Employment Rights Bill

Lord Freyberg Excerpts

2nd reading
Thursday 27th March 2025 Lords Chamber

[Lord Freyberg (CB)]

My Lords, I would like to add my thanks and congratulate the four maiden speakers on their excellent speeches.

This Bill marks a significant milestone in the campaign to strengthen employment rights in the UK. For many workers, the measures it contains—day-one rights, enhanced sick pay, protections from unfair dismissal—represent long-overdue reforms. However, we must also ask how these reforms serve the backbone of our cultural economy: our freelancers.

In the creative industries, over a third of the workforce is freelance. I declare my interest as a freelancer in the visual arts. In sectors such as theatre, film, publishing and design, it is more than 50%. Freelancers contribute billions to our economy and underpin the UK’s global cultural reputation, yet this legislation, while welcome, still leaves too many of them in the margins.

The Bill includes small measures—such as blacklisting protections, enhanced health and safety requirements and the right to a written contract—but otherwise offers little in the way of concrete protections for freelancers. There is no guarantee of fair pay, no enforcement on late payments and no formal route to challenge exploitative contracts or to clarify issues around single-worker status. While further consultation is welcome, it must safeguard the creative autonomy and IP rights that freelancers depend on. A blanket reclassification could cause real harm.

I support calls from across the sector—by organisations such as DACS, ALCS, BECTU, Creative UK and the Cultural Policy Unit—for the creation of a freelance commissioner. A dedicated advocate is needed to ensure freelancers are included in future reforms. Too often, they are out of scope, out of protections and out of pocket.

However, we must also maintain the balance between protecting individuals and supporting the viability of the organisations that employ and commission them. That balance is increasingly fragile. Consider the Royal Society of Arts, where a polarised dispute over pay between unionised staff and leadership has spiralled into reputational damage and a breakdown in trust; or the Tate, a DCMS-sponsored body, which cut nearly 7% of its workforce to manage deficits. The Royal Academy of Arts has warned of cuts of 18% of its staff. Many cultural organisations are operating on the brink, with commercial income still in recovery and reserves depleted.

Faced with new obligations, some employers may delay hiring, turn to long-term contractors or shift work offshore. For agencies and studios, hiring freelancers may appear less risky, potentially increasing short-term opportunities, but without protection this shift may only deepen insecurity across the sector.

This underscores the need for phased, consultative implementation and enhanced public funding mechanisms. Rights must be matched by resources. Without support, organisations may reduce opportunities—or close altogether. We must act strategically. That means sector-sensitive collective bargaining, better enforcement mechanisms and targeted support for smaller and mid-sized arts bodies.

This Bill opens a long-overdue chapter in employment rights. However, for the UK’s world-leading creative industries—and the freelance workforce on which they depend—it must not be the final word. Let us ensure that these reforms support all workers, however they work, and provide the resources needed to sustain the culture that we value.