Music: Contribution to the UK Economy

Ellie Reeves Excerpts

Friday 3rd November 2017 Commons Chamber

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

I tweeted yesterday that I was leading a debate in the House on music, and was asked whether I would be doing so in song. I am afraid my singing abilities are restricted to one genre, the warbling and melancholic kind normally reserved for a certain hour of the night—the sort of songs that give rise to the joke about the Irish boomerang, which never comes back but sings about how much it wants to.

First, I want to thank key figures and organisations in the music industry who are true champions of this vibrant sector, and whose work has, in large part, led to this debate.

I am sure Members across the House will join me in thanking UK Music, which is working at the forefront of the industry to ensure its success now and in the future. I pay tribute in particular to UK Music chair Andy Heath, who has done a magnificent job in bringing all the component parts of the industry together since the foundation of UK Music nearly 10 years ago, and to former UK Music chief executives Feargal Sharkey and Jo Dipple, who have made an immense contribution to the profile of the music sector, and who continue to work in the industry ensuring it can speak with one voice to policymakers. I also could not forget, because he would not allow me to do so, the good work of the current UK Music chief executive, the former Member for Barnsley East, Michael Dugher, who is leading the organisation through a very interesting but unpredictable time for the sector—similar to the situation in his previous role before leaving to take up his post. We wish him well in his work.

I also want to offer thanks to all the individual members—the sum of the parts—of UK Music: the Association of Independent Music, the British Academy of Songwriters Composers and Authors, the BPI, the Featured Artists Coalition, the Music Managers Forum, the Music Publishers Association, the Music Producers Guild, the Musicians’ Union, Phonographic Performance Limited, PRS for Music and the UK Live Music Group. We benefit greatly from their knowledge and expertise when contributing to debates such as this.

UK Music’s “Measuring Music” and “Wish You Were Here” reports make a compelling case for the importance of our music sector. The reports show the UK music industry contributed £4.4 billion to the economy in 2016, up 6% on 2015. There are now more than 140,000 people employed across the industry, with year-on-year growth of 19% since 2015, and more people than ever before are attending festivals and gigs, with an incredible 31 million people attending live music events in 2016. These figures are testament to the remarkable success, and indeed the resilience, of the UK music sector in what are very uncertain economic times.

[Ellie Reeves (Lewisham West and Penge) (Lab)]

Is my hon. Friend aware of form 696? It is a risk assessment form for live events in the capital that unfairly targets grime music and other urban acts. Will he join me in calling on the Met police to use the Mayor of London’s review to scrap form 696 and to support a more proportionate system of ensuring safety and security at live events which are so successful and contribute positively to the UK’s economy?

[Conor McGinn]

I absolutely agree with my hon. Friend’s point. I was going to mention that later, but she gives me the opportunity to say that I know that that matter has been raised with the Mayor of London, and it is certainly being raised across the industry. I had intended to mention it today because it is a hugely important issue, particularly for music in London.