UK Songwriters and Composers

Debate between Esther McVey and Kevin Brennan

Wednesday 18th May 2022 Commons Chamber

[Kevin Brennan]

Yes, I am, not least because I have written a couple of songs with the right hon. Gentleman that we have recorded down the years with our band MP4—legends in our own imagination. As we say in these groups, he is not only a drummer, but a musician: he has written songs himself, some of which have cult status on the internet.

UK Music’s recent “Power of Music” report sets out in clear terms the enormous and extensive benefits that music provides for health and wellbeing, with notable effectiveness in regulating and improving the mental health of so many people during the pandemic and in offering particular emotional respite for those with dementia. What is beneficial is not just playing and singing, but creating music. Organisations such as the Songwriting Charity empower young people and communities through the art and craft of songwriting to boost their confidence, self-esteem and mental health.

Some Members may not be aware—although you may be, Mr Deputy Speaker, given your origins—that Ivor Novello, the Welsh songwriter, playwright, composer and actor, was born on Cowbridge Road East in my constituency in 1893. Christened David Ivor Davies, he took the name Novello from his mother, Clara Novello Davies. I was particularly pleased when, three years ago, the former British Academy of Songwriters, Composers and Authors—BASCA—rebranded itself as the Ivors Academy in his memory, and in acknowledgment of the world-famous Ivor Novello Awards, which it runs.

In economic terms, songwriters and composers contribute substantially to the value of our music, performing and visual arts ecosystem, which generates an enormous £10 billion domestically, with music exports constituting £2.9 billion in value to the UK economy. UK Music points out that one in 10 songs streamed globally were produced here in the UK. That is a lot of globally popular UK songs and music.

This past week—and I know that you were watching, Mr Deputy Speaker— exemplified the joy and excitement that songs can create, with the immense talents of a diverse range of musicians and composers from across Europe and beyond brought under the Eurovision roof in Turin. Congratulations, of course, to Ukraine’s Kalush Orchestra, the deserved winners on the night, but also to the UK’s Sam Ryder, who came second. Writing great songs is a Great British tradition, from Ivor Novello’s “Keep the Home Fires Burning”, through Lennon and McCartney’s “I Want To Hold Your Hand”, David Bowie’s “Life on Mars” and Joan Armatrading’s “Love and Affection”, to Adele and Dan Wilson’s “Someone Like You”; but we must not take it for granted that that will go on forever.

I am happy to inform those who are not aware of it that the UK’s Eurovision song, “Space Man”, was co-written by the incredibly talented former student of Cardiff’s Royal Welsh College of Music & Drama and Radio Wales presenter, Amy Wadge. Many had assumed that Britain’s recent lack of success in Eurovision was political, but it turns out that what is needed—as well as a talented artist, good presentation and good production—is, above all, a great song. I am old enough to recall a time when Eurovision was known as the Eurovision Song Contest, and the writers were featured on camera to take a bow for their part in the creation of the music. There is no singer without the song and no song without songwriters, so perhaps that recognition should be resurrected. When I was growing up with vinyl records, which are now popular again, I used to study the labels intently to see who had written the songs. I want people to do that again, so that the art of songwriting is once again given its proper due rather than being hidden away somewhere deep in the metadata.

[Esther McVey (Tatton) (Con)]

The hon. Gentleman is a great champion for the music industry, and he has done much to secure a better deal for musicians, particularly from music streaming. He has also worked with the former chair of the Ivors Academy, Crispin Hunt. It is true that we need great songwriters, but we must ensure that they receive a fair share from the music that they have written and performed. I should like to know what more we can do, on both sides of the House, to ensure that musicians receive that better payment.

[Kevin Brennan]

The right hon. Lady is absolutely right. She has been a tremendous advocate on behalf of songwriters and composers, and although we sit on opposite sides of the House and may differ on many subjects, this is a subject on which she has been a passionate advocate for creators to get their just rewards. Later in my speech I will refer to some of the issues that she has mentioned, all of which featured in the private Member’s Bill of which she was a sponsor and which I introduced in the last Session. Ongoing work on parts of the Bill will, I hope, bear fruit in the near future.

We need to improve the wealth of research and development opportunities available to British creatives. Talent pipelines have been left to fracture and decay over the last decade, with cuts in education and local authorities’ services under consecutive Conservative Governments. It is vital that meaningful opportunities exist for the songwriters and composers of the future from all backgrounds, regardless of their genre and of their means and connections. This must be a key test for the DCMS, and particularly for the Secretary of State in the context of her professed desire to level up in her role.

I draw the House’s attention to this week’s very welcome announcement from the Welsh Labour Government in Cardiff of the trebling of funding for music education and the launch of Wales’s new national music service, which will ensure that all pupils between three and 16 years of age can access and borrow musical instruments through a national instrument library. It will also expand creative opportunities to pupils of all backgrounds through the offer of half a term’s tuition for free.

The challenge for UK Government Ministers is clear. In a survey conducted on behalf of the Ivors Academy’s TheWRD—the further education diploma that I mentioned earlier—it was found that:

“70% felt that starting a career in music would be difficult, citing barriers such as not having contacts, being too much of a financial risk, lack of opportunities, and the industry not being open to people from their background. When asked about the barriers young people faced in accessing further education, almost 50% of those surveyed felt they were unable to afford it, and 1 in 4 said they do not have access to courses near where they live.”

I hope that the Government will follow the Welsh Government’s initiative when they review their national music plan, and also that they will support the Ivors Academy’s TheWRD initiative that was announced this week.

At this point, I remind the House of the vital role that our public institutions play in nurturing songwriting talent. The BBC sometimes comes under criticism in this House, but I remind hon. Members of the vital role that it plays in underpinning, promoting and paying our musicians, songwriters and composers. BBC Introducing is an excellent example of research and development from our national public service broadcaster. It has supported almost 300,000 artists on its platform and gone on to achieve 23 UK No. 1 hit singles and 146 Brit award nominations. Every day, music is playing somewhere on the BBC. When music is playing, musicians should be getting paid. On the BBC, they are. It is generating royalties for musicians, songwriters and composers. There is, I am afraid, an increasing trend in the new digital media to try to avoid paying composers, and insisting on taking from them what Parliament intended they should have—that is, royalties when their music is used. The BBC has been a helpful bulwark against that trend, and changes in the way in which programmes are now commissioned at arm’s length must not be used to deny composers their full remuneration.

There has rightly been a lot of coverage recently of the cost of living crisis, and sadly, for too many talented and successful musicians, songwriters and composers, getting by on their meagre royalties has been a struggle for years. When we held our Select Committee inquiry, one of our witnesses was a Mercury prize-nominated artist who was struggling to pay their rent because of problems resulting from the pandemic and the lack of reward from streaming.

The Minister will recall that a major provision in my private Member’s Bill, which was sponsored by Members in the House and introduced in the last Session, placed a transparency obligation on those who have had rights transferred or licensed to them, requiring them to supply timely and comprehensive information to the songwriter, composer or artist about where and how their music is being played, so that they can be sure that they are being paid what they are due. The Select Committee recommended this after hearing evidence during its inquiry into the economics of music streaming, which found that it is often difficult for artists and songwriters to gain any clarity or to audit their works. We heard about money that should have been paid disappearing into what are known in the industry as black boxes. It is clear that songwriters suffer particularly because of poor data standards.

On the subject of the value of streaming to songwriters, the Committee expressed concern about how the big three record labels also own large parts of the music publishing business, and about how that might influence the way in which revenue from streaming is distributed. If the big three make more profit from their rights in the recording than they do from their rights in the publishing, there is a disincentive for them to pay songwriters a competitive share of the streaming revenue. The publishing right ought to be competing for more value against the recording, but it appears to be stifled by that problem of joint ownership. I praised the Government at the time for noting the concerns, expressed in the Committee's report, about the impact of monopoly power and cross-ownership in the music industry and for referring the matter to the Competition and Markets Authority for a study of potential market failure. I keenly await its conclusions.

The issue of streaming remuneration has not gone away. There is a real danger, particularly in the current economic context, that we will make no progress on recovering the artists lost to the industry during the pandemic if more is not done to support our songwriters and composers. Last November’s survey by the Help Musicians charity found that 80% of professional musicians had been unable to return to full-time work since the pandemic struck.

The live industry, as one of the sectors forced to shut for the longest period during multiple lockdowns, has also faced an uphill battle in its recovery from the pandemic. The VAT reduction on ticket sales introduced in July 2020 was a vital lifeline for struggling venues and events across the country, and it recognised the sector’s high up-front costs and significant preparatory time. Abandoning the reduction too soon prevented a further £765 million of investment over a three-year period and held back the sector’s post-pandemic recovery. These are the venues and events upon which the creative ecosystem relies. Songwriters get paid by PRS for Music when their compositions are played live, so I ask the Minister to use this Ivors Week to remember that the vibrancy and success of the UK’s music industry are built on the creative activities of songwriters and composers, and that it is not achieved in a vacuum. The pandemic compounded the everyday struggles of our talented artists and exposed the cracks in the industry’s infrastructure.

In classrooms, music venues, festivals and, of course, the money that musicians should be paid, the need for reform and investment is evident. A career in music can be viable, but there is work to be done to ensure that those who have the talent, from whatever background, have a chance at success.

Muslim Community in Wales

Debate between Esther McVey and Kevin Brennan

Wednesday 23rd February 2022 Westminster Hall

[Kevin Brennan]

I endorse everything my hon. Friend said and add that my constituency is also home to Glamorgan county cricket club. There has recently been controversy regarding racism in cricket. I am a member of the Select Committee on Digital, Culture, Media and Sport, and the chair of Glamorgan recently appeared before us to talk about some of those issues. Glamorgan is based at Sophia Gardens and has one of the largest Muslim communities in the country—certainly in Wales—on its doorstep at Riverside.

By the way, Riverside is on the west of the river, but the Conservative party does not seem to have noticed that in its proposals on boundary changes, and they somehow want to move part of the west of Cardiff to the other side of the river. We will have to fight them tooth and nail on that, because that is where the heart of the Muslim community is in my constituency, in Riverside, on the west bank of the River Taff, which is the major geographical boundary in Cardiff and should be respected by one and all. Hopefully, the Welsh Conservatives will revisit that crazy idea as the Boundary Commission hearings go on.

Before you tell me off, Ms McVey, for straying too far from the subject of the debate, I want to say that I am proud to represent the Muslim community in Cardiff West and across Wales. As others have done, I praise the political contribution that the Muslim community make to all political parties in Wales. With the retirement of Councillor Ramesh Patel, who has made an incredible contribution, I am pleased that Welsh Labour has selected Jasmin Chowdhury as the candidate for Canton ward, where I live. I wish all candidates well, but particularly her, in the forthcoming local elections in May.

However, there is one Muslim constituent that I am missing at the moment, and he is a young man called Luke Symons. Like many people from Cardiff, he has a family background linked to the history I talked about earlier and linked to Yemen. A few years ago, Luke travelled to the middle east in search of his roots and ended up looking up his family in Yemen. He converted to Islam and married a local girl. Sadly, five years ago Luke was detained at a Houthi checkpoint, having tried to flee the country when civil war began. For the last five years he has been held by the Houthis in Sanaa, without trial and without being accused of any offence.

I appeal to everyone here to support Luke and his family. His marvellous grandfather, Bob Cummings, whose background was as a merchant navy man, has campaigned tirelessly to get Luke released. I appeal to the Minister, in particular the Wales Office Minister, to put pressure on his colleagues in the Foreign, Commonwealth and Development Office to do more about Luke’s case.

It is completely wrong that the Foreign Secretary picks and choose which families to meet of the British detainees who are held overseas without any justification. She and her predecessors have refused to meet Mr Cummings, Luke’s grandfather. He has met with other Ministers, but he wants a meeting with the Foreign Secretary; other families have been granted that privilege. I think it is outrageous that he is discriminated against in this way, and that Luke’s case is not given the priority it should be given by the Foreign, Development and Commonwealth Office.

Last year in Yemen, many hostages of many nationalities were able to be released. However, somehow or other, Luke, who should be taking his place in the Welsh Muslim community with his wife and child, was not got out at that time—while other nationalities were. Why is it that we as a country seem so poor at being able to get our people home in those circumstances, when other countries succeed in doing so? What is going on at the FCDO that means we have a terrible record in looking after our own citizens? I sincerely ask the Minister to take an interest in Luke’s case, and put pressure on his colleagues in the Foreign Office to do two things. They should, first, do everything they possibly can to get him released so he can come and re-join the Welsh Muslim community in Cardiff and, secondly, put pressure on the Foreign Secretary to agree to meet with Luke’s grandfather, Bob Cummings, so that he can put to her directly the impact this case is having on their family.

[Esther McVey (in the Chair)]

We have certainly had a full debate today. I am now going to move to the Front Benchers.

Arms Trade: Yemen

Debate between Esther McVey and Kevin Brennan

Tuesday 20th April 2021 Westminster Hall

[Kevin Brennan (Cardiff West) (Lab)]

I want to take this opportunity to remind colleagues of the human consequences that the arms trade and conflict in Yemen can have on people. Four years ago, in April 2017, my constituent Luke Symons was stopped at a Houthi checkpoint in Sana’a and detained. He has been held in prison ever since for no reason other than that he holds a British passport.

Luke’s is a very typical Cardiff story in many ways. The rapid growth of Cardiff as a coal exporting port in the late 19th and early 20th centuries brought many Yemeni and Somali sailors to the city. Luke comes from one of those Cardiff Yemeni families who still have relations in the country. On a visit to Yemen in 2014, he met his future wife and settled there before the conflict broke out. They desperately tried to leave, but were unsuccessful before Luke was detained.

I appeal to the UK Government to redouble the efforts they have already made to secure Luke’s release and secure safe passage for him and his wife and child to the UK. I thank the Foreign Secretary and the Minister for the Middle East and North Africa, the right hon. Member for Braintree (James Cleverly), for their efforts so far.

I also appeal to Luke’s Houthi captors, during this holy month of Ramadan, to release him. His grandfather, Bob Cummings, who has a deep and abiding love for the people of Yemen and the middle east from his time as a merchant seaman, has campaigned tirelessly for Luke’s release. Luke’s grandmother, Sheila, who played a big part in his upbringing, is very ill and deeply worried about his welfare. It would be an act of mercy and compassion and would show the Houthi leadership in a good light if, after four years of this sad affair, that young man of 29 years, who is simply caught up in events and has committed no crime, could be reunited with his wife and child and wider family. That is the plea from the family to his Houthi captors, and I sincerely hope it will reach them and their hearts.

[Esther McVey (in the Chair)]

We have managed to get all the Back Benchers in, but the Front Benchers will have to shave down their time to four minutes and then eight minutes.