Economy and Society: Contribution of Music

Conor McGinn Excerpts

Tuesday 21st January 2020 Westminster Hall

[Conor McGinn (St Helens North) (Lab)]

I beg to move,

That this House has considered the contribution of music to the economy and society.

It is a pleasure to see you in your place, Sir Roger—an unexpected pleasure, but a pleasure none the less. I am delighted, as secretary of the all-party parliamentary group on music, to introduce this important debate. It is good to see so many colleagues from across the House and so many different parts of the country here to support it.

I think we all know that the music industry makes a huge contribution not just to our economy but to the lives of millions of people and our communities every day. It is thanks largely to UK Music that we in this House are so aware of the many issues facing the industry.

[Stephanie Peacock (Barnsley East) (Lab)]

May I take this opportunity to congratulate the outgoing chief executive of UK Music, my predecessor Michael Dugher, on putting a big focus on this issue? My constituency, which he represented before me, has the fantastic Grimethorpe Colliery band and a world-famous youth choir. Does my hon. Friend agree that it is important that we tap into the talent of kids from working-class areas across the country and get them involved in music?

[Conor McGinn]

Absolutely. I share my hon. Friend’s ambition to do that, as well as her warm words for her predecessor. Like him, she certainly was not backward in coming forward to intervene so early in my speech.

UK Music’s new report, “Music By Numbers”, represents the most comprehensive set of data and research ever gathered on the state of the music industry. It reveals that the music industry is worth a staggering £5 billion to the economy and employs almost 200,000 people. According to the report, sectors such as live music grew by 10% in 2018, and live music alone is now worth a record £1 billion.

[Julian Knight (Solihull) (Con)]

The hon. Gentleman is making a very good speech on this important topic. I am almost certain that he has read the report the Select Committee on Digital, Culture, Media and Sport published in the 2017-19 Parliament. Does he agree that although live music may seem healthy on the surface, there are still serious issues there, and does he agree with that report that we should look at business rates for live music venues and at concerns about rip-off secondary ticketing?

[Conor McGinn]

I agree entirely, and I think we will find agreement on that across the Chamber.

[Mark Tami (Alyn and Deeside) (Lab)]

Does my hon. Friend agree that it is important that we protect the music venues we still have? There are still far too many of them closing. Let me mention the Tivoli in Buckley, which is famous, particularly for a sad old punk like me who has seen bands such as Stiff Little Fingers and Public Image Ltd there. It is good that we can still go and see such bands, but venues of that type are sometimes threatened by planning law, particularly where housing is built directly behind them or beside them and there are complaints about opening hours and so on. Ultimately, that can kill those venues.

[Conor McGinn]

I agree entirely. I will come to the points made by both my right hon. Friend and the hon. Member for Solihull (Julian Knight) in more detail later in my speech.

There has been an incredible 10% increase in the number of overseas visitors coming to the UK for shows and festivals, with nearly 900,000 people visiting these shores just for live music events in 2018. Live music is at a record high and continues to draw millions of fans from both Britain and abroad to our arenas and smaller venues alike. “Music By Numbers” identified that music exports are another amazing success story, generating revenues of £2.7 billion, with the best of British creative talent being showcased across the globe.

There is something unique about Britain and its ability to create a globally successful music industry that is envied across the world. Ed Sheeran is the biggest selling touring artist in the world, with the “÷” tour now officially the highest grossing tour of all time. Billboard magazine recently revealed that the O2 Arena in London was the most successful music venue in the world over the past decade, with the Manchester Arena also in the top five. The Theatre Royal in St Helens is slightly further down the list but none the less a critical component of our local live music scene.

In nine of the last 15 years, the biggest selling album in the world has been from a UK artist. Lewis Capaldi recently reached No. 1 on the Billboard Hot 100 in the US. In 2019 we also saw fantastic debut albums from AJ Tracey, Dave, Mabel, Sam Fender and Tom Walker. We continue to be a world leader in all genres, from jazz and folk to grime. We are home to studios that record sensational box office film scores and soundtracks, as well as to many of the most accomplished orchestras in the world.

[Kate Green (Stretford and Urmston) (Lab)]

Does my hon. Friend agree that in-depth classical music training underpins many of the more popular genres as well, including film music and musicals, which are huge earners for the UK economy?

[Conor McGinn]

I agree entirely. It is that diversity and depth that gives UK music its strength.

It is clear that music in the UK punches well above its weight economically, but that is only part of the picture. Music’s value is not purely financial; its social value must not be ignored. Music can have a profound effect on health and wellbeing. Charities such as Nordoff Robbins do fantastic work in bringing high quality music therapy to as many people as possible.

[Alex Sobel (Leeds North West) (Lab/Co-op)]

Will my hon. Friend give way?

[Conor McGinn]

I will, and I will then make some progress, because many people want to speak and I want to give them that opportunity.

[Alex Sobel]

I thank my hon. Friend for securing this debate and making an excellent speech. On mental health, does he not agree that small venues, such as Brudenell Social Club in my constituency, are a great outlet for people’s mental health, as well as being community resources right across the piece for acting and a whole range of arts? It is not just about music; small venues provide a gamut of benefits to society.

[Conor McGinn]

Absolutely, they are the very definition of holistic therapy. Nordoff Robbins has worked with over 10,000 vulnerable people, holding 37,000 music therapy sessions in 15 different places across the country, and 90% of those who had music therapy last year were clear that it improved their quality of life.

According to a report by the all-party parliamentary group on arts, health and wellbeing, music therapy reduced agitation and the need for medication for 67% of people with dementia. We can all think of many fantastic examples in our constituencies of groups who use music in working with people with dementia.

In Labour’s recent charter for the arts, my party noted the important role of the arts in mental health and wellbeing. I am sure that my hon. Friend the Member for Cardiff West (Kevin Brennan) will speak more about that from the Front Bench. All the evidence suggests that children who are engaged in education through music, or similarly through other subjects such as drama and sport, do better at core subjects such as maths and English. Music can help give young people confidence and creative release. It teaches teamwork and problem-solving skills, and it is often the reason why a child wants to go to school in the first place.

The contribution of the music industry is not just a fantastic national story. The data in UK Music’s report show the tremendous contribution it makes in every town and city across the UK. Merseyside is, of course, synonymous with world-leading British music, and I do not just mean Liverpool. In St Helens, we have a number of excellent local studios that encourage young musicians to nurture and develop their creative talents, such as Jamm, Elusive and Catalyst. Sadly, the Citadel, one of the first music halls in the country, recently closed its doors, but remarkably it has already reinvented itself as an excellent arts provider, using its strong brand to maintain contact and access for people who want to get involved in music and the arts. The Theatre Royal, as I mentioned, as well as other venues, host live music weekly.

St Helens is also the birthplace of: Sir Thomas Beecham, one of the country’s greatest conductors, known for his association with the London Philharmonic and Royal Philharmonic orchestras; the Beautiful South’s vocalist Jacqui Abbott; and Budgie, the drummer with Siouxsie and the Banshees. It is also importantly home to the Lancashire Hotpots. Of course, Rick Astley is from Newton-le-Willows, where I live. I commend him on playing a fantastic gig in his home town last year at Haydock Park racecourse and I commend the Jockey Club on its fantastic initiative, using its venues to promote music alongside horse-racing.

[Dr Rupa Huq (Ealing Central and Acton) (Lab)]

May I put on record my appreciation of Ealing, which may be little known as a big centre for music, in a heritage way as well? The Who met in Ealing and the Rolling Stones first played there. More recently, we have had Naughty Boy. Does my hon. Friend share the concern of some current musicians that, with Brexit, live touring is in doubt? Any free trade agreement should prioritise that.

[Conor McGinn]

I do, and I will come to that in my closing remarks.

I could say much more about music in my constituency—I am keen to talk about it to anyone who wants to listen to me—but I want to let other colleagues in, so I will move on, but, before I do so, I want to mention our strong brass band tradition. I am proud to be the vice-president of Haydock Brass Band. We have Rainford Band and Valley Brass. We also have the fantastic St Helens Youth Band, which is nurturing the next generation of talent, and the amazing all-female Trinity Girls Brass Band. They are all national award winners. We also have a fantastic male voice choir in Haydock, which has recently won a national competition.

The St Helens music education hub, led by the local council and supported by the Arts Council, is supporting opportunities for schoolchildren to be introduced to music, but it needs more funding and support.

It is clear that music makes a huge contribution, both economically and socially, in our local communities. What do we need to do to ensure that it continues to flourish in the challenging years ahead? I will briefly highlight some areas that the Government need to focus on during this Parliament as part of an integrated strategy for music.

First, grassroots music venues remain vital to both artists and audiences, but they are still, as has been mentioned, closing at an alarming rate. We must continue to monitor that and respond accordingly. My right hon. Friend the Member for Warley (John Spellar), working in collaboration with the Government, did a tremendous job to ensure that planning laws were amended to integrate the agent of change principle to protect music venues from closure.

[Siobhain McDonagh in the Chair]

Challenges still exist on business rates. I welcome the commitment in the Queen’s Speech to ensuring that music venues benefit from rate relief, but when precisely will that come into effect? Will the Government commit to more frequent business rate revaluations to guarantee that huge hikes in rates do not occur again?

Secondly, copyright provides the framework of growth for music. New protections for creators are coming in the form of a copyright directive that will enable fairer payment to musicians from services such as Google’s YouTube, but our expected departure from the EU may mean we cannot implement the directive after all. Will the Government outline their plans to implement the spirit of the copyright directive and other legislation? The deputy chief executive of UK Music, Tom Kiehl, recently wrote to the Prime Minister. Will the Minister let us know when he can expect a reply?

Thirdly, despite music’s success, there remain significant challenges to our talent pipeline. It is fair to say that we face a crisis in music education, which underlines the threat to our ability to develop future talent. Arts funding in St Helens, which includes music, is down by a quarter since 2013. One of the most working-class areas in the country, which has a proud tradition of music, has seen its funding diminish. Over the past five years, the number of people studying A-level music has declined by 30%. We know that social divides are leading to inequality of opportunity, so will the Government work with schemes such as UK Music’s rehearsal spaces network to increase the provision of music in areas like St Helens? The Government’s commitment to an arts premium might present benefits, but when does the Minister expect to come to the House to provide more detail on what that will entail? Can we see progress on the new national plan for music education?

Fourthly, we know about the importance of music exports: the Government currently support the music export growth scheme, and the international showcase fund contributes to that. What plans are there to ensure that funding remains for those vital schemes?

Fifthly, the music industry relies on workforce that is heavily self-employed—about 72%. What plans do the Government have to make it easier for self-employed people to participate in shared parental leave, given their current disqualification and the benefits to overall diversity in allowing them to participate? I pay particular tribute to my friend Olga FitzRoy for her work on that.

Fiscal incentives such as tax credits have produced huge benefits for other creative sectors, but currently music does not benefit from the same mechanism as film, TV and video games. Will the Minister commit to working with the Treasury to see whether similar support can be made available?

Finally, Brexit and the loss of freedom of movement, in both people and goods, could have a profoundly negative impact on the live music touring experience. Will the Government work towards a passporting arrangement, so that there is a reciprocal system and musicians can continue to perform with minimum disruption post-Brexit? Will they work with EU member states to ensure that the imposition of a carnet system on music equipment does not cause delays to gigs?

In closing, I pay tribute to UK Music, the umbrella body for the commercial music industry. Its chief executive, Michael Dugher, formerly of this parish, will soon be moving on to new pastures. On behalf of everyone in this place who takes an interest in music, I pay great tribute to the tremendous work he has done and the way in which he has led his organisation to aid our understanding.

I applaud the work of UK Music’s chairman, Andy Heath. Andy has been at the helm of UK Music since its inception and has held together the interests of its members. When I look at the unity of purpose within UK Music, in a very diverse sector, and then look at other sectors that do not have that, I see how his formidable leadership has brought people together.

PRS for Music is led by the excellent, recently-appointed Andrea Martin, alongside long-standing chairman, Nigel Elderton. I have a special award for John Mottram who does a lot liaising with Members of this House to promote music.

PPL is led by the superb chief executive Peter Leathem, who, like me, is of good Armagh stock. I applaud the other UK Music members—the Association of Independent Music, the British Phonographic Industry, the Featured Artists Coalition, the Ivors Academy, the Music Managers Forum, the Music Publishers Association, the Music Producers Guild and the UK Live Music Group. They have worked together with great tact and diplomacy, and influenced this House. I especially thank Horace Trubridge and the Musicians’ Union. He is held in high esteem in the trade union movement and the music industry, delivers much for the union’s members and plays a hugely constructive role.

The day before the Prime Minister took office in July, the outgoing Administration produced a disappointing response to the Digital, Culture, Media and Sport Committee’s excellent report into live music. The response failed to grasp the true ambition and potential of our music industry, or to adopt some reasonable and sensible recommendations made by the Committee. This debate presents an opportunity for the new Government. I welcome the Minister, who is returning to his place; I know how much he is personally invested in the subject and pay tribute to him for it.

The new Government can start afresh and set out a new and exciting strategy for how they see the music industry contributing to our lives. I look forward to hearing the rest of the debate, and I welcome the support of other Members in this aim.

[Siobhain McDonagh (in the Chair)]

I apologise to all right hon. and hon. Members for my late arrival. In spite of that, the debate is well supported, meaning we will need contributions of four minutes; I apologise for that.

--- Later in debate ---

[Conor McGinn]

I thank the Minister for his comprehensive response, given the short time available to him. I also thank the shadow Minister. I concur entirely with his comments about the BBC. People such as James Stirling have put music front and centre of the BBC, across all its platforms, which is critical to the success of British music.

This has been a good debate. The number of contributions and the content of our discussion suggest that there might be appetite for a Backbench Business debate on the Floor of the House. We might look to do that later in the year. The report that provoked this debate said, rightly, that music is about numbers, lyrics, notes and sounds, but fundamentally music is about life. I cannot remember the first time I heard music, but neither can I remember a time when it was not ringing in my ears.

The first record bought for me by my aunt was by Dexy’s Midnight Runners—I am sure you can guess what her name was! My first concert was Oasis at the old Wembley Stadium. I remember when I first heard Seán Ó Riada’s Ceol an Aifrinn—the mass entirely in Irish—and the first dance at my wedding was to Stevie Wonder’s “Signed, Sealed, Delivered I’m Yours”. Talking to my five-year-old son about the Beatles, I pointed out to him where the Hippodrome was in Earlestown, where he is growing up, and said, “They played there.” I owe music a lot and, with my colleagues here, I will do my best to keep paying it back.

Question put and agreed to.

Resolved,

That this House has considered the contribution of music to the economy and society.