Employment Rights Bill

Earl of Clancarty Excerpts

2nd reading
Thursday 27th March 2025 Lords Chamber

[The Earl of Clancarty (CB)]

My Lords, I congratulate all four maiden speakers. Like my noble friends Lord Freyberg and Lord Colville, I will concentrate my remarks on workers who are largely not covered by this Bill but are a significant part of the workforce: the freelancers, including the self-employed. I will make particular reference to the arts and creative industries, and I thank DACS, BECTU and Equity for their briefings. I also declare an interest as a self-employed artist.

There are 4.39 million self-employed workers in this country, representing just under 14% of the workforce. There was a dip during Covid, when many freelancers fell through the gaps of government support, but the reality is that this is a long-term expanding workforce for whom the Government need to ensure employment rights.

Freelancers underpin the creative industries, our second most important sector economically and one the Government have pledged to support—80% of musicians are freelancers, for example. They have an especial importance, in that what affects freelancers will affect the sector as a whole because the creative industries are an ecosystem. Consequently, freelancers have a significance within the workforce that far exceeds their numbers. Therefore, a truly modern Employment Rights Bill would have properly included the rights of freelancers and the self-employed, for many of whom that status fits the nature of their work.

I acknowledge the argument about the complexities of freelance work and tax issues, including concerns about IR35. However, there is also a concern about the comprehensiveness of rights and the “single worker status”. How will that status accommodate freelancer workers with that mix of self-employed, PAYE employees and limb (b) workers?

I nevertheless welcome this necessary Bill for employees. Most European countries have banned zero-hours contracts, and we certainly need measures in place that will help employees without restricting their opportunities to work, which is a key consideration. Guaranteed hours will benefit many in the creative industries. However, there are various groups in the creative industries—including employees on short-term contracts and casually contracted workers such as cinema workers, front-of-house and other workers in theatres—who may be pushed against their will into self-employment without the same employment rights they currently have, at least. Will the Government monitor this potential effect? How will rights be properly enforced from within the new body?

BECTU points out that, on parental rights, sick pay, pensions, equalities and other areas covered in this Bill, the rights of self-employed workers “lag far behind” those of employees. Will the Government introduce these rights for self-employed workers? What will be the timescale for doing so? Equally, what are the Government’s plans for their manifesto commitments on blacklisting protections, health and safety protection and the right to a written contract for the self-employed?

Much of the creative industries supports the appointment of a freelance commissioner. It is also a recommendation of the Culture, Media and Sport Committee. Such a commissioner ought, of course, to be responsible not just for the creative industries but the whole landscape of freelance work. That should also extend beyond the particular concerns of employment rights to include the equally urgent concerns around pay and opportunities. As many organisations have pointed out, there is very little data on the freelance workforce, the collection of which should be a major aspect of this remit. In the same way that DBT and DWP have an involvement in this Bill, DCMS should certainly have an input into the role of a freelance commissioner, if one is appointed—after all, it has a working party on this issue, as the Minister knows—and any future legislation on the self-employed, as indeed should the creative industries themselves.

Copyright and Artificial Intelligence

Earl of Clancarty Excerpts

Thursday 27th February 2025 Lords Chamber

[Baroness Jones of Whitchurch (Lab)]

The noble Lord is right that this is a complicated copyright area and there are some legal cases in the offing. It is a complicated area that needs a holistic approach. Our view is that addressing the issue in isolation will not provide sufficient legal clarity or resolve the issue in a way that I think that most noble Lords would expect. The consultation will help guide us on this issue and I urge noble Lords to await its outcome, which I hope will provide some solutions.

[The Earl of Clancarty (CB)]

My Lords, despite what the Minister says, there is a basic concern about the framing of this issue by the Government, their perceived need for a balance between the tech companies and the creative industries, and the logic of that in terms of the need for someone to give something up. Should any side have to give up something that is already theirs, morally and in law: namely, work made by artists, who therefore hold the copyright? This is not about balance; it is about rights.

[Baroness Jones of Whitchurch (Lab)]

The noble Earl is right, and we are trying to find a way to ensure that those rights are upheld. However, all these sectors need to grow in our economy. As I was just explaining, the creative sector uses AI, so it is not as simple “us and them” situation. AI is increasingly being used by all sectors across our economy. We need to find a way through this that rewards creators in the way that the noble Earl has outlined, which I think we all understand.

Copyright and Performances (Application to Other Countries) (Amendment) (No. 2) Order 2024

Earl of Clancarty Excerpts

Wednesday 12th February 2025 Lords Chamber

[Lord Clement-Jones (LD)]

My Lords, I will start by saying that I am delighted that the Minister is treating this as one of her first engagements back in the House; how flattering to have her here at this time of day for a regret Motion. I also want to put on record my thanks to the Minister, Feryal Clark, who has taken the trouble to engage. Time will tell whether that engagement bears fruit, as we will see.

We on these Benches agree with Equity—the actors’ union—and the Musicians’ Union that this statutory instrument should be withdrawn due to several significant concerns regarding its fairness, its consultation process and its potential impact on performers, particularly those from the United States. The key arguments against the statutory instrument revolve around the implementation of option 0A, which maintains the status quo for producers of sound recordings while extending public performance rights to foreign performers only if their producer is a UK national or based in a country that is a signatory to the Rome convention, thereby excluding performers from countries that are not signatories, such as the United States. This option was not explicitly consulted on, and it creates an inequitable system of remuneration for performers.

The consultation presented four options, numbered 0 to 3, but option 0A emerged after the consultation. The Government have acknowledged that option 0A is a new option. However, the Government’s claim that they carefully considered all views is wrong, as a key policy option was developed and implemented without input from key stakeholders. Impacted organisations were not given an opportunity to formally submit their views on option 0A. As such, this lack of consultation raises concerns about the transparency and fairness of the decision-making process, and in fact undermines it.

As I have mentioned, option 0A creates a system where some foreign performers receive public performance rights based on national treatment, while others, specifically US performers, are denied those rights, based on the principle of material reciprocity. This means that US performers will not receive equitable remuneration for their work in the UK, even though their recordings are being used. US producers will continue to enjoy protection and equitable remuneration in the UK, while US performers on the same recordings are denied these rights. This disparity is difficult to justify and is clearly discriminatory.

It will also extend public performance rights to some additional foreign performers who will qualify through their producer, regardless of whether their nation offers material reciprocity to UK performers. The situation is further complicated by the fact that performers from countries such as Australia and New Zealand, which also do not offer material reciprocity to UK performers, will still receive public performance rights in the UK. This inconsistency makes the policy arbitrary and unjust. The Government’s approach effectively singles out US performers for less favourable treatment.

The Government further justifies their position by arguing that expanding performers’ rights would negatively impact the UK music sector. The Government’s decision to not expand performers’ eligibility is partly based on the argument that UK affiliates of overseas record labels retain a significant proportion of the revenues attributable to foreign rights holders. Specifically, the British Phonographic Industry, BPI, claimed that UK labels retain 30% of the revenues collected in the UK on behalf of foreign affiliates, and that any reduction in revenues for US record labels would mean less money for the UK music sector.

Little evidence for this claim has been made and the Musicians’ Union disputes it, arguing that this paints an “exaggerated, bleak picture”, that the UK and US operations remain financially separate in practice, and that it cannot find any workings in the BPI’s redacted submission to the consultation. This suggests that the Government’s financial justification is based on flawed information, not solid evidence. Smaller independent record companies have, by contrast, expressed that the current situation is unfair and supported option 1, which would expand performers’ eligibility for remuneration.

The Government also claim that denying US performers public performance rights is intended to encourage the US to adopt material reciprocity. However, the revised economic impact assessment acknowledges that this is unlikely to influence US policy. In the view of Equity, a more effective strategy would be to offer US performers rights for a limited term, such as 10 years, and then use that as leverage to negotiate material reciprocity with the US Government. This approach would provide US performers with fair compensation while creating an incentive for the US to reciprocate. The current strategy effectively withholds remuneration from performers as a negotiating tactic, while a more effective strategy will still guarantee that performers get paid for their work.

The Government’s policy is intended to ensure that UK law meets its international obligations under the Rome convention and the WIPO Performances and Phonograms Treaty. However, the implementation of option 0A undermines the spirit of these treaties by creating a system of unequal treatment for performers based on their nationality. Equity believes that all foreign performers in countries that qualify for public protection rights should benefit from the same level of protection. It considers the current approach to be unethical, and we agree. As a matter of principle, performers should be remunerated for their work. This option leaves some performers benefiting from national treatment, ignoring lack of material reciprocity, while US performers are denied remuneration on the basis of material reciprocity.

The Government have stated that the current statutory instrument corresponds closely to option 0, which was the status quo option. However, the Intellectual Property Office itself stated in its revised impact assessment that

“Parliament has passed the CPTPP Act. The CPTPP Act contains measures that will, when it comes into force (expected in December 2024), expand eligibility for performers’ rights generally, in a way that approximates the effects of Option 1. Doing nothing therefore now means allowing the law to change in a way similar to that set out in Option 1, rather than maintaining the effect of existing law”.

Therefore, the Government’s claim that they are maintaining the status quo is actually incorrect, because the status quo is already changing due to the CPTPP Act, which has now come into effect. The Government are claiming to maintain the status quo, but that status quo is already changing due to that legislation.

Equity, SAG-AFTRA, the Musicians’ Union and PPL have all raised concerns regarding the Government’s proposed course of action. This statutory instrument should be withdrawn due to a flawed consultation, the unfair treatment of US performers, the disputed financial claims, its ineffective approach to achieving material reciprocity, the ethical concerns and the contradictions with existing legislation. The Government should reconsider their approach, consult on both option 0A and option 1 and implement a system that provides equitable remuneration for all performers. I beg to move.

[The Earl of Clancarty (CB)]

My Lords, I support the noble Lord, Lord Clement-Jones, on this regret Motion. I will be brief, not least because the noble Lord has covered the ground so well. I too thank the Minister, Feryal Clark at DSIT, for our meeting with her on Monday on this issue. I also thank Equity for its briefing on this and for alerting us to this concern. I very much welcome the Minister back to her place.

Ultimately, this is about fairness and consistency—or, perhaps more to the point, unfairness and inconsistency —and about mutual benefits, which this Government should strive toward in every area of our dealings with others, not least in the case of the arts and creative industries. I have become a great believer in the word “mutual”. I prefer it now over “reciprocal”, which the public grasp less, I think—they find it too abstract. But we all understand, or have a better chance of understanding, what “mutual benefits” means. For example—forgive me if I digress slightly—a new poll finds that over 80% of the public are in favour of mutual free movement in Europe, because that becomes something that is immediately understandable, while of course some of us have been banging the drum for reciprocity for years and not getting very far. The language we use to describe these things is hugely important.

Data (Use and Access) Bill [HL]

Earl of Clancarty Excerpts

Committee stage
Wednesday 18th December 2024 Grand Committee

[Lord Freyberg (CB)]

My Lords, I support Amendments 204, 205 and 206, to which I have attached my name. In doing so, I declare my interest as someone with a long-standing background in the visual arts and as an artist member of the Design and Artists Copyright Society.

These amendments, tabled and superbly moved by my noble friend and supported by the noble Lords, Lord Stevenson and Lord Clement-Jones, seek to address a deep crisis in the creative sector whereby millions upon millions of creative works have been used to train general-purpose or generative AI models without permission or pay. While access to data is a fundamental aspect of this Bill, which in many cases has positive and legitimate aims, the unauthorised scraping of copyright-protected artworks, news stories, books and so forth for the use of generative AI models has significant downstream impacts. It affects the creative sectors’ ability to grow economically, to maximise their valuable assets and to retain the authenticity that the public rely on.

AI companies have used artists’ works in the training, development and deployment of AI systems without consent, despite this being a requirement under UK copyright law. As has been said, the narrow exception to copyright for text and data mining for specific research purposes does not extend to AI models, which have indiscriminately scraped creative content such as images without permission, simply to build commercial products that allow users to generate their own versions of a Picasso or a David Hockney work.

This amendment would clarify the steps that operators of web crawlers and general-purpose AI models must take to comply with UK copyright law. It represents a significant step forward in resolving the legal challenges brought by rights holders against AI companies over their training practices. Despite high-profile cases arising in the USA and the UK over unauthorised uses of content by AI companies, the reality is that individual artists simply cannot access judicial redress, given the prohibitive cost of litigation.

DACS, which represents artists’ copyright, surveyed its members and found that they were not technophobic or against AI in principle but that their concerns lay with the legality and ethics of current AI operators. In fact, 84% of respondents would sign up for a licensing mechanism to be paid when their work is used by an AI with their consent. This amendment would clarify that remuneration is owed for AI companies’ use of artists’ works across the entire development life cycle, including during the pre-training and fine-tuning stages.

Licensing would additionally create the legal certainty needed for AI companies to develop their products in the UK, as the unlawful use of works creates a litigation risk which deters investment, especially from SMEs that cannot afford litigation. DACS has also been informed by its members that commissioning clients have requested artists not to use AI products in order to avoid liability issues around its input and output, demonstrating a lack of trust or uncertainty about using AI.

This amendment would additionally settle ongoing arguments around whether compliance with UK copyright law is required where AI training takes place in other jurisdictions. By affirming its applicability where AI products are marketed in the UK, the amendment would ensure that both UK-based artists and AI companies are not put at a competitive disadvantage due to international firms’ ability to conduct training in a different jurisdiction.

One of the barriers to licensing copyright is the lack of transparency over what works have been scraped by AI companies. The third amendment in this suite of proposals, Amendment 206, seeks to address this. It would require operators of web crawlers and general-purpose AI models to be transparent about the copyright works they have scraped.

Currently, artists and creators face significant challenges in protecting their intellectual property rights in the age of AI. While tools such as Spawning AI’s “Have I Been Trained?” attempt to help creators identify whether their work has been used in AI training datasets, these initiatives provide only surface-level information. Creators may learn that their work was included in training data, but they remain in the dark about crucial details—specifically, how their work was used and which companies used it. This deeper level of transparency is essential for artists to enforce their IP rights effectively. Unfortunately, the current documentation provided by AI companies, such as data cards and model cards, falls short of delivering this necessary transparency, leaving creators without the practical means to protect their work.

Amendment 206 addresses the well-known black box issue that currently plagues the AI market, by requiring the disclosure of information about the URLs accessed by internet scrapers, information that can be used to identify individual works, the timeframe of data collection and the type of data collected, among other things. The US Midjourney litigation is a prime example of why this is necessary for UK copyright enforcement. It was initiated only after a leak revealed the names of more than 16,000 non-consenting artists whose works were allegedly used to train the tool.

Creators, including artists, should not find themselves in a position where they must rely on leaks to defend their intellectual property rights. By requiring AI companies to regularly update their own records, detailing what works were used in the training process and providing this to rights holders on request, this amendment could also create a vital cultural shift towards accountability. This would represent an important step away from the “Move fast and break things” culture pervasive amongst the Silicon Valley-based AI companies at the forefront of AI development, and a step towards preserving the gold-standard British IP framework.

Lastly, I address Amendment 205, which requires operators of internet crawlers and general-purpose AI models to be transparent about the identity and purpose of their crawlers, and not penalise copyright holders who choose to deny scraping for AI by down ranking their content in, or removing their content from, a search engine. Operators of internet crawlers that scrape artistic works and other copyright-protected content can obscure their identity, making it difficult and time-consuming for individual artists and the entities that represent their copyright interests to identify these uses and seek redress for illegal scraping.

Inclusion in search-engine results is crucial for visual artists, who rely on the visibility these provide for their work to build their reputation and client base and generate sales. At present, web operators that choose to deny scraping by internet crawlers risk the downrating or even removal of their content from search engines, as the most commonly used tools cannot distinguish between do-not-train protocols added to a site. This amendment will ensure that artists who choose to deny scraping for AI training are not disadvantaged by current technical restrictions and lose out on the exposure generated by search engines.

Finally, I will say a few words about the Government’s consultation launched yesterday, because it exposes a deeply troubling approach to creators’ IP rights, as has already been said so eloquently by the noble Baroness. For months, we have been urged to trust the Government to find the right balance between creators’ rights and AI innovation, yet their concept of balance has now been revealed for what it truly is: an incredibly unfair trade-off that gives away the rights of hundreds of thousands of creators to AI firms in exchange for vague promises of transparency.

Their proposal is built on a fundamentally flawed premise—promoted by tech lobbyists—that there is a lack of clarity in existing copyright law. This is completely untrue: the use of copyrighted content by AI companies without a licence is theft on a mass scale, as has already been said, and there is no objective case for the new text and data-mining exception. What we find in this consultation is a cynical rebranding of the opt-out mechanism as a rights reservation system. While they are positioning this as beneficial for rights holders through potential licensing revenues, the reality is that this is not achievable, yet the Government intend to leave it to Ministers alone to determine what constitutes

“effective, accessible, and widely adopted”

protection measures.

This is deeply concerning, given that no truly feasible rights reservation system for AI has been implemented anywhere in the world. Rights holders have been unequivocal: opt-out mechanisms—whatever the name they are given—are fundamentally unworkable in practice. In today’s digital world, where content can be instantly shared by anyone, creators are left powerless to protect their work. This hits visual artists particularly hard, as they must make their work visible to earn a living.

The evidence from Europe serves as a stark warning: opt-out provisions have failed to protect creators’ rights, forcing the EU to introduce additional transparency requirements in the recent AI Act. Putting it bluntly, simply legalising unauthorised use of creative works cannot be the answer to mass-scale copyright infringement. This is precisely why our proposed measures are crucial: they will maintain the existing copyright framework whereby AI companies must seek licences, while providing meaningful transparency that enables copyright holders to track the use of their work and seek proper redress, rather than blindly repeating proven failures.

[The Earl of Clancarty (CB)]

My Lords, I speak in support of my noble friend Lady Kidron’s amendments. I declare an interest as a visual artist, and of course visual creators, as my noble friend Lord Freyberg has very well described, are as much affected by this as musicians, journalists and novelists. I am particularly grateful to the Design and Artists Copyright Society and the Authors’ Licensing and Collecting Society for their briefings.

A particular sentence in the excellent briefing for this debate by the News Media Association, referred to by my noble friend Lady Kidron, caught my eye:

“There is no ‘balance’ to be struck between creators’ copyrights and GAI innovation: IP rights are central to GAI innovation”.


This is a crucial point. One might say that data does not grow on a magic data tree. All data originates from somewhere, and that will include data produced creatively. One might also say that such authorship should be seen to precede any interests in use and access. It certainly should not be something tagged on to the end, as an afterthought. I appreciate that the Government will be looking at these things separately, but concerns of copyright should really be part of any Bill where data access is being legislated for. As an example, we are going to be discussing the smart fund a bit later in an amendment proposed by the noble Lord, Lord Bassam, but I can attest to how tricky it was getting that amendment into a Bill that should inherently be accommodating these interests.