During my seven years as a professional fundraiser, I’ve dedicated myself to supporting local people who are working to prevent war and build peace around the world.

But sadly, the fight for a safer, more equal world was lost on me for the first half of my life – because music was my first real obsession.

I bought my first album when I was five, picked up my first instrument at age eight, and went to my first proper gig at just 12 years old. Festivals dominated my late teens and early 20’s. And just last year, my wife and I nearly derailed our wedding by queuing up for Oasis tickets. 

Yep, it’s probably obvious that I’m pretty into my music. And if you hadn’t guessed, the successful fundraising campaign I'm going to tell you about involves music – live music to be exact.

So I’d like to start by asking you a question:

Do you know what Frederick Handel, Freddy Mercury, and Ariana Grande have in common? They’ve all fronted benefit gigs for causes close to their heart. 

In 1749, Handel organised his first in a string of performances to aid the Foundling Hospital, Britain’s first home for abandoned and orphaned babies. 

Then, 200 years later, Queen’s triumphant 1985 set at Live Aid (with Mercury as the lead singer) helped raise £40 million on the day (equivalent of over £100 million now) for famine relief in Ethiopia. And more recently, Ariana Grande’s One Love concert raised more than £18 million for survivors of the Manchester Arena bombing in 2017.

People organising concerts to raise money for worthy causes is tried and tested. And the cause I’ve committed much of the second half of my life to, peace, is no stranger to a musical fundraiser either. Between Woodstock 69, George Harrison’s concert for Bangladesh, and Pavarotti and Friends, some of the biggest shows this century have been in aid of a ‘war free future’. 

It’s clear that gigging for peace is nothing new, but the way these performances are delivered has evolved dramatically. 

The days of phone-in ballots and paper ticketing are long gone, and today’s events teams are revolutionising the supporter experience. They’re blending top tier digital and community fundraising techniques to cut through the noise and deliver intimate, unforgettable experiences that raise millions year after year.

In my opinion, nobody is doing this better than War Child – thanks to their annual collaboration with the BRIT Awards. 

BRITs Week puts a fresh new spin on this proven formula. Throughout its 12-year run, the aim of BRITs Week has been simple: to raise vital funds and awareness for War Child’s urgent, ongoing work. Their priority is to ensure a safe future for every child affected by war.

Now here’s how the fundraising works. 

The campaign takes place in March, on either side of the BRITs award ceremony. A handful of nominees play a series of highly curated one-off benefit gigs in much beloved small venues across the United Kingdom. 

In 2025, as per previous years, the lineup was stacked with chart toppers. Joy Crooks, Blossoms, and Kasabian, among others, all took to the stage in support of children impacted by war and conflict.

These shows were ticketed with sales contributing directly to War Child’s work as well as venue upkeep. But as you can imagine, massive artists playing small venues means that demand for these tickets is always off the charts.

And this is why War Child only releases a handful of the tickets to general sale each year. 

The majority are allocated via a raffle with fans encouraged to donate a minimum of £5 for a chance to win tickets to their chosen shows. 

I really wish I’d thought of this approach, for three main reasons. 

1) The raffle removes the cap that a venue’s capacity places on conventional ticket sales. 

So, War Child could theoretically sell out a small venue 10 times over, especially as many fans will make multiple entries (which are effectively donations) to help boost their chances. 

2) Partnering directly with artists allows War Child to appeal beyond their established supporter base. 

As fundraisers, we all know that people connect with people, and I’m sure we all feel especially connected to our favourite musicians, right? We take note when they take a stand for something – it’s influencer marketing 101. 

3) Fun reciprocal formats such as raffles aren’t just a novelty in 2025. Increasingly, they’re a necessity. 

The next generation of givers aren’t giving at the same rates as their parents or grandparents. Young people are wanting more than that fuzzy feeling in return for their support. 

There are clearly many complex reasons for this shift. Lot of people are telling us that they cannot afford to give to charity right now. Yet, at the same time, demand for UK concert tickets is surging along with the prices. So, there are clearly people who are prioritising the boost of a good time, even whilst in the grips of a cost of living crisis.

We can see the shift towards new transactional ways of giving everywhere. 

Take, for example, the recent trend towards charity merchandising, including the Peace Direct store. There’s also the growth of other increasingly individualised ways of giving like lottery schemes and influencer-led streams.

But enough of why I love War Child’s idea in theory. 

As a fundraiser yourself, you want the fundraising reality – and the results speak for themselves. 

BRITs Week has enjoyed healthy yearly growth throughout its life and especially post pandemic. This year’s campaign saw a staggering 51 per cent jump in funds raised. This is testament to the War Child team’s clear commitment to covering all possible donation pathways, including in person and on the night giving.

Across the nearly 100 shows they’ve organised since 2008, BRITs Week has raised more than £8 million in total. That’s an average of £80,000 a night with 80 per cent of the funds raised going directly into protecting children in war zones!

So to recap, I wish I’d thought of this fundraising campaign for three key reasons. 

Firstly, it’s really fun. It’s putting the fun firmly back into fundraising and what’s not to like about that? Secondly, the potential is limitless in terms of the cash and support that can be raised through it. And thirdly, it also centres the human connection, which a fundraiser like you will know is vital.

BRITs Week leverages the timeless appeal of live music, and it generates thousands of pounds every year for children impacted by war and conflict. And what do-gooding music lover wouldn’t want to be part of such a campaign?

Finally, I’d like to leave you with a quote inspired by my favourite philosopher, Noel Gallagher of Oasis: 

‘Don’t look back in anger, wishing you had thought this incredible campaign. Slip inside the eye of your mind, and who knows, you might come up with the next great fundraising idea.’

Watch Oscar Lester celebrate War Child and BRITs Week at the CIOF IWITOT closing plenary, 2024