Ticket Touting: Musical Events

Sharon Hodgson Excerpts

Wednesday 2nd May 2018 Westminster Hall

[Pete Wishart]

I am grateful to my hon. Friend for that intervention, and she is absolutely and utterly right. Last week, I listened to the presentation by the Competition and Markets Authority at the meeting of the all-party parliamentary group on ticket abuse, which was hosted by the hon. Member for Washington and Sunderland West (Mrs Hodgson). These measures have been far too slow in coming; the Government need to get a move on with them. I will come back to that point later, because what the Government are doing is important, but there is lethargy at the heart of their response.

I was trying to describe how all this works. We have Live Nation putting on the shows and Ticketmaster selling the tickets at the venues, which are all hoovered up by the touts. The tickets then go on sale on the secondary sites owned by Ticketmaster. Google is then incentivised to promote those secondary sites by placing them at the top of their searches. So what happens in this perfect model is that the touts get their hit on the secondary sites and Google gets a share, but critically Ticketmaster and Live Nation secure their secondary cut from their secondary sites.

[Mrs Sharon Hodgson (Washington and Sunderland West) (Lab)]

I am grateful to the hon. Gentleman for securing this important debate. We have had numerous debates on this issue over the years, but this one is extremely timely, with the “bot law” coming in just last week, and following the meeting that we had with the CMA. He mentioned Google. Does he agree that most people are driven to these sites by Google? If he does, does he also agree that Google has a role to play—by not giving these sites top billing and by ensuring that consumers realise that these markets are secondary markets and not primary ones?

[Pete Wishart]

Absolutely, and what Google actually does is breach its own certification rules, which suggest that it must ensure that such sites are designated as secondary sites. Google has a big role to play in this, and the hon. Lady is absolutely right to mention it.

This business model is almost elegant in its exploitative design. Last year, Live Nation made over £1 billion just from its secondary sites. There is also good anecdotal evidence, which I will try to relay under parliamentary privilege, suggesting that the players at the very top of the music business tree—at management level and at promoter level—have a working relationship with some of the biggest touts in the world, to ensure that the wheels and the cogs of this huge, exploitative machine are properly oiled and working at maximum efficiency.

Everywhere throughout this broken infrastructure, relationships and models of exploitation such as those I have mentioned are the norm. StubHub is another one of the “big four” secondary sites. It is owned by eBay, which purchased it in 2007. StubHub now has a global partnership with AEG, which just so happens to operate the O2 and Wembley Arena. That means that, by default, the parasite-infested StubHub is the official resale partner of the O2 and Wembley Arena, which are two of the most prestigious venues in the United Kingdom.

However, the daddy of them all is the truly appalling and exploitative Viagogo. I do not know what arrangement Viagogo has with Google, but if you were to look online for your Stormzy ticket, Sir Christopher, you would be directed to Viagogo to try and purchase it.

Our ticketing infrastructure, therefore, is a broken monolith of misery, where tech giants are in cahoots with touts, who are in cahoots with the promoters and managers. But I will spend just a couple of minutes on Viagogo. How a company that exists exclusively to exploit people and to rip them off is allowed to continue operating is simply beyond me. If anybody is watching this debate at home, I say to them, “Do not buy tickets from Viagogo! Go nowhere near them! You will be ripped off totally! Do not touch them!”

At the all-party group meeting last week, I listened to some of the unfortunate victims of Viagogo. Viagogo is so exploitative that a self-help group has emerged among its customers—that group has thousands and thousands of members, who are ordinary, honest people just trying to secure a ticket for a friend or a grandchild, or as a rare treat for themselves. They had no reason to believe that the simple fact of trying to buy a ticket would expose them to such shark-infested waters and such danger. Why would they? Here was “nice Mr Google” directing them to these sites, so that they could find tickets. But that is where the horror starts, as the victims of Viagogo are exposed to all sorts of hard sells, tricks and exploitative practices.

[Mrs Hodgson]

Will the hon. Gentleman give way?

[Pete Wishart]

I will give way one last time to the hon. Lady.

[Mrs Hodgson]

I am intervening because I want the hon. Gentleman to join me in congratulating Claire Turnham for her amazing work. She set up Victims of Viagogo, originally because she was a victim herself and wanted to try to get her money back. After that long fight, however, she put out the information she had gathered, in order to help others. She has now helped thousands of people to receive hundreds of thousands of pounds in refunds. So will he join me in welcoming Claire’s work?

[Pete Wishart]

I have no hesitation in doing so, and I also commend the hon. Lady herself for her diligent work over the years in chairing the all-party parliamentary group on ticket abuse. In fact, it is in my speech to congratulate Claire Turnham, whom I met last week and who has done a fantastic job. She has managed to reclaim thousands and thousands of pounds for the Victims of Viagogo, but why should she have to do that? It is not the job of individuals—drummers, guitarists and singers—to protect the public; it is the Minister’s job. That is your job, Minister. It should be you who is protecting people—not individuals such as Claire Turnham, who are having to do that difficult job.

I heard about the emotional impact of being ripped off and realised how stressful and difficult it is for people to try to reclaim the money they have been swindled out of. I heard that health, relationships and work have all seriously suffered. As a musician, I heard about people being put off attending gigs for the rest of their lives because of the experience they have suffered from these parasites and companies that exist solely to rip people off.

--- Later in debate ---

[Margot James]

I think the hon. Lady is slightly mistaken. I believe it is only professional football that has that protection, for historical reasons. The rest of sport is dealt with in the same way as the music industry.

I welcomed the CMA’s announcement last week, as part of its ongoing enforcement investigation, that it had secured commitments from three of the largest secondary ticketing platforms to provide additional information. It will come as no surprise to hon. Members that the one secondary site that has not yet co-operated is Viagogo, which is controlled from abroad. I believe it is based in Switzerland, which presents an extra challenge. I echo the remarks made by the hon. Member for Perth and North Perthshire, advising customers not to use Viagogo’s services until it comes within the law. The CMA is concerned that all ticketing sites, secondary and primary, accept their responsibilities to consumers.

The Government are also giving approximately £15 million to National Trading Standards for national and cross-boundary enforcement. I welcomed the NTS’s announcement at the end of last year that its officers had conducted raids on a number of properties across the UK, resulting in four people being arrested under suspicion of breaches of the Consumer Protection from Unfair Trading Regulations 2008. I congratulate National Trading Standards and local trading standards officers on their excellent work.

In addition, the Advertising Standards Authority has recently taken action against the main four secondary ticketing websites, banning the misleading presentation of pricing information on those websites. Companies will have to show prices in a clear, transparent and upfront manner before consumers make their purchasing decision. Hopefully, that will put an end to the drip-pricing practice that has been commonplace.

Clearly, enforcement bodies are taking the matter seriously. We are prepared to go after those who flout the law or abuse the ticketing market. The ticketing industry and online platforms need to take action, and we are attacking the situation on a number of fronts.

Google recently introduced new rules for ticket resellers advertising through its AdWords platform, requiring them to be certified. To apply for certification, they will need to comply with a number of rules to improve transparency, and stop implying that they are a

“primary or original provider of event tickets”.

We are getting at them through Google as well, and industry is becoming increasingly adept at using technology to improve the ticketing experience, exerting greater control over the transfer of tickets through the use, for example, of blockchain and “ticketless” tickets attached to fans’ mobile phones.

[Mrs Hodgson]

I welcome what the Minister has said. She has outlined the plethora of instruments and laws that we now have. As someone who has worked on this for 10 years, I feel that it is all starting to come together. I know she takes this issue seriously, but will she commit to keeping a very close personal eye on it? As those of us who have fought Viagogo and the secondary market for years know, they are slippery characters. I doubt they will ever comply, so we will be back here revisiting this issue.

[Margot James]

I thank the hon. Lady and congratulate her on her work over the years, and on her chairmanship of the all-party parliamentary group. I will stay across this issue. I have exactly the same suspicion: that the company that we have already mentioned in no uncertain terms will drag its feet and fight all the way. We will have to be across that, and I welcome the hon. Lady’s continued involvement in helping us. I also welcome the work that the Society of Ticket Agents and Retailers and sports bodies have undertaken with the CMA to look at ways to ensure that terms and conditions are considered to be fair, particularly in instances where tickets were put on sale many months before the performance.

I recognise that there is no magic bullet to solving the worst excesses of the secondary ticketing market; it requires concerted and consistent effort. I have laid out our efforts as they stand. I thank the hon. Lady for her comments about how we are now pulling together a number of strands to deal with the issue. We are making good progress, but I have no doubt that there is more to do. We must ensure that the UK is a vibrant place for fans to experience great music.

Question put and agreed to.

Leaving the EU: Tourism and the Creative Industries

Sharon Hodgson Excerpts

Tuesday 17th April 2018 Westminster Hall

[Pete Wishart]

I am grateful to the hon. Lady for mentioning that point, and I will come on to discuss it, because I chair the all-party parliamentary group on intellectual property and I have a few choice words to say about where we are going with all this.

I want to say first, however, because it is important, that we are in the top three of all recognised sectors worldwide when it comes to the creative economy and creative industries. The hon. Lady is right that that has been achieved because we have a huge reservoir of talent and ability in these islands. However, we are not unique in that respect; the UK is not exceptional in having large swathes of talent. Lots of other nations have that, too, but we have harnessed that creativity, to ensure that it is supported, developed and allowed to thrive. We have created the conditions that have allowed creative endeavour to succeed.

As the hon. Lady suggested, one of those conditions is the environment that we have created. We have intellectual property arrangements, ensuring that copyright is protected and that our artists are able to secure a return for their endeavour, their ingenuity and their ability. We have created an effective business and support environment that has allowed our artists to develop and flourish. We have innovated, we have developed international relationships, we have collaborated and we have recognised and valued the international dimension of creativity. Brexit? It could make you cry, with the damage that it will do to all that.

The creative sector is very concerned about the impact of Brexit on our creative economy. The Creative Industries Federation has found that 96%—I repeat, 96%—of its members believe that Brexit is a fundamentally bad thing that will critically impact on the sector.

I listened to the Prime Minister’s Mansion House speech. There were lots and lots of things that I deplored in what she said, but the thing that sickened me most was the casual way she dismissed the digital single market, as if it was some sort of Brussels wheeze that got in the way of our national liberation. The digital single market is all about harmonising arrangements across the European Union. As the largest creator of content in the whole of the European Union, we designed the digital single market for goodness’ sake, and now we are joyfully leaving it. We will now be a third party when it comes to European arrangements, which is a profoundly bad position to be in, and we will not be looked at favourably by a European Union that we have so recently rejected.

Already, European nations are rubbing their hands and carving up all the institutions that they will acquire. The French are at it; the Germans are at it; and the eastern Europeans are practically gleeful about the opportunities that their content markets will now have, because we are leaving the European Union.

However, the biggest issue and the biggest threat that this ridiculous, chaotic Brexit will pose for our creative industries is the ending of freedom of movement. The creative industries probably need freedom of movement more than any other sector within our economy; the Department for Exiting the European Union itself found that, when it looked at all this sort of thing. For investment, harmonisation and collaboration in developing markets, we require the type of arrangements that exist within the EU, and to casually walk away as if the digital single market did not matter a fig is something that we should be appallingly ashamed at.

I believe there is only one thing we can do. We will never get back to the optimal arrangements of the European Union, of the digital single market, of harmonising across Europe and creating the conditions in which our creative industries can develop, thrive and grow markets. But what we have to do, Minister, is to stay as closely aligned as possible to the European Union. Even though we are now a third party, and it is likely that we will be rejected and treated poorly, the Minister must ensure that whatever the EU does in the digital single market is replicated within the United Kingdom, because if he does not, we will be in some serious trouble.

The Minister must also ensure that the creative industries and intellectual property are at the heart of any bilateral trade arrangement that is put in place. As I said, I chair the all-party parliamentary group on intellectual property and I have seen the report from the Alliance for Intellectual Property that warns, once again, of a “cliff-edge” Brexit and the impact that it would have on IP rights, reciprocity and all the things to do with our audio-visual sector, with portability and all the good things that we have been able to secure. We will lose all that. It is not going to come back, but we have to make sure that we are properly aligned.

[Mrs Sharon Hodgson (Washington and Sunderland West) (Lab)]

I want to put a question to the hon. Gentleman, not on IP but in his capacity as a well-known musician. Here, I am not talking about Runrig or Big Country, but—obviously—MP4. As a musician, he will probably know that only 2% of the music industry workforce has said that it feels Brexit will have a positive impact on their chances of work; 50% feared that it would have a negative impact. Does he agree that the Government should listen to their concerns and consider seeking a live music touring passport, which is one of several measures being discussed by the industry?

[Pete Wishart]

What we are now in the business of doing is finding solutions to mitigate the damage. The Minister will have to try and find ways to mitigate the loss of the optimal arrangements that we have in place now as members of the European Union. The touring passport is an example of how we can mitigate it. We are not going to get back to the ideal conditions. They have gone; for some reason, this Government are determined to pull us out of what is working for us, and is fundamentally and profoundly good for this sector. So arrangements will have to be put in place.

The hon. Lady will have seen the reports from UK Music, the Musicians’ Union and the Performers’ Alliance, which are all telling us that we are now in the position of trying to redress some of the damage.

--- Later in debate ---

[Chris Evans (Islwyn) (Lab/Co-op)]

It is a pleasure to serve under your chairmanship, Mr Bone. I congratulate the hon. Member for Edinburgh West (Christine Jardine) on securing the debate and on a fantastic opening speech. I also want to express my disappointment that the right hon. Member for Wantage (Mr Vaizey) is not in the Cabinet. He was overlooked on several occasions by Prime Ministers and, as we heard in his speech, he speaks from a position of experience and understanding of the industry. I think I speak for a lot of people who said they felt they had a friend when he was the Minister. I also want to congratulate the hon. Member for Perth and North Perthshire (Pete Wishart), who is one half of the famous parliamentary rock band MP4: a classic line-up for a passionate speech. Once MP4 decide to go on that long-awaited British tour, we look forward to welcoming them to Blackwood Institute and Newbridge Memo and one of the larger venues that we can book.

[Mrs Hodgson]

Tickets cannot be touted.

[Chris Evans]

We have to pay them.

Last month I met Gail Renard, chair of the Writers’ Guild. She was one of several people who came to meet me to talk about concerns about the impact of Brexit on the creative industries. Gail is a very interesting character. She met John and Yoko at one of their famous bed-ins. As I am a big fan of the Beatles, our meeting went on from half an hour to two hours while she told me everything about John and Yoko and their fantastic life together. But the one thing she wanted to get across to me was the real concern about freedom of movement.

The Creative Industries Federation has recommended that the Government implement sufficient structures to replace freedom of movement. The problem for those of us who were remain Members of Parliament in leave constituencies is that when we knocked on doors we were told that the No. 1 issue was freedom of movement—we were going to take back control of our borders. As we have seen, not only in the creative industries but in others, we were told that there were simple solutions to complex problems. Many people did not know about access to the single market or the customs union. The issues were not properly explained, and that was the problem with the Brexit debate.

That is why we are where we are. The problem is that selling freedom of movement to our constituents will be difficult. When they see “freedom of movement,” they think about immigration. They worry about immigration, and that is a problem for a British success story. Let there be no doubt: the creative industry is a growing sector of the economy. It is worth £92 billion—up from £85 billion in 2015. The sector makes more than 5% of the UK’s gross value added product. However, all that would be impossible without European funding. If we are to lose funding from streams such as Creative Europe, as well as part of the workforce, when there is no more freedom of movement, the future of the creative industries looks bleak.

Earlier this year, entertainment industry leaders expressed concerns about freedom of movement and other post-Brexit uncertainties at a House of Lords Committee sitting. It is high time the Government listened to them. The chief executive of One Dance UK has said that freedom of movement is a vital part of its business model. Its members travel to the EU for work eight times a year, on average. A poll conducted by the Musicians Union when it held an event here a year ago with Equity found that only 2% of the music industry believed that Brexit would be good for them. An industry that produced the Rolling Stones, the Beatles and countless other bands that broke America is worried about the future. However, the key issue expressed across the industry is that, because of unique working patterns that involve a lot of travel, freedom of movement is necessary for its continued success.

I agree with the right hon. Member for Wantage that Prime Ministers have not discussed the arts very seriously. The creative industries seem to be a bolt-on. They are not taken as a major contributor to the British economy. The sector provides a wide variety of jobs and career opportunities for people across the UK and Europe. Harry Potter, James Bond and Marvel films have been some of the highest grossing productions of the past decade. Only this week Robert Downey Jr. was welcomed to south Wales for the filming of a new Marvel film. We want to welcome more people like him. Many of those productions have been filmed primarily in the UK and across Europe, with a significant British and European workforce. In 2016 alone there were 131,000 EU nationals working in the British creative industries. Freedom of movement for workers in the creative industries is key to the success of those projects.

If we lose freedom of movement, we run the risk of limiting the production of international projects in the UK. Can you imagine, Mr Bone, if that situation affected the banking, construction or manufacturing industries? I am sure that the debate would be packed with speakers, but the creative industries seem to fall to the back of the queue. It can go on no longer. If international film production companies or musicians using large European workforces believe that it will be too difficult or costly for EU nationals to enter the UK to work, they will simply go elsewhere. I agree with the hon. Member for Perth and North Perthshire that there will be countries in Europe, and around the world, rubbing their hands together waiting for the creative industries to leave here and set up there.

--- Later in debate ---

[The Parliamentary Under-Secretary of State for Digital, Culture, Media and Sport (Michael Ellis)]

It is a pleasure to serve under your chairmanship, Mr Bone. We probably have about four or five minutes before the Division bell goes.

I thank the hon. Member for Edinburgh West (Christine Jardine) and congratulate her on calling this important debate. I do not think I can do as well as the shadow Minister in name-dropping various pop groups and organisations that the hon. Member for Perth and North Perthshire (Pete Wishart) might have been a member of in his earlier and current days, but I can certainly say that Brexit is happening. The people have spoken in the referendum.

I am much more optimistic than the hon. Member for Edinburgh West and many in the Chamber at the moment. We have heard a good deal of negativity and pessimism this afternoon, but I much prefer the view taken by my right hon. Friend the Member for Belfast North (Nigel Dodds), who is no longer in his place, who spoke about the opportunities and the optimism. It is always helpful to see glasses as half full rather than half empty.

I welcome the contributions from right hon. and hon. Members, and thank them for stimulating a lively debate in which the crucial role of the UK’s creative and tourism sectors has been recognised—I think that on that subject we are all in agreement. My right hon. Friend the Member for Wantage (Mr Vaizey) made his address to the Chamber—with his usual charm, if I may say so. He is certainly missed in the sector, contrary to his self-deprecating remarks. He was Minister for some six years, and I think I am right in saying that the industry wrote a group letter to a national newspaper saying just how very much he would be missed. Frankly, his departure provoked an extraordinary letter of appreciation.

My right hon. Friend and others mentioned supporting arts in the regions. In this coming financial year, 75% of Arts Council England’s funding will be going outside of the London area. The Department is supporting the cultural development fund and the northern cultural regeneration fund. A lot of money—rightly so—is going out of London and into the regions.

As the Minister for the arts, heritage and tourism, I am responding to this debate on the effects of the UK leaving the EU on the tourism and creative industry sectors. We have created the best in this country, as many Members from all parts of the House have mentioned. In my view, we had the best before 1973, and we will have the best after we leave. I am also happy to say that my Department already works across Government, including with civil servants at the Department for Exiting the European Union, and there is no reason to think that we will not continue to do so. In fact, we always look to work together.

I will make some overall points about the sectors and the challenges of EU exit, and I will then respond in turn to some of the key issues raised by colleagues. I recognise that there is particular interest in the devolved arrangements for both sectors following EU exit. I am keen that the future arrangement works for all sides. I am particularly looking forward to meeting colleagues from the devolved Administrations this Thursday in Edinburgh to discuss their particular concerns about tourism in more detail. I want it to be an ongoing discussion. If I do not have time to talk about that ongoing discussion in the limited time available this afternoon, I will be pleased to follow up in writing.

Members will be aware that the Digital, Culture, Media and Sport Committee recently published its report, “The potential impact of Brexit on the creative industries, tourism and the digital single market”. Some of the points raised in this debate echo the conclusions of that report. I have noted those conclusions, and the Government will submit our response in due course in the normal way.

To set the scene, Members will be aware that the sectors that DCMS represents are an absolutely huge success story for the UK—there is no doubt about that—and tourism and the creative industries are no exception. To a large degree, their success has gone hand in hand: tourism helps the creative industries thrive, as the shadow Minister mentioned, and vice versa. As an example of the close relationship, UK Music’s “Wish you were here” report for 2017 stated that there were 12.5 million music tourists in 2016—that is music tourists alone—and nearly 50,000 full-time jobs were sustained by music tourism. It is huge. In 2016, tourism was worth more than £65 billion to the economy, and it is still growing every year. In fact, it is growing exponentially. Provisional figures suggest that 2017—we have most of the figures—was a record-breaking year, with just under 39 million overseas visitors to the UK. That was an increase of 3% on 2016, which was itself a record year. The situation is extremely promising. The creative industries are also a major cultural and economic success for the UK. It is a high-value, high-growth sector that was worth nearly £92 billion to the economy in 2016.

These sectors play an important role in showing the world the very best of Britain and in strengthening global relationships. We are No. 1 in the world for soft power. There are many reasons for that, but one of the main ones is the strength of the sector. The sectors also play a role in demonstrating that we are open for business.

[Mrs Hodgson]

Will the Minister give way?

[Michael Ellis]

I am sorry, I do not have time.

We are not resting on our laurels. As Members will be aware, DCMS recently published its sector deal for the creative industries. That important piece of work sets out an ambitious proposal on how Government and industry will work together to accelerate growth and productivity. The sector deal is a landmark document, and I urge Members to look at it if they have not already. It recognises the critical importance of the creative industries to the UK’s economy, society and global influence. We intend to publish a similar deal for the tourism sector in due course.

I would now like to focus on the freedom of movement point that was raised by one or two Members, as it is a key issue that colleagues and stakeholders have raised. The UK tourism and creative industry sectors have strong ties with the European Union. There are a large number of international workers in both sectors and they regularly move across the EU. EU nationals form a significant proportion of the domestic tourism market.

UK Basketball

Sharon Hodgson Excerpts

Tuesday 20th February 2018 Westminster Hall

[Mrs Sharon Hodgson (Washington and Sunderland West) (Lab)]

It is a pleasure to serve under your chairmanship, Mr Bailey. I thank my hon. Friend the Member for Leeds North West (Alex Sobel) for securing this important debate, and for his excellent and entertaining speech; I do not think that we have heard rap quoted in here before. He recently took over from me as co-chair of the all-party parliamentary group on basketball, and he is doing a sterling job; he has already done a lot more in that short time than I hoped to do to raise the profile of basketball in Parliament, and this debate is an excellent opportunity to do so.

I have always loved basketball. I know that I do not look like a basketball player—we have lots of them in the Public Gallery—but I played in high school, and I still love to watch the sport; I know that that is hard to believe. I always hoped that through the work of the all-party group, one day the sport would be as large as others, even football, and that it would be everywhere: on our TVs, on the news channels, in our local communities and in our international sports arenas. However, that cannot be achieved unless basketball receives fair and sustainable funding so the sport can grow from the grassroots up.

Basketball is the second most popular sport behind football for 11 to 15-year-olds. According to the Department for Digital, Culture, Media and Sport, it is more popular than riding a bike, so why does the funding stay so low? All young people could benefit from basketball as a sport. It gets them active, but as shown in the results of the all-party group’s 2014 inquiry, which I chaired, it can also serve as a great tool for representation and aspiration, especially among children from deprived communities.

Basketball is perceived as very cool, and it is. It has street credibility globally, and due to its strong affinity with music and lifestyle, it is a sport that can resonate with young people. It can be played with very little space, equipment and money, making it truly representative. More than 300,000 young people aged 16 and over play basketball at least twice a week. It appeals to men, women, boys and girls—one in six participants are female—and is popular among players from less wealthy backgrounds. Somewhat uniquely, basketball is the only team sport in which more than half of registered members—58% of adult basketball participants—are from black and minority ethnic backgrounds. That is followed by cricket, which is still some way behind at about 30%.

We have all plugged our local teams. My local team, the Newcastle Eagles, are absolutely amazing. I do not wish to gloat or be biased, but allow me to remind Members that they are the top team in the British Basketball League, having won the BBL championship seven times and the BBL cup six times. I was there for some of those games, cheering them on. Not only are the Newcastle Eagles a fantastic team, they do so much work for the local community and hold partnerships with Northumbria University. Little Dribblers, Mini Eagles, Hoops 4 Health and the School of Excellence are just some examples of what the Eagles Community Foundation, launched in 2006, helps to do for the local community. The primary school programme Hoops 4 Health works with 7,000 young people every year, encouraging them to play and get healthy. It is a great way to introduce children to the sport. They can also play in the Eagles’ central venue league on weekends. The Eagles are a great example of what all BBL clubs do, week in and week out.

Despite all that great work, since 2009, basketball nationally has received just £102 in funding per adult participant. That is less than half as much as the next highest comparable sport, netball, which receives £205. Why is that? I know that netball has its own attributes; I used to play when I was younger, although I preferred and was better at basketball. It is cooler, as well. Why must funding be shared so unfairly? Sport England’s February 2017 funding round awarded £4.73 million to Basketball England, and just £1 million to British Basketball. Wheelchair basketball funding was not announced until October 2017, when it received £300,000.

Based on Sport England’s active lives survey, just under 1% of the population—0.7%, to be exact—participated in basketball at least twice during the 28 days prior to the survey. Although that might seem like a small percentage, basketball placed 10th out of the top 25 sports by participation— only 8% of participation was in team sports—placing it ahead of other sports such as netball, rugby and hockey. [Interruption.] I will wind up, but before I do, I will make one point about funding. Those sports receive far more funding than basketball. Hockey receives more than £9 million in funding although only 0.3% of the population participate, meaning that hockey receives 50% more funding from Sport England than Basketball England, British Basketball and wheelchair basketball.

I had more that I wanted to say, but others want to participate, and I am being told to wind up, so I will leave it to the Minister to do the sums. I hope that she will consider what is being said today and fix the unfair funding, so that basketball becomes a national sport in this country.

--- Later in debate ---

[Mrs Hodgson]

Further to my hon. Friend’s point about youth crime, is she aware of a fantastic initiative in Newham, the Carry A Basketball Not A Blade campaign?

[Sarah Jones]

Absolutely. I have met many young people who have come out of prison, who have carried knives or who have been involved in knife crime or selling drugs. Many of them have responded well to sports, including through organisations such as Gloves Not Gunz. There are many different sporting activities that we can encourage people to get involved with, but basketball is a key one.

After the Croydon riots in 2011, teachers and basketball players in Croydon set up the Croydon Cougars. The club does fantastic work with local people, and it also manages to fit in some extra homework time, so that children can play basketball for free and get tuition and help with homework afterwards—a good combination. Croydon Council and OnSide Youth Zones are funding a very big and impressive new, all-singing, all-dancing, youth centre in Croydon that will cost £6 million and will open next year. It should bring in thousands of young people and give them things to do, and basketball will be a key part of it.

I want young people in Croydon to be able to say, “If I put the effort in, show talent and become good at this, there is a pathway right to the very top,” but unless we fund the very top as well as the grassroots, that pathway will not be there for them. I echo other hon. Members in urging the Minister to consider basketball really carefully and see whether she can find some money for it.

--- Later in debate ---

[Tracey Crouch]

I hope that so far in my speech I have assured colleagues that I absolutely recognise that point. It is why we look at different funding criteria for different sports across the whole activity perspective in the sports strategy. We also do that in the work we do in all Departments, whether that is to get people healthy or to get them engaged in their communities and so on. I hear what colleagues are saying, but at the same time funding criteria are set by UK Sport for the Olympics.

It is important to say that no funding criteria have been set beyond Tokyo 2020. UK Sport will begin its Paris 2024 funding cycle in due course. Criteria will be reviewed, offering the opportunity to reflect on the existing strategy of investment for the next cycle. UK Sport will then publish a clear set of investment principles against which future awards will be made. I hope that that reassures Members that this is not a closed book.

[Mrs Hodgson]

Will the Minister give way?

[Tracey Crouch]

Sorry, but I cannot, otherwise I will not give the hon. Member for Leeds North West time to respond. For the current cycle, UK Sport has set a clear investment strategy, has made a long-term commitment to invest against that and is delivering against that.

I recognise that elite basketball and top-flight players can have an enormous impact on the grassroots across the country. Many colleagues have made that point. Clubs such as Brixton Topcats and those mentioned this morning can and do reach some of the most diverse young communities in the country and signpost opportunities for the most talented to follow in their footsteps. When my right hon. Friend the Member for Hemel Hempstead writes to me on how we can promote and expand basketball and what more can be done together, we will reflect on that.

I am committed to continuing to work with all the constituent bodies delivering basketball in this country and to support grassroots opportunities where they are needed. We will always consider providing elite team funding should the funding criteria be met, but this debate is not the final discussion. There is still time before the end of March. We all need to work together to ensure that we find a solution. In the meantime, we will continue to support governing bodies, clubs, satellite club providers and other bespoke local projects to support grassroots basketball across the country.