Copyright (Rights and Remuneration of Musicians, etc.) Bill

Dean Russell Excerpts

Friday 3rd December 2021 Commons Chamber

[Dean Russell (Watford) (Con)]

I should declare an interest: I am the chair of the all-party film and production industry group, of which the hon. Member for Cardiff West (Kevin Brennan), who has done a great job by bringing this Bill to the House, is also a member. The group’s work covers music and many other things referred to in my entry in the Register of Members’ Financial Interests.

I also want to register my interest as a huge music fan. I always have been, not only in respect of listening to music, which I will talk about a little, but as a musician myself—albeit that I have never even contemplated reaching the heights reached by the hon. Member for Perth and North Perthshire (Pete Wishart), who escalated to the mountaintops when I was in the foothills of musical achievement.

I wish not only to give my view on why music is so important to this country’s culture and why digital innovation is an important part of where we are heading but to look at that in the context of what the Bill would mean and the potential risks of it coming into force as it is currently. Let me state clearly, though, that I am very supportive of the principles that have been put forward today. We must celebrate and support artists throughout the UK and enable them to have a platform so that they have a stage for the entire world. It is important that we have the opportunity to look ahead and learn from the Digital, Culture, Media and Sport Committee’s output and report. I support all Members who say to the Minister that we should make sure we build on that work. I am confident that the Government will listen and that we can grow from that.

Let me go back to when I was a youngster. The very first record that was given to me when I was a child was by—we have had a lot of references to pigs in recent speeches—Pinky and Perky. It was volume 2 of their famous vinyl album, if I recall correctly. I was a very young kid but I remember being given a fantastic small portable turntable, which was quite unique back in those days. I remember that crystal moment, both audio and physical, of putting the needle on the record for the first time and hearing those little scratches of noise before—bang!—the music kicked in. I think in that instance it was “Tie a Yellow Ribbon Round the Ole Oak Tree”, so it was not quite the rock and roll that we may come to in the Chamber today, but that moment was so glorious.

With streaming now, we do not have those moments, although vinyl is making a comeback. For me, that memory marks the power and importance of music in our lives: it carries us on our journeys throughout life. It is the audio track to all our moments—and often is the moment. When I look back at the impact of that moment on me—I am sure I will be laughed at in the media for mentioning that as the first song I heard on vinyl as a child—it highlights the joy of not just the musicianship but the craftsmanship and science that went into that record. Many years later, I became a physicist and learned much more about wavelengths and technology. Vinyl was an enormous achievement for the world, getting music across barriers and creating conversation across cultures. Music has the power to do that—it has such an important role—so when we look at important Bills like this we have to make sure that we do not risk diminishing the UK’s ability to reach the world. I believe Pinky and Perky may have been American, but that is by the by.

Over the years, my joy in music and my love for music grew further, and by the time I was a teenager, CDs were the big thing. I remember getting my first CD—I cannot recall what song it was, if I am honest—and I was struck by the ease with which I could play it and use it, as well as by the technology. Of course, as a physicist, the idea of lasers being used to play music was quite an incredible thing. There was also the fact that all of a sudden I wanted to go out and collect music, physically going to places to find it. I remember regularly going to local small music shops and looking for indie music—independent music—which is often the lifeblood of much of what we do in our culture, especially for teenagers trying to find their way through society by making friends and going to concerts; of course, doing so was often one of the challenges during the pandemic last year.

What that meant at the time was that I started to get into much more serious music, such as Nirvana. I was a big Nirvana fan, and I always remember trying to work out the lyrics of “Smells Like Teen Spirit”. As hon. Members may know now, the main chorus includes “a mulatto” and “a mosquito”, but at the time I could not find the lyrics anywhere. We did not have an internet to quickly get the saccharine effect of being told the lyrics, who the artist is and all their back catalogue. I had to search it out, and if I recall rightly—I may be corrected—I think the lyrics of the “Nevermind” album appeared for the first time in the maxi-single CD of “Lithium”, which was one of the tracks. I recall being really excited in HMV in Birmingham New Street, where I was growing up at the time, flicking through and finding all the lyrics to the songs I thought I knew the words to, but realised I had got terribly wrong.

[Angela Richardson (Guildford) (Con)]

Our right hon. Friend the Member for Maldon (Mr Whittingdale) talked about the blank tape levy, and as my hon. Friend is talking about lyrics, did he ever, like me, have blank tape recordings of songs from the radio and go back through them over and over again to try to find out the lyrics because they were not available?

--- Later in debate ---

[Dean Russell]

My hon. Friend makes an incredibly important point. As a fan of Peter Kay, I know he does an incredibly good sketch—I recommend it to anyone who can find it, but especially on his own DVDs—in which he explains quite a good story about getting wrong the lyrics of famous songs. I strongly recommend that my hon. Friend continues to do that, even though what she did back in those days may have been on the border of what we were allowed to do.

I say this because there is an important point here about discovery, such as the discovery of new artists and the discovery of new musicians. One of the challenges I find with the Bill—as I say, I am very supportive of its principles—is that streaming platforms do provide a great opportunity to find new artists. Not all of them do it to make money just off that platform, but also refer people to TikTok or other platforms to explore their other artwork, forms of art or music, as well as to help tell different types of stories.

[Andy Carter]

One of the great pleasures of coming into this House was meeting the hon. Member for Perth and North Perthshire (Pete Wishart). I remember, having worked in radio, hearing his songs on the radio, including “Loch Lomond” from his days in Runrig. I was able to go away and listen to his songs, and in fact I have some of them on my phone now, so having listened to him speak, I can listen to him sing as well.

[Andy Carter]

Absolutely. One of the great advantages of the internet is that it has opened up to us so many artists, some of whom were, I have to say, before my day. The internet allows such discovery to continue in a way that perhaps would not have been possible without it.

[Dean Russell]

My hon. Friend makes an incredibly powerful point, which highlights the immediacy for us now of music and of art in general, which I see with film and in many other areas. Recently, as a member of the Joint Committee on the Draft Online Safety Bill, I was praising the Common Sense website, which states what age a child should be to watch a film. That has solved many arguments in families, who are able to find quickly not just the age rating for a film or television show but the recommended age at which a child could perhaps start watching things. With the conversations we can have, and the immediacy with which we can find information as well as music and movie soundtracks, the interconnectivity that we have through culture is incredible.

[Gareth Davies (Grantham and Stamford) (Con)]

I completely agree with my hon. Friend that streaming has expanded the opportunity to become well known for artists who otherwise may not be that well known, whether they write music for films or television or write their own songs. Does he agree that streaming has also helped to reduce the prevalence of piracy, and that it should be welcomed as an innovation in the music industry?

[Dean Russell]

Absolutely; my hon. Friend makes a powerful point. I recall that in the early 2000s there were sites such as Napster, which in their very early stages shared content that I am sure the artist did not even know was being shared. Over time, of course, they changed their approaches. That is such an important point. We have to get the right balance between protecting artists 100%, ensuring innovation with regard to platforms and new forms of engaging with media and music, and making sure that we remain competitive in the UK. If we do not do that, we may do a disservice to up-and-coming artists, especially independent ones, over time.

Let me continue my music life story. I am pleased to have the artist Limahl—Members may know him—in my constituency. I was chatting to him just today about this issue. I have just realised that I do not want Members to think I am going to give the “Never Ending Story” of my life—the first of many puns; I apologise. From there, though, my love of music was in discovering it and meeting other people who loved it.

One thing we do not often think about with regard to streaming is the ability it gives us to find like-minded fans—to engage with others, to support others and to find people who are also really into certain bands and musicians, often very niche ones. Those musicians are not always pop or rock-and-roll stars; they may be musicians who work on film soundtracks or spend time as backing singers or backing artists. That shows the breadth of what we talk about when we are discussing streaming and, in terms of copyright and its role in legislation and in Government, the complexity that is involved in what look, on the surface, like very simple changes; actually, when we dig deeper, we realise that they affect people in many ways. I urge the Government to ensure—I have had warm words and clear assurances on this—that they engage now and make sure that we have those conversations with all parties so that we do not just end up representing one group and inadvertently creating issues for many others.

Let me fast-forward—or skip forward, perhaps, in the music terminology—to university. Not many people know this, but I did poetry when I was at university. I even did poetry on stage, which is probably what led me a few years later to publish some children’s books. I was fortunate to meet some fantastic, like-minded people who were setting up a radio station at my university, De Montfort University in Leicester. We set up—I say “we”, but they did most of the work; my friends set up a radio station called DemonFM. This was about 25 years ago. These incredible people, including a guy called Chris North, one of my friends, were instrumental in making that radio station happen. We came together not because we all liked the same music but because we loved music, and we loved making sure that people could hear that music wherever they lived in Leicester, within the available FM range. For me, that meant tapping into a group who were not just passionate about music, but actually doing something about it; one of the important themes of our discussion is making sure that we do not inadvertently limit people’s ability to access music, whether that is via streaming or through radio and other routes. During that time, I met some incredibly inspirational people, some of whom went on to work in the industry or in radio.

[Geraint Davies]

On a point of order, Madam Deputy Speaker. I ask your guidance on whether this is in order. It seems to be an interesting story about the hon. Gentleman’s life, but it is not really relevant to the Bill, is it?

--- Later in debate ---

[Madam Deputy Speaker (Dame Rosie Winterton)]

I thank the hon. Gentleman for that point of order. I assure him that I am listening carefully and will let the House know if anything is disorderly. Obviously lots of others want to speak, so the hon. Member for Watford (Dean Russell) might not want to give his entire life story. It is quite important that his speech be relevant to the Bill, which is about the remuneration of musicians.

[Dean Russell]

I thank the hon. Member for Swansea West (Geraint Davies) for making sure that I stay on track, as it were.

The reason I am saying all this is that I am trying to give an illustration of how people get into the music business. Some people may not necessarily be No. 1 pop stars on Radio 1 or at the forefront of everyone’s mind when we think about rock and roll or music streaming, but there is a huge weight of people who are fans—individuals or groups who are more at the edges. I have heard statements such as the following from the BPI:

“This Bill would bind British music in red tape, reduce income for the most entrepreneurial artists, stifle investment and innovation by record labels, and disproportionately harm the independent sector.”

That is why I am saying these things.

It is not just about streaming in the broad sense or the famous artists we have all heard of, including our fantastic colleague the hon. Member for Perth and North Perthshire. It is about the long tail of artists and the people who want to be able to access art—music is art. It is about a wide range of speakers, artists and voices. It is also about diversity and making sure that up-and-coming new artists can be heard in the next five or 10 years and that we have the right infrastructure in place in the UK to enable that and support them. My concern about the Bill is that, noble as its goals are, it risks having an inadvertent impact that may not deliver on that aim. That is why I tell these stories; I assure hon. Members that it is not about trying to speak for the sake of speaking.

[Graham Stuart]

We might expect the major corporations and music labels to say that the Bill would affect their ability to invest, but that does not necessarily mean that it is not true. Having already seen the market share of UK artists reduce over recent years, we really need to get the balance right, understand the dynamics of the system and proceed. We are all grateful to the hon. Member for Cardiff West (Kevin Brennan) for giving us the opportunity to discuss the matter and look at it very carefully.

[Dean Russell]

I thank my hon. Friend for that valuable contribution.

If I may jump ahead again, I have been very involved in radio. I had my own show called “Dean’s Poetry Show”. It did not have the most inventive of titles, but I played all sorts of music on it, from Frank Zappa to John Lennon and even Max Bygraves—hon. Members may remember “Show Me the Way to Go Home”, which is what many may wish to do at the end of this speech—right through to contemporary bands such as Oasis. I found out about the complexity of the industry and of the reasons why people get into music and want to be performing artists.

Off the back of the radio show, I set up an acoustic night. I found that there are lots of people who just enjoy doing music. They do not necessarily want to be at the top of the charts; they just want to be able to spread their music to as wide an audience as possible. I remember learning the guitar at the time and really getting into the mechanics of the artistry. We have to ensure that whatever the outcome of today and whatever the Government do, we continue to inspire people to pick up a guitar, to learn the piano, to be able to use the new techniques available.

I will come to digital in a moment. On an iPhone or an iPad it is now possible very quickly to create a song and put down our thoughts, with tools such as GarageBand. We can do things that perhaps were not possible just a few years ago, but that means that the opportunity for people to be musicians has grown exponentially. We need to make sure that that exponential growth is not limited by our approaches to Bills, legislation and guidance.

I feel like the privileged position of being MP for Watford was a calling for me, because Watford is such a creative space. Over the past few years, I have had the good fortune to see that culture and art up close. Watford has the Colosseum, which has done recordings for films such as “The Lord of the Rings”—really incredible pieces that have been heard around the world by millions, if not billions, of people. There are also brilliant small locations such as The Horns, which has regular bands and a lot of fantastic cover bands. The LP Café is a celebration of vinyl, where people can try to find music on their own time, having a nice coffee while exploring new types of music; this often ties into the artwork as well. There are also nightclubs such as PRYZM and others, where people can just go and have a drink, and enjoy the music for what it is. The key thing is that music ties across so many areas. My worry with the Bill is that we might end up unintentionally limiting that ability.

AIM has recently said:

“We have expressed our concerns and are open to reviewing and discussing them with all stakeholders to figure out the best way forward. Legislating before this is reckless.”

That comes back to the point about understanding diversity.

[Mike Wood]

The promoter of this Bill has suggested that the best way forward would be to pursue these issue in Committee, which would take some time. Clearly, the passage of the Bill would conclude within the current Session. Is it my hon. Friend’s understanding that the timetable for the engagement exercise that the Government have announced is a 12-month process—well beyond the timetable for the Bill?

[Dean Russell]

I assure hon. Members that I will wrap up shortly. Legislation often is a long and winding road—excuse the pun—but I will try not to make that the case with my speech.

Let me return to the role of digital. We have to ensure that the UK continues to be at the forefront of digital innovation, and that all the players—those from streaming, the artists and the industry—come together to ensure that that happens.

Paul Pacifico, the chief executive of the UK’s Association of Independent Music, wrote to all MPs ahead of this debate and made the point that,

“Despite its best efforts, this Bill will penalise those that can afford it least—the diverse artists in our culturally vibrant independent music community and entrepreneurs who lack the economies of scale of their multinational competitors.”

The reason that I have raised all these comments about my own experience is really to highlight that if we get this right—if we collaborate with everyone and engage with everyone—we could do something really important in the UK, and I know that the Government are keen to do that. My fear is that if we get it wrong, we could cut off the that long tail, impact independent artists, and risk that person who is going to get a guitar for Christmas in a few weeks’ time never reaching their potential.

I will leave it there. Thank you for indulging me, Madam Deputy Speaker.

--- Later in debate ---

[Andy Carter]

I thank my hon. Friend for that, as he pre-empted exactly what I was going to say next. We are talking about £4.7 billion of spending in the UK economy, which was an increase of 6% of the prior year. UK music tourism is crucial, and it is so important that we have live performances back in concert venues, pubs and locations across the UK. Our music industry is a critical national asset. It makes us feel good. It enriches our lives with tunes that get into our head and make us tap our feet, and it really does set the mood for the nation. What we do in legislation in this space could have profound implications.

[Dean Russell]

What my hon. Friend has just said is so important. The music industry contributes to not only tourism and the economy, but the culture of this country. So if we rush into legislation without making sure we have engaged with every possible partner and every possible organisation, we could get it wrong and therefore have dramatically bad effects for everyone. We need to support our artists—I am very supportive of the principles of the Bill—but we have got to get it right.

[Andy Carter]

I thank my hon. Friend for his intervention. We have to accept that we are talking about a global industry, and it is possible today to pick up a business and locate it anywhere in the world. If we make legislation in this country that makes it difficult to do business, we will see global businesses deciding to go and locate in other countries. My right hon. Friend the Member for Maldon (Mr Whittingdale) mentioned K-pop, and we should be very aware of what is going on in Asia. It is easy for international businesses to identify different markets, build on those phenomena and generate significant revenues from elsewhere in the world.

The developments we have seen over the last 20 years, from music lovers being able to walk into Our Price or HMV and buy a CD to a model where they can have any sort of music instantly available on their phone simply by saying the name into a smart speaker, have changed the game completely and in a way that most of us could not have imagined 20 years ago.

This private Member’s Bill follows on from Parliament’s inquiry into the economics of streaming. At a base level, it seeks to alter the artist-label relationship through copyright law reforms to rights ownership and how revenue stemming from an artist’s recording is shared out. Actually, the way in which streaming moneys are split between an artist and the label or distributor they work with on their recordings is entirely dependent on how each individual record and distribution deal is reached. The artist could receive anything from a few per cent. to 100% of the money they generate. That is based on the contract they sign when they enter into business.

Although the Bill raises some critical issues—I support action on many of the themes that have arisen in today’s era of streaming—some unintended consequences may arise from it. Those need to be discussed because, although I want to see change, I also want to ensure that future generations of British artists receive the investment that they deserve. On the back of the Select Committee inquiry, the Government are already working with the sector to assess the market for all stakeholders through the Competition and Markets Authority, the IPO and DCMS, and I look forward to hearing what the Minister has to say shortly.

We need to have a data-driven and evidence-based approach to such a complex and important issue. The arguments that underpin the Bill are emotionally compelling, but I am afraid that they incorrectly play on the David versus Goliath narrative. I have seen headlines saying that artists are not earning from streaming, but streaming has actually provided artists with greater success than the CD era. The shares of label revenue that artists receive are higher than they were in the past. Artist remuneration has risen to 46% of overall revenue, compared with an increase in label revenues of 31%, meaning that artists are claiming a larger share of streaming revenue than they have done traditionally.

Other terms have also improved in the artist’s favour, including sharing equity in streaming services, digital breakage and writing off unrecouped balances, as well as royalty rates increasing. The hon. Member for Perth and North Perthshire (Pete Wishart)—I want to refer to him as the hon. Member for Runrig—said that one of the challenges he faced was that his unrecouped revenues were never reached, so he never earned any money. Artists are talking action on that, and I am pleased that they are being listened to.

A study of musicians’ pay by the IPO showed that between 2008 and 2019 artists and composers have seen their earnings rise faster than those of record labels. The intentions behind the Bill do not reflect those advances, and are not supported by the robust data and evidence delivered by independent academics in the IPO’s recent report.

The set of legislative proposals included in the Bill, although well intentioned, could actually harm the very model that has underpinned the industry’s renaissance. The focus needs to be on securing better deals with streaming companies. I was really struck by the comments of the former CEO of EMI Records, Tony Wadsworth, who suggested that if Bill were passed today,

“these proposals would create huge uncertainty, a mountain of red tape and make the U.K. a terrible place for investment in music.”

We do need to do something, but that something needs support from across the sector. I would argue that we need to see the outcome of the investigations by the CMA before any changes in the Bill are actually brought into force.

In business, and particularly in the music business, I am afraid that we see a need for instant gratification and success, and music labels are the only players that can tackle that. Their long game is what is really critical. We need to take their views seriously and recognise their concerns about this Bill. Successful artists from the 1980s funded investment into new artists in the 1990s, which in turn funded investment into the young artists of the 2000s. Artists such as the Pet Shop Boys, Radiohead, Robbie Williams, Coldplay and many others were supported by that investment in their early years, and that music ecosystem will continue to support music artists in the future.

Labels will continue to invest huge amounts each year in emerging talent through artists and repertoire, the music industry’s equivalent of research and development. My right hon. Friend the Member for Tatton (Esther McVey) indicated earlier that the amount of money being spent could be cut. I suggest to her that if we look at the music business around the world, 30% R&D is what is happening in all markets. I am afraid I do not see that changing any time soon, because if businesses could find a way to reduce that, I think they would; it would be an incentive to businesses to be able to reduce it at an early stage.

However, there is no denying that the new cast of characters in the market, such as Spotify, Apple Music and content platforms such as YouTube, have changed the game. When physical sales were king, the top 10 artists were twice as dominant in earnings terms as they are now. With streaming, considerably more new talent can build up a real fan base, while popular established acts are able to find new audiences and become timeless.

I am not suggesting there is nothing to fix. Music is being devalued and musicians’ earnings are being impacted. Ad-funded streaming services are not paying fairly for the music that drives their business, and that is an issue we should absolutely tackle. YouTube accounted for more than 20% of streaming consumption in the UK last year, but generated only £35 million in royalties, £20 million less than artists and labels earned from good old-fashioned vinyl records. The question we should really ask is how such services can get away with paying so little.

The market is by no means perfect but, unlike the giants of free content, subscription-based streaming services enable more artists to share in the money they make from music. In my view, the contemporary music landscape is much wider, and I fear the Bill will harm chances for newer and more diverse artists and businesses that have either escaped the old-world paradigm, or grown up in the newer, more open ecosystem in which many businesses flourish today.

I turn briefly to the term “equitable remuneration”, which is often used. I make no bones about this: I am afraid equitable remuneration will not mean fair payment in the sense that it is commonly understood. I have heard a number of hon. Members on the Opposition Benches talking about fair pay for a fair day’s work. I am afraid equitable remuneration will not deliver that in the sense that they perhaps believe it will.

Analysis by the Association of Independent Music suggests that applying ER to streaming will not address income inequality in music. In fact, the top 1% will get richer at everybody else’s expense. There is an argument that ER favours the old world over the new, or artists who have had success in the CD era and before over the new generations of diverse creators and entrepreneurs who are succeeding in the digital age. I want to see all artists rewarded fairly, but we need to create that environment when we have all the information to do so.

The industry would not know whether it would have 70 years or 20 years in which to recoup its investments if the Bill moved forward, because of the flexibility it would allow for contracts to be terminated. That would have a major influence on how much labels would be able to invest in new signings, new recordings and marketing, and on the terms they would offer in new deals.

As the hon. Member for Sunderland Central (Julie Elliott) said earlier, there are some practical problems for multiple performers, where revocation by a single performer would prevent continued commercialisation of a record. I recognise that when she responded to my question, she said there was much more to look into in that particular area, and I suggest that that is a real-world problem that the Bill does not necessarily address.

As I said earlier, I believe we need to see changes to fairly reward artists and grow the music sector in the most effective way to benefit artists. The UK is the second biggest exporter of recorded music in the world—one in 10 songs streamed globally is by a British artist—but I am afraid that the Bill would put that model at risk. The legislation would seek to only hasten the decline if large labels decided to invest more in overseas territories than in the UK. On that basis, I urge the Minister and DCMS to do more work before we take the Bill forward.

--- Later in debate ---

[George Freeman]

I am conscious that time is short, and I know that there are colleagues who still want to speak. Let me just spin through the key points that I have not yet made.

First, let me highlight the level of the Government’s support for the creative industries sector, and particularly our musicians. We have set out the creative industries sector deal, the creative sector tax reliefs, the film and television production restart scheme and the culture recovery fund, and the Chancellor’s plan for growth sets out a major long-term commitment to the sector, which we calculate contributes approximately £116 billion to the UK economy. At the recent Budget the Government announced £42 million to support our creative industries, and we include in that the small and medium-sized enterprises at the heart of film, music and video games—that broader nexus of digital entrepreneurship.

I want to touch on the impact of the pandemic, which as the Select Committee highlighted has really brought the issue of the very vertical nature of digital revenues to the fore, because musicians have not been able to have the venue events they would have had before. I make the wider point that the urgency of getting through this pandemic and defeating it is key to no one more than to our musicians. It is a joy to get back to listening to some live music, and long may that continue.

Looking at the impact of covid, for the most part, the recorded music industry stood up reasonably well during 2020. The BPI reported revenues from streaming growing to almost £737 million in 2020, which is a 15% increase during the pandemic, with smartphones, smart speakers and music streaming services providing unprecedented choice for consumers. I will not list all the music that I ended up listening to throughout the pandemic—the House has got better things to do than listen to my music tastes. However, when I listen to Bob Dylan on Spotify, it says, “If you like that, you’ll like this”, and I found myself discovering—I have pretty predictable music tastes—a whole range of artists I had never heard of, and listening to them. That highlights to me the role of digital streaming platforms, notwithstanding the need for equitable distribution, in highlighting artists who I would certainly never have heard of.

The Government are providing a whole series of support for the benefit of musicians: employment schemes, grants, loans, a reduction in VAT to 5%, business rates relief, and the extension of the moratorium on commercial evictions for business tenants, but before the hon. Member for Cardiff West makes it for me, I accept the point that many musicians at the bottom of the supply chain are not earning enough to qualify for tax in the first place.

Sector-specific relief included the culture recovery fund. That was the biggest arts funding package in our history, and the Chancellor made available £2 billion at speed, with awards to more than 800 music-based organisations. That helped to stop more than 130 of our most loved and enduring grassroots music venues having to close their doors. We also put in place the £800 million reinsurance scheme and I am delighted, as I am sure all Members are, that we can get back to live music venues, and indeed to live theatre and pub theatre. One-man and one-woman shows, or shows with a small cast, that are totally covid compliant have been a joy, and one of the unintended consequences of the ghastly pandemic.

I want to touch quickly on copyright law, to which the Bill makes a series of important reforms that are potentially impactful on everybody affected. We in the UK are proud of our copyright law, and no one more than the Minister responsible for copyright. Our 1709 Statute of Anne was the first copyright Act in the world, and today the UK is a world leader in copyright law and intellectual property enforcement. We are determined to continue to explore and modernise that, and I welcome the new chair and chief executive of the Intellectual Property Office, with whom I am working closely to ensure that we keep up with the pace of digitalisation.

In the time available I want to touch on the importance of ensuring that copyright enforcement is properly tackled. We recognise that we are a leader in that at the moment, but the rise of music streaming is a good example of how attractive new services, together with a strong focus on enforcement and education, can transform an industry that has been beset by copyright piracy. We are determined to tackle the problem of piracy, and not just those of us who remember recording “Top of the Pops” on a cassette in the 1970s, which is a low form of that—I would not say it is harmless, but as the former Chair of the Select Committee made clear, probably all of us old enough to do so did it, and it was wrong.

However, the level of industrial piracy going on is far more serious, stealing revenues from our artists. That is why the Government continue to invest in our dedicated Police Intellectual Property Crime Unit—PIPCU—which is the first of its kind in the world. It exists to protect creators and brand owners, and the unit, run by the City of London police, is dedicated to tackling serious and organised online piracy and counterfeiting that affects digital and physical goods. The Government’s upcoming infringement strategy will set out a new framework, allowing us to react more quickly and effectively to today’s challenges.

I want quickly to touch on the rise of streaming, and some of its implications. From the early 2000s, record companies saw a 15-year period of global revenue decline. Recorded music revenues were decimated due to digital piracy, and subscription streaming services such as Spotify—others are available—entered the market in 2008. By 2015, they had played a major part in halting that decline, as consumers began to adopt subscription services and paying for the right to listen to music. In 2015, there were on average 2.1 billion streams a month. By 2020, that figure had grown to 10 billion. As the Select Committee highlighted, the issue is to ensure that the revenues from that flow down. Crucially, however, we are a leader and we are growing in that sector.

The rise of streaming has been a game changer for the business models of many artists. Live performance has become the predominant source of income for many, but not all, artists while recorded music is now often viewed as a key secondary income source. Covid has brought huge challenges, as I have discussed, and the Government have moved fast to support the industry.

I will touch on the taskforces that we have set up to deal with the points in the Bill. We have put the concept of fairness at the heart of our response and we have set up the taskforces to look at three specific issues that the Bill sets out. First, the right of revocation or recapture exists in the United States and means that after 35 years, creators can recover rights that they have contractually licensed to other parties. The argument is that that increases their negotiating leverage.

Secondly, other countries, such as Germany and the Netherlands, have a contract adjustment mechanism. Thirdly, we want to look carefully at the recent European Union directive, which does not apply here, to see whether that works and benefits musicians at the grassroots. Evidence from the Netherlands suggests that contract adjustment law may have very little impact in practice. We want to make sure that we are looking at what works and more research is needed to get that right.

[Dean Russell]

My hon. Friend has listed many areas that we will look at in future. Can he assure me and artists in Watford and around the UK that the goals of the Bill to protect artists in the UK, protect the industry around the world and ensure that innovation can continue will be at the heart of the measures that he will put forward in the next few months?