Music Festivals: Covid-19-related Cancellations

Lord Black of Brentwood Excerpts

Tuesday 27th April 2021 Lords Chamber

[Baroness Barran (Con)]

The Government are extremely keen that the festival-going public should have a chance to enjoy live events as quickly as possible, and that is what is behind our events research programme, but we need to be absolutely confident that any scheme would result in an increase in activity.

[Lord Black of Brentwood (Con) [V]]

My Lords, I declare my interest as chairman of the Royal College of Music. My noble friend will be aware that many students rely on performances outside term time for income, which is vital to support their studies, and have therefore been particularly hard hit in this last year. Will she take the plight of students and recent graduates specifically into account when further considering this issue in order to ensure that the income of young performers is protected as far as possible this summer?

[Baroness Barran (Con)]

My noble friend is of course right that that pipeline of performers is critical. I will share his concerns with colleagues in the department.

Office of Communications: Chair

Lord Black of Brentwood Excerpts

Thursday 18th March 2021 Lords Chamber

[Lord Black of Brentwood (Con) [V]]

My Lords, I refer to my interests as set out in the register. Does my noble friend agree that just as important as the new chair of Ofcom are the new powers that Ofcom will have? The regulator will have significant extra responsibilities following online harms legislation and will have a vital role in working with the new digital markets unit to ensure that the platforms are subject to fair competition. Can she tell us what progress is being made on bringing forward the online harms legislation and, crucially, a Bill to give the digital markets unit the statutory powers it needs, particularly in the area of payment for content?

[Baroness Barran (Con)]

My noble friend is right that it will be extremely important in future for Ofcom to co-ordinate its activities with other digital regulators, including the new digital markets unit being set up in the CMA. We are working at pace to prepare the online harms legislation, which will be ready later this year. In December, the Government received advice from the CMA on design and implementation of the new regime. We are carefully considering this and will consult on it as soon as possible.

Music and Performing Arts Students: Visas and Work Permits

Lord Black of Brentwood Excerpts

Thursday 11th March 2021 Lords Chamber

Asked by

[Lord Black of Brentwood]

To ask Her Majesty’s Government what assessment they have made of the impact of the visa and work permit requirements for touring in the European Union on music and performing arts students in the United Kingdom.

[Lord Black of Brentwood (Con) [V]]

My Lords, I beg leave to ask the Question standing in my name on the Order Paper and declare my interest as chairman of the Royal College of Music.

[The Parliamentary Under-Secretary of State, Department for Digital, Culture, Media and Sport (Baroness Barran) (Con)]

My Lords, the Government recognise the importance of international touring for UK cultural and creative practitioners. British music and performing arts students seeking to tour within the EU are now required to check domestic immigration and visitor rules for individual member states. The DCMS-led working group on creative and cultural touring, involving sector representatives and other key government departments, is working to assess the impacts and ensure that the sector gets the clarity and support it needs.

[Lord Black of Brentwood (Con) [V]]

My Lords, we are all aware of the damage to the creative economy from the new visa and work permit requirements for EU touring, with jobs lost and tours cancelled, but perhaps hardest hit are students in music and the performing arts. Does my noble friend acknowledge that students need to perform in Europe to progress their careers and enrich their education, but now cannot because the cost of work permits and the bureaucracy of multiple visa applications are prohibitive? It is essential we reach bilateral agreements on work permits with member states urgently if we are not to blight a generation of students, so can my noble friend tell the House what progress has been made on that front?

[Baroness Barran (Con)]

The Government absolutely agree with my noble friend about the importance of touring for students, both within the EU and more broadly around the world. He will be aware that our rules for touring creative professionals are more generous than those of many EU member states. The working group to which I referred met for the first time on 5 February to try to get clarity on the issues impacting creative professionals and how best to support them. I reassure my noble friend that we are working across government to address the important issues he raises.

European Union: Visa-free Touring for Musicians

Lord Black of Brentwood Excerpts

Tuesday 19th January 2021 Lords Chamber

[Baroness Barran (Con)]

There were a number of drawbacks to the EU proposals, which did not meet the requirements of our sectors, as I mentioned; they covered only ad hoc performances, they were non-binding and did not address technical staff or work permits. Our door absolutely remains open to reviewing these points, but in the meantime we will do everything we can to support our sectors.

[Lord Black of Brentwood (Con) [V]]

My Lords, I declare my interest as chairman of the Royal College of Music. Will my noble friend acknowledge that the current impasse will have a profoundly damaging impact on UK students, who need to travel to progress their careers but, as they will not earn large fees at that stage of their lives, will find themselves priced out of the market because of expensive and complex visa requirements? As there seems to be political will on both sides to ensure that musicians can continue to work freely in Europe, do we not owe it to students, above all else, to get back to the negotiating table to sort this out?

[Baroness Barran (Con)]

My noble friend raises a very important point. There are two different issues here: on going back to the negotiating table, as I said to the noble Lord, Lord Clement-Jones, our door is absolutely open but, in the short term, understanding the picture for students and how we can support them is part of our work—if there are specifics my noble friend would like to share with me, I will endeavour to make sure that fellow Ministers are briefed on them.

Covid-19: Arts Sector

Lord Black of Brentwood Excerpts

Tuesday 15th December 2020 Lords Chamber

Asked by

[Lord Black of Brentwood]

To ask Her Majesty’s Government what steps they are taking (1) to support freelance workers in the arts sector during the COVID-19 pandemic, and (2) to ensure a return to live performances in that sector as soon as possible.

[Lord Black of Brentwood (Con)]

My Lords, I beg leave to ask the Question standing in my name on the Order Paper and declare my interest as chairman of the Royal College of Music.

[The Parliamentary Under-Secretary of State, Department for Digital, Culture, Media and Sport (Baroness Barran) (Con)]

My Lords, the Government recognise the significant challenge that the current pandemic poses to our arts sector and to the many individuals, including freelances, working across it. We are working very hard to help freelancers in those sectors access support, including through the self-employment income support scheme and funding from Arts Council England.

[Lord Black of Brentwood (Con)]

My Lords, the Covid emergency has been a catastrophe for music and other parts of the creative economy, and in particular for the freelancers who make up 72% of those working in the performing and visual arts. Nearly four in five of them earn less than £30,000 per year and many are having to rely on universal credit. Can my noble friend tell us what steps are being taken to ensure that the support that the Government are giving to music and the arts, including the £165 million recently announced, will directly benefit freelancers, and when will freelancers have the security of a revised road map to return to live performances once restrictions are eased?

EU: British Musicians

Lord Black of Brentwood Excerpts

Wednesday 3rd June 2020 Lords Chamber

[Baroness Barran]

I am sorry if I was not clear; I was aiming to refer specifically to those in the performing arts. There are not currently plans for a unilateral agreement. We are optimistic that we can reach an effective reciprocal agreement. We are not looking for a bespoke or unique deal. We are trying to build on existing free trade agreements and ensure that they are appropriate for our performing arts and wider service sectors.

[Lord Black of Brentwood (Con)]

My Lords, I declare my interest as chairman of the Royal College of Music. At the end of the transition period, new customs requirements will come into force which mean that musicians will be required to purchase an ATA carnet, costing up to £700. For many musicians who struggle financially at the best of times, let alone after the disaster of Covid, that is a big cost which many will not be able to afford. Will the Government either cover the cost of these carnets or include a cultural exemption for musical instruments, so that they are not required?

[Baroness Barran]

My noble friend is right that the carnet can be expensive, particularly for individual musicians. That is why we are trying to negotiate a reciprocal deal, which may mean that there are new processes that musicians will have to comply with. But we hope that they will be practical and workable for them.

Charitable and Voluntary Sector

Lord Black of Brentwood Excerpts

Thursday 30th April 2020 Lords Chamber

[Lord Black of Brentwood (Con)]

My Lords, I declare my interests as a trustee of a number of charities. This virus is making us all appreciate what is really important to us. One thing that unites many of us is our love of our pets, which are especially important for many lonely and vulnerable people.

The main point I want to make is that our pets, along with the animal charities that care for them, have been impacted by the onslaught of Covid-19 and need support. These charities are doing all they can to help, through, for instance, short-term fostering of pets where owners, including key workers, need respite care when they have been affected by the virus and, crucially, supporting victims of domestic abuse.

However, the emergency presents huge challenges. First, it has reduced the ability of charities such as Cats Protection and the Dogs Trust to rehome stray, unwanted and abandoned animals. A recent survey of members of the Association of Dogs and Cats Homes found that nearly nine in 10 had ceased rehoming, at a time when increasing numbers of domestic animals are being abandoned. During the second week in April, Cats Protection admitted just 47 cats, compared with 690 in the same period last year.

Secondly, there is inevitably pressure on income, with nearly half of those same homes surveyed saying they do not have enough funds to operate for more than three months as a result of the closure of charity shops and an end to most fundraising events. One in five have so few funds they could close at any time.

Finally, as vets are rightly prioritising emergencies, there is limited access for other treatments, especially neutering. As we approach the kitten season, this will mean higher numbers of unwanted litters, placing ever greater burdens on charities that are already under huge funding pressure.

Will my noble friend ensure that animal charities, which are such an important part of civil society and so important to many vulnerable individuals, get the support they need and deserve during this crisis?

[The Deputy Speaker]

My Lords, I announce that the noble Baroness, Lady Pitkeathley, will shortly take over the Chair from me as Deputy Speaker. In the meantime, I call the noble Baroness, Lady Barker. Baroness Barker?

Since we do not appear to have been able to connect to the noble Baroness, Lady Barker, I call the noble Baroness, Lady Hayter of Kentish Town, and we can reverse the order of these two speakers.

Covid-19: Music Sector and Creative Economy

Lord Black of Brentwood Excerpts

Thursday 23rd April 2020 Lords Chamber

Asked by

[Lord Black of Brentwood]

To ask Her Majesty’s Government what assessment they have made of the impact of COVID-19 on (1) the United Kingdom music sector, and (2) the creative economy.

The Question was considered in a Virtual Proceeding via video call.

[Lord Black of Brentwood (Con)]

My Lords, I beg leave to ask the Question standing in my name on the Order Paper, and in doing so I declare my interest as chairman of the Royal College of Music.

[The Parliamentary Under-Secretary of State, Department for Digital, Culture, Media and Sport (Baroness Barran) (Con)]

My Lords, the Covid-19 pandemic presents a significant challenge to many of DCMS’s sectors, including, of course, music and the wider creative industries. The Government have announced unprecedented support for business and workers to protect them against the current economic emergency, including the Coronavirus Job Retention Scheme, £330 billion of government-backed guaranteed loans to support businesses, and the self-employed income support scheme. We are continuing to work very closely with partners across music and the creative industries to understand the impact of Covid-19 on their activities and to provide the necessary support.

[Lord Black of Brentwood]

I thank my noble friend for that Answer. Music, the bedrock of our creative economy, is in deep trouble. The virus has had a terrible impact on the sector, because music cannot exist without audiences and human contact, and both have disappeared along with the livelihoods of thousands of musicians. Is my noble friend aware that four in 10 creative organisations, where many hourly-paid musicians are employed, have seen their income drop by 100%? The truth is that the music business model is being destroyed as a result. As it becomes clear that mass gatherings are likely to be the last to be reintroduced after lockdown, and with many event cancellations having started in January, this will be a devastating lost year for the whole sector and so many individual artists. Does my noble friend agree that there must be an urgent sector-specific package of financial support for music and the arts, similar to the €50 billion programme in Germany, to ensure that the sector and all those who work in it survive the emergency?

[Baroness Barran]

My noble friend is right to highlight the huge challenges to cash flow for these sectors of our economy. The Government, as I said earlier, have focused on offering very broad support, and doing so at scale and at pace. My honourable friend the Minister for Digital and Culture is meeting representatives from the music industry and the wider creative industries on a weekly basis to understand individual impacts, gather the evidence and then see what we can do to support them on any issues that emerge from that.

Cairncross Review

Lord Black of Brentwood Excerpts

Thursday 6th February 2020 Lords Chamber

[Lord Black of Brentwood (Con)]

My Lords, I declare my interest as deputy chairman of the Telegraph Media Group and my other media interests. I am also a member of the Select Committee on Democracy and Digital Technologies.

Dame Frances’s review was the first time that the Government acknowledged that the sustainability of our media is in jeopardy and that public policymakers needed to do something to help. Her report was welcomed across the industry because it identified practical steps to support the media on its path to fundamental change. The causes of the stress on the sector are straightforward. The news media faces brutal competition on two fronts. On one side are Google and Facebook—70% of UK online advertising spend now flows through this duopoly. This means that they take over £9 billion a year in digital ad revenues while the news media companies that create content for them earn only around £500 million. Then there is competition from the BBC, whose guaranteed £3.8 billion income produces a massive market distortion that makes it challenging to grow subscription businesses.

The Cairncross recommendations are a step in the right direction, but I have two points of concern. One is time: Cairncross was established in 2018, reported in early 2019 and the Government have only just responded at the start of 2020. Most of the recommendations have still to take practical effect. The grim truth is that help is needed now if many local newspapers are to survive while they bridge the gap between print legacy and digital future. My noble friend understands that. Will she tell us more about the timetable to implementation, particularly on the issue of VAT zero-rating for digital products, which could make a rapid difference to businesses building subscription models, and other financial measures, including tax reliefs, which will give time for the report’s structural measures to take effect?

My second concern is clarity. The Cairncross recommendations are just part of a plethora of other reviews, consultations and policy documents. We have the Furman review, initiatives from the Information Commissioner, reviews by the DCMS on brand safety and the supply chain, an investigation by the CMA, ongoing work from Ofcom, and the online harms White Paper. These are all important pieces of work, but there is real danger that we cannot see the wood for the trees. Too many initiatives from too many separate departments and organisations present a real risk that nothing will end up happening or that it will simply take too long.

Does my noble friend agree that the best way forward is to identify a handful of strategic issues where action to support the industry during its transformation can be taken speedily and preferably without the need for legislation, which will take far too long? I agree entirely with my noble friend Lord Wakeham that a consolidation review of ownership laws must be one of them.

There is speculation that my noble friend does not wish to continue in this role. She would be much missed. If she does move on, will she consider leaving a note in her desk for her successor saying simply, “The media needs your help. Many local newspapers face closure. Other publishers struggle to support high-quality journalism. There is no time to lose if we are to save our democracy. Please act now to help them”?

Brexit: Movement of People in the Cultural Sector (European Union Committee Report)

Lord Black of Brentwood Excerpts

Wednesday 15th May 2019 Lords Chamber

[Lord Black of Brentwood (Con)]

My Lords, I join other noble Lords in congratulating the noble Lord, Lord Jay, on securing a debate on an issue vital to the future of our creative industries. The report sets out comprehensively and compellingly the benefits of freedom of movement for the cultural sector, something it rightly describes as crucial, and the various ways that we can mitigate its disappearance if Brexit happens. It highlights many of the key issues the sector faces: for instance, the need to attract talent, the high rates of self-employment and freelance work alongside less than median salaries, and the often short-term—indeed, almost instantaneous—nature of the work. The report makes it clear that vital to finding a way through the huge issues that Brexit poses for the sector is for the Government to be flexible. That is spot on; flexibility is the key and the EU Select Committee is to be commended on a really important piece of work.

I declare an interest as the chairman of the Royal College of Music, and it is music that I wish to talk about today. Music matters, of course, for us as individuals, for the education of children, for the sort of society that we are and for our national identity. We do not need to rehearse those arguments today but in a post-Brexit world music also matters in hard economic terms, which we must have at the forefront of our minds when considering these policy issues. I will briefly highlight two of those which have already been touched on a little.

First, music is a remarkable engine of economic growth because it is absolutely fundamental to the success of the creative economy, which contributes so much to our gross national product, to jobs and to exports. The UK creative economy is worth £101 billion each year and makes up a growing 5% of our economy. More importantly, that growth is twice the rate of the economy as a whole, while the number of new jobs in the sector is growing at four times the rate of the rest of the UK workforce. One in 11 of all jobs depends on the sector and it is the UK music industry—worth £4.5 billion on its own, as we have heard—that powers this. If we undermine the music industry as a result of Brexit and an end to free movement, we imperil the whole of the UK’s creative economy.

Secondly, music is an essential part of our national identity and must play a central role as an instrument of the UK’s soft power in a post-Brexit world, a point also made to the Select Committee by those representing museums, among others. If we end up leaving the EU, our musical heritage and worldwide reputation for musical excellence must inevitably form one of the most secure engines for future prosperity. I do not need to underline to your Lordships how extraordinary our musical tradition is, having nurtured some of the greatest composers and performers in the world and forming a powerful musical inheritance and national identity. We are today one of the few net exporters of music worldwide: one in eight albums sold in Europe during 2017 was by a British artist, generating billions of pounds of exports. Music is not just an international calling card, which we will need in abundance if we are to make any sort of future outside the EU; it also brings us millions of overseas visitors. In 2017, over 12 million people journeyed here for musical events. If we undermine the music industry as a result of Brexit and an end to free movement, we undermine our soft power too.

Our globally dominant music industry is vital, not just as an industry on its own but as the engine for the wider creative economy. Who are the people who make up this profession? The vast majority are self-employed, freelance or portfolio musicians, many of whom struggle with low rates of pay and therefore rely on such things as the European health insurance card, and who often take jobs all over the world—but mainly in Europe—at very short notice. That is the key point.

The excellent report published just this month by the Incorporated Society of Musicians, to which we have heard reference, showed that 85% of those responding to a survey had visited the EU and EEA for work at least once a year, with 22% visiting more than 11 times a year, and more than a third spending at least a month in those countries. For many, work comes at little or short notice; their livelihoods depend on their ability to travel easily and cheaply around multiple countries for work in a short period of time. For all of them, freedom of movement is crucial to their work. Undermining freedom of movement without anything to ameliorate it will, let us be clear, undermine music.

As we have heard, even before we have left the European Union, the impact is already being felt by musicians, as the ISM survey mentioned. For almost two-thirds of those who took part, securing future work in the EU/EEA is now the biggest issue they face, with more than 10% reporting that offers of work have been withdrawn or cancelled, with Brexit given as a reason, as the noble Lord, Lord Jay, said. We have yet, of course, to leave. That is a shocking figure, with real human consequences, and we must always remember that.

As well as getting themselves across borders, the vast majority of musicians also have to worry about the transportation of their instruments. Musicians frequently perform in different countries on consecutive days, and getting their instruments and equipment across borders quickly and easily is vital to their work. It is just as important as the mobility of the music workforce, yet most musicians believe that as a result of Brexit and consequently an end to free movement, it will become much more complicated. Things will be even more problematic for someone who has a musical instrument on the list of products restricted under CITES, the Convention on International Trade in Endangered Species and Wild Fauna and Flora.

Brexit will wreak its damage on the cultural sector, as the impact goes two ways. It is also about musicians from the EU wanting to come and work here. We need musicians and talent from the EU to study, teach and perform; they add incredibly to the rich diversity of our musical life.

I am particularly concerned about the impact of Brexit on our great conservatoires, such as the Royal College of Music. I hope that the noble Lord, Lord Lipsey, will add his weight to this issue. We need EU students to enrich our music, not least because they start to learn at a very young age and become highly proficient in a range of musical instruments, particularly woodwind. That is vital for putting together the orchestral experience and learning, which is the bedrock of a conservatoire education. At the moment, about 20% of our students come from EU countries and we need their talent because it simply cannot be replicated elsewhere. Yet at the moment the future of EU students at conservatoires is uncertain because we have no idea of the fee and student loan regime for 2020 and beyond. When students come here, quite rightly they want to be able to work but it is not clear whether they will be able to do so because of visa restrictions.

We also have to think about the impact of an end to free movement on the recruitment of teaching staff and the talent drain it would trigger. At the Royal College of Music we have many professors from the EU, some of whom come in to teach just one day a week. For them, too, freedom of movement is vital to go about their work. Because they are here for such a short time, there is no way on earth they could ever meet the £30,000 minimum salary threshold.

The Select Committee looked at a number of possible ways forward to ameliorate the situation, but by far the most effective and practical would be the introduction of an EU-wide, multi-entry, short-term touring visa, with a reciprocal arrangement for EU citizens. As the report rightly notes, that would allow self-employed musicians to travel for short-term visits between the UK and the EU in a frictionless manner. I strongly support this proposal—not only would it make life easier for the thousands of musicians who need to travel to and from Europe for their livelihood, it would send out the signal that we are not closed for business as a cultural and artistic nation.

In various debates and Questions in this House over the last few months, I have argued that music in this country faces an existential crisis because of the appalling decline of music education in state schools. That is not a subject for today, but a botched Brexit, where we fail as a result of blind ideology to deal with these issues that are so important to our cultural life, our creative economy and thousands of musicians whose art enriches our life, will make that existential crisis twice as bad. Let us avoid that at all costs and do all we can through flexibility, agility and imagination in our immigration and visa control policies to ensure that the place of music, the arts and the UK’s creative powerhouse is valued, nurtured and supported.