Data (Use and Access) Bill [HL]

Lord Black of Brentwood Excerpts

Consideration of Commons amendments and / or reasons
Monday 12th May 2025 Lords Chamber

Whatever noble Lords’ party allegiance, I ask them to make clear to the 2.4 million people who make up the creative industries and their dependants, to the would-be creators of the future, and to the citizens of the UK who enjoy and benefit from their creativity, that their property, their labour, is worthy of our protection—apart from anything else, it is not ours to give away.

[Lord Black of Brentwood (Con)]

My Lords, I declare my interests as deputy chairman of the Telegraph Media Group and chairman of the Royal College of Music.

It is a great pleasure to follow the noble Baroness, Lady Kidron; I strongly support Motion 49A in her name. All who value the creative life of our country owe her an enormous debt of gratitude for her doughty campaigning, and I agree with everything that she said in thanking all those who have taken part.

At the heart of this debate there are—the Minister made that point—two complex policy issues: the rapid development and regulation of AI and the operation of copyright law. Both can seem a bit daunting to those not directly involved. AI is scary, copyright law is highly complex and many would be forgiven simply for wanting to steer clear. But not one of us can turn our back today with impunity on this issue. We all have a responsibility because, if we strip this debate back to its basics, there are three very simple principles at stake that affect all our lives and are central to everything that this House stands for.

The first is the defence of property. For centuries, since the copyright Act of 1709, when an individual has created something—a book, a film, some music—they have retained ownership of it and earned a living from its use. It is their property and the law protects them. That centuries-old right is under threat for the first time because the Government refuse properly to apply the law to artificial intelligence, allowing it simply to plunder someone else’s work and profit from it. They are putting AI beyond the scope of the law by failing to give creators the transparency they need to inform it.

At heart, this is dead simple. Unless this Bill is amended, it is the equivalent of saying to a homeowner that, once they have bought a house and filled it with their possessions, the Government want them to leave the front door wide open, invite anonymous passers-by to come in, take anything they want for free and allow them to go away and sell it for their own profit, while the homeowner has no protection at all in law. It is legalising theft. This amendment simply seeks to allow those who create content in an age of rapacious AI to put a lock on their door and protect their property by letting them know when theft is taking place and giving them a form of redress. If this House stands for anything, it must stand for the protection of property.

The second is the nurturing of human creativity. It was Beethoven—the noble Lord, Lord Berkeley, will correct me if I have got this wrong—who once said that there is a “divine spark”, a creative genius, in all of us. Whether we paint a picture, take a photograph or write a piece of music, we all have something in us that allows us to express ourselves and enrich the lives of others in doing so. It is copyright that protects our ability to do that. That is why the creative life of the UK has always been so vibrant, so colourful, so entertaining and so powerful. It is why our creative industries flourish and play such a vital role in economic growth. If you take away copyright protection, you snuff out that divine spark and endanger the livelihoods of those who depend on their own creative ability for their living. If this House stands for anything, it must stand for nurturing creativity and the divine spark.

Finally, and most importantly, there is the defence of democracy itself. If it has been said once in this House, it has been said a thousand times: democracy depends on the existence of a free, independent press, empowering the electorate with reliable information and scrutinising those in power. That role is even more important in an age of disinformation and unverified, unregulated, AI-generated content, with editorial judgment and oversight overtaken by algorithms and the tyranny of recycled, distorted, circular information. But the provision of independent and verified regulated news will be among the very first victims of AI if this amendment is not passed and we do not act very soon.

I do not say this lightly; having spent almost my whole career in the media, I am choosing my words very carefully, but I have to give the House this warning. AI has the capacity utterly to destroy independent news organisations, because it feasts off millions of articles written by journalists without any attribution or payment, destroying the business model that makes the free press possible. Without action this day, news will die in the cold darkness of cyberspace, where no legal framework exists: the advertising which supports it taken by the platforms, its content stolen by AI. There will be only a husk left.

The answer is this amendment, which will turbocharge an embryonic licensing market to ensure fair payment for creators and access to high-quality information for AI models. If the AI developers are forced to declare whose content they are taking, they will know they will end up in the courts if they do not negotiate a licence. The term “existential threat” is bandied around too much, but this is not crying wolf. Unless we introduce transparency, control over content and fair remuneration within in a dynamic licensing market, the threat to free media is genuinely existential. As a consequence, the threat to democracy itself is also genuinely existential. If this House stands for anything, it must stand for democracy.

We have to act now. The Bill’s laissez-faire approach to copyright protection, in craven obeisance to the platforms, means that we will not get any action on transparency until well-nigh the end of this Parliament. For many publications, however, by that point, the end will already have come, and, once lost, there will be no way of recreating the plural, competitive media that has sustained parliamentary democracy for centuries. It is game over. That may sound alarmist, but it is absolutely what is at stake here. To any noble Lord considering voting against this amendment, I say this: it is already five minutes to midnight for our free press and our democracy. Unless we back this amendment today, history will damn this House with its most deadly words: “Too late”.

[Baroness Benjamin (LD)]

My noble Lords, friends and those of a creative disposition, lend me your ears. Even though I have come late to this Bill, I wonder what Shakespeare would have had to say about Al. Last night, I presented the special BAFTA award to ITV for commissioning the landmark drama “Mr Bates vs The Post Office”, which is British television at its best. I wondered whether AI would have had the intuitive instinct to create such an important drama, which brought about societal change. That is why I rise to strongly support my intrepid friend, the noble Baroness, Lady Kidron, on her Motion 49A and declare an interest as per the register.

As this Bill has shown, we stand at a fascinating—and perhaps unsettling—crossroads in the world of creativity. The rise of artificial intelligence is no longer a futuristic fantasy. It is a tangible force, reshaping the very fabric of our creative industry and potentially stealing livelihoods and, most of all, our children’s future. Do the Government really want that to be part of their legacy?

For centuries, the essence of acting or singing has been a unique connection between a human performer and an audience. We pour our emotions, experiences and understanding of the human condition into convincing characters, telling stories that emotionally connect. Now, however, AI is stepping on to our stage, offering digital doubles, synthesised voices and the potential of entirely AI-generated programmes, including animated children’s programmes.

The immediate impacts are already being felt. AI tools can now replicate an actor’s likeness and voice, raising concerns about the unauthorised use of identities, both living and deceased. The ability to create digital doubles or stunts—or even entire scenes—will reduce the demand for human actors. Some argue that AI will be a tool to enhance our craft, aiding in voice training, accent work or even music and scriptwriting; but the underlying anxiety about job displacement is real and valid.