Creative Industries

Paul Kohler Excerpts

Monday 27th January 2025 Commons Chamber

[Mr Paul Kohler (Wimbledon) (LD)]

We have heard from many hon. Members about the power of art and the impact that culture can have on lives. From Shakespeare to The Smiths and from Hockney to Hitchcock, the UK has a proud cultural heritage that has touched all corners of the globe and continues to inspire millions. I am proud that my constituency of Wimbledon has played its part, hosting everything from the filming of the first “Carry On” film at Merton Park studios to the world premiere of Lionel Bart’s “Oliver!”. The University of the Arts London and countless creative businesses, not to mention three theatres and two cinemas, call Wimbledon home. However, it is clear that many challenges face the industry. The growth in generative AI and streaming platforms is changing and threatening many. Meanwhile, the pandemic and the cost of living crisis have left many creative businesses facing huge financial pressures. The debate is therefore welcome and could not come at a more important time.

Before I proceed further, I must declare my interest in the industry: I am the owner of a small cabaret bar in Covent Garden and chair of the all-party parliamentary group for the night time economy, and as such I am greatly concerned about what is happening at the grassroots. Somewhat more embarrassingly, I must confess that I am a failed creative. In my youth, I was the lead singer of an obscure new wave outfit, the Gotham City Swing Band. Although my motley crew and I made little impression on the music scene, we still have a small place in history: we were the final band to play the Roxy—the infamous birthplace of British punk—before it closed its doors for the final time that night.

[Chris Bryant]

Was that because of you?

[Mr Kohler]

The Minister has anticipated my joke. I will leave Madam Deputy Speaker to decide whether it was my performance that ended it all.

That brings me to the first issue that I would like to highlight: the crisis facing grassroots music venues. The Roxy played a crucial role in shaping British musical history; it provided a shared space for creatives, leading to the formation of bands and genres that are still loved today. The Roxy was critical to the development of punk and so much that followed in its wake. Grassroots music venues fulfil that purpose, and help keep Britain at the forefront of music. Furthermore, in the age of streaming, when artists struggle to make a living from recordings, live performances are more crucial than ever in providing the essential income that fledgling musicians need. Grassroots venues are the backbone of the industry and provide millions of people with access to affordable live music. Without them acting as a pipeline for the music industry, there is no industry. However, they are disappearing at an alarming rate. The Music Venue Trust estimates that over a third of grassroots venues have closed over the past 20 years, and soaring rents, rising utility bills and the cost of living crisis are putting the remaining ones at risk. In 2023 alone, 125 of them—one in six—closed or stopped hosting live music.

Club music venues are also at risk. Britain’s leading role in electronic and dance music is well documented, and nightclubs such as Fabric and Ministry of Sound are more than just places to dance; they are cultural institutions. However, due to increasing economic pressure, 10 clubs close every month. That is clearly not sustainable. How can we expect to produce the next generation’s David Bowie, Norman Cook or Amy Winehouse if we have nowhere for them to play? If Britain wants to retain its position in the vanguard of popular culture, the closures must end.

It is disappointing, therefore, that the Government’s recent decisions have only made the situation worse. Their first Budget brought the industry even closer to the brink. The Chancellor’s decision in October to reduce business rates relief from 75% to 40% will put 350 grassroots music venues at immediate risk, with the potential loss of 12,000 jobs, as it will mean a more than doubling of their business rates. The Government must urgently rethink that measure. If they are serious about supporting our music industry, they must quickly take steps to ensure that venues can survive, including by recognising them as cultural, heritage and community assets in the same way that other cultural spaces, such as theatres and galleries, are protected.

It is not just music venues feeling the pinch. Local museums and galleries provide millions of people with access to inspiration and history on their doorstep, and a sense of place and community in an age of increasing division and isolation. We are lucky in Wimbledon. Merton Arts Space, based in Wimbledon library, provides a vital venue for exhibitions and community performances, while the Wimbledon museum and Wimbledon windmill provide residents and visitors alike with an important perspective on the past. The Polka theatre’s award-winning productions inspire and entertain children from across south London and beyond, while the New Wimbledon theatre is the sixth largest in London and home to the wonderful Studio theatre.

However, in many places, such venues have long gone or are at risk. The Museums Association says that the civic museum sector faces an existential crisis, as local authority budgets are under increasing pressure and, with the cost of living crisis, many venues cannot rely on community donations to keep them going. The Government must take steps to provide local authorities with the funding they need to help keep these institutions going. Without them, our communities will suffer.

It is not just the decline of venues that is denying people access to the arts. Over the past decade, the Conservatives cut access to the arts in schools, with consistent deprioritisation of creative arts in the curriculum, and budget cuts. Access to arts education is not a luxury; it should be viewed as a right. Every child, regardless of background, deserves the chance to explore their creative potential. Currently, however, that is simply not the case.

There are fewer specialist teachers than ever before—since 2010, the number of creative arts teachers in the UK has fallen by 14%—and fewer and fewer students are studying the expressive arts to later stages of their education. In 2010, 40% of all GCSE entries were in such subjects; by 2023, that figure had halved. That is not due to a lack of demand—one just has to be around children and young people to see that they crave creativity—but due to the previous Government, for years, not taking seriously the task of creating the next generation of creatives.

The loss of teachers and decline in students not only deprives individuals of enriching experiences, but depletes the talent pipeline. Studies have repeatedly proved the positive impact that arts education can have on young people by boosting mental health, enhancing memory and increasing cultural awareness. Arts education is an investment worth making.

The lack of provision in schools is making creative education and therefore many careers in the arts increasingly the preserve of the wealthy, depriving our culture of different views, voices and perspectives. Although I appreciate that the Government have pledged to include arts and creative subjects provision in the curriculum review, they must take further steps. Schools’ budgets are tighter than ever, and extra funding must be provided to ensure that they can provide a full, well-rounded educational offering.

We cannot afford to view the creative arts as a luxury. They are central to our economy, history and cultural identity. Creative industries contribute £125 billion to the UK economy and entertain, engage and employ millions of people across the country and the world. It is clear that if we want to maintain our place as a global cultural leader, we must invest in the future. The Government must act to support our musicians, artists and actors of the future. Without intervention, what was once a source of immense national pride will be just another footnote in an avoidable tale of national decline.