Music Streaming: Label-led Principles

14:28:00

And now for something completely different. With permission, Madam Deputy Speaker, I will make a statement about the Government’s progress with industry on the remuneration of artists in the music sector. Music is not just the food of love. It does not just set our hearts dancing and express our deepest desires. It does not just showcase the UK to the world. As part of our dynamic creative industries, which we have identified as one of the eight priority growth sectors in our industrial strategy, it is key to our economic future as well. That is why music is at the heart of our new 10-year creative industries sector plan. Our new music growth package will more than double Government funding for the industry to £10 million annually for the next three years. That will help UK artists to achieve domestic and international success, while nurturing our grassroots music scene. We want the UK music industry to thrive, but we know that it will not unless artists receive their fair share of the rewards, especially in the new era of streaming. The stereotype of artists starving in garrets is not a model for a successful industry. Musicians deserve their fair reward, and the industry will only flourish if new generations of musicians are able to make a living, so it is with pleasure that I announce today an important milestone: UK record labels have agreed to new measures that will boost the earnings of legacy artists, songwriters and session musicians. The UK music industry is a global powerhouse. Coldplay, Adele, Stormzy, Ed Sheeran, Dua Lipa, Raye, Bryn Terfel, Alfie Boe, Iestyn Davies—our country has been the birthplace of genre-defining talent that has shaped the soundtrack of generations, so it is no surprise that we are the third largest music market in the world, and the second largest recorded music exporter. The first music streaming service started in 2001, and streaming now accounts for a majority of music revenue. This has created a series of challenges for the UK music industry, radically transforming how audiences experience music, how musicians earn a living, how record labels treat their artists, and how artists access different markets. The Culture, Media and Sport Committee sought to address some of these issues in an important report on music streaming in 2021. In response, the Competition and Markets Authority completed a market study into music streaming, and the Intellectual Property Office conducted research on potential copyright reforms. In spring 2024, three years after the Committee’s report, the then Government finally launched the creator remuneration working group, which is tasked with “exploring and considering industry-led actions on remuneration from music streaming for existing and future music creators”. The Government convened the group once before the general election, and I chaired my first meeting with it within a month of taking office. I am pleased to announce that after six meetings and a series of bilateral discussions—some of them quite difficult—this work has resulted in a set of measures from UK record labels that they estimate will deliver tens of millions of pounds of new investment to support UK artists by 2030. Central to this is a new set of principles that will be adopted by the British Phonographic Industry and the Association of Independent Music, and recommended to their UK label members. Some independent labels are already implementing the principles, and I am delighted to say that the three major labels—Universal Music Group, Sony Music Entertainment and Warner Music Group—will adopt them and introduce bespoke packages to boost the earnings of artists, especially legacy artists who signed up before streaming came on to the scene. In order to address the specific challenges faced by smaller labels, the BPI and the AIM are encouraging them to provide targeted support that is appropriate for their size and resources. The principles will commit labels across the UK to providing targeted support for legacy artists, songwriters and session musicians. For legacy artists, this includes disregarding unrecouped advances, bespoke support to increase streaming engagement, and much greater clarity about the process of contract renegotiation. For songwriters, the support includes the payment of per diems for the first time, with major labels Warner UK and Universal UK committing to a payment of £75 per day, in addition to expenses. Sony UK will fund a bespoke new songwriter support programme, in partnership with the Ivors Academy, to provide financial support and assistance to songwriters; these payments will not be charged as a recoupable cost from their advance. For session musicians, the support includes an increase in session fees, agreed at the end of last year, and a commitment to reviewing their income from broadcast and public performance. The principles announced today will complement the industry code of good practice on transparency, and the industry agreement on metadata, which we published in 2024. They mark a major milestone in the Government’s work with the music industry in response to the Culture, Media and Sport Committee’s 2021 report on the economics of music streaming. Some concerns remain with regard to the deal for session musicians, which is why I will convene a further meeting with industry to discuss those issues. We want these measures to be delivered in full, so that artists see real improvements. The Secretary of State and I want legacy artists to see their work revitalised and introduced to new audiences, and to have their unrecouped balances disregarded and their contracts renegotiated. In order to track progress and measure success, we will work closely with members of the creator remuneration working group, including the Council of Music Makers, on implementing a robust monitoring process, through which we can evaluate the extent to which the principles improve earnings, as intended. The Government will then assess the need for further intervention to ensure that this package delivers on its objective of bringing about real change for creators. This is neither the end of the road nor the lifting of the needle on the record, but it is a pivotal point. If the principles we have discussed are truly implemented, they have the potential to improve the lives of artists across the UK. I am deeply grateful to the BPI, the major labels and the Association of Independent Music for engaging with this work. I want to recognise the dedication of the Council of Music Makers, which includes the Featured Artists Coalition, the Ivors Academy, the Music Managers Forum, the Music Producers Guild and the Musicians’ Union, for its tireless commitment to its members. Finally, my thanks go to the Culture, Media and Sport Committee and its predecessor Committees for shining a powerful light on this issue. I commend this statement to the House.

A love of music is something we all share. All of us have favourite songs that make up the soundtrack to the most meaningful moments in our lives—moments of joy and sorrow. They are songs that live forever. Our music industry is a true global success story; it has global stars like Adele, Ed Sheeran, and my favourite band, Oasis, and world-class cultural institutions such as the Royal Academy of Music and the London Symphony Orchestra. Our music industry remains one of our greatest and strongest exports to the world. It not only showcases our talent on the world stage, but contributes £8 billion to our economy. It is truly a jewel in the crown of our thriving creative sectors. As the Minister has noted, streaming has transformed the music industry, benefiting both listeners and artists. Audiences now have access to more music than ever before, and artists can reach listeners on a scale they could only dream of in the past. However, as the Minister identifies, there is concern about whether artists receive a fair deal in this delicate ecosystem, and the Opposition share that concern. Although contracts between artists, labels and streaming platforms are private commercial agreements, I know that Members on both sides of the House agree that the success of streaming should not come at the expense of artists’ livelihoods. In 2022, the previous Conservative Government asked the Competition and Markets Authority to conduct a study into the music and streaming services. I was encouraged to learn that the CMA found no evidence of publishing revenues being suppressed by distorted or restricted competition, and that the share of streaming revenues going to publishers and songwriters has increased from 8% in 2008 to 15% in recent years. However, concerns remain, especially around the use of artificial intelligence across the creative industries. I know that the Government have commissioned independent research on the impact on creators, performers and the wider industry of potential changes to copyright law in the areas of equitable remuneration, contract adjustment and rights reversion. Furthermore, the Centre for Data Ethics and Innovation has completed research on the playlisting algorithms used by streaming services. I can assure the Minister that Members on both sides of the House want a better deal for artists, songwriters and performers. That is why we broadly welcome the Government taking an industry-led approach to this issue. If only they did that elsewhere! I must, however, press the Minister to provide assurances to the House. First, what consequences will there be for labels that fail to comply with the new principles, and what percentage of artists does he believe will benefit from today’s announcement? Secondly, what message does he have for creatives and publishers who remain deeply concerned that they are not being fairly rewarded for their hard work? Lastly, will the Government commit to reviewing these reforms within 18 months, to ensure that they are working for the industry?

Incidentally, I see that the former shadow Secretary of State is here, the right hon. Member for Daventry (Stuart Andrew), now shadow Secretary of State for Health and Social Care. We wish him well in his new job. It is a great delight to hear from the hon. Member for Old Bexley and Sidcup (Mr French), but he is always so grumpy when he actually wants to say, “Well done.” I do not know about you, Madam Deputy Speaker, but I sometimes think of the Conservatives as the “all fur coat and nothing else” party, because they make nice statements but never actually do anything. It is fascinating to hear him say, “We have a concern about the remuneration of musicians.” Why did they do absolutely nothing on this subject when they were in government? It has taken a Labour Government to sit down with industry and creators to make sure that we delivered a change for people. The hon. Gentleman asks what happens if people fail to comply. I am absolutely confident that all the labels that we are talking about will want to adopt the principles, because they have been part of the negotiating process. We had to have tough conversations at various points, but they have signed up to the principles and will deliver on them. I am confident that if any legacy artist says to their label, “I want to renegotiate my contract,” they will have a chance to renegotiate, although the precise terms of that renegotiation will of course be a matter for the artist and the label. Some people who signed a contract before streaming came into existence might have been on a rate of something like 8%, 9%, 10% or 11%. They will be able to negotiate that up to a digital right more like 20%, 25% or 30%. That will make a significant difference to legacy artists. Many people have made the very strong point that it is all very well increasing the number of streams of a legacy artist’s work, but if they do not get any more money as a result, that will not really benefit either the record label or the legacy artist. I am very confident that this package will deliver. The hon. Gentleman asked about having a review in 18 months’ time. I can do better than that: as I have said, we will review this in 12 months’ time, because if the package has not delivered, we reserve the right to bring in legislation. I made this point several times. In the EU, there is an equitable renumeration clause in legislation, and if we felt the need for that, we could progress that. However, after our really good discussions with all the parties, I am very confident that all of them want to comply with this package. I will make one other point about songwriters. Lots of people know the famous names we all talk about—the hon. Gentleman referred to Ed Sheeran, Oasis and so on—but a lot of those who really deliver are the songwriters; they create the things that rattle around our brains for years and years. Making sure that they are not out of pocket was one of the really important principles I wanted to adopt. I am really proud that, for the first time, there will be per diems—£75 a day, plus expenses—to make sure that no songwriter is out of pocket. That is matched with the deal that the Ivors Academy is doing with Sony, for £100,000 a year. We have to invest in the songwriters of the future, so that we have the strong music industry we want for the future, but I am not impressed by his fur-coatery.

On famous names, I call Paul Waugh.

Thank you, Madam Deputy Speaker. First, I declare an interest, in that my son Fin is a member of the band Big Huge New Circle, whose latest single “Pearl” is out on Spotify, and is recommended by Clash magazine, which calls it “beautifully complex”. I welcome today’s announcement, particularly the introduction of per diems and the session musician uplifts. I thank the former Member for Cardiff West, who is sitting in the Peers’ Gallery, for all his work on this. It is hugely welcome, and perfectly timed for the Musicians’ Union delegate conference this week. Given the widespread concern about fair pay for streaming, and how long it has been since our Select Committee first reported on this, can the Minister explain what further powers the Government hold to intervene if these industry-led measures fall short?

First of all, can I wish—was it Big Huge New Circle? [Interruption.] Yes, Big Huge New Circle. So we have got it in Hansard three times now. I will take my fee later—10% obviously. Or 15%; it is 15% for lots of agents these days. Obviously, the future of the music industry in the UK depends on having a pipeline. The single most important thing we can do is make sure that every single child has an opportunity to be a musician at school. Creative education in our schools not only delivers by providing musicians, but is a force multiplier for lots of other forms of education. That is something on which I am working very closely with the Department for Education. I note that Lord Brennan is up in the Gallery—that is another song from music hall, I think. My hon. Friend is absolutely right that Lord Brennan, who was on the Select Committee, was one of the driving forces making sure that there was not only a first report, but a second report in the last Parliament; he held the Government’s feet to the fire. I am determined to do precisely the same when it comes to the record labels. I honestly believe that we will now have one of the best arrangements in the world for the remuneration of artists from streaming, and I am sure that the record labels will stick with the arrangement.

I call the Liberal Democrat spokesperson.

Britain’s musicians have long been our most beloved cultural treasures. In the crowded field of excellence in our creative sectors, our musicians are some of our proudest exports. They are part of a £124 billion industry that drives our economy, so support for our legacy and session musicians is completely overdue and very welcome. The musicians covered include the Devines in Berkhamsted, upcoming artists like Myles Smith, and national treasures like Elton John—I agree that Adele is one of our national treasures—and, as was mentioned, all those around them: songwriters, producers, and those who support them. Technological change means that online streaming now constitutes the vast bulk of music consumption, and 120,000 new tracks a day are uploaded to music platforms. This often leaves a hole in musicians’ income, so it is absolutely right that the Government are taking this issue seriously. We simply need to get this right, so I ask the Minister to clarify for the House how much confidence we can really have that the principles he is spelling out will finally lead to a more equitable distribution of streaming revenue. Ultimately, this is a label-led, voluntary framework; where is the independent oversight? Crucially, what guarantees are there of consistency or enforcement across the industry? We have raised this issue many times in the past, but it remains true that if we are serious about protecting artists’ right to remuneration, we need to ensure that copyright, which has underpinned success for decades, works in our digitally evolving world. Musicians and creatives face an AI tsunami, which could pose a threat to their livelihoods; we need to tackle it seriously. I conclude by asking the Minister once more to consider swifter action from the Government on copyright and data mining, in order to support our musicians and creatives, as well as innovation across the UK.

I think the hon. Member is in danger of becoming a national treasure herself. [Interruption.] Oh, I see that I have not united the House on that, but—[Interruption.] The right hon. Member for Daventry cannot keep heckling; he is the shadow Health Secretary now. The important point is that the hon. Member for Harpenden and Berkhamsted (Victoria Collins) asked what confidence we can have that this will be adhered to, and I am very confident that it will. I have had face-to-face conversations with all the chief executives of the major record labels, and although sometimes I have been asking them to go further, they have gone that extra mile, and I am absolutely sure that they will deliver on this. I am confident that any legacy artist who wants to renegotiate their contract will be able to do so. We will be looking at precisely how that happens. If anybody is not happy with their renegotiation, we have included in the principles a means of appealing. That is obviously a major role of the Musicians’ Union, but if by the autumn we suddenly find that lots of musicians are saying, “Excuse me, but I haven’t managed to renegotiate with my label”, then we will be returning to this issue. The record labels are fully aware of that, but they are determined: each is going to put together a bespoke package to try to revitalise legacy work. They are also looking at wiping off unrecouped balances and making sure people can earn more into the future. The one thing I have always been nervous about it is that I do not think Governments should be writing contracts. This is really important. Julie Andrews, when she took the role of Maria in “The Sound of Music”, decided—or this is how the negotiation ended up—that she would just take an up-front free, and she never got paid any royalties thereafter. That was probably a poor decision, or she was not given any other choice. However, I think Schwarzenegger, when he made movies, quite often decided to take the royalties and did not take any up-front fees. Different artists will enter renegotiation in different ways, but we wanted to rebalance the equation so that it is more in the interests of the musicians, and that is what we have done.

I welcome this statement; it is brilliant. Three weeks ago, I had the most fantastic visit to Universal Music—thanks to Charlotte Allan for sorting that out. I also spoke to the chief executive, Dickon. Their support, love and continued passion for bringing in new artists was really transparent and obvious to me, so to hear this arrangement for legacy artists is just wonderful. It was not done in a timely enough manner, but it is wonderful that, just over a year after getting into power, we have effected this change; I thank the Minister for that. I am also very pleased to see in the statement a commitment to having more conversations with session musicians on ensuring that they get the recognition they should be getting. Will he give me some idea of the timeframes for those next steps?

I am grateful to my hon. Friend for what she said about Dickon. He was really very helpful at Universal in the process of getting us to this place, particularly on the issue of per diems—the £75 a day—which was one of the major asks of the Ivors Academy, and I am really pleased we were able to do that. She is right that we need to look at session musicians, and of one of the undertakings I have made is that I will be getting the BPI and the Musicians’ Union together to discuss that matter again this autumn. I hope that will be in the first couple of weeks of September.

Given the Minister’s helpful references of a sartorial nature to his opposite number, may I congratulate him on his carefully understated choice of necktie today? I shall certainly remember to bring my dark glasses next time he is on parade. Can he explain to me—as an ardent Swiftie myself—what protection performers, such as the son of the hon. Member for Rochdale (Paul Waugh), have against their tracks being uploaded by anyone to a service such as YouTube, whereby it is possible for people to enjoy their music without apparently paying them any royalties at all?

I am grateful for the comments about my tie. I would say that it is understated compared to some of the other ties I have worn, so I am grateful to the right hon. Gentleman for his commendation on my sartorial elegance. But he is wrong about YouTube. YouTube is one of the streaming services and people are remunerated. One could argue that they should be remunerated more, but if people are breaching copyright, that is an offence and it needs to be pursued. Record labels are pretty keen on doing so on behalf of their artists, but, as I say, YouTube is one of the streaming outlets.

I welcome the Minister’s statement and his work along with the Government. We will now be among world leaders in supporting our creative industries, especially on streaming remuneration. Will he outline how he will ensure the changes fairly benefit all artists, including legacy performers, session musicians and those outside major labels? What steps will be taken to enforce industry-wide implementation, especially if voluntary measures fall short?

The argument for doing this is partly because all musicians simply do not earn enough to make a living. That is the truth of the matter. Having 12 million streamings might equate to earning a theoretical amount of money, but the musician will not earn that amount because it will be diluted by the various processes it goes through—the money the agent takes and all the rest of it. Maybe that is why so many artists have produced songs about poverty—even Destiny’s Child, with “Bills, Bills, Bills”. It has been an obsession for many artists. There is sometimes the impression that an artist, in music or in any other creative industry, can only be really good if they have struggled a bit, but the truth is that we want people to be able to make a living out of their creative industry. A key part of being a Labour Government is being able to deliver that.

May I invite the Minister to congratulate Isle of Wight band Wet Leg on reaching the top of the albums chart, a particular achievement given that it has beaten Oasis, which I know has personally disappointed my hon. Friend the Member for Old Bexley and Sidcup (Mr French)?

Yes, I am more Wet Leg than Oasis as well.

As co-chair of the all-party parliamentary group on music, I commend the Minister on doing an excellent job of bringing record labels into these new provisions. The history of the music industry is sadly full of tales of exploitation, and the industry has proved notable for its intransigence. Protecting the dignity of British songwriters by putting money in their pockets is a welcome step, and it is pleasing to see greater transparency over artists’ renegotiations. However, it is clear that the label provisions, as helpful as they are, do not change or rectify the economic injustice of the streaming model as it stands. As the Minister knows, copyright law was not brought up to do date for streaming, never mind for what is approaching with AI. More than half the membership of the Musicians’ Union earn less than £14,000 a year. I commend the Minister for his efforts, but can he also offer Members reassurance that this is not job done, when so many music creators and workers are still so poorly served by current arrangements? What more is he going to do for new and emerging artists in terms of the streaming model?

The one bit we have not been able to address is the amount of money that goes from the streamers themselves directly to the record labels. That is an international settlement, so it is more difficult for us to address. There was a time, when I first arrived in the House, when musicians were getting absolutely nothing and the amount of money going to record labels and musicians fell off a cliff because of pirated music. Spotify and other streaming services then came into the equation and managed to rectify some of that, but the situation is far from ideal. I wish more of the money was going directly to the artists. It is my own personal decision that I do not stream music; I buy music, because I think more of the money goes to the artists that way. But of course, for millions of people in the UK—even for the Swiftie over there on the Opposition Benches, the right hon. Member for New Forest East (Sir Julian Lewis)—I am sure that streaming is a convenient way of accessing music that they might never have come across otherwise.

I welcome today’s announcement, not least because I am the mum of an aspiring composer and performer. I was pleased that the Minister mentioned the work of teachers and the Department for Education in supporting music in schools. Credit should go to Mr Wardrobe from Downlands community school in Hassocks for putting together the band Room 3, by literally putting them in the practice room, room 3, when they were at school. They are now doing really well and performing regularly in Brighton. How can the Minister ensure that the benefits announced today are not just concentrated in London, but benefit all the regions, including Sussex?

I commend Mr Wardrobe, who has made the room where it happens musically. I commend all music teachers. I remember when I was at school, our music teacher decided that the boys’ choir should sing a song from a musical. Unfortunately, it included the lines, “I don’t know how to love him…And I’ve loved so many men before” and he suddenly decided that we would not be singing it anymore—so music teachers do not always get it right, but sometimes they are courageous. It is really important we ensure that this is about not just London, but the whole UK. That is one reason that it was important that we got the per diems issue sorted. Songwriters from across the UK sometimes do have to travel into London for song camps, writing camps or whatever, and making sure they get their expenses plus a per diem is a really important part of ensuring that this does not just apply to some people in our cities.

I refer the House to my entry in the Register of Members’ Financial Interests. I really welcome the statement, which provides more support for grassroots music creators. It is also important that grassroots music creators have the grassroots music venues to play in, including the fantastic Acoustic Couch in Bracknell. Will Minister update the House on the Department’s plans for supporting grassroots music venues across the country?

Yes, and I commend Acoustic Couch. I have not visited, but I am sure an invitation will be on its way very soon. We want to preserve as many of our small music venues as we possibly can. That is why we are pushing as hard as possible the idea of a £1 levy on arena tickets. I am delighted that the Royal Albert Hall announced yesterday that it will be first venue across the UK to implement that. I have pushed Live Nation to step up on this and it said, “Yes, yes, yes,” but it felt a bit like, “Maybe, maybe, maybe”, so I am still saying, “Quando, quando, quando”.

I welcome this industry-led approach—that is the right thing to do—but we also need to bear in mind the artists who need remuneration at the end of it. They are not doing it for the money, but they do deserve to be paid. What plans do Ministers have for the independent monitoring of the implementation? I ask that so the Minister does not himself have to retain an eye of the tiger at all times.

Oh dear, the hon. Gentleman is worse than me. [Interruption.] Oh yes he is—and it’s not even panto season yet! [Interruption.] He has a very moderate tie, though. It is important that we have proper evaluation. We are in the process of working out precisely how we will do that. I have said to the group that we will convene in a year’s time. By then, we will have evaluated fully whether this has really worked. I am honestly very confident that it will deliver the goods. The hon. Gentleman says that artists are not necessarily doing it for the money. I went to see Alison Moyet at Kew Gardens a couple of weeks ago. She was absolutely magnificent. At the beginning of her set, she said, “I’m not necessarily going to play what everybody wants me to play, because this isn’t karaoke. I’m an artist and a musician, not just a celebrity.” That balance is really important for lots of artists and musicians. They need to earn a living, but they are also artists who have their own conditions and they need to be able to pursue what lies in their heart.

I start by—[Interruption.] Oh, that is a bright tie, Minister. I start by echoing earlier comments thanking the former Member for Cardiff West, the unions and the Ivors Academy for their important campaigning on this issue, and I congratulate the Minister for getting this important deal over the line. The music industry has long suffered with issues of transparency, and I have no doubt that the Minister will want to ensure that these announcements make a real-world difference. Will he therefore tell us a little more about the independent scrutiny that will be in place to ensure that these new measures are implemented, and will he say whether there is a means of auditing what benefit music makers will see from these changes?

My hon. Friend is absolutely right. We need to ensure that the new measures are implemented. As I say, I do not want to undermine confidence in that, because I do not want to give anybody a get-out clause for not implementing them. We will be working over the next few weeks with both the BPI and the Association of Independent Music on putting together a proper evaluation process over the next year, and I hope I will be making a statement in a year’s time—although obviously that will not be up to me—on precisely how it has worked out. As I said earlier, I reckon this is worth several tens of millions of pounds of extra investment in the British music industry, and I think we will see that it has delivered. Just returning to the issue of my tie, Madam Deputy Speaker: it is a Day of the Dead tie by Van Buck.

The Minister does very well to shake off the abuse about his tie from the Swiftie on the Opposition Benches—it is mainly empty spaces there—the right hon. Member for New Forest East (Sir Julian Lewis). His reputation remains unscathed. Calder Valley has a thriving creative sector with lots of small and independent artists who have lost out to streaming. Today’s announcement is welcome, of course, but small artists face the twin threat of both AI and streaming. Will the Minister assure me and the House that he will do more to ensure that those small artists can get the money in their pockets, where it belongs?

The point I made about the remuneration of musicians, and all forms of artists, applies equally to streaming and to AI. The Secretaries of State for Culture, Media and Sport and for Science, Innovation and Technology held their first meeting last week with the creative industries and AI companies to discuss how we proceed on the issue of AI and copyright. There is a broadly outlined set of principles, one of which is undoubtedly that those who made the original work must be remunerated when it is used to create some other form of work and some other form of value. I agree with my hon. Friend on his point about empty spaces on the Opposition Benches—empty chairs at empty tables.

Today’s news is great, especially for the artists and musicians in my constituency who regularly play at the Bootleg, a fantastic venue that we must ensure stays open for future generations to enjoy as my dad and I have enjoyed it. What plans are in place to engage with artists, representatives and the trade unions to ensure that today’s welcome changes deliver meaningful improvements for artists at all stages of their careers?

It is good to see my hon. Friend in his place. I gather that the pier is for sale—

I am not sure whether he is intending to buy it himself. Of course, many acts have appeared on the pier over the years. My hon. Friend makes the point again about the importance of having small venues where people can perform to start and build their career and end up as the kind of household successes that we know. Not everybody will earn millions from music, but we do want many more people to be able to make a decent living out of their music in the UK. Establishing good terms of trade and having a strong copyright regime is absolutely key to delivering that. The Musicians’ Union was a key part of the discussions that we held throughout the last year.

For the final question, I call Chris Vince.

Thank you, Madam Deputy Speaker. There was some mention of national treasures earlier; to quote Alison Moyet, “Only you”. [Laughter.] I won’t be called last next time. From the Newtown Neurotics to Don’t Worry and The Subways, Harlow has always had a vibrant music scene. What plans does the Minister have to engage with artists at all stages of their careers to ensure that these welcome changes provide meaningful improvement?

Well, I am “All Cried Out” that I was not on my hon. Friend’s list of national treasures. He makes a very important point. We need to ensure that these changes apply across the whole of the United Kingdom. In her performance at Kew, Alison Moyet also made the point that every child is a musician and an artist until they are persuaded not to be at some point in their life. This is what I really want to embrace in everything that the Government do in this area, in relation to the creative industries; we talk about film and the big, famous successes that we have in the UK, but actually, a lot of it is about real hard graft by people who have had to learn how to perform well, what it is to be in front of an audience, how it is to market their performance and all the rest of it. It is tough, tough, tough. Half the time, all those musicians are saying to the record labels is, “You pay my rent.”