BLACK and minority ethnic defendants were charged at higher rates than white counterparts for similar offences, a new study found, providing evidence of disproportionality in the outcomes of legal decision-making in England and Wales.
With 69.9 per cent of their cases resulting in a charge, white British suspects had the lowest charge rate, followed by defendants of Indian ethnicity who had a 71.8 per cent charge rate, the study commissioned by the Crown Prosecution Service (CPS) found.
While 73.5 per cent of suspects with Pakistani heritage faced charges, the proportion was a comparable 73.3 per cent for defendants of Bangladeshi ethnicity.
However, on the other end of the spectrum were mixed heritage suspects who had a charge rate ranging from 77.3 per cent to 81.3 per cent.
The research conducted by the University of Leeds for the CPC comes against the backdrop of the 2017 Lammy Review which noted that people of colour were vastly overrepresented in the prison population – making up 25 per cent of prisoners despite making up only 14 per cement of the overall population.
However, the reasons for the disproportionality have not been found.
Max Hill KC, the director of public prosecutions, described the findings as “troubling”.
“While we cannot yet identify what is driving these disparities, it is clear we must do further work to establish this as a matter of urgency. I am personally committed to ensuring we take whatever action is needed to reduce disproportionality in our Service," Hill said.
Noted barrister Leslie Thomas KC said the findings only showed the police, prosecutors and judges “are failing in their roles and do not appear to be upholding the rule of law if you are a person of colour.”
“There is disproportionality in the treatment of black and brown people at every stage of the justice system from stop and searches, arrests, who get bail, who doesn’t, sentencing and treatment in prisons. The question rather is what can be done and done now to address it,” he told the Guardian.
“The good news is the CPS are aware that there is a problem. That is a step in the right direction because you cannot solve a problem if you are blind to it or in denial,” he said.
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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