In September 2017, these insights were formalised into a measurement criteria; stating how any initiative would be reviewed and describing the conditions required for success. At this point, the sorting and formation of the proposition into a learning and development platform led to the exploration of unorthodox educational systems. These successful learning environments ranged from homeschooling to the world of sandbox or ‘open world’ gaming from which best practice was amalgamated into our developmental thinking. Mechanisms that could contain these learnings were investigated and accordingly ideation led to the identification of the music industry (and more specifically a record label) as a suitable vehicle to meet requirement criteria.

The platform that materialised was designed with the prisoners and - together with leading partners RCA and EY - the team facilitated, administrated and nurtured prisoner involvement, so that the shape of the proposition was one that the prisoners were wholly invested in. The prisoners, as stakeholders were not only instrumental in the proposals development, but pivotal in it’s operation and set to become shareholders in the social enterprise. Another element was the design of the business model, to which the prisoners provided input; pledging to donate a share of profits to victim support services. As such the label was set up as a community-interest-company, in order to constitutionally reinvest profits back into the work.

The initial prototype was tested at HMP Elmley in the autumn of 2017. Feedback loops reported that the platform required some course-correction; firstly permitting prisoners to move through and take-up service components in a non-linear way (creating their own pathways), rather than with a prescriptive model. Findings also demonstrated the importance of industry partnerships, offering specific blind-spot training. Additionally, amongst the first prisoners released the requisite emerged to provide support to help ex-offenders (dubbed by InHouse as ‘Graduates’) capitalise on the experience they had with InHouse, to assist in seeking employment opportunities. Once such modifications were made, the financial model, business plan and investor proposition were written and verified with support from EY; InHouse was in a position to move towards transmission.

InHouse was deployed in a further four prisons, the ‘in transmission’ service contained three distinct components:-

(1) the record label, which generates new music and releases singles; developing the prisoners’ talent in songwriting and musicianship.
(2) the recording studios, developing the prisoners’ skills in sound engineering and production
(3) marketing and event management, developing the prisoners skills in management; of the artists, and of live performances.

The prisoners develop skills in management, song writing and musicianship whilst the showcases and recording of singles are a constant milestone. This platform combines to encompass prisoner engagement, on-boarding, management, partnership, business model, skills and training, release and support-on-release, repeatable in other sectors which could include fashion, food and sport. Each participant has their own personal journey mapped out, including skills that can be redeemed from the past, highlighting areas where new skills could be learnt. Every personal journey is anchored with a future that resides outside of prison, and it is this phase that is the latest iteration of InHouse. When a participant has been released into the programme on the outside, the nature of the work shifts to revolve around:

(1) industry work experience, currently at Universal Records, Roland Instruments and Fender Guitars.
(2) the opportunity to go back into prisons as a role model and an example to those working inside on InHouse, as well as delivering sessions.
(3) a weekly hub meeting crucial in that it provides the space for participants to reflect on the previous week and plan the objectives for the week ahead.

Underwriting this is a robust and sustainable commercial model, funded through social investment bonds and financed by the participating prisons. It is the combination of the VIRTUOUS CYCLE methodology with social venture practice, that has enabled the design of the service and business model to proceed hand in hand.

While setting up an enterprise of this kind within a prison is certainly innovative, the focus on prisoners’ experiences is ground-breaking. Working within the field of music enables the prisoners to unburden themselves emotionally through self-expression, offering genuine benefit for reducing anxiety and stress. The model focuses on what’s strong – not what’s wrong – and uses ‘restorative storytelling’ to help prisoners to look on the past not as a waste of time but as a mix of choices with bad consequences, enabling them to salvage skills that can be used in better ways. Prisoners are encouraged to recount their interests and experiences through restorative storytelling, where past experiences are explored and skills that the men once viewed as ‘bad’ can be repurposed for good.

This approach is highly inclusive and in many prisons has encouraged a contingent of the (previously) hardest-to-reach prisoners, to not only leave their wing, but to become leading participants within the label - creating a new set of role models. It follows that the achievement of previously passive and even vulnerable prisoners, has inspired not only the ‘bigger characters’ but also those who have previously stepped back from engaging in initiatives like this. The involvement of ex-prisoners who return to explain how the programme supported them on leaving has been an inspiration to many.

Of primary importance to the VIRTUOUS CYCLE is validation from participants, below is a selection of feedback from some of the participants: