Trade (Comprehensive and Progressive Agreement for Trans-Pacific Partnership) Bill [HL]

Debate between Lord Johnson of Lainston and Lord Foster of Bath

Committee stage
Thursday 14th December 2023 Grand Committee

[Lord Foster of Bath (LD)]

I entirely take the point the Minister is making about the timescale for an impact assessment. Yet before we have even had the consultation on performers’ rights, the Minister is claiming that the impact will be minimal. I have not yet heard from him the justification for that claim. Also, while I am on my feet and to save interrupting him a second time, can he be absolutely clear that the details of the consultation on performers’ rights to which he referred will be available prior to your Lordships debating the Bill on Report? If we do not have those details and a clearer understanding of what is in the consultation and the implications of the Bill, we are put at a huge disadvantage.

[Lord Johnson of Lainston (Con)]

I am grateful to the noble Lord for pointing out that I am already talking about the impact, while also saying that we should not have an impact statement after one year; however, I do not think that that is fair. We are trying to have a broad gauge—is this a significant, multi-million-pound issue that needs to be confronted with urgency, or a relatively manageable amount of capital change? The instance we are looking at is not significant in relation to the music industry overall—it was a few tens of millions. I do not have the figure in front of me, but the noble Lord will understand.

That is the reason why we are having a consultation. Our estimate implies that it would not result in significant distortions of the music market in this country. Remember, this is for broadcast media. It does not include streaming, which is how most people access their music at the moment. It will result in additional artists being included, but many artists already are.

We should be aware that we often talk in these debates about the issues facing us—it is always about us. I would like us to look at the opportunities our artists will now have in terms of being protected. British music is the greatest in the world, and among the most popular. The Beatles are at No. 1 again; that must mean something. All the great bands are reforming to take advantage of these new benefits of CPTPP and the enormous revenues they will be paid, so something must be working. We should not lose sight of that. I think that my noble friend Lord Cameron of Chipping Norton told me that Blur are getting back together again. He will know more about it than me.

This is a very important issue. We must not lose sight of the fact that on the whole, these measures tend to result in additional protections which did not exist for our artists in many of these countries. That is very important. We can get lost in the detail. I am not saying that the detail is not important, but we should keep things in perspective. I cannot answer the question from the noble Lord, Lord Foster, about when the consultation will be completed. It is unlikely that we will have the consultation back by Report, which is hoped to be the second or third week of January. I am aware of the time constraints and recognise noble Lords’ comments, but we will continue to work together to find a good solution. I am extremely comfortable having further conversations with the noble Lord and other interested Peers on how we can delve more deeply into this subject. I am very sensitive to the fact that we are trying to come to the right conclusion.

Turning to some of the other key points, the noble Earl, Lord Clancarty, made a very fair comment on artists’ resale rights. We have tried to propagate this position. It is a new concept globally and so far, 90 countries have taken up the opportunity to employ artists’ resale rights. Unfortunately, very few CPTPP countries deploy ARR in their legislation. The noble Lord was right to mention Mexico, and Peru is similarly beginning the process. However, it is at an early stage and has not functioned in a way that is advantageous to our artists, so while the systems have been set up, they have not started to yield the payments we were hoping for. Therefore, we are not in a position to introduce ARR into the CPTTP, because many of the countries simply do not have that legislation to hand. It would therefore not be appropriate for what is a collective multilateral treaty that we are joining.

The noble Lord rightly asks about our strategy. I am happy to come back to him on our plans for continuing engagement, but he should be reassured that we specifically negotiated this in the Australia and New Zealand free trade deals and that we are in negotiations with Japan to see how we can implement that.

The noble Lord, Lord McNicol, asked about Japan and geographical indications. I cannot make a significant comment in reply, other than to point to our commitment to continue negotiations on this. It was a very important part of the initial negotiations and the Secretary of State at the time was determined to ensure that these principles were magnified. I, my officials and the trade team will be happy to reassure the noble Lord, I hope, that we are moving forward.

I hope I have covered the questions raised. My noble friend Lord Trenchard kindly supported me with his point about impact assessments and timeliness, for which I am grateful. He also raised specific questions which I will answer in writing.

Trade (Comprehensive and Progressive Agreement for Trans-Pacific Partnership) Bill [HL]

Debate between Lord Johnson of Lainston and Lord Foster of Bath

Committee stage
Thursday 7th December 2023 Grand Committee

[Lord Johnson of Lainston (Con)]

I again thank noble Lords for their input. The noble Lord, Lord Purvis, referred to my declaration of interests and asked about my interests in Malaysia. I do not have any interests in Malaysia, but I have had interests there, which serve to highlight the points I tried to make about trade. My interests are very clearly listed on the Lords’ register. I have small shares in fund management businesses but, as I said, I do not believe there is any conflict relating to this debate. I am always very cautious in that area, so I like to make everything as transparent as possible. I apologise for not making my declarations at the beginning of the debate.

I will now cover the important points. It is important to reaffirm that, as I committed to at Second Reading, the Intellectual Property Office will undergo a full consultation and report early next year on the effects these changes will have on artists and the industry itself in the United Kingdom.

[Lord Foster of Bath (LD)]

I am sorry, but although it will report early next year, that will be after we have concluded all our deliberations on the Bill.

[Lord Johnson of Lainston (Con)]

That is true of the House of Lords process, but I assume that, by then, the Bill will be in the other place, so there will be an opportunity to reference the consultation. My point is that the consultation will not have an effect on the treaty in the sense that we are able to take ameliorative action as a nation. I am grateful to the noble Lord for raising this, but it is not necessary to make amendments to the CPTPP Bill. We want to take time to decide the best course of action relating to how artists are compensated for their works being broadcast on broadcast media.

I am very comfortable with the principles around the consultation process, and I hope that noble Lords will be reassured that I have taken a significant personal interest in ensuring that we get into this debate with all the details that it presents. It is not necessarily as straightforward as it may appear. I admit to coming to this at First Reading and thinking, “This seems an extremely reasonable affair; shouldn’t all artists receive 50% of their broadcast rights?” Further investigation shows that the situation is much more complicated, with different artists having different concepts of rights, particularly in America, which has the largest market in relation to this, and certain revenues being able to be captured and retained in the UK, rather than repatriated, and so on. A very relevant point was raised to do with reciprocity.

If I may, I will explain to noble Lords, who know more about these subjects than I do, that joining CPTPP fundamentally changes an important principle in how we assess artists’ rights. The copyright Act extends rights to performers who are nationals of or who give a performance in a “qualifying country”, the principle being that you will qualify for the protections if you are a British citizen or if you perform—as I am sure the noble Lord, Lord Foster, regularly does—your musical extravaganzas in the United Kingdom or in countries that are specifically linked via the Rome convention, for example. The secondary legislation to the CPTPP will change this. It requires that we introduce a new basis of qualification which is linked to where the music is first published. To qualify, you do not have to be either a citizen of a CPTPP country or doing the performance in a CPTPP country, so long as it is first published there. There are grace periods around that too.

It is not as simple as saying that artists’ remuneration and royalty payments are extended to everyone in the world, because that is not the case. For example, a US citizen giving an original performance in the US and registering it there would not qualify if it was then broadcast on UK media. It is important to understand that there are some nuances. I give way to the noble Lord, Lord Foster, if he has a technical point.

[Lord Foster of Bath (LD)]

I was not going to intervene, although I was tempted. The Minister is 100% right that this is incredibly complicated. There is the issue of a UK session musician who performs on an American record that is then first performed elsewhere. The complications are enormous. The problem is that the proposed changes also have enormous potential implications, none of which we have had the opportunity to debate or fully understand the impact of on the UK music industry, which is confused about this. All I am asking the Minister to do is accept that there is something incredibly complicated, but it can and should be dealt with separately.

[Lord Johnson of Lainston (Con)]

I am grateful to the noble Lord for his understanding of the complexity of this. I hope I have been able to explain to noble Lords the different principles in what we currently look to in our copyright Act and what we are signing up to in the CPTPP. It is certainly navigable. Regardless of accession to the CPTPP, it is already complicated, and there are specific agencies to make sure that these royalties are properly collected and stored.

I am reluctant to accept these amendments today and ask noble Lords who have proposed them to withdraw them, but I am very comfortable with having further discussions. It would be helpful for us to have a good discussion with the IPO so that people feel comfortable that the consultation is going in the right direction and that the right levels of input are being prescribed. The tertiary changes that we may wish to make to protect our music industry and artists would not necessarily be linked to this trade Bill, but they are important.

I am glad that I have managed to highlight and explain the new approach on who is eligible for these resale rights, because I think in the first instance it was assumed that everyone would be. That is not the case. It is important to differentiate that. We are signing up to a new approach in the CPTPP and this clearly forms part of our treaty obligations. It is very relevant that we debate that in some depth.

The noble Lord, Lord McNicol, raised a very good point in his amendment. I hope I can reassure him that this is not retrospective, but it would make sense for performances undertaken before the date to qualify. However, you would not be paid royalties for qualifying performances that were broadcast before the date. Otherwise, everyone would claim for past performances over the 70 years that IP goes back to—that would be totally impractical and inappropriate and is not what we are suggesting at all. Our legal advice is clear that the cut-off date is the day on which this comes into force. Anything following that point would qualify. Historic performances are clearly part of the IP record, but you would not receive royalties for anything from before that point. I hope that reassures noble Lords.

I hope I have covered the points raised. I am very grateful for noble Lords’ input on this important, sensitive and complex area. As is often the case in dealing with noble Lords in this Room, we are talking not about party-political or even political issues but issues of detail that have great ramifications. I see that the noble Lord, Lord Lansley, is keen to intervene as I may not have covered his points. The order of this is that the first statutory instrument gives the Secretary of State the power to make the changes, after which there is the consultation, and then the second instrument makes the changes. I hope that helps answer his initial point on the order of activity.