward to? 

Our Inclusive Practice in Action conference kicks off on February 27th at our new venue, Rich Mix in Shoreditch, which is also where our office is based. The conference will explore the theme of “Unlocking Musical Futures,” a topic we’ve been delving into through our podcast series, online training with Natasha Hendry, and the upcoming Pathways into Music training event the 27th of this month. 

Most importantly, we will hear from young creatives who have recently been navigating these routes to professionalism, discussing what has worked and what hasn’t, alongside educators, employers, and freelancers. 

I’m excited about exploring alternative progression routes within the classical and orchestral fields with Natalia Wierzbicka, who will share her experience of navigating a career as a freelance musician outside the conservatoire system. This kind of “Praxis” – the application of practice as distinct from theory – is exactly the type of conversation I’m proud to be part of. I look forward to sharing it with music hubs, grassroots music communities, and industry practitioners. 

What are your hopes? 

Sound Connections prides itself on being collaborative, inclusive, and innovative. To be truly innovative I think you must find ways to deliver necessary things, when no one else is specifically putting out tenders for it. Looking for opportunities to do things differently and most importantly connect the dots. 

I’m thrilled about our new Cultivate programme, supported by the Ed Sheeran Foundation, which will assist 6 grassroots organisations each year with training, a supportive network, funding guidance, connections to the Music Hub network, and a small grant to enhance their existing work. 

As I noted in one of my first op-eds for Sound Connections, I can understand why there is often a disconnect between music education and the industry. We’re in a unique position, with access to industry frameworks and initiatives, and we’re working to build programmes that connect education with hubs, colleges, universities, the DfE, DCMS, and grassroots organisations. 

We will continue to support the sector in making “Sound Connections” for the benefit of emerging creative talent. 

Wizdom will be at the Music & Drama Teacher Expo on Friday 31st January if anyone would like to catch up for a chat.