About Us



TOM MULENGE MUSIC empowers, produces connection, and reinforces sympathy. We operate to encourage and support people with music ability wherever they are to utilise the power of music to produce positive transformation in their communities. 

In collaboration with local, national, and international musicians and organizations, we carry music to people and places impacted by war, armed conflict, and displacement. We also use music as an instrument of building peace and change in the society. peacebuilding and social change. 

Mission: Our mission is to utilise the power of music to bring together communities, empower individuals and heal wounds left by wars. 

 Vision: Our vision is inspiring people worldwide to use their musical ability in peace-making and transform lives for the better. 

TOM MULENGE MUSIC vision is structured on four main principles. We use these principles in shaping all our strategies, choices made ethically and the culture of the organisation: 

  • The community cohesion
  • The power of Music 
  • Nonviolence principles 
  • Human Right Declaration 
Years Experience
Team Member
Single Album


Making music together is not just about playing instruments at the same time. A major part of being in a band, especially if the band writes original songs, is collaboration and co-creation. Making this process work takes interpersonal and communicative skills. Band members bring in their own ideas and listen to others’ input, negotiate which parts end up in the song and how they should sound, and give each other feedback and compliments on their ideas and performance.

The band coaching methodology is shared and taught by experienced music teachers from different backgrounds from different location depending on where the project is taking place.

Methodology: The role of the band coach during a rehearsal isn’t to tell band members what chords to play or how the song should sound. Instead, they guide the creative process. This can look like any of the following, and many more:

  • Asking quiet band members for their opinion, including them in the process,
  • Giving an objective overview of the problem the band is dealing with, clearing up any potential misunderstandings,
  • Offering inspiration and ideas, helping the band think of solutions to their musical challenges,
  • Suggesting taking a quick break to get some fresh air, allowing the band to take distance from the process and return with renewed energy,
  • Keeping track of the band members’ ideas and navigate the band through trying them all out,
  • Leaving the room so the band can work without any outside interference or pressure,
  • Giving compliments and getting excited about the progress and performance, boosting the positive energy in the room.


We developed our methodology for music leadership through 10 years of experience making music with people affected by conflict. It is an adaptive methodology, responding to needs and culture.

The approach has been used in our programs in the Democratic Republic of Congo, and in United Kingdom where we are based.

We have a full training curriculum to share our approach in programs and in courses with musicians, activists, and community leaders.

Methodology: Music leaders use their skills to conduct activities like singing, song-writing, movement and dance, rhythm, and games to engage with communities affected by violence and conflict. Whether making music with one person or with a group of a thousand, the methodology canters on providing the following:

  • Safe spaces for participants,
  • Experiences of inclusion,
  • Opportunities for creativity,
  • Equal treatment for all group members,
  • High quality music-making.


TOM MULENGE MUSIC has fused music therapy into programs in United Kingdom, Bolton. Qualified musicians have delivered sessions with program participants in various local care home, providing music session accustomed to their therapeutic need.

Methodology: Music therapy has to be responsive to the ways in which people understand music, their culture, and their needs. This means the therapist must begin by listening: <br>

  • to the sound a child makes on a small percussion instrument that they choose to play,
  • to a tune composed in a group session,
  • to the answer to the question: “How are you today?”,
  • to the silence of a young person who chooses to turn their chair to the corner and refuse any invitation to play.

Music therapists work with the expressive and reflective elements of music to support social, psychological or physical needs. They listen and respond musically, and work towards agreed goals.

In our programs we work with group or people who are marginalized and silenced by social injustice, prejudice, and isolation. Music therapy has been defined as attending to their unheard voices. When people’s opportunities are reduced by oppression, poverty, or conflict, music therapy can be used to augment action possibilities.


Evaluation and research help us to comprehend the influence and impact of our effort. The monitoring, assessment, and learning team develops strategies for each of our programs and activities, led by our concept of transformation. Our research committee advises on engagement with external evaluators and researchers. We share our findings through regular program reporting to donors and partners, a publicly available annual report, and through publications and presentations. Methodology: Monitoring, assessment, and learning are fundamental to our programs and activities. The three methods are connected, but we reflect on them unconnectedly:
  • Monitoring is about tracking events taking place. For instance, we note or write down how many people participate and the length of time consumed,
  • Evaluation is about seeking to comprehend the impact of the events,
  • We study from this information, and will utilise it to accustom our work to better meet the requirements of the people with whom we are working.
  • There is no a single piece of data that can explain the full tells the full story of an activity, therefore we try to combine different types of information to seize a sense of things. Some examples:
  • At a concert given by program participants, we will count the number of people attending a concert, make a film capturing the atmosphere and music of the event, and gather stories from the musicians involved,
  • At a music event or group, we organise with a partner organization, we monitor whether attendance levels at the music group impact on engagement with other activities by the partner, run wellbeing surveys, and record songs written by the groups.
For every activity and program we run, our monitoring, assessment, and evaluation team will come up with strategies that capture the data required.

Expert Team

Meet our passionate team driving music’s transformative power. Experts in peace-building, education, and empowerment, united for positive change.