Smaller Musical Genres: Scotland

Patrick Grady Excerpts

Tuesday 31st January 2023 Westminster Hall

[Pete Wishart (Perth and North Perthshire) (SNP)]

I beg to move,

That this House has considered Government support for smaller musical genres in Scotland.

I look forward to serving under you in the Chair, Sir Mark, in this afternoon’s short but hopefully important debate. I refer to my entry in the Register of Members’ Financial Interests.

When I was thinking about how to open this debate, I thought I would start with something profound and interesting—perhaps that music is the sustenance and nourishment of the soul. It is the one thing we turn to when we feel happy, and when we are trying to escape or evade any feelings of melancholy. It is what we turn to when we have that special occasion or anniversary, during time with friends, and when going out in the evening. Music is absolutely everywhere, and it has a multiplicity of genres. Music is a great chronicler. It takes you back to that time in your life, that special experience, that moment. It is almost instant recall: a song comes on, and we remember exactly where we were and what we were feeling in that moment. Everybody has a favourite song, or several favourite songs.

Then I thought that as the debate is about musical genres, I could perhaps look at the sheer infinity of music available, and the multiplicity of genres everywhere around the world—at how those 12 available notes have fired human imagination, and how we have managed to sequence and organise them in so many different and profound ways to create a huge catalogue of wonderful works of artistry—songs, compositions and beautiful sounds.

After all that, I thought I would open this debate with what is probably the most profound thing that anyone has ever said about music—what Eric Morecambe said to André Previn as he grabbed his lapels: “I’m playing all the right notes, but not necessarily in the right order.” That sums it up for me: not necessarily in the right order. Music takes us where the imagination dictates and determines. Music is only semi-constructed sonorous chaos, and that is the way it should be.

I have probably bored you before, Sir Mark, by telling you about my life in music. I had 16 wonderful years in the music industry, playing keyboards with Runrig. We were lucky and had great success, but I come from what is probably the smallest of the small genres: I played in a Gaelic folk-rock band. When I started out, we were probably the only Gaelic folk-rock band in existence. We were never going to get played on commercial radio, or on Radio 1—there was not great demand for Gaelic songs about medieval clan battles on Skye, or cuddy fishing in the Minch—so it was to the specialist radio stations and programmes that we turned for some sort of support.

The support was there on Radio Scotland, in the guise of the people who championed us and backed us—people such as Iain Anderson, Tom Ferrie and Robbie Shepherd, all providing a fantastic service. That gave us a break, and an audience to build. It helped to develop and shape our career. More than anything else, it gave us hope; here were our songs being performed on Radio Scotland. The songs of this Gaelic folk-rock band—it was never going to be the trendiest band in the world—were being played, and that was so important to us. We went on to become one of the top rock bands in Scotland, selling millions of albums worldwide and sustaining a great touring career. That is what it is all about. That is what small, specialist radio programmes and stations can provide. They give opportunity, but more than anything else, they give hope.

Why this debate, and why today? Because of the simply appalling decision by the BBC and BBC Scotland to cancel “Jazz Nights”, “Pipeline” and “Classics Unwrapped”. These are indispensable specialist programmes that serve a distinct and particular audience—programmes that do not really exist anywhere else, and that the audience turn to for the services that they want, and aspire to be on.

I do not think I have ever seen anything like the overwhelmingly negative response to the decision to axe these three important programmes. It has united the whole of Scotland’s musical community in condemnation. Already, three distinct petitions exist to have the programmes restored and put in the right places, so that they continue to be a feature of BBC Scotland’s scheduling. In the last few minutes I have heard that they have collected a combined 20,997 signatures, such is the interest, and the desire to save these programmes.

The head of jazz at the Royal Conservatoire of Scotland, Tommy Smith, has co-ordinated an open letter, which I think he has sent to the Minister, as well as Ministers in the Scottish Government. The letter is signed by the cream of Scotland’s cultural voice—people such as Nicola Benedetti, who is responsible for the delivery of the Edinburgh festival; Sir James MacMillan, one of Scotland’s prime composers; our national Makar; Scottish Opera; and of course various luminaries from the jazz world. All have voiced their concern about what will happen if these programmes are taken off air.

The letter rightly notes that this decision comes at an extremely difficult time for all parts of the cultural and creative industries. I do not think I need say that to the Minister, because she is more than aware of the distinct challenges that everybody in the cultural sector is experiencing. The pressure on the music industry is acute. I think what that letter said is that we must do everything we can to protect the infrastructure that supports our fragile but world-leading Scottish cultural ecosystem. More than that, what comes across in the letter is passion—passion for the music that these programmes support; passion from those who assemble the programmes and put them together; and passion from the broadcasters who present them, and from the audiences who lap them up and love every minute. Nicola Benedetti from the Edinburgh festival, one of the signatories, said:

“Axing these programmes is to perform a heartbreaking disservice to the irreplaceable role they have played in the lives of musicians and music lovers across the country and all parts of society.”

She is spot on.

This chorus of disapproval underlines just how much support there is in our small nation. It is a nation that excels way beyond what might be expected, given the number of people in it, in every sphere of cultural activity—a nation that is internationally renowned, and a brand that is known. We feel this is important. There is a real sense that we in Scotland will do everything we can to defend and protect our cultural output, and ensure that we recognise the distinctive flavour of all its different parts.

[Patrick Grady (Glasgow North) (SNP)]

I congratulate my hon. Friend on securing this incredibly important debate. A fantastic example of how Scotland’s cultural and music scene can be shared with the entire world is the Celtic Connections festival, which we are right in the middle of, and which is celebrating its 30th year. That forum has nurtured the kinds of bands and different genres that he has talked about, and has brought them to a wider audience, helping people not just in Scotland but around the world to understand and explore the whole range of music that can be connected to through such a festival.

[Pete Wishart]

Absolutely; my hon. Friend is quite right to mention Celtic Connections, because they do not come any better than that. I remember when it all kicked off, back in 1993. It was a few concerts in the concert hall in Glasgow. It is now at practically every venue in central Glasgow, and I think it goes on for 10 days. Of course, like my hon. Friend, I will have the great pleasure of attending a performance on Friday evening. We are all looking forward to that, although I think he will probably have better luck than me at cadging tickets for the club activities in the evening, but we will see how that all ends up. I am looking forward to it. It is a great example of how smaller, niche music is supported, although the festival not small anymore because of the support it has been given over the years.

I want to come to jazz in particular, because it is important. The cutting of “Jazz Nights” comes at a time when Scottish jazz is really doing well. Jazz has flourished in Scotland in recent years, and our emerging artists have started to gain national and international recognition. One of those, of course, is the wonderful Fergus McCreadie, who won the Scottish album of the year and was nominated for last year’s Mercury prize. I do not know if the Minister has had an opportunity to listen to his album, “Forest Floor”; I know that she will rush to stream it this evening, because it is a wonderful example of virtuosity, and it combines a number of genres and disciplines. It is a wonderful piece of work, and he is only in his 20s. I mention him because he is a great example of what “Jazz Nights” did: he got his first break from it. It supported and sustained him; it played his music, and now he is on the point of embarking on an international career. That is the type of thing it should be doing.

We should recognise that Edinburgh is the home of international festivals, particularly the jazz festival. Edinburgh is becoming increasingly renowned as a European, if not world, centre for classical music. No wonder, with facilities such as the redeveloped Usher Hall. It is a great place to watch classical music. Again, if the Minister is looking for recommendations, she should go there some day to see some of the wonderful concerts that it puts on.