Musicians and Creative Professionals: Working in the European Union

Earl of Clancarty Excerpts

Thursday 7th July 2022 Grand Committee

Asked by

[The Earl of Clancarty]

To ask Her Majesty’s Government what steps they are taking to improve the ability of musicians and other creative professionals from the United Kingdom to work and tour in the European Union.

[The Earl of Clancarty (CB)]

My Lords, I am grateful for this opportunity to raise the concerns of creative professionals on touring and working in Europe. I thank the Government for extending this debate to an hour and a half. I am grateful for the briefings from the Incorporated Society of Musicians, UK Music, Carry on Touring, LIVE, the Association of British Orchestras, T&S Immigration Services, the Contemporary Visual Arts Network and the House of Lords Library. I am pleased that we will have contributions to this debate from across the Committee.

In practical terms, as the Incorporated Society of Musicians and others have been at pains to point out, this is, above all, about trade. As such, it is something we should all be concerned with. In pre-pandemic 2019, music alone was worth £5.8 billion, almost five times as much as the fishing industry at £1.4 billion—which is also, one has to say, now sadly suffering the effects of Brexit. Live music is a key aspect of music, making bands’ reputations abroad and stimulating sales. According to the Featured Artists Coalition, in 2019 UK acts played four times as many gigs in the EU as in the US.

It is great to have live music and the arts more generally back and largely up and running on our own shores, with Glastonbury, the Stones, Adele, the Proms this month and much more to look forward to. While I suspect that most of the focus today will be on music, concerns about working in Europe are being felt across the creative industries. I will touch on the visual arts, which is my own background. I ask therefore that the Minister looks carefully at the new Arts Council-funded report, International Connections, produced by a-n and the Contemporary Visual Arts Network, which makes some important recommendations. I ask him to look carefully as well at the forthcoming All-Party Parliamentary Group on Music report, Let the Music Move, addressing similar concerns for the music industry. It would be excellent if the Minister could attend its launch in Parliament, on 19 July.

The trade and co-operation agreement was a no-deal for services, including the arts and creative industries. It has been imperative from the outset that the Government take mitigating action to drastically improve the situation for the arts in the face of this no deal, but the reality is that 18 months have passed and little of substance has been achieved.

Moreover, the Government have tried to paint a picture that is far better than reality. LIVE says it remains

“deeply concerned about the impact of Brexit on the UK’s live music industry.”

We are already now hearing the practical problems musicians are having, such as that of the band White Lies, which in April had to cancel a booking in Paris because its equipment was still waiting to clear customs in the UK. The Government must stop harking back to whatever they say was offered to the EU; that is history. Through whatever mechanisms are available, and I know that other noble Lords will talk about that in more detail, the UK needs to reapproach the EU to effect those changes that are urgently required. As TCA negotiator, the noble Lord, Lord Frost, himself has admitted that the Government have been too purist in their approach. We need a rethink and a reset. It is, after all, the future of our performing arts and more that is at stake.

Cabotage remains one of the most significant problems. The industry is grateful for the dual registration fix, but it is only a partial fix and does not address operation under an own account. Furthermore, it shifts this specialist haulage industry to Europe, which, as UK Music points out, will in the longer term cost this country business and jobs.

Most immediately, there remains a massive problem for those unable to use the dual registration services. The Association of British Orchestras says the situation is disastrous for orchestras, many of which run their own purpose-built vehicles. To give one example, the truck owned by the City of Birmingham Symphony Orchestra, costing £250,000, purchased partly through an Arts Council grant, will be a total waste of money if we do not negotiate a cabotage exemption with the EU. This is urgent. The ABO proposed that a solution for own-account operators might be presented at a forthcoming UK-EU Specialised Committee on Road Transport meeting. Will the Government act?

It is urgent too that we negotiate a visa waiver agreement, which a cabotage agreement could also be part of. Visa and work permit regulations within Europe are complicated. We have not agreed a single bilateral agreement with the EU, although two countries, Spain and Greece, have relaxed their visa rules for the UK, which I understand merely brings the UK in line with US acts who have toured those countries visa-free for decades.

ISM last year proposed a bespoke visa waiver agreement, which was shown to government officials. Legal advice confirmed that such a proposal was legally workable without being incompatible with the UK’s ability to take back control of its borders; none of this was questioned by the Government. But the Government, for reasons known only to themselves, have not followed up this constructive proposal, which is backed across the board by the music industry. Again, urgent action is required.

The problems presented by carnets and CITES are likewise problems of both cost and red tape. There are two groups who will be most affected here: on the one hand, orchestras, for which costs may spiral; on the other, those starting out, including bands and individual musicians, who will not have the resources of artists such as Elton John and Ed Sheeran to carry these extra significant burdens. Again, we have to negotiate with the EU a cultural exemption to the cost of ATA carnets and CITES as well. On the question of CITES, I ask the Minister what news he has over whether St Pancras will become a CITES designated point of exit. Eurostar is a hugely important route. Again, a sense of urgency is required.

ISM has also drawn my attention to a couple of recent developments around CITES that will emerge at CITES COP 19, which I hope the Minister is also aware of. ISM supports the new proposals from the US music industry to ease and provide exemptions from CITES permits. Will the Government support those proposals? Will the Government oppose the proposals from Brazil for a new designation of Pernambuco, the wood used in making bows, which, while well-intentioned, would significantly and detrimentally interfere in the legal trade in bows? This is important.

In the debate on dual registration in Grand Committee on 13 June, the noble Baroness, Lady Randerson, rightly raised concerns about merchandise, the importance of which can be too easily underestimated. UK Music notes that the band Squid cancelled dates in Spain because of the costs both of carnets and of the movement of merchandise between the UK and the EU. Another band has stated that such costs, including the requirement to VAT register, meant that it missed out on £2,500-worth of merchandise on its last tour of France. These are significant losses. Will the Minister look at what is yet another make-or-break worry for musicians?

I will mention briefly traffic in the other direction. A concern that Steve Richard of T&S Immigration Services raises is that of the mishandling of incoming bands by UK border staff, including, for example, them being given wrong information about passport stamps and being sent through e-gates, making the tour technically illegal. These are common occurrences. There are now concerns about adequate staffing levels, but the better training of UK border and other airport staff to deal with musicians and crew is required.

The concerns of visual artists exhibiting work in Europe post Brexit has, up to now, been relatively overlooked, yet there exists the same confusion and paucity of information as afflicts others in the creative industries. Shipping and other costs, red tape and the sheer complexities now involved have already this year been responsible for artists cancelling their participation in exhibitions in Europe, as I heard this week at a Zoom event organised by Arts Infopoint. International Connections recommends better representation for the visual arts, including on the TCA domestic advisory group, of which LIVE and UK Music are already members. The report also recommends the appointment of a freelance commissioner, which would allow further representation for arts and creative workers.

I have not by any means covered all the many concerns that the music sector is raising, let alone those of other creative industries. But perhaps the most disturbing is the extent to which the pipeline of talent will be affected by the curtailment not just of opportunities for young artists touring but opportunities for jobs, such as for opera singers, dancers and many others who are now shut out of work in Europe because they do not possess an EU passport.

As the pandemic, we hope, recedes, we have reached a point at which we are taking greater stock of the effects of Brexit. Nevertheless, the good sense of what the industry is now asking for speaks for itself. What is needed now from the Government is a much greater urgency in addressing these concerns and ultimately finding solutions.

Loneliness Strategy

Earl of Clancarty Excerpts

Wednesday 23rd March 2022 Lords Chamber

[Lord Parkinson of Whitley Bay (Con)]

Family is vital, not just in this area but across so many areas of social policy and the Government’s work. We know that peoples’ family situations can have an impact on their experience of loneliness. We are looking to improve the evidence base to understand the challenges that people face through loneliness, including the impact of their family situation. We have brought together experts and academics in the tackling loneliness evidence group to identify what areas we need to look into further, and what research should be done, to see how we can address the remaining evidence gaps.

[The Earl of Clancarty (CB)]

My Lords, the Government’s idea of a socially connected society is a good one, but do they recognise enough, or recognise at all, the key role that poverty plays in disconnecting society? Has the Minister seen the recent study by UCL and the University of Manchester which found that older people in the poorest sector of the population in England were more than twice as likely to feel isolated as those in the richest, and that this was true both during and before the first lockdown?

[Lord Parkinson of Whitley Bay (Con)]

The noble Lord makes an important point which links to the Government’s wider work in levelling up to ensure that people of all backgrounds, across the country, have access to the services and the opportunities that they need. The levelling-up White Paper set out clear ambitions to improve peoples’ well-being, their pride in place and sense of community, and to create opportunities across the country. We know that connected communities provide people with opportunities to develop strong social relationships, and this is an important point. We will continue to explore opportunities to embed loneliness in the Government’s thinking on our important work on levelling up.

Cultural Objects (Protection from Seizure) Bill

Earl of Clancarty Excerpts

2nd reading
Friday 18th March 2022 Lords Chamber

[The Earl of Clancarty (CB)]

My Lords, I congratulate the noble Lord, Lord Strathcarron, on his maiden speech, and I hope that we will hear more contributions in this particular area of his expertise. The visual arts are of course a feature, in various ways, in creativity and commerce, and together they are a sometimes underrated but hugely important part of our creative industries.

I am grateful to the noble Lord, Lord Vaizey of Didcot, for introducing this debate and taking the Bill forward. I am sure that all of us here are perhaps planning to visit or will have been—perhaps not recently enough—to exhibitions containing significant work on loan from other countries. It is great that we can have exhibitions again, although I for one will certainly be wearing a mask to visit, until cases are right down.

I am a great believer in the worth of cultural exchange in the wider sense, and engaging with exhibitions is an important aspect of that: it is a way of connecting with other cultures and periods through objects, including artworks, that we would not otherwise have the chance to see in this country. In addition to the list of the noble Lord, Lord Vaizey, this could also include British art that has been dispersed around the world but brought back for exhibition. It is worth bearing in mind that this will also include contemporary art, which can now be very valuable, with there perhaps being a potential for the seizure of that as much as older recognised treasures. The last exhibition that I visited was the brilliant Hokusai exhibition at the British Museum—“Hokusai: the Great Picture Book of Everything”. All of the original drawings have been purchased by the BM, which is one way to solve the problem.

This is clearly an excellent Bill, designed to instil confidence and trust in lenders and facilitate exhibitions, supported on all sides of the House during what was a very good Second Reading debate last year, in the Commons. I have a couple of questions for the Minister. The first is very basic, and there may be a straightforward answer to it. It is simply this: why does there have to be a fixed period of time in the first place in which seizure cannot take place? Once a museum has been approved, following the high standard of checks that it will need to make around provenance and so on, why does there have to be a cut-off point and therefore a necessity for this Bill? Of course, the Bill will very helpfully extend that original one-year time period further, if required, but perhaps the Minister can explain that. I ask this question not just as a matter of clarification but because we now live in very uncertain times indeed—more uncertain perhaps than when the Bill had its Commons Second Reading, in September. There is now arguably the increasing potential for cultural objects not to be returned for a long period, depending on where they might be lent from.

My second question relates to the approval of museums and galleries to participate in the scheme. I counted 39 public museums and galleries on the approved list published on the Arts Council site, as the noble Lord, Lord Vaizey, said. This is actually one more than the government website, which lists only one of the two Scottish museums, giving the Hunterian but not the National Galleries of Scotland, which are both on the Arts Council site. It has been 15 years since the original legislation, and 39 feels still quite a smallish number, although many of our major museums are on that list. However, they are mostly from England rather than the devolved nations—Wales and Northern Ireland do not have any approved museums at all, which seems strange. Is this because some museums have yet to apply because they have not yet felt the need to do so or are even unaware of the scheme, or have some applications actually been turned down? It would be interesting to know what the department’s view on that is. Perhaps the Minister can clarify its expectations about extending the list, if that is a concern.

A similar argument applies for Wales and Northern Ireland for inclusion in this extended scheme. Has anything changed with regard to Wales and Northern Ireland since Report, when they were excluded from the Bill? It would be helpful to know whether there has been a development on that front. It seems a shame that this legislation could not apply equally across the whole of the UK, even without as yet approved museums.

A museum’s desire to exhibit art and artefacts from other countries presupposes their existence, and it is distressing when we hear about the destruction of cultural property. The Minister will of course be aware of UNESCO’s huge concern about the threat to Ukraine’s artistic and cultural heritage, and we know that art has already been destroyed and cultural sites targeted, on top of the appalling loss of life that we have seen. I thank the Government for their written reply to my question on this last week; in it, the noble Lord, Lord Goldsmith, outlined some of the action that the DCMS has been taking with regard to this. It would be helpful if the Minister could say a few words about this.

I wish the Bill success and again congratulate the noble Lord, Lord Vaizey, on steering it through this House.

Young Audiences Content Fund: Replacement

Earl of Clancarty Excerpts

Thursday 17th March 2022 Lords Chamber

[Lord Parkinson of Whitley Bay (Con)]

My Lords, we are looking at that wider context. The Government have committed to ensuring that viewers and listeners benefit from a modern system of public service broadcasting that remains relevant and which continues to meet the needs of audiences, now and in the future. That is why we announced the strategic review of public service broadcasting so that we can do that. The evaluation of this fund will feed into that wider strategic review so that we can see the best way of delivering what everyone wants.

[The Earl of Clancarty (CB)]

My Lords, the whole point of a pilot is to test the water and find out what works and what does not. If it does not work, scrap it, but if it does work then keep and develop it. This scheme was successful, as the Government themselves admit, with the programmes funded winning awards and being sold around the world. To simply say that there is to be an evaluation while closing the scheme does not seem like a good enough answer.

[Lord Parkinson of Whitley Bay (Con)]

My Lords, the funds were set up using unallocated funding from the 2010 licence fee settlement to pilot contestable funding in priority areas of public service broadcasting provision. Although this and the equivalent fund for listeners performed well, any further investment of taxpayers’ funding will need to be assessed against the evaluation of the funds and future public service broadcasting needs, informed by our wider strategic review. DCMS and the fund administrators will conduct a full evaluation of the pilot against its fund criteria, including quality, innovation, additionality, provision for every part of the UK, diversity, the boost to new voices and plurality, and the reach of audience.

Creative Professionals: EU Tours

Earl of Clancarty Excerpts

Monday 21st February 2022 Lords Chamber

Tabled by

[The Earl of Clancarty]

To ask Her Majesty’s Government what discussions they intend to have with the European Union concerning the post-Brexit position of the United Kingdom’s creative professionals touring in the European Union.

[Baroness Bull (CB)]

My Lords, on behalf of my noble friend Lord Clancarty, and with his permission, I beg leave to ask the Question standing in his name on the Order Paper.

Parthenon Marbles

Earl of Clancarty Excerpts

Tuesday 8th February 2022 Lords Chamber

[Lord Parkinson of Whitley Bay (Con)]

The noble Baroness makes an important point about two decisions that Parliament has taken in relation to items plundered under the Third Reich and human remains which are less than 1,000 years old. These were decisions taken by Parliament, just as was the passage of the British Museum Act, and just as was the decision, following the Select Committee that looked at this in 1816, to acquire the objects at the time. It was looked at again by a parliamentary committee in 2000 under the chairmanship of the late Sir Gerald Kaufman. The Government have no plans to change the law.

[The Earl of Clancarty (CB)]

My Lords, would it not be a helpful step for the Government to set up an independent expert panel to deal with such concerns across all our national museums, to establish an ethical framework in which guidance can be given and decisions made?

[Lord Parkinson of Whitley Bay (Con)]

The noble Earl makes an important point. We are working with Arts Council England to look at the guidance available generally to museums in considering questions of restitution and repatriation. I have had some fruitful and interesting discussions with museums, including, most recently, the Great North Museum in Newcastle, which is considering items in its collection. I will continue to have those conversations with museums with a range of views, but it is important that we get that guidance right. It is possible to add further grievance —I have been following the issue of the return of the Benin bronzes by Jesus College, Cambridge, which has caused some disagreement between the current Oba of Benin and the Legacy Restoration Trust in Nigeria. We must get this right and act considerately.

Authors, Booksellers and Libraries: Economic Recovery

Earl of Clancarty Excerpts

Monday 10th January 2022 Lords Chamber

Asked by

[The Earl of Clancarty]

To ask Her Majesty’s Government what steps they intend to take to support the economic recovery and growth of authors, booksellers, and libraries, in England after the pandemic.

[The Parliamentary Under-Secretary of State, Department for Digital, Culture, Media and Sport (Lord Parkinson of Whitley Bay) (Con)]

My Lords, Her Majesty’s Government are committed to supporting the UK’s world-leading publishing industry. We support all parts of the literary ecosystem, with libraries, for instance, benefiting from the £5 million libraries improvement fund, and authors from the annual £6.6 million public lending right. Booksellers, too, are central to the Government’s build back better high street strategy, which will ensure that businesses are profitable and resilient as we emerge from the pandemic.

[The Earl of Clancarty (CB)]

My Lords, despite the interest in books shown by the public during the pandemic, many authors, like other freelancers, have suffered financial hardship and fallen through the gaps in support. Will the Government consider increasing the PLR fund, which has been frozen for the last seven years? Will they look, too, at business rates, which favour Amazon warehouses over high street bookshops? Bookshops are not just shops: in tandem with libraries and schools, they can, and often do, provide enormous social and educational value at local community level.

[Lord Parkinson of Whitley Bay (Con)]

I certainly agree with what the noble Earl says, and I am pleased to say that the Booksellers Association reports that independent booksellers have increased in number over the last two years: more than 50 new independent bookstores were opened last year and the year before. That includes the excellent Forum Books in Whitley Bay, thanks to the encouragement of Ann Cleeves, the author of the Vera books, who, I am pleased to say, was awarded an OBE in the New Year Honours List for services to reading and libraries. The noble Earl is right to point to the plight of authors. A statutory instrument is being introduced today increasing the rate for the PLR. Authors also benefit from support from Arts Council England, including through its “time to write” grants—so they are in the Government’s mind.

Covid-19: Entertainment and Arts Venues

Earl of Clancarty Excerpts

Tuesday 14th December 2021 Lords Chamber

Asked by

[The Earl of Clancarty]

To ask Her Majesty’s Government what further support they will provide to entertainment and arts venues following the introduction of new COVID-19 regulations.

[The Parliamentary Under-Secretary of State, Department for Digital, Culture, Media and Sport (Lord Parkinson of Whitley Bay) (Con)]

My Lords, Her Majesty’s Government are continuing to support the sector through the Culture Recovery Fund, which has provided nearly £2 billion of public support for arts and culture. To help people over the winter, we have reopened the emergency resource support strand of that programme, giving more applicants at risk of financial failure an opportunity to bid for support. We continue to work with our arm’s-length bodies and the sector to understand the pressures being felt as a result of the pandemic and the move to plan B.

[The Earl of Clancarty (CB)]

My Lords, the Minister will be aware of the considerable difficulties the arts are having getting back on their feet, with many venues experiencing low ticket sales before the most immediate crisis. Will the Minister look again at the Live Events Reinsurance Scheme, which does not cover regulations that make events financially unviable or where cancellations occur because of staff contracting Covid? Will the Minister look as well at extending the Culture Recovery Fund to creative freelancers, many of whom, particularly in the music sector, did not receive help under the Self-employment Income Support Scheme?

[Lord Parkinson of Whitley Bay (Con)]

My Lords, the noble Earl is right to point to the fact that we are doing everything we can to support the sector to return to doing what it loves and what people love to enjoy it doing. We launched the live events reinsurance scheme in September, and I will certainly look at examples where people are not able to benefit from it. Self-employed people have been able to enjoy some of the other support that has been given by the Treasury but, again, I am very happy to hear from freelancers and those representing them to make sure that the support is being given.

Creative Sector

Earl of Clancarty Excerpts

Thursday 4th November 2021 Lords Chamber

[The Earl of Clancarty (CB)]

I congratulate the noble Baroness, Lady Featherstone, on an excellent and comprehensive speech. I also congratulate the noble Lord, Lord Spencer of Alresford, on his fine and absorbing speech.

I will focus on two areas: the arts and arts education. Among some excellent briefings, I was struck most immediately by the frightening figures that Equity quotes about the long-term funding of the arts in the UK: that public funding for the arts, per head of the population, has dropped by 35% since 2008, and local government funding has dropped by 43% in the same period. According to Eurostat, in 2019 we ranked second from bottom of all European countries for spend on cultural services as a percentage of GDP, with only Greece below us. Greece’s situation is understandable; ours is not. These are appalling cuts.

However, I cannot help wondering—perhaps I am going against the grain here—whether the formulation of the creative industries map in 1998 by the noble Lord, Lord Smith, exciting at the time, has in the longer run proved something of a double-edged sword for the arts, which to an extent have been subsumed within that economic grouping. This is not to deny the usefulness of that grouping, but we should not lose sight of the arts as a core entity, albeit fuzzy around the edges.

The arts are not just significant economically, as the rest of the creative industries are; alongside our state media they are an integral aspect of the democracy of this country. It is hugely important that healthy, state-funded arts and media are managed independently, and that the Government of the day properly maintain an arm’s-length distance from both. It is important to restate this principle at a time when there are concerns about the erosion of democracy in our country.

The arts have taken a massive hit with Covid. UK Music reports the loss of 69,000 workers—over a third of music’s workforce. Music has significantly contracted because of its dependence on live events, but musicians and many others have also fallen and continue to fall through the gaps in support. I thank the Government for the recent meeting for Peers on employment in the creative industries, which the Minister attended. I point out that work in the arts is vocational. For most people who are forced to find other work, it will be a second choice.

The Government have announced some welcome rebuilding measures, but much more is required. The Culture Recovery Fund should be extended. The apprenticeship levy needs to be more flexible for the creative sector, as others have pointed out. The Government should rethink increasing VAT on tickets back to 20% in April next year. Recovery will not be fast for the arts.

But, in the long run, Brexit will be the major problem, and it already is. We have heard the OBR’s predictions of the extent of the greater damage it is likely to cause to the economy as a whole, compared to Covid. At no point when signing an agreement with the EU did this Government take the needs of services, including the creative economy, into account. For the performing and visual arts and fashion, mobility is crucial.

Will the Government take note of the three types of action that they must take, as set out by the House of Lords European Affairs Committee in its letter to the noble Lord, Lord Frost, on 29 October? The first concerns what the Government should do in negotiation with the EU, including a visa waiver agreement, cabotage and carnets. The second concerns negotiation with individual countries, and work permits. The third concerns the action they can take more immediately, closer to home, including making Eurostar a designated CITES port and improving UK Border Force’s understanding of the permitted paid engagement scheme for visiting artists.

A visa waiver agreement is urgently needed. We know that the EU would be more receptive to this, unlike the unrealistic UK offer. Moreover, it is the ISM’s understanding, following a recent meeting it had with officials from the Home Office, DCMS and the Cabinet Office, that there are no legal barriers to prevent the Government trying to negotiate such an agreement with the EU.

It is essential that young people have the same access to the arts as they do to sciences in schools. With new teams at both DCMS and DfE, now is the right time to look again at the EBacc. Over the last seven years, take-up of arts GCSEs has fallen by 28%, and take-up of A-level music has dropped by 44% over the last 10 years. The 50% cut to arts higher education courses and the wrongheaded suggestion that courses that lead to poor salaries should be cut will additionally give the wrong signal to schools at a time when a pipeline of talent for the arts is required, as part of the post-Covid recovery.

Finally, in his Budget speech, the Chancellor talked of

“investment in a more innovative, high-skilled economy”.—[Official Report, Commons, 27/10/21; col. 274.]

Education in art and design subjects is key for such innovation to take place. We need to move away from predominantly knowledge-based education if such an economy is to succeed.

UK Fashion Industry

Earl of Clancarty Excerpts

Wednesday 13th October 2021 Lords Chamber

Asked by

[The Earl of Clancarty]

To ask Her Majesty’s Government what support, if any, they intend to provide to the United Kingdom fashion industry, in particular to support its work in European Union member states.

[The Parliamentary Under-Secretary of State, Department for Digital, Culture, Media and Sport (Lord Parkinson of Whitley Bay) (Con)]

My Lords, the Government are fully committed to supporting our world-leading fashion industry. We are operating export helplines, running online seminars with policy experts and offering business support through a network of 300 international trade advisers. We are also investing millions of pounds in customs intermediaries and have launched the export support service for UK businesses. We engage closely with the fashion industry, including through the DCMS-led working group on touring, to support the sector to extend its international impact.

[The Earl of Clancarty (CB)]

My Lords, I welcome the noble Lord to his new post. The fashion industry is hugely valuable culturally and economically, yet it faces serious Brexit-related concerns in manufacturing—garment workers should be added to the shortage occupation list—the debilitating cost and red tape of importing materials and exporting goods, and immobility. With visas, work permits, carnets and cabotage, it shares many of the same problems as the music industry. Is the Minister aware that there are now real difficulties getting models to shoots in Europe, the most valuable market, fast enough? How are the Government addressing this multiplicity of concerns, knowing that freelancers and smaller companies will be the first to suffer?

[Lord Parkinson of Whitley Bay (Con)]

The DCMS-led working group is addressing the multiplicity of issues which the noble Earl mentions. The shortage occupation list is of course a matter for the independent Migration Advisory Committee. When it last looked at this, it found that occupations in garment manufacturing did not warrant inclusion, but it will be for that body to keep that under review. The working group on touring includes representatives from across the creative sectors, including the chief executive of the British Fashion Council. We have addressed a number of the sector’s concerns already, such as by confirming that fashion professionals from the UK will not be double-charged for social security contributions, but that engagement and work continues.