Oral Answers to Questions
Esther McVey Excerpts(1 year, 10 months ago)
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Julia Lopez
I am always grateful to hear from the hon. Gentleman. I know that his constituency is a very rural one with an island population, which creates particular challenges. Much of the broadband roll-out is being driven by the Scottish Government. Their R100 programme has had some problems, and I have spoken to Ivan McKee about how we can assist with those. We are keeping a very close eye on the matter, because we want to make sure that every part of our country is covered by this connectivity and is not disadvantaged by some of the local ways in which the projects are being managed.
Esther McVey (Tatton) (Con)
The Gigabit Broadband Voucher Scheme is not working as intended in the smaller rural villages of Tatton. The community groups have found that the scope of the local authority contract includes commercially viable areas, but excludes the remote areas. I thank the Minister for being very helpful, but, ironically, the more work that we did, the more we exposed the weaknesses. Will she meet me, representatives of Lower Peover and Building Digital UK to solve the issue?
Julia Lopez
I thank my right hon. Friend for all the work that she has done to make sure that Cheshire is connected. I have looked at the issues of Lower Peover. In particular, she highlights challenges with the voucher scheme. I want to assure her that we have upped the amount that can be claimed to £1,500 per premises. I am always happy to meet hon. Members on these issues, but I also hold BDUK surgeries regularly, so please book in for those, but, of course, I will meet her personally to discuss this.
UK Songwriters and Composers
Esther McVey Excerpts(2 years, 7 months ago)
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Kevin Brennan
Yes, I am, not least because I have written a couple of songs with the right hon. Gentleman that we have recorded down the years with our band MP4—legends in our own imagination. As we say in these groups, he is not only a drummer, but a musician: he has written songs himself, some of which have cult status on the internet.
UK Music’s recent “Power of Music” report sets out in clear terms the enormous and extensive benefits that music provides for health and wellbeing, with notable effectiveness in regulating and improving the mental health of so many people during the pandemic and in offering particular emotional respite for those with dementia. What is beneficial is not just playing and singing, but creating music. Organisations such as the Songwriting Charity empower young people and communities through the art and craft of songwriting to boost their confidence, self-esteem and mental health.
Some Members may not be aware—although you may be, Mr Deputy Speaker, given your origins—that Ivor Novello, the Welsh songwriter, playwright, composer and actor, was born on Cowbridge Road East in my constituency in 1893. Christened David Ivor Davies, he took the name Novello from his mother, Clara Novello Davies. I was particularly pleased when, three years ago, the former British Academy of Songwriters, Composers and Authors—BASCA—rebranded itself as the Ivors Academy in his memory, and in acknowledgment of the world-famous Ivor Novello Awards, which it runs.
In economic terms, songwriters and composers contribute substantially to the value of our music, performing and visual arts ecosystem, which generates an enormous £10 billion domestically, with music exports constituting £2.9 billion in value to the UK economy. UK Music points out that one in 10 songs streamed globally were produced here in the UK. That is a lot of globally popular UK songs and music.
This past week—and I know that you were watching, Mr Deputy Speaker— exemplified the joy and excitement that songs can create, with the immense talents of a diverse range of musicians and composers from across Europe and beyond brought under the Eurovision roof in Turin. Congratulations, of course, to Ukraine’s Kalush Orchestra, the deserved winners on the night, but also to the UK’s Sam Ryder, who came second. Writing great songs is a Great British tradition, from Ivor Novello’s “Keep the Home Fires Burning”, through Lennon and McCartney’s “I Want To Hold Your Hand”, David Bowie’s “Life on Mars” and Joan Armatrading’s “Love and Affection”, to Adele and Dan Wilson’s “Someone Like You”; but we must not take it for granted that that will go on forever.
I am happy to inform those who are not aware of it that the UK’s Eurovision song, “Space Man”, was co-written by the incredibly talented former student of Cardiff’s Royal Welsh College of Music & Drama and Radio Wales presenter, Amy Wadge. Many had assumed that Britain’s recent lack of success in Eurovision was political, but it turns out that what is needed—as well as a talented artist, good presentation and good production—is, above all, a great song. I am old enough to recall a time when Eurovision was known as the Eurovision Song Contest, and the writers were featured on camera to take a bow for their part in the creation of the music. There is no singer without the song and no song without songwriters, so perhaps that recognition should be resurrected. When I was growing up with vinyl records, which are now popular again, I used to study the labels intently to see who had written the songs. I want people to do that again, so that the art of songwriting is once again given its proper due rather than being hidden away somewhere deep in the metadata.
Esther McVey (Tatton) (Con)
The hon. Gentleman is a great champion for the music industry, and he has done much to secure a better deal for musicians, particularly from music streaming. He has also worked with the former chair of the Ivors Academy, Crispin Hunt. It is true that we need great songwriters, but we must ensure that they receive a fair share from the music that they have written and performed. I should like to know what more we can do, on both sides of the House, to ensure that musicians receive that better payment.
Kevin Brennan
The right hon. Lady is absolutely right. She has been a tremendous advocate on behalf of songwriters and composers, and although we sit on opposite sides of the House and may differ on many subjects, this is a subject on which she has been a passionate advocate for creators to get their just rewards. Later in my speech I will refer to some of the issues that she has mentioned, all of which featured in the private Member’s Bill of which she was a sponsor and which I introduced in the last Session. Ongoing work on parts of the Bill will, I hope, bear fruit in the near future.
We need to improve the wealth of research and development opportunities available to British creatives. Talent pipelines have been left to fracture and decay over the last decade, with cuts in education and local authorities’ services under consecutive Conservative Governments. It is vital that meaningful opportunities exist for the songwriters and composers of the future from all backgrounds, regardless of their genre and of their means and connections. This must be a key test for the DCMS, and particularly for the Secretary of State in the context of her professed desire to level up in her role.
I draw the House’s attention to this week’s very welcome announcement from the Welsh Labour Government in Cardiff of the trebling of funding for music education and the launch of Wales’s new national music service, which will ensure that all pupils between three and 16 years of age can access and borrow musical instruments through a national instrument library. It will also expand creative opportunities to pupils of all backgrounds through the offer of half a term’s tuition for free.
The challenge for UK Government Ministers is clear. In a survey conducted on behalf of the Ivors Academy’s TheWRD—the further education diploma that I mentioned earlier—it was found that:
“70% felt that starting a career in music would be difficult, citing barriers such as not having contacts, being too much of a financial risk, lack of opportunities, and the industry not being open to people from their background. When asked about the barriers young people faced in accessing further education, almost 50% of those surveyed felt they were unable to afford it, and 1 in 4 said they do not have access to courses near where they live.”
I hope that the Government will follow the Welsh Government’s initiative when they review their national music plan, and also that they will support the Ivors Academy’s TheWRD initiative that was announced this week.
At this point, I remind the House of the vital role that our public institutions play in nurturing songwriting talent. The BBC sometimes comes under criticism in this House, but I remind hon. Members of the vital role that it plays in underpinning, promoting and paying our musicians, songwriters and composers. BBC Introducing is an excellent example of research and development from our national public service broadcaster. It has supported almost 300,000 artists on its platform and gone on to achieve 23 UK No. 1 hit singles and 146 Brit award nominations. Every day, music is playing somewhere on the BBC. When music is playing, musicians should be getting paid. On the BBC, they are. It is generating royalties for musicians, songwriters and composers. There is, I am afraid, an increasing trend in the new digital media to try to avoid paying composers, and insisting on taking from them what Parliament intended they should have—that is, royalties when their music is used. The BBC has been a helpful bulwark against that trend, and changes in the way in which programmes are now commissioned at arm’s length must not be used to deny composers their full remuneration.
There has rightly been a lot of coverage recently of the cost of living crisis, and sadly, for too many talented and successful musicians, songwriters and composers, getting by on their meagre royalties has been a struggle for years. When we held our Select Committee inquiry, one of our witnesses was a Mercury prize-nominated artist who was struggling to pay their rent because of problems resulting from the pandemic and the lack of reward from streaming.
The Minister will recall that a major provision in my private Member’s Bill, which was sponsored by Members in the House and introduced in the last Session, placed a transparency obligation on those who have had rights transferred or licensed to them, requiring them to supply timely and comprehensive information to the songwriter, composer or artist about where and how their music is being played, so that they can be sure that they are being paid what they are due. The Select Committee recommended this after hearing evidence during its inquiry into the economics of music streaming, which found that it is often difficult for artists and songwriters to gain any clarity or to audit their works. We heard about money that should have been paid disappearing into what are known in the industry as black boxes. It is clear that songwriters suffer particularly because of poor data standards.
On the subject of the value of streaming to songwriters, the Committee expressed concern about how the big three record labels also own large parts of the music publishing business, and about how that might influence the way in which revenue from streaming is distributed. If the big three make more profit from their rights in the recording than they do from their rights in the publishing, there is a disincentive for them to pay songwriters a competitive share of the streaming revenue. The publishing right ought to be competing for more value against the recording, but it appears to be stifled by that problem of joint ownership. I praised the Government at the time for noting the concerns, expressed in the Committee's report, about the impact of monopoly power and cross-ownership in the music industry and for referring the matter to the Competition and Markets Authority for a study of potential market failure. I keenly await its conclusions.
The issue of streaming remuneration has not gone away. There is a real danger, particularly in the current economic context, that we will make no progress on recovering the artists lost to the industry during the pandemic if more is not done to support our songwriters and composers. Last November’s survey by the Help Musicians charity found that 80% of professional musicians had been unable to return to full-time work since the pandemic struck.
The live industry, as one of the sectors forced to shut for the longest period during multiple lockdowns, has also faced an uphill battle in its recovery from the pandemic. The VAT reduction on ticket sales introduced in July 2020 was a vital lifeline for struggling venues and events across the country, and it recognised the sector’s high up-front costs and significant preparatory time. Abandoning the reduction too soon prevented a further £765 million of investment over a three-year period and held back the sector’s post-pandemic recovery. These are the venues and events upon which the creative ecosystem relies. Songwriters get paid by PRS for Music when their compositions are played live, so I ask the Minister to use this Ivors Week to remember that the vibrancy and success of the UK’s music industry are built on the creative activities of songwriters and composers, and that it is not achieved in a vacuum. The pandemic compounded the everyday struggles of our talented artists and exposed the cracks in the industry’s infrastructure.
In classrooms, music venues, festivals and, of course, the money that musicians should be paid, the need for reform and investment is evident. A career in music can be viable, but there is work to be done to ensure that those who have the talent, from whatever background, have a chance at success.
Digital Infrastructure, Connectivity and Accessibility
Esther McVey Excerpts(4 years ago)
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Esther McVey (Tatton) (Con)
I beg to move,
That this House notes that over one million households do not have an internet connection in the UK and 5.3 million people do not access the internet at all; further notes that repeated lockdowns as a measure against the spread of covid-19 have highlighted the urgency of achieving nationwide digital inclusion; notes that the Government’s decision to change its manifesto pledge from delivering world-class gigabit-capable broadband in 100 per cent of homes and businesses across the UK by 2025 to only 85 per cent will damage the economy and the levelling-up agenda; notes that any investment in superfast broadband without addressing the digital divide will damage social mobility; notes that digital exclusion has the biggest effect on lower-income households, increases the cost of living and widens health inequalities; believes that digital infrastructure is not a luxury resource but an essential requirement; and calls on the Government to invest in a digital catch-up scheme to support the post-covid economy, level up opportunity and lead to a fairer economy, stronger society and better lives.
I thank the Backbench Business Committee for allowing us to debate digital infrastructure, connectivity and accessibility today. Never has this debate been so important, so relevant and so timely—I say timely, because two days ago this House voted to extend the covid restrictions across the country. Some 99% will be in tiers 2 and 3, the strictest lockdown, and the restrictions are likely to continue for months. Having been in one form or another of covid lockdown since March, our lives have been quite literally turned online and are set to remain that way.
I also say timely because last week, among the small print of the Chancellor’s spending review, the commitment to 100% gigabit capability by 2025 was reduced, along with the financial support, which went from £5 billion to £2 billion. It is vital that today we get the original full-fibre gigabit capability manifesto commitment reinstated, because reliable online connection is not just nice to have; it is a necessity.
Even prior to the pandemic, the country’s digital infrastructure needed improving and upgrading. The National Audit Office reported that internet demand was growing at 40% a year and, according to the National Infrastructure Commission, growth would have resulted in demand’s outstripping supply for the part copper, part fibre section between 2030 and 2040. Added to that, as we all know, the coverage is very much dependent on where we live, and cities are much better than towns or rural areas. As it stands, the industry boasts that 96% of the country has at least 24-megabit capability, but that is a million miles away from where we need to be as a country, with so many people complaining that they have unreliable connectivity and slow speeds. That figure needs to be 1,000 megabits per second, not 24.
The real experience on the ground is this: in parts of Tatton and across Cheshire, constituents of mine have been informed by BT and Openreach that their properties simply do not qualify for commercial roll-out of broadband, because their homes are too far away from a cabinet and installation is too difficult and expensive to be delivered as part of the universal service offer. That means that across my constituency, broadband accessibility can vary from street to street, depending on the location of the box.
What we have seen developing in this country is a digital postcode lottery—a digital divide. Dr Helen Hosker, of Wilmslow, told me that she has “very slow broadband speeds” because her home is too far away from a cabinet. Dr Hosker, a retired general practitioner, is now struggling to work remotely for the covid clinical assessment service. As she rightly remarks:
“The current service is unlikely to support any developments with home working for myself and my neighbours. This situation will only worsen over time as reliance on technology increases. This is unacceptable when reliance on the internet has become a key part of everyday life”.
Stephen Chapman, of Knutsford, explained how over the past seven years he has had 64 visits from Openreach due to faulty broadband. Stephen highlighted the scale of the problem my constituents face when he explained that,
“there are 16 properties in our postcode that average 2MB or less,”
which has an impact on his business and his life. He says that,
“quality of life is now dependent on internet access.”
Another of my constituents, Tariq Marfani of Mobberley, an automotive and aerospace supplier, reports broadband speeds in Mobberley of, again, 2 megabits per second, which is a very long way off the gigabit connection—1,000 megabits—that the Government are striving towards. Tariq also points out that covid has brought about a shift in behaviour—not just going online, but people wanting to move out of cities to the countryside and to work remotely. Yet it is rural areas that most urgently need their digital infrastructure improved.
In fact, after I met BT last week, it revealed the latest figures, which show that only 6% of my constituents’ homes and businesses in Tatton currently have access to full-fibre broadband, and it is that full-fibre service that can provide that 1 gigabit capability and significantly improve reliability. The digital inclusion charity Good Things Foundation found that 80% of people considered digital connectivity to be a lifeline to them during lockdown. Yet, shockingly, more than 1 million households in the UK do not have an internet connection, and 5.3 million people do not have access to internet at all. Of those who do have an internet connection, Which? found that 30% said it did not meet their needs during lockdown, cutting them off from vital day-to-day services such as schooling, banking, shopping for food and getting health check-ups.
During covid and life in lockdown, as a nation we have all moved online. BT reported a 35% to 60% increase in daytime traffic. Even meetings that many of us assumed were face-to-face necessities moved online. The Health Foundation estimates that more than 700,000 patients are turning to phone and online video GP appointments. Some 1.62 million people now unemployed are using the universal credit online benefit system.
Education is increasingly delivered online; just last week, the National Education Union reported that there were 900,000 children being educated at home—one in five secondary school pupils, all needing the internet. However, with an estimated 2% of the 9 million UK households with children not having internet access, that is approximately 560,000 children whose ability to get a good education will have been disrupted during lockdown.
Being online is now crucial to everything we do—and yes, the NHS test and trace app relies on dependable broadband, too. Digital infrastructure has to be the No. 1 infrastructure project that this Government deliver, so today I am calling on them to reverse their decision to downgrade the full-fibre roll-out and instead to reprioritise it—rev it up, put the money back in the pot and deliver the full-fibre service this nation so desperately needs. The Government’s levelling-up agenda depends on nationwide digital inclusivity. If we give up on this manifesto commitment, fail to invest in our digital infrastructure and refuse to take the urgent action necessary to level up and fix the digital divide, we will be trying to deliver the levelling-up agenda with one hand held behind our back.
I applaud the Government’s commitment to a £4 billion levelling-up fund as part of the recent spending review, yet the roll-out of broadband would itself facilitate levelling up and drive forward social mobility. That money needs to go back in the broadband pot. As the Ministry of Housing, Communities and Local Government succinctly described:
“Digital equality matters because it can help mitigate some of the deep social inequalities derived from low incomes, poor health, limited skills or disabilities”.
With broadband taking on an ever more important role in our lives, it is high time it was elevated to the status of utility and that we removed any impediments to delivering this essential service to the country.
I fully support the Telecommunications Infrastructure (Leasehold Property) Bill, which recognises that broadband is as essential as water or electricity. Recognising broadband as a utility means that all new homes will automatically be built with superfast internet. Furthermore, telecoms providers will be permitted to install broadband in pre-existing premises in the same way that a water provider would be permitted to install water pipes.
As we recover from this pandemic, lifted by the news of a vaccine, we need to be lifted by the news of the reinstatement of the full-fibre roll-out, too, which will provide all sorts of desperately needed jobs as we seek to recover from the covid recession. More than 10,000 jobs could be created in delivering the infrastructure, and once it was rolled out, it could create 1.2 million skilled jobs by 2025, which could add more than £59 billion to the economy by 2025.
The UK has lagged behind European neighbours and much of the world in its fibre coverage. It is time to drive this agenda forward as the UK sets forth as an independent sovereign state. Digital connectivity is no longer a luxury or even a priority. Digital connectivity must be our No. 1 priority. I appreciate that money is tight, but this needs to be the country’s top infrastructure project. I can tell the Minister that my constituents would prioritise this over High Speed 2 any day of the week.
These are my questions for the Minister. Does he agree that this must be the country’s No. 1 infrastructure project? If not, what is? Can he confirm that digital infrastructure will obtain utility status? Will he meet me and the Blue Collar Conservativism group to ensure that the £3.8 billion removed from the full fibre delivery pot is put back in, so that the 2025 commitment can be reintroduced?
Several hon. Members rose—
Esther McVey
In the time I have left to me, I thank once again the Backbench Business Committee for allowing us to have the debate and the hon. Member for Sunderland Central (Julie Elliott) for working so closely with me to ensure that the debate happened. We can see from the number of Members who attended how important this issue is to everybody, for a whole host of reasons. We had excellent speeches about the differences between city and rural, about inclusion and about levelling up. It really was important that everybody was here today.
I mention in particular the Chair of the Select Committee, my hon. Friend the Member for Solihull (Julian Knight) and I hope that his being here and speaking will mean that this is a recurrent theme in that Committee until we get what we want. I thank the Minister, too, who I know is a champion for digital infrastructure and inclusion and an expert in this area. I am delighted that he said that digital infrastructure was high on the priorities—higher, much higher, than High Speed 2—so my only concern is that while the money tumbles for digital infrastructure, the money for High Speed 2 goes through the roof, and that must be changed.
I do hope that the Minister is strengthened—maybe even fortified—by the debate that we have had today, so that he will go back to the Chancellor with us all behind him and get that £5 billion back into this pot, where it deserves to be and to have it delivered by 2025—