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The Minister for Media, Data and Digital Infrastructure (Julia Lopez)
It is a pleasure to serve under your chairmanship, Dr Huq, and I am really glad to be here to discuss the important issue of touring. I am particularly grateful to the Mother of the House for engaging on this issue and setting out some of the economic, cultural and quality-of-life reasons why music is so important to us all. I certainly agree with her; I do not want the UK to become a cultural Galápagos, and I am confident that it will not. I am very glad that she has also spoken directly to the Secretary of State, and has acknowledged our mutual desire to get movement on this issue. I am also very grateful to her for offering to work in close partnership on this issue, and I shall take her up on that offer.
I appreciate the contribution made by my hon. Friend the Member for Somerton and Frome (David Warburton). He is an accomplished musician and a great champion for the industry, and I look forward to working with him. He also makes a very important point about the importance of services as well as goods, an issue that I agree is too often overlooked. I also emphasise that the cultural industries are not niche industries but real economic drivers of growth. I also thank right hon. and hon. Members for the quality of the contributions we have heard today, especially from members of the Digital, Culture, Media and Sport Committee. I feel compelled to insert a Tom Jones pun, but the less we talk about sex bombs in this place, the better. [Laughter.]
I am also very grateful to the chairman of the DCMS Committee, my hon. Friend the Member for Solihull (Julian Knight), who has made a similar point about how important DCMS is as a Department. This is not some Ministry of Fun: it too often suffers from that perception, but it is a serious economic Department and it needs to have that place within Government—I would say that now that I have moved, wouldn’t I? On the cross-departmental working issue, I reassure Members that I had a former role in the Cabinet Office, so I have contacts there. I understand how some of the European issues work—the committee structures and so on—and I am very keen in this new role to champion DCMS within those committee structures, and make the point that this is an incredibly important issue. I appreciate the comments that have been made about Lord Frost; I have no desire to promote myself to his position, nor would I have the power to, but he is doing some very difficult and complex work, and we appreciate the work that he does for the Government.
As we all know, the UK has left the EU, and it was inevitable following this that there would be changes in how creative professionals toured. I appreciate that the situation has been exacerbated by the pandemic, which has led to uncertainty in the sector, which we are seeking to resolve.
Hon. Members talked about the difference between some of the larger groups, with more money behind them, and the complexity for a smaller band or individual that is touring, and how it can be very difficult to navigate the bureaucratic issues around touring. I very much hear that issue, so throughout this year my Department has been working very hard to support the touring sector by clarifying arrangements, helping the sector to adapt and, where possible, looking at what we can do unilaterally and with EU member states to make things much easier.
Indeed, I had a very good meeting yesterday with representatives of the touring sector; in fact, I think it was the seventh meeting of the touring working group. It was a really productive meeting. I took down a lot of notes myself about some of the issues that I need to raise with ministerial colleagues.
However, this week was also a positive week. We have made good progress with Spain in relation to short-term visas for touring artists, and I will meet the Spanish ambassador next week, when I hope to ensure that we have worked through all the different issues, so that there is not just a headline but we actually have the details in place. I also hope to use this moment of engagement with Spain to encourage the final six countries to follow suit and provide clarity for people on the issue.
It is clear that although some significant issues remain—I am not a Minister to try to gloss over any issues; I want to work through them—I also wish to emphasise that I think the arrangements are more workable than has at times been portrayed. It is important for all of us to try to build confidence in the sector and to say what can be done, as well as highlight some of the issues that remain.
Touring generally involves the movement of people, goods and vehicles. I will initially focus on visas and permits, but I will address some of the other issues in turn, to highlight what my Department has done and is doing to progress these issues, notwithstanding the fact that some issues are within the remit of other Departments.
In the negotiations for the trade and co-operation agreement with the EU, we sought to ensure that touring artists and their support staff did not need work permits to perform in the EU. However, those proposals were rejected. Our recent trade deal with three European Free Trade Association countries, which include those provisions, was based on the same offer, which shows that it is workable.
I am aware that there have been calls for the Government to negotiate a visa waiver; that issue was raised by a number of hon. Members here in Westminster Hall today. We have engaged extensively with the industry on this proposal, but unfortunately we do not think it is viable. It is not Government policy to agree visa waivers, and the EU did not offer a visa waiver for paid activities during the TCA negotiations. What it did offer was a reciprocal visa waiver agreement covering all current member states and any future member states for short stays, for example as a tourist. However, nothing in this proposal would have compelled member states to change their visa regimes for paid engagement, and we think that remains incompatible with our manifesto commitment to take control of our borders. In addition, we do not think that it would meet the sector’s needs. We enable visa-free visits by EU citizens, but we wish to retain control of how we apply this policy, and it is important to stress that no major G7 economy has agreed to lock in its visa systems with the EU in this way.
Lord Frost has used the TCA’s committee structures to note the importance of this issue to the Government and we have also raised touring during the most recent meeting of the EU-UK’s Trade Specialised Committee on Services, Investment and Digital. However, our focus is now on working directly with EU member states and, as we have seen with the good progress this week, it is they who are principally responsible for deciding the rules governing what work UK visitors can undertake in their country.
We first want to address the uncertainty that is felt by some in the sector. It has been apparent that the information available online from member states regarding visa and permit requirements for touring musicians is at times lacking in detail and difficult to follow. As I have said, Spain has been a particular focus, and touring was raised with the Spanish Government by Ministers from across the Government, including by Ministers from the Department for Digital, Culture, Media and Sport, from the Foreign, Commonwealth and Development Office, from the Department for International Trade and from the Cabinet Office, as well as by our ambassador in Madrid. Following that, as I have said, I am very pleased that there has been movement on this issue this week.
Kevin Brennan
I am not sure that the point about the G7 and visa waivers is a particularly strong one. After all, three of the G7 countries are France, Germany and Italy, so they are members of the European Union. The others are Canada, Japan and the United States, which are all many thousands of miles away from the European Union. We are the only G7 country that—as the Chair of the Select Committee, the hon. Member for Solihull (Julian Knight), said—is 20 miles away from the European Union and in the case of Northern Ireland no miles away. So I would not rely on that point as a very strong argument against locking in our system to a visa waiver agreement in relation to the creative industries.
Julia Lopez
I appreciate the hon. Gentleman’s intervention and I also appreciate the point he made earlier about wanting to disentangle this issue, so that it is not an immigration issue; this is about the importance of our creative industries and their economic power. I am happy to explore this issue further in response to some of the points that have been made here this afternoon.
Spain is a major market for UK touring artists, and it is one of the big ones that we wanted to solve. The sector has done tremendous work in advance of the announcement. It was a good example of where we can all work together to dismantle remaining barriers.
Twenty-one EU states have now confirmed that they offer visa and work permit-free routes for musicians and creative performers. I recognise that the visa and permit situation for touring has changed since EU exit, and it requires adaptation, but it is important to recognise that those routes exist. We try to provide clarity on gov.uk, so that people understand the arrangements before they have to leave.
At present, six EU member states do not offer visa or work permit-free touring. We have lobbied and will continue to lobby those countries to allow creative professionals to tour easily. As I say, I want to use the Spain breakthrough as a moment to re-engage with those member states. Those countries would benefit from the cultural exchange and the positive financial spill-overs that touring inevitably brings. UK Music, as others have said, has found that in the UK, for every £10 spent on a ticket, £17 goes back into a local economy. Therefore, if those EU member states change their position, we believe that they will find a similar benefit. We have emphasised that point in our engagement.
Ultimately, those are decisions for those six member states, but we are using the diplomatic tools at our disposal to get a good outcome for our industry. It is important for the Government and the sector to work together in that effort. As I said, yesterday I spoke to the sector and to the touring working group, and the Secretary of State engaged earlier this week with Sir Elton John in a productive and positive meeting. As singers and performers know, combining our voices will make the greatest impact. I appreciate the help of everyone in the Chamber in making the case.
To turn to the concerns about the movement of goods and vehicles, there are new requirements, with potential costs and paperwork to do with the ATA carnet documentation, and the movement of merchandise or of instruments made from protected materials. Some of those were raised in the meeting yesterday. The new cabotage rules can limit the movement of vehicles to a maximum of three stops. As I mentioned at the start of my speech, those changes could be particularly concerning for emerging artists. We have worked across Government to provide clarity on the issues. In many cases, the arrangements are much more workable than is at times reported—that is not to diminish the concerns expressed.
For example, a UK band can pack a van with their instruments, equipment and up to nine people and travel around the EU without being subject to the TCA cabotage restrictions. They may also take their portable instruments and equipment without the need for carnets, and EU rules state that each individual is able to take up to €1,000 of merchandise into the EU to sell on tour without paying customs duties.
In cases when a carnet is required, that is a single document that can be used for multiple items as many times as required in approximately 80 countries around the world for a 12-month period. Carnets have long been a familiar feature of touring. They were needed whenever touring was taking place beyond the EU, including for example to Switzerland, so this is a case of adaptation.
Kerry McCarthy
Will the Minister clarify? When she says that there is one carnet, but everything has to be listed, my understanding is that with a drum kit, someone cannot just say, “Drum kit”, but must specify every different cymbal and drum. Is that the case? Even though it is all on one piece of paper, that could still amount to a huge amount of bureaucracy.
Julia Lopez
I appreciate the hon. Lady’s point and I am happy to take it away. I am fairly new to this area, so with some DFT issues I will not be able to give clarity on all the details. I am happy to write to her.
I have also been listening to the music sector’s concerns about the possible designation of St Pancras as a port designated under CITES—the convention on international trade in endangered species—for artists carrying instruments made of protected materials. The number of CITES ports in the UK has already increased from 24 to 36 over the past year, and the Department for Environment, Food and Rural Affairs and Border Force are working together to look at the possibility of St Pancras being added to that list. I am keen to accelerate that.
The Government have engaged with the sector’s concerns about the restrictions to do with cabotage and cross-trade that apply to single-use trucks, issuing a call for evidence on options in the summer. It is worth reiterating that during negotiations for the TCA, we proposed specific market access rights for specialist hauliers carrying out tours for cultural events, but the EU did not agree. To help artists navigate such issues, we have developed creative sector-specific landing pages on gov.uk to signpost relevant guidance. We continue to work across the board to encourage updates to guidance and to ensure that rules are clear and accessible.
The UK’s cultural and creative industries are an integral part of our economy across the UK, and they play a huge role in a truly global Britain. That point was made by a number of hon. Members today. We continue to support our creative industries through a range of export support programmes, including the music export growth scheme. We also recently launched the export support service, where UK businesses can get answers to practical questions about exporting to Europe. In our meeting yesterday, a Department for International Trade official highlighted some of the new services available to musicians. These are all with a view to strengthening the international reach and reputation of our creatives, and the benefits they bring to our economy, culture and society. I will continue to work with Departments, the creative industries trade and investment board, and sector representatives, such as UK Music, to see what more can be done to help the industries adapt to these new arrangements with the EU.
To conclude, leaving the EU has led to a number of changes. We recognise the uncertainty and concerns felt by our musicians and the creative sectors, and my Department and the Government as a whole have worked very hard to support them. Across issues relating to the movement of people, goods and vehicles, we have engaged extensively with the sector to understand and grip those concerns and help people adapt. Like hon. Members, I want to see UK creatives tour and perform in the EU not just for our musicians but because they have so much to offer people in member states, and I hope we can make sure that can happen.