East London Arts & Music: Where Creative Potential Meets Industry Reality

When Will Kennard taught music production in Manchester six years before founding this college, he witnessed talented young people from deprived areas struggle to convert obvious ability into sustainable careers. That observation became ELAM's founding mission. Opened in September 2014 by Kennard, one half of the drum and bass duo Chase & Status, alongside his brother Charlie (who received an MBE for services to youth music), the college has since grown from 75 trainees in a shared Stratford building to a purpose-built academy serving 300 students across music, film, television, and games design. Located in Tower Hamlets, one of London's most underrepresented areas for creative industry access, ELAM exists to disrupt a simple truth: talent alone does not guarantee opportunity. The college operates as a completely free state institution, removing cost as a barrier for young people from backgrounds where creative careers feel distant and inaccessible. For those seeking a two-year alternative to traditional A-levels, with direct industry partnerships replacing abstract exam preparation, ELAM represents a genuine departure from conventional sixth form education. Young people here build portfolios for employers rather than grades for universities, though university remains an option for those who choose it.

The atmosphere at ELAM reflects its founders' deliberate rejection of conventional education. Walking through the building reveals professional working spaces rather than classrooms: recording studios where trainees mix tracks destined for industry release; edit suites equipped with broadcast-standard software; performance spaces where rehearsals happen before proper technical crews rather than in assembly halls. The trainee cohort reflects the borough's diversity, drawn from every London borough with substantial representation from backgrounds historically excluded from the creative industries. Staff and trainees use industry-standard equipment from day one, not as an aspirational goal but as immediate practice.

Yansé Cooper, who took over as principal in April 2025, leads a teaching team drawn extensively from active industry professionals. Rather than teachers with qualifications in music education, many staff members are working artists, producers, and technicians who maintain parallel careers outside ELAM. This commitment to embedding current industry practice shapes everything, from curriculum design to assessment approaches. Masterclasses run weekly, delivered by active professionals; recent speakers have included David Rodigan (legendary reggae and dancehall selector), Stefflon Don (grime and hip-hop artist), and the grime pioneer Kano. Industry mentors from Universal Music, YouTube, Creative Assembly, and smaller independent labels work directly with trainees on projects. Ofsted rated the college Outstanding in every category during its first full inspection in May 2017, noting that trainees develop genuine industry readiness and that teaching conveys complex knowledge in ways allowing trainees to understand and retain it. The inspection found that trainees quickly became more confident and mature, benefiting from the academy's exceptionally strong links with industry.

Rather than A-levels, ELAM trainees study University of the Arts London (UAL) Level 3 Extended Diplomas in their chosen specialism. These qualifications carry equivalent UCAS points to three A-levels, positioning them as genuine alternatives for university entry rather than inferior qualifications. Each trainee takes a UAL Extended Diploma in Music Production and Performance, Film and Television Production, or Games Design and Development, alongside compulsory English and Mathematics. The curriculum structure dedicates 80% of contact time to the vocational specialism and 20% to core academic skills tailored toward practical application — financial management, invoicing, tax filing — skills most A-level students never encounter.

A-level attainment figures from 2024 show that 5% achieved A* grades and 11% achieved A grades, with 21% achieving B grades. This places 37% of trainees in the A*-B band (FindMySchool data). These figures are below the England average of 47% achieving A*-B, and the school ranks 1744th nationally for A-level performance (FindMySchool ranking), placing it in the lower tier of sixth form colleges. This honest assessment reflects ELAM's deliberate non-selective admissions approach. Unlike selective colleges targeting top-achieving sixth form candidates, ELAM admits based on inquisitiveness, resilience, collaboration, and genuine passion for their chosen field rather than GCSE grades. The college explicitly does not set grade boundaries for prospective trainees, assessing each applicant holistically.

The value proposition shifts from grade chasing to portfolio development. Trainees graduate with completed projects — produced and mixed tracks, edited films, completed game designs — ready to present to employers or university selectors. For music trainees, the curriculum centres on musicianship as foundation. All students engage with EarMaster Cloud Software to develop aural perception skills, sight-reading, pitch and rhythmic discrimination. This underpins whatever pathway they choose: artist, music business professional, or producer. Film and television trainees work on real commissions and co-productions with industry partners. Games design students use industry-standard development engines and software, building portfolios from day one.

In 2024, ELAM recorded its best-ever exam results, with every trainee completing their main study programme successfully. The college has maintained its Outstanding Ofsted rating through subsequent monitoring, though it has not undergone a full re-inspection since May 2017.

The curriculum model diverges fundamentally from traditional vocational education. Industry partners — Universal Music, YouTube, Creative Assembly, Sports Interactive, Spotify, and the BPI — help shape the curriculum itself, ensuring content remains current and relevant. Rather than teaching music production theory in isolation, trainees learn production by producing. Rather than discussing film grammar abstractly, they edit actual film projects. This deliberate fusion of teaching with professional practice shapes every lesson.

The Musicianship unit exemplifies this approach. Trainees receive weekly 50-minute EarMaster sessions tracking their progress from baseline. The software automatically tailors difficulty based on trainee understanding and ability, providing differentiation at scale. Data is collected termly and mapped against projected grades to ensure progress across the cohort. Teachers guide independent progress rather than lecturing to fixed pace. Trainees who excel accelerate to "industry-standard" exercises; those requiring more time receive scaffolding without feeling held back.

Masterclasses operate as genuine professional development. These are not guest speakers discussing career paths; they are industry professionals holding technical workshops, discussing creative choices in their own work, and giving feedback on trainee projects. The BRIT Trust funded a state-of-the-art lecture theatre specifically to host these sessions alongside performance lessons covering front-of-house equipment, stage management, and technical production. Mentoring happens individually, with each trainee supported by an industry mentor providing feedback on portfolio development and professional navigation.

For students requiring additional support, the college provides specialist classroom assistance, recognising that talent distribution across ability ranges requires differentiated teaching. Small class sizes (approximately 20 trainees per specialism) enable this responsiveness. English and Mathematics are taught at varying levels — some trainees study GCSE content, others A-level equivalent — determined by starting points and career intentions rather than forcing all through the same syllabus.

In the 2023–24 cohort, 39% of leavers progressed to university, 23% entered employment, and 1% began apprenticeships. These figures represent genuine destination diversity and reflect ELAM's success in creating "industry-ready" graduates equally prepared for immediate employment or further study.

Destinations include Manchester and Newcastle, plus specialist providers such as BIMM, LIPA, Leeds College of Music and the Academy of Contemporary Music, alongside creative universities and conservatoires (including Goldsmiths and the University of East London). Trainees apply to universities from a position of portfolio strength, demonstrating prior professional projects, industry mentorship, and demonstrated competence in their specialism. This typically strengthens university applications compared to A-level applicants with similar grades but no practical evidence.

Employment destinations speak to ELAM's reputation within the creative industries. Alumni have secured record deals with major labels, work for production companies, and establish themselves as independent artists or music business professionals. The most prominent example is FLO, the R&B girl group comprising three ELAM alumni — Stella Quaresma, Renée Downer, and Jorja Douglas. FLO won the BBC Sound of 2023 poll and the BRIT Rising Star Award in 2023, becoming the first all-female group to achieve both honours in the same year. They have released albums on Island Records, performed at major festivals including Glastonbury and Coachella, appeared on international television, and collaborated with artists including Stormzy and Missy Elliott. Their success exemplifies the calibre of talent ELAM attracts and develops, though FLO's trajectory remains exceptional rather than typical.

Other notable alumni include Sekou (nominated for BRIT Rising Star 2024 and performed at Glastonbury BBC Introducing Stage), Ines Dunn and Tendai (both nominated for Ivor Novello Rising Star awards in 2023 for songwriting excellence), and Ama Lou and JVCK JAMES (both established artists following their 2017 completion of the course). Many graduates work behind-the-scenes: A&R scouts, studio managers, music producers for hire, or technical staff at major labels and production companies. ELAM does not publish detailed leavers data by destination institution, but the breadth of alumni success across performance, production, and music business reflects the curriculum's genuine dual preparation for either immediate creative employment or university progression.

ELAM's extracurricular provision is less "clubs" in the traditional sense and more professional music and media activity. The distinction matters: these are not optional extras but embedded within trainee culture and professional development.

Music Ensembles and Performance

The music curriculum requires all trainees to develop practical performance skills regardless of chosen specialism. Group ensembles form naturally from the cohort: jazz ensembles for those interested in jazz improvisation; songwriting collectives bringing together lyricists, producers, and vocalists; and regular live showcases where trainees perform or present finished projects before audiences including industry professionals. The college hosts weekly performance sessions where trainees book studio time, book the 400-seat auditorium for rehearsals, and present work-in-progress to peers and staff. These differ from school concerts in that they function as working rehearsals for projects destined for release or industry presentation rather than performances for external audiences. Trainees develop arranging skills, understanding group dynamics, and presentation confidence alongside technical musicianship.

Individual lessons are available through industry mentors and the Andrew Lloyd Webber Foundation's Individual Music Tuition Programme, funded specifically for ELAM to provide one-to-one tuition from professional musicians. This provides access to advanced instrumental or vocal coaching otherwise unavailable in state sixth form contexts.

Music Production, Songwriting, and Recording

The ground-floor recording studios operate daily, booked by trainees working on assigned projects and self-initiated recording work. These are not teaching spaces; they are professional studios where trainees function as producers, engineers, session musicians, and artists working on real projects. Universal Music, YouTube, and Spotify partnerships mean some projects have potential for industry release or distribution. Trainees learn mixing, mastering, audio editing, and arrangement through doing rather than demonstration. The songwriting curriculum includes structured units on melody, harmony, lyrical composition, and arrangement, but the core learning happens through collaborative songwriting projects where trainees write together weekly, refining skills through immediate iteration and peer feedback.

Music business modules cover publishing, royalties, artist management, A&R processes, and independent release strategies. Trainees understand contract basics, business structures, and how the music industry actually works economically rather than engaging with sanitised educational versions.

Film and Television Production

Film and television trainees access professional broadcast-standard camera equipment, editing suites running industry-standard software (including Adobe Creative Cloud and DaVinci Resolve), and colour grading facilities. They undertake real commissions from external organisations, film ELAM's own events and masterclasses, and produce independent projects. Rather than working through hypothetical exercises, trainees edit the weekly masterclass footage (professional artist interviews and technical workshops), providing immediate real-world context.

The annual end-of-year showcase, branded as different names each year (jUICEBOX for Year 13 showcase, REWIND for Year 12 showcase, REVERBERATE for producer specialisation), functions as a professional preview event attended by industry partners, university selectors, and potential employers. These showcases are not school talent shows; they are professional presentations of student work in context similar to industry industry showcases or portfolio presentations.

ELAM Originals, a series of short films available on YouTube, showcase music videos, documentaries, and narrative pieces created by trainees. These are circulated within the creative industries, providing portfolio evidence of production quality and creative decision-making visible to actual industry professionals.

Games Design and Development

Games design trainees use industry-standard development engines (Unreal Engine, Unity) and work with professional game development studios including Creative Assembly (known for the Total War series). The curriculum covers level design, narrative design, visual effects, 3D modelling, and programming across multiple specialisms. Trainees build complete playable games throughout their two years, starting with 2D projects and advancing to 3D environments. These projects form portfolios submitted both to universities and to game studios seeking junior talent.

Industry Engagement and Mentorship

The weekly masterclass programme distinguishes ELAM from conventional sixth form enrichment. These are specialist technical workshops rather than motivational talks. Recent masterclass leaders have included David Rodigan (discussing reggae and dancehall production and history), Stefflon Don (grime and hip-hop production), and Kano (grime pioneer discussing creative decision-making and industry navigation). These professionals spend serious time with trainees, often reviewing specific projects, providing critique, and discussing their creative choices at depth.

The formal mentorship scheme pairs trainees with industry professionals from partner organisations: Universal Music, YouTube, Creative Assembly, Sports Interactive, The Orchard, Oval Space, and independent labels. Mentors meet with assigned mentees regularly, reviewing portfolio work, providing feedback, discussing industry opportunities, and offering professional guidance. This differs from one-off guest speaker models in that relationships persist across the two-year course.

Student Voice and Representation

ELAM positions itself explicitly as committed to ensuring young people "see themselves reflected in UK culture." Curriculum choices reflect this: music studied is not classical or narrow; it encompasses grime, R&B, drill, Afrobeat, dancehall, and contemporary genres. The trainee body is intentionally diverse across ethnicity, gender, socioeconomic background, and geographic origin (drawn from all London boroughs rather than narrow catchment). Student voice shapes decisions: an annual programme review gathers trainee feedback on curriculum, facilities, and college operations. Trainees sit on hiring committees for staff appointments, recognizing that they are experts in what teaching and mentorship works effectively.

Physical Facilities

The building itself warrants description. Opened in April 2017, it represents a deliberate architectural statement: a grey metal-clad modern structure adjacent to Bromley-by-Bow Overground station. The ground floor comprises industry-standard recording studios (multiple spaces accommodating full band recording, vocal isolation, mixing, and mastering). The first and second floors house the 400-seat performance and auditorium space — fully equipped with rigging, lighting, sound, and projection — used daily for rehearsals, masterclasses, showcases, and professional events. Teaching spaces surround these facilities: editing suites for film and television work; games design labs; group teaching rooms; and administrative offices. The building design incorporates outdoor spaces despite constraints (bordered by Network Rail and the A12), creating breakout areas for collaboration and socialising. A café operates throughout the day, offering subsidised food and functioning as social and working space. This physical environment signals that professional creative work — not study — is the primary activity.

This is a state school funded by the Department for Education with no tuition fees. The college operates as a free school academy, part of the Day One Trust governance structure. Beyond free tuition, ELAM provides free school meals to all trainees and offers travel support to students for whom transport to Tower Hamlets presents financial hardship. This removes multiple barriers to access. During the COVID-19 pandemic, the college loaned laptops to trainees lacking home computer access and provided funded mobile data through partnerships with Vodafone, recognising that creative education requires functional technology at home.

Applications for specialist support funding (e.g., specialist music tuition, transportation to placements) are assessed individually. The Andrew Lloyd Webber Foundation grants fund individualised music tuition, and the PPL Music Licensing Organisation has committed funding over three years specifically for programmes ensuring equal access to ELAM's specialist education. These funding streams exist to ensure that family circumstances do not limit opportunity for talented young people from lower-income households (noted).

ELAM operates a non-selective admissions process fundamentally different from grammar schools or selective colleges. Rather than entrance examinations or grade thresholds, applicants complete an online application and, if shortlisted, attend an assessment day comprising:

A one-to-one interview lasting approximately 30 minutes, exploring the applicant's creative interests, motivations, resilience, and potential for growth.

A group problem-solving activity, typically lasting 60 minutes, where small groups of candidates collaborate on a creative or logistical challenge observed by assessors.

Assessment focuses on qualities including inquisitiveness (demonstrated interest in learning), resilience (ability to persist through difficulty), reflectiveness (capacity for self-awareness and improvement), dependability (reliability in commitments), independence (ability to work autonomously), and collaboration (capacity to work effectively with others). These align with ELAM's stated core values and with the interpersonal and professional skills the creative industries prioritize.

No GCSE grades are formally required, though the college implicitly assumes trainees possess functional literacy and numeracy. Applicants range from those with GCSE passes through to those with strong A-level results who choose ELAM's vocational pathway instead of traditional university preparation. The college explicitly welcomes late bloomers, talented individuals whose grades do not reflect ability, and mature students recognising creative career interests belatedly.

Oversubscription is substantial, particularly for music. The 2018 prospectus noted the music course was "8-10 times oversubscribed" without any advertising budget, driven entirely by word-of-mouth reputation. Current application volume is not published, but the college operates at full capacity of 300 trainees (approximately 75 per specialism across the two year groups). The admissions process prioritises potential for creative excellence and professional development over prior attainment, a deliberate rejection of academic gatekeeping.

ELAM employs a dedicated pastoral structure recognising that trainees, often from disadvantaged backgrounds or family circumstances, require support beyond academic teaching. A designated safeguarding team operates throughout the college. The Ofsted inspection noted that arrangements for safeguarding are effective.

Wellbeing support includes access to a counsellor, specialist mentoring for trainees experiencing personal or social difficulty, and peer support systems. Staff training emphasises trauma-informed practice and mental health awareness. The college explicitly recognises that talent does not inoculate against mental health challenges, family crisis, or social disadvantage and builds support systems accordingly.

First-generation students — those whose parents did not attend university — receive targeted guidance on university applications, accommodation support, and transition planning. Career guidance operates throughout the two years, supporting both trainees proceeding to university and those entering industry employment. The Careers Programme includes work placement coordination, industry introduction meetings, CV development, and interview preparation specific to creative sector roles.

Highly specialised provision. This is not a conventional sixth form offering breadth across subjects. Trainees choose one specialism — Music, Film and Television, or Games Design — and commit to that pathway for two years. Unlike traditional sixth formers who might study A-level Physics, English Literature, and History simultaneously, ELAM trainees focus intensively on a single creative discipline. Young people uncertain about creative career direction or preferring subject diversity should consider whether 80% of curriculum time in one field aligns with their learning needs.

Non-selective entry means variable prior attainment. Because ELAM admits based on potential and personal qualities rather than GCSE grades, the cohort includes students across the attainment spectrum. A trainee with five GCSE passes sits alongside someone with eight or nine A-C grades. While the college provides additional support for those requiring it, the lack of minimum academic entry requirements means some trainees arrive with genuine gaps in English or Mathematics literacy. This enriches peer diversity but differs from selective colleges where homogeneous prior attainment enables faster curriculum pace.

University progression is enabled but not mandatory. Approximately 39% of leavers progress to university, meaning 61% enter employment or other pathways. The college explicitly supports both routes equally. Parents fixated on university progression should recognise that ELAM deliberately positions immediate employment as an equally valid outcome. The curriculum prioritises portfolios over qualifications; universities accept this, but the qualification weight differs from A-levels, potentially narrowing options at highly selective institutions.

Rankings data reflects non-selective admissions. ELAM's A-level attainment figures (37% achieving A*-B) place it 1744th nationally (FindMySchool ranking), in the lower percentile bands. Parents comparing ELAM's grades to those of selective sixth form colleges will see apparent underperformance. This reflects ELAM's mission to educate talented young people from backgrounds historically excluded from creative industries, many of whom lack prior academic advantage. The value proposition differs fundamentally: grades alone do not predict creative professional success or portfolio quality.

ELAM operates a genuine alternative to traditional sixth form education, removing cost barriers and opening creative education to young people for whom private music lessons, industry connections, and professional equipment would otherwise remain inaccessible. The college has delivered genuinely impressive alumni outcomes, most notably the global success of FLO and the consistent pipeline of graduates securing roles within music, film, television, and games companies. The teaching quality is strong, the industry partnerships are substantial, and the facilities are genuinely professional-standard. For young people certain about creative career aspirations and willing to commit to a single specialism for two years, ELAM provides education unmatched within state provision. The mentorship, industry exposure, and portfolio development far exceed what conventional sixth form colleges offer in creative subjects.

However, honest assessment requires acknowledging that academic attainment measures place ELAM in the lower half of sixth form colleges nationally. This is entirely consistent with the college's mission and reflects deliberate non-selective admissions prioritising creative potential over GCSE grades. It is not a weakness but an intentional design choice. Best suited to young people genuinely passionate about music production, performance, film and television production, or games development; who thrive in vocational, hands-on learning environments; and who prefer deep specialism to broad subject breadth. Parents seeking a college combining academic breadth with creative excellence should compare against selective sixth form colleges. Those seeking genuine creative professional development at state school cost, prioritising portfolio development over grades, will find ELAM extraordinary value.