Employment Rights Bill

Debate between Earl of Clancarty and Lord Clement-Jones

Report stage
Wednesday 23rd July 2025 Lords Chamber

[The Earl of Clancarty (CB)]

My Lords, I will speak to my Amendment 160, although I support all the amendments in this group. I declare an interest as a self-employed visual artist. Amendment 160 seeks to establish a freelance commissioner. It is closely tied to consequential Amendments 161 and 162, in the name of the noble Lord, Lord Clement-Jones, which seek to define what a freelancer is and to give the freelance commissioner greater teeth. I am very grateful for the support on this from the noble Lord, Lord Clement-Jones, and I welcome the support of my noble friend Lord Freyberg and the noble Lord, Lord Sharpe of Epsom, as well as that of my noble friend Lord Colville, who I know would have signed this amendment if there had been room to do so.

The first thing to say is that the creative industries welcome the appointment of a champion for this sector, as announced in the industrial strategy after Committee, and are pleased that that champion will be a member of the Creative Industries Council. These are things that the creative industries have been asking for for a long time, so there is appreciation that the Government have listened in this respect. Yesterday, I also had sight of the draft terms of reference—which is, of course, interesting timing. Those terms of reference, which are the result of conversations between relevant organisations and the DCMS within the framework of the Good Work Review, are impressive, if not yet entirely comprehensive, tasks and concerns. It is important to stress that this also illustrates the immense challenges a freelance champion will have. Nevertheless, I applaud the Government for opening the lines of communication between the DCMS and other organisations; long may that continue.

However, there remain questions concerning the champion. What powers will the champion really have, if any significant powers at all? Is this to be a salaried position? How much, in practice, will the champion be able to cut across different departments? Will this role be more about guidance for the sector rather than the really necessary action required for freelancers in terms of the many rights that standard employees have—and to a large extent take for granted—but that freelancers lack? I would be very grateful if the Minister could fill in some of those gaps if she is able to do so.

There are broadly two reasons why we should have a statutorily appointed and independent freelance commissioner. The first is that we urgently need someone to look at the whole landscape of freelance and self-employed work, which constitutes a not-negligible 15% of the workforce—and this is a sector that is growing. As my noble friend Lord Londesborough pointed out in Committee, this includes not just the creative industries but construction workers, agricultural workers and others. My amendment covers that landscape, one that the Bill—which is supposed to be an Employment Rights Bill, not an employee rights Bill—does not cover. Instead, as freelancers are always asked to do, we are told to wait in line. This of course happened during Covid, when so many freelancers fell through the gaps in support.

Even looking just at the creative industries, there is a question as to whether the whole of the creative industries themselves would necessarily be served by the new champion, in whatever guise that comes. The DCMS’s current understanding of these industries may be narrower than the reality, and this is certainly true of those craft industries—hugely important for our economy—that may not necessarily fall within the champion’s remit because of the manner in which parts of the creative industries are currently defined. This is something for the Government to look closely at, and I know that my noble friend Lord Freyberg intends to flesh out some of the detail of this very real concern about invisibility in both this and the debate that follows.

The second crucial reason for having a statutory appointment is not just that that role would have the requisite powers to argue for and effect real change, with the necessary authority to do so, but that it is a long-term position that cannot be rescinded easily because we are in this for the long haul. There is no doubt that freelancers’ concerns—this is certainly true of the creative industries—have grown more critical in terms of rights; income; the problems with late payment; Brexit, which has affected and continues to affect so many of our creative industries, not just music; AI, of course; and, crucially, the downturn in the funding of the sector. All these things have become immense pressures, which demand the appointment of an independent commissioner with the requisite powers to effectively address all these concerns and influence government policy.

I talked at some length in Committee about these increasing pressures as they affect the creative industries, and I will not repeat those arguments, except to add some conclusions from a survey to be published tomorrow by the organisation Freelancers Make Theatre Work—I am grateful for its permission to do so. It says:

“A striking headline in this year’s data is that 44% of respondents earned less than the 2024 UK National Living Wage in the 23-24 tax year … a significant worsening of the already critical situation from the previous year … where the equivalent figure was 34%”.


It goes on to say:

“These levels of pay would be illegal in salaried positions”.


I was worried by Chris Bryant’s recent evidence to the Culture, Media and Sport Committee, in which he said that he wants to see a reduction in the number of freelancers over the next 10 years. My understanding was that he is thinking about workers such as his mother, a make-up artist for the BBC, who lost their salaried jobs and were pushed into becoming freelancers. However, this is but one part of the landscape, and this exclusive emphasis ignores all the other freelancers, many of whom are creators—artists, writers, composers and many others—for whom there never has been any option other than being a freelancer for the work they do. Again, we need to understand the whole landscape—the reality of that landscape and the ecology of that landscape.

It becomes difficult to imagine how effective a champion with close proximity to the DCMS will be if the DCMS is actively trying to reduce the total number of freelancers—something it ought to be agnostic about. We need an independent commissioner—in other words, someone in a position of authority—who will support and, importantly, promote the practice of freelance work. We need it in law; we need it in the Bill. I beg to move.

[Lord Clement-Jones (LD)]

My Lords, it is extremely disappointing that we are debating something of this order of importance at this time of day and at the fag-end of this Bill. However, unusually, I shall try to ingratiate myself with the House by being as brief as possible.

First, I want to thank the noble Lord, Lord Katz, for his letter of 30 June and for the publication of the draft terms of reference for the freelance champion, referred to by the noble Earl, Lord Clancarty, who set out the stall extremely cogently for these amendments. I do not need to go over the ground that he has explained extremely well. The lack of a single clear voice representing the interests of freelancers to government is what this is all about—a clear definition of what a freelancer is and clear duties for the freelancer commissioner.

The freelance champion has some similar characteristics to the freelance commissioner, but there are significant differences from the independent freelance commissioner. It is not going to be a statutory office, unlike the freelance commissioner. The structure proposed in our amendments would be more permanent and more independent of government. The terms of reference explicitly state that the champion will focus on freelancers working in the creative industries only, so it will not be cross-sectoral. As we heard from the noble Lord, Lord Londesborough, it is clear that freelancers are extremely prevalent not only in the creative industries but in many other industries as well, including construction, professional, scientific and technical activities, business support, health and social work, IT, digital services and education and training.

While welcome, the freelance champion for the creative industries under the sectoral plan does not go nearly far enough across the board in making sure that there is a real advocate and one with teeth who is able to influence policy towards freelancers across all those different sectors. The question really is why the Government have failed to grasp the urgency and widespread nature of the challenges faced by freelancers across all sectors. It is not unclear that freelance work covers much broader areas than just the creative industries. These amendments would offer recognition to a workforce that contributes enormously to our economy and cultural life and is too often unprotected and unheard in legislative terms.

I urge the Government, even at this time of day and at this time in the Bill, when they cannot really change their approach, really to think about this. We have heard so much about how, on AI or dependent contractors, the Government are considering these things. They really need to shape up in terms of the modern economy. Freelancing is on the increase and they need protection—and the freelance commissioner would be by far the best way forward.

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

Debate between Earl of Clancarty and Lord Clement-Jones

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.