Songwriters and Composers: Remuneration

Debate between Kevin Brennan and Jim Shannon

Wednesday 7th December 2022 Westminster Hall

[Kevin Brennan (Cardiff West) (Lab)]

I beg to move,

That this House has considered remuneration for songwriters and composers.

Good morning. It is always a pleasure to see you in the Chair, Mr Hollobone. I should at the outset declare that I am a member of the Ivors Academy, PRS for Music and the Musicians’ Union, and I chair the all-party parliamentary group on music.

Last night was quite special because some of us, including the Secretary of State for Digital, Culture, Media and Sport, were invited to Abbey Road Studios in St John’s Wood for an event in the famous Studio Two, where the Beatles recorded the vast majority of their material that has ever been released. We were treated to a wonderful performance by a young singer called Olivia Dean, who is also a songwriter; she performed her song “The Hardest Part” quite beautifully for us. I predict big things for her in the next 12 months or so. It was a reminder of the wonderful talent for songwriting and composing in this country, and the great legacy we have.

I was fortunate recently to help host the Ivors Academy’s composer week here in the House of Commons, when several composers came to celebrate great British achievement in composing. That great legacy is also a live one, with young performers such as Olivia Dean. The legacy of Abbey Road itself is not just the Beatles, but Pink Floyd and many other great artists, including more recently Stormzy, Adele and Ed Sheeran. But behind some of those great performers are often professional songwriters. Amy Wadge, who lives quite close to my constituency in south Wales, is behind some of Ed Sheeran’s biggest hits, as she co-writes with him. We should remember not just the artists, but the songwriters and composers.

Visiting Abbey Road last night reminded me that we should protect the legacy of our great recording studios, including the Maida Vale Studios, which the BBC is now selling off, and which there is an opportunity to keep, as a going concern, as a recording studio. It would be a loss to the country if the studio were sold off for flats, rather than maintained as a recording studio.

This morning I want to talk about three things to do with songwriters and composers, and give the Minister an opportunity to respond. First, the Select Committee on Digital, Culture, Media and Sport wrote a groundbreaking report on the economics of music streaming, which contained a series of recommendations in relation to songwriters and composers, as well as to performers. I know the Minister has taken a close interest in that inquiry, particularly in relation to some work going on in the Intellectual Property Office. I am glad to see him back in his role; we discussed a lot of these matters when I introduced my private Member’s Bill, the Copyright (Rights and Remuneration of Musicians, Etc.) Bill, into the House of Commons a year ago. He made several commitments at that stage that I hope he might revisit a little today.

Secondly, I will talk about composer buyouts and the growing problem they present to our songwriters and composers, and the threat to the future pipeline of songwriters and composers.

The third point I will discuss—to give the Minister a heads-up—is artificial intelligence and the implications of the data mining of musical works.

[Jim Shannon (Strangford) (DUP)]

I commend the hon. Gentleman; he is a dear friend of mine, and a dear friend of many. On the Back Benches we like his wit—we will probably get some of his wit today at Prime Minister’s Question Time. It is a delight to hear him talk with passion on a subject that means so much to him. Does he agree that the unfair disadvantage for the songwriters and composers who have made their breakthrough via a viral song on a social media streaming platform, only to receive a minimal payment, must be addressed by Government? The industry has had more than enough time to fix it, and it has refused to do so. I believe there is clearly a legislative requirement—the broken record will not be fixed.

[Kevin Brennan]

I completely agree with the hon. Gentleman. I know that he is a bit of a musician himself. I am not going to go into lengthy detail about that issue this morning. However, suffice to say, the recent Competition and Markets Authority report into competition issues in the music industry, and, in particular, into the cross ownership of both publishing and recording rights of the major record companies, did not decide to proceed to a full market investigation. In a way, it threw the ball back to the Government, by saying that it

“is not to say that we think the market gets a ‘clean bill of health’ or cannot be improved further… We think it is a matter for the Government and policymakers to determine whether the current split is appropriate and fair, and to explore whether wider policy interventions are required, for example those relating to the copyright framework and how music streaming licensing rates are set.”

I note that in France, for example, a form of equitable remuneration—to use the technical term—which is a guaranteed payment when music is streamed, was successfully introduced recently. The research into equitable remuneration from the Intellectual Property Office research programme is over three months late already. Will the Minister update us on what is happening in those groups that were set up in the Intellectual Property Office? What is happening in relation to the research?

I also put this to the Secretary of State for Digital, Culture, Media and Sport, yesterday at the DCMS Committee, but can the Minister take a closer interest and put some ministerial input into driving that work further forward and bringing it to a conclusion? There has been some turmoil and changes in Government since we discussed this a year ago, but I know he had hoped it would have been done by last September, and for a number of reasons—not entirely his fault, and because the work is complex—the work is still incomplete. Some ministerial input is what I am calling for.

When we discussed this a year ago, the preference was that the industry should come to an agreement. That is what it has done in France to improve remuneration for songwriters and performers. If the industry did not do that, the Government were prepared to consider action. I remind the Minister of that, and ask him to respond today as to where he and the Government stand now.

The CMA concluded that it does not have the power to determine whether the current split is appropriate and fair. In the United States, things are done differently—it has a copyright court that determines those things. The judge there described some of the assumptions that the Competition and Markets Authority made about the problems that might be caused if the split was changed, and how that might disadvantage songwriters or other artists, as “heroic” assumptions. I was surprised to see that in the CMA report. But if the CMA does not have the power to do it, and it is instead a policy issue for the Government to resolve, what avenues are the Government pursuing and exploring to resolve the issue?

The second point I will mention is the issue of buy-outs. Parliament has determined, over many decades, that songwriters and composers should be entitled to a royalty when their work is performed or recorded. It did so because it recognises that the creative act involves the creation of intellectual property. That is extremely important, and many people do not understand that it is a key source of income for songwriters and composers.

This is nothing new; throughout history, people have wanted to get their hands on composers’ and songwriters’ money and get a piece of the pie, whether it is Colonel Tom Parker with Elvis Presley or whoever else. In recent years a particularly pernicious practice has emerged among some media companies of demanding up front, when they commission a piece of music—perhaps for a TV series or film—that the composer or songwriter signs a contract that waives their right to royalties, which they have a right to for their lifetime and beyond. It was Parliament’s intention that that should be the case.

Some might say, “Well, that’s their choice. They don’t have to sign the contract. A contract is something entered into equally by two parties,” but the power dynamic is weighted towards the powerful media companies. Composers know that they will end up on a blacklist of some sort if they do not agree to sign away some or all of their rights. They are often prepared to do some of that, but they are increasingly being asked to completely give up their rights to royalties when they are commissioned. Some composers got in touch with me before this debate and described the practices of one particular media company called Moonbug. When it commissions works from composers, it demands that they give up 100% of their royalties.

The Government might say, “This is a private matter. It is a contractual matter,” but there is room for Government leadership. They should support a code of conduct for the industry to make sure media companies are not routinely able to get away with this pernicious practice, which is becoming more and more common.

The third thing I want to talk about is artificial intelligence and the potential threat to our songwriters and composers from a decision that the Government announced earlier in the year—I understand they are now reviewing it. I have spoken to the Minister about this privately, and I have expressed my concerns. I know other Members have done so too, as have stakeholders in the music industry.

UK Songwriters and Composers

Debate between Kevin Brennan and Jim Shannon

Wednesday 18th May 2022 Commons Chamber

[Kevin Brennan (Cardiff West) (Lab)]

I draw the House’s attention to my entry in the Register of Members’ Financial Interests and my membership of the Musicians’ Union and the Ivors Academy. I also take this opportunity to announce to the House that I was elected as chair of the all-party parliamentary group on music earlier today. I look forward very much to using that platform to campaign further for our great musicians and music industry.

I am delighted to have this opportunity, ahead of the 67th annual Ivor Novello awards tomorrow, to pay tribute to our world-renowned songwriters and composers. Hon. Members may have seen early-day motion 35, which I tabled this week to celebrate Ivors Week and the work of the Ivors Academy:

“That this House notes that 16 to 20 May 2022 is Ivors Week, and joins the Ivors Academy in celebrating this country’s world-leading songwriters and composers, culminating in the Ivor Novello Awards which honour the best in British and Irish songwriting and composing; further notes that the success of the UK music industry is founded upon the talent and creativity of world-leading composers and lyricists; and calls on the UK music industry and the Government to ensure that a business and public policy framework exists to nurture future songwriting talent and to properly reward those whose creativity helps generate the £5.2 billion annual economic contribution that music makes to UK plc as well as furnishing people with the soundtracks of their lives.”

May I take this opportunity to thank all our songwriters and composers? I also thank the Ivors Academy’s chief executive Graham Davies, its chair Tom Gray, its former chair Crispin Hunt and all its members for their work championing our great songwriters and composers. I pay tribute to the chair of the Ivors Academy Trust, Cliff Fluet, whose work helps to support, educate and nurture the songwriters, composers and creators who need it most. The Ivors Academy is using this Ivors Week of celebration to launch TheWRD, a new further education diploma in creative entrepreneurship, to offer career-defining arts education, widen opportunity for young people and open access to a career in music and the creative industries.

I also want to highlight Credits Due, the Ivors Academy’s excellent joint initiative with the Music Rights Awareness Foundation, and give a mention to songwriter Fiona Bevan, who is helping to promote it. Its purpose is to increase knowledge of music rights through education and other forms of support. It can go some way towards recovering some of the estimated £500 million of annual missing income that is not paid to songwriters from global streaming revenues because of inaccurate or incomplete metadata attached to recordings.

As you know, Mr Deputy Speaker, in these debates I always emphasise creativity’s value in and of itself, not just its economic value. We all understand that music is inherently good for us. Whether we sing tunelessly in the shower, belt out a chant at the football or tap our foot to the radio, music is our common human therapy.

[Jim Shannon (Strangford) (DUP)]

I thank the hon. Gentleman for all he does for the music business. I congratulate him on being elected chair of the APPG— there is no better person than him for it. Does he agree that each region of this wondrous United Kingdom of Great Britain and Northern Ireland has so much to offer in cultural expression? Does he know that there are members of the world-class Ulster Orchestra who began their long learning journey in Orange halls across the Province of Northern Ireland? Together, all these cultural expressions make a wonderful musical symphony that makes us all very proud to be British.

[Kevin Brennan]

I know that the hon. Gentleman is quite a keen musician himself. I agree that music is incredibly important in England, Wales, Scotland and Northern Ireland—all the countries of our United Kingdom. I also completely agree that music can bring people together in harmony. We should remember that power at all times.

British Nationals Detained Overseas

Debate between Kevin Brennan and Jim Shannon

Wednesday 20th April 2022 Westminster Hall

[Kevin Brennan (Cardiff West) (Lab)]

I beg to move,

That this House has considered British nationals detained overseas.

It is a pleasure to serve under your chairmanship, Mr Pritchard, and I welcome the Minister to her new position. I hope she will bring some real energy and intent to the job.

The broad subject of today’s debate—British nationals detained overseas—has received substantial focus over recent weeks, both in this place and in the media. I thought that it was important to seek an opportunity to highlight the stories of constituents detained overseas, and to keep their names at the forefront of Ministers’ and the media’s minds.

Like all colleagues across the House, I was delighted to see Nazanin Zaghari-Ratcliffe and Anoosheh Ashoori reunited with their families. Their hard-fought return to the UK is testament to the unwavering love and untiring efforts of their families, and I completely agree with my hon. Friend the Member for Hampstead and Kilburn (Tulip Siddiq) that such cases deserve proper scrutiny, so that lessons for the future can be learned from the handling of cases of arbitrary detention by authoritarian regimes across the world. On that basis, I am pleased that the Select Committee on Foreign Affairs has launched an inquiry into hostage taking. I hope that during its hearings, it will look at cases other than those we have heard about.

[Jim Shannon (Strangford) (DUP)]

The hon. Gentleman is right to touch on the dreadful story of Nazanin Zaghari-Ratcliffe, which we all watched unfold and which showed the desperate straits that many families go through privately. What lessons have been learned by our consulates and the Foreign, Commonwealth and Development Office about the importance of Government pressure and intervention at an earlier stage? If that had been done earlier, perhaps the lady would have got home earlier.

[Kevin Brennan]

As ever, the hon. Gentleman’s intervention is both compassionate and pertinent, and I will go on to say something about the way the Government handle these cases. The momentum that has been gained must be maintained and used by Ministers to redouble their efforts to reunite other British nationals in similar positions with their families.

St Patrick’s Day

Debate between Kevin Brennan and Jim Shannon

Tuesday 17th March 2020 Commons Chamber

[Jim Shannon]

It is a pleasure to be here to speak in this debate. May I wish you, Mr Deputy Speaker, and all right hon. and hon. Members, a very happy St Patrick’s Day?

[Kevin Brennan (Cardiff West) (Lab)]

Will the hon. Gentleman give way on that point?

[Jim Shannon]

I am very happy to give way on that point.

[Kevin Brennan]

The hon. Gentleman will know that I am very proud to have an Irish father and a Welsh mother, and I recently attended the champ reception at the House of Lords, as I believe he did. The Irish ambassador explained that St Patrick’s Day is becoming a festival that lasts over many, many weeks, and that the first function he had attended this year was on 1 March, at which point I pointed out that that is St David’s Day. Can we put a stop to having St Patrick’s Day celebrations on the day of the Welsh patron saint, St David?

[Jim Shannon]

I thank the hon. Gentleman for his intervention, but every day is St Patrick’s Day for us and we are very pleased to celebrate it on St David’s Day.

--- Later in debate ---

[Jim Shannon]

I am happy to support the use of music. I love music; I love all sorts of music. I love Elvis Presley, who was an Ulster Scot, as we all know. He brought hillbilly music to the society that we have today. I love music on 12 July, which is one of our special days, and we hope to have the special day this year if we have the opportunity. There is lots of music, including ecclesiastical music. There are the hymns that we all love, and those things all come from St Patrick, and we are pleased to have them.

Belfast City Council said that 23,500 people attended the 2017 St. Patrick’s day event: 60% from Greater Belfast, 20% from the rest of Northern Ireland and a further 20% from outside Northern Ireland. The economic impact was worth £758,000, independent research showed. The fact that the St Patrick’s Centre in neighbouring Down Council can attract 130,000 visitors every year tells us that the appetite is there. The question we must ask ourselves is how we can exploit that. I am aware of tremendous council initiatives such as the St Patrick’s trail. The Discover NI website says:

“Follow the Saint Patrick’s Trail through a host of Christian sites at Bangor, the Ards Peninsula”—

in my constituency—

“ Downpatrick, Newry and Armagh to uncover just how strong Northern Ireland’s links are with this patron saint. The 92 mile linear driving route links 15 key sites, all identified as having some connection to his life, legacy or landscape”.

I believe that we need greater funding—I know that the Minister will respond to that, as we had a chat before the debate—and emphasis on that to attract overnight visitors and not just day-trippers. For example, if people followed the Christian heritage trail down the Ards peninsula in my constituency, where I live, they would find the abbey at Greyabbey, which is open thanks to the generosity of the Mongomerys of Rosemount estate—I take this opportunity to thank them in Hansard. To get to that historic Abbey, they would have to drive through Newtownards, with our unique Scrabo tower, open at certain times; the old priory dating to 1244; and one of the UK’s oldest market crosses, which has been renovated and refurbished to bring back some of its glory. With many a coffee shop along the way and Northern Ireland’s winning high street of the year—it is always good to mention that fact—they could shop in boutiques and enjoy at least half a day in the historically and culturally rich Newtownards. They could take in some of the most beautiful scenery in the world as they made their way to the abbey at Greyabbey.

Those people would drive past world-renowned Mount Stewart estate and gardens—officially one of the top 10 gardens of the world, which is in my constituency of Strangford. That is only half a day of the itinerary. They would travel slightly inland to see Ballycopeland mill—the only remaining working windmill in East Down, which allows people to grind their own flour—then nip across to the folk and transport museum, in the constituency of my right hon. Friend the Member for Lagan Valley (Sir Jeffrey M. Donaldson), where they can learn to bake bread with the flour they milled at Ballycopeland. There goes another half day at least, and the need for an overnight stay in a hotel or Airbnb accommodation along the beautiful Strangford lough. That is before they have even made it to the Abbey.

[Kevin Brennan (Cardiff West) (Lab)]

I congratulate the hon. Member on his description of his constituency. He is making it sound not just like Mount Stewart gardens but like the garden of Eden, but may I remind him that that is where original sin was invented?

[Jim Shannon]

We are all sinners, and I am one of them.

People could enjoy the antique shops in Greyabbey, and some of the best home-made scones at Harrisons of Greyabbey, with its unrivalled view and service. They could carry on down the peninsula to Portavogie and see the only working fishing village in Northern Ireland. They could then go then down to the Exploris aquarium at Portaferry for a bite to eat and an interesting afternoon sightseeing, ending at the great Portaferry Narrows hotel, with its warm hospitality and great food. It is owned by Cathal Arthur, who is doing tremendous work during the coronavirus crisis by helping the elderly and disabled, delivering necessities to them in the bounds of Portaferry. Many people, as the hon. Member for Bristol East (Kerry McCarthy) said, are doing great work in their community.

Economy and Society: Contribution of Music

Debate between Kevin Brennan and Jim Shannon

Tuesday 21st January 2020 Westminster Hall

[Kevin Brennan (Cardiff West) (Lab)]

I refer to my entry in the Register of Members’ Financial Interests, including my membership of, and support for, the Musicians’ Union and PRS for Music.

I open by sending a message to Michael, as the song says, and pay tribute to the outgoing chief executive of UK Music, Michael Dugher, for the tremendous job he has done during his tenure, not only because of the way in which he communicates with Parliament but because of his personal passion for music—not just for Paul McCartney, incidentally, but all kinds of music—which shines through in everything he does and in the representations he makes on behalf of the music industry. I wish him well. I also pay tribute to Andy Heath, the outgoing chair, who has done a fantastic job with that organisation.

I went out to lunch many years ago with the former chief executive, Feargal Sharkey, when he announced the setting up of UK Music in the first place. It seems to me that, over the course of that decade, the way that the music industry has got its act together and effectively communicated its message is due in no small part to the efforts of people such as Michael, Feargal and Jo Dipple, who have led the UK Music with such distinction over that period of time.

I also pay tribute to everyone who contributed to the debate, particularly my very good friend, my hon. Friend the Member for St Helens North (Conor McGinn), who quite rightly mentioned—as well as lots of other issues that are so important to the debate—the impact of organisations such as Nordoff Robbins and of music therapy. Having myself volunteered for Nordoff Robbins in a care home on one occasion when I was the Minister responsible for charities in the last Labour Government, I can testify to the tremendous work that it does and the impact that its work has. My hon. Friend rightly raised all the significant issues for the debate, and I shall rehearse them a little bit during my remarks and perhaps add one other issue as I go along.

We had a speech from the hon. Member for Somerton and Frome (David Warburton), who chairs with great distinction the all-party parliamentary group on music. I welcome very much what he said about music education. I hope that he presses the Ministers in his own party and Government very hard to deliver much more effectively on music education, after seeing personally the transformational effects of music, in his own life, as a music teacher and rightly highlighted during his speech.

I also pay tribute to my hon. Friend the Member for Stretford and Urmston (Kate Green), whose remarks featured the very important contribution made by our orchestras in particular. I praise the Association of British Orchestras for the work that it does to promote orchestras. My hon. Friend rightly emphasised the importance of formal training and the impact that that has beyond the classical repertoire, in our film and television industries and so on.

I have seen the son of the hon. Member for Henley (John Howell) perform, and he is a very fine jazz musician; and I congratulate the hon. Gentleman—it is obviously in the genes—on his own record as a church organist. He is right about the power of music therapy and the impact on people with, for example, autism.

I would also like to mention my hon. Friend the Member for Cardiff Central (Jo Stevens), my immediate constituency neighbour, and pay tribute to the incredible work that she did, along with other colleagues, on the live music and protecting live music in our city of Cardiff. That was done along with my hon. Friend the Member for Cardiff South and Penarth (Stephen Doughty), who told us that he had once performed for President Clinton. I think that that is probably a unique distinction, as is the distinction that we heard about from my hon. Friend the Member for Manchester, Withington (Jeff Smith), who told us that he is the only former nightclub DJ who is a Member of Parliament—I have not heard anyone else try to claim that distinction in the course of the debate.

I thank the hon. Member for Glasgow Central (Alison Thewliss) for her contribution. As well as highlighting the incredible amount of music going on in her constituency in this sector, she rightly highlighted the problems for musicians with the Home Office. She was absolutely right to draw attention to that.

We have therefore had a great debate. It was also added to by my hon. Friend the Member for Sheffield, Heeley (Louise Haigh), who mentioned Longpigs. She will know that of course the chair of the Ivors Academy of Music Creators, Crispin Hunt, is a former member of Longpigs. With the Ivors Academy, he is doing great work in promoting the importance of songwriting and the interests of composers.

My new hon. Friend the Member for Pontypridd (Alex Davies-Jones) reminded us why Wales is so well renowned for its contribution to music. I thought that she sounded like the Rev. Eli Jenkins in “Under Milk Wood”, who said, “Thank God we are a musical nation.” My hon. Friend was almost musical in her contribution today.

The main issues that we need to address have been mentioned in the course of the debate. Grassroots music venues were mentioned quite frequently. I welcome what the Government have done about rate relief. Last year, I went with the outgoing chief executive of UK Music to meet the former Chancellor of the Exchequer to urge him to do the very thing that the Government are now pledged to do, so I hope that the Minister will give us a bit of an idea of the timetable for that and how it will be implemented.

Music venues are the R&D of the music industry, and when they are closing down, that is the canary in the mine—to mix metaphors a bit—for the industry. If music venues are closing down, there is trouble ahead for our music industry, so the Government do need to work with the sector, including UK Music, to develop a thorough strategy for the future of our music venues, and I hope that they will do that urgently.

We also heard about freelance employment and the nature of employment in the industry and the campaign of Olga FitzRoy and others in relation to shared parental leave for the self-employed and freelancers. That is a particular issue in the music industry.

[Jim Shannon (Strangford) (DUP)]

Will the hon. Gentleman give way?