Category: Culture

  • Stephen Parkinson – 2022 Speech to Mark 70 years of the Waverley Criteria (Lord Parkinson)

    Stephen Parkinson – 2022 Speech to Mark 70 years of the Waverley Criteria (Lord Parkinson)

    The speech made by Stephen Parkinson, Lord Parkinson, on 12 December 2022.

    Thank you for joining us this evening. The 70th anniversary of the Waverley Criteria – and the establishment of the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest – might seem a rather rechercé reason to gather you all together (even for an Arts & Heritage Minister with a strong interest in history) but I was keen to mark this occasion for a number of reasons.

    The first is to celebrate the wide-reaching impact of the Committee’s work, and the extraordinary works of art and cultural objects it has saved for the nation.

    The second is to thank Sir Hayden Phillips, who steps down as Chairman after eight years – and to welcome his successor, Andrew Hochhauser.

    The third is to take the opportunity to reflect on the effectiveness of the criteria, and how we can make sure they remain relevant and effective for the next seventy years.

    As many of you will know, the Waverley Criteria arose from a 1952 report by John Anderson, 1st Viscount Waverley, who chaired a committee appointed to investigate a means of controlling the export of works of art from the UK.

    But their roots are in another anniversary we marked this year. When Thomas Gainsborough’s Blue Boy was sold to an American collector in 1922, the sale symbolised for some the end of England. Coming so soon after the end of the First World War, its loss seemed to echo the loss of a whole generation of young men. The ‘farewell’ exhibition held here in the National Gallery attracted 90,000 people, many of them moved to tears.

    In January – 100 years to the day since he left – the Blue Boy returned to London, and dazzled crowds here in the National Gallery once more.

    One of the reasons the loss of the Blue Boy captured such headlines in the 1920s was that no legal mechanism existed to prevent it. Export controls introduced as an emergency measure at the outbreak of the Second World War presented an opportunity – but they were not designed with the art market in mind, which is where Lord Waverley came in.

    His Committee considered the difficult issues involved, and concluded that export control should be limited to objects of high importance. It recommended the introduction of three criteria – connection to our history, aesthetic importance, and significance for further study – to help prevent the loss of objects distinguishable as “national treasures”, without placing undue hindrance on the free trade of cultural material.

    Over the last seven decades, those criteria have saved many hundreds of important works for the nation.

    And they have truly been enjoyed by everyone. The rolling slide presentation of outstanding works saved from export show how museum collections throughout the United Kingdom have been enriched thanks to the Waverley Criteria.

    It is an important reminder of the breadth and impact of the scheme. I am delighted that curators from institutions across the country who have benefited from it are here this evening.

    The Annual Report which has been published today details the most recent pieces which have been saved – including, appropriately enough for this Advent season, a beautiful Nativity by Baldassare Tommaso Peruzzi of the English School from around 1650.

    The quality of the advice, and depth of understanding, of the Committee and its expert advisors is impressive. Its annual reports are always a delightful read and a particular treat for a Minister.

    Of course, national treasures do not come cheap. Key funding organisations play a crucial role in supporting acquisitions saved as a result of the Waverley Criteria. I am delighted that representatives from the National Heritage Memorial Fund and the Art Fund are able to join us today. Thank you for the vital role you play.

    The current fundraising campaign, involving a number of funding bodies, to keep Sir Joshua Reynolds’s Portrait of Omai in the UK is a prime example of this. I commend the National Portrait Gallery for all it is doing to keep this spectacular work in this country for the public to enjoy and learn from – and I was thrilled to see that the National Portrait Gallery is almost halfway to raising the funds needed.

    But cases like this give rise to questions which this 70th anniversary is an appropriate moment to ask. Only around a third of the items placed under an export bar end up being bought and kept in the UK – a proportion which has stayed about the same over time and certainly over the last 10 years, although figures are somewhat down for 2021/22. With sharp inflation in the art market, and pressures on acquisition budgets, how can we ensure that precious works can still be afforded in the decades to come? While I, as the Minister presented with the Committee’s recommendations, am rightly not told who is selling or who might be buying, are we considering items’ connection to the history of other countries, or whether they are destined for public display rather than private collection?

    For seven decades, the Waverley Criteria have worked very well to preserve our cultural heritage and secure public access to national treasures. But the scheme has also been adapted to keep up with an evolving cultural landscape.

    The recent introduction of legally binding offers is a key example of how the process has been updated to safeguard museum funding and enable more items to find homes across the UK.

    So, as we mark this anniversary, I am keen to hear thoughts about how we can make sure the process works just as effectively over the next seventy years.

    I have asked Sir Hayden, as the outgoing Chairman, to give me his views – and I would like to hear more, from the people in this room and from across the sector. So I’m very grateful to the colleagues from DCMS, the Arts Council, and the National Gallery for organising this event tonight – and hope we can all mark the 70th anniversary of the Waverley Criteria by recommitting ourselves to ensure that they continue to save extraordinary works and share them with the widest public audience.

     

  • Stephen Parkinson – 2022 Speech on the Arts and Creative Industries Strategy (Lord Parkinson)

    Stephen Parkinson – 2022 Speech on the Arts and Creative Industries Strategy (Lord Parkinson)

    The speech made by Stephen Parkinson, Lord Parkinson of Whitley Bay, on 8 December 2022.

    The terms of the Motion imply that protecting our world-leading creative industries and ensuring that more people have the opportunity to enjoy or take part in them through levelling up are somehow in opposition, and I must disagree. The point of levelling up is to make sure that everyone, in every part of the United Kingdom, can be part of the arts and creative industries’ success story. That is a story that many noble Lords have told eloquently again today. The noble Viscount’s Motion talks of “the case for” a strategy towards the arts and creative industries, implying that there is not one already. I am happy to reassure him that there is, and glad to have the opportunity to explain how it is shaping the approach taken by the Government and our partners, such as Arts Council England.

    Specifically, I point noble Lords to: the levelling-up White Paper, which was published in February; the work we are conducting with the Creative Industries Council to develop a sector Vision; and Arts Council England’s 10-year strategy, Let’s Create, which was developed in consultation with the public and people from across the arts and cultural sectors, and approved by government Ministers when it was published in 2020.

    For more than three-quarters of a century, the Arts Council has nurtured cultural life in this country and kept it separate from party politics. It is a cross-party legacy; it succeeds the Council for the Encouragement of Music and the Arts, which was set up in the dark days at the beginning of the Second World War by the national Government led by Neville Chamberlain. As noble Lords rightly reminded us, it was given its royal charter and new name in 1946, under Labour’s Attlee Government. It is a cross-party model of which we should be proud and which has been emulated across the world. Its decisions about which organisations to fund and by how much are taken at arm’s length from government Ministers, so if I do not go into detail on some of the specific organisations raised by noble Lords today, that is not to be slopey-shouldered but to defend that arm’s-length principle, which the noble Baroness, Lady Andrews, and others extolled.

    As a number of noble Lords noted, Arts Council England plays a central role in supporting arts and culture in this country. It recently announced the outcome of its investment programme for 2023 to 2026, investing £446 million each year in arts and culture across England. It is doing that in a slightly different way to previous rounds, but in line with the trend the Arts Council itself has been pursuing for a number of years and over a number of rounds. It might be helpful to take a step back to provide a bit of context.

    Most cultural organisations in this country do not rely on funding from the Government or from the Arts Council. As the noble Baroness, Lady McIntosh, said, it is just one piece of the jigsaw, albeit a vital one. We saw the Culture Recovery Fund, the emergency support of more than £1.5 billion that the Government provided during the pandemic, helping more than 5,000 cultural organisations across England. Many of them had little relationship with the Government or the Arts Council until the pandemic hit—or indeed with the British Film Institute, Historic England or the National Lottery Heritage Fund, which helped us to distribute that emergency funding—but they were grateful for the help that came when they needed it. As a result of the work we did in the pandemic, we have a sort of Domesday Book of culture, showing the full range of organisations across England that weave the rich tapestry of cultural life in this country.

    More than 5,000 organisations received support through the Culture Recovery Fund. Only 1,700 applied for Arts Council funding in the next investment programme. While noble Lords are right to probe how that money is being spent, it is important to remember that it is only one way in which arts and culture are supported in this country. None the less, 1,700 represents a record number of applications for the Arts Council’s competitive funding and a record number of organisations, 990, will receive funding as a result—more organisations than ever before and in more parts of the country. Some 276 organisations are set to join the portfolio for the first time, with 215 of them outside London. This reflects our commitment to distribute funding and access to arts and culture more fairly. However, in London more organisations will be funded in the next round than the last—283 compared with 268.

    The noble Viscount, Lord Chandos, talked about the size of the pie that is available in funding. I am pleased that my right honourable friends Oliver Dowden and Nadine Dorries secured an uplift for the Arts Council at the last spending review. There was an additional £43 million for the Arts Council’s grant in aid. We did not succumb to the macro temptation mentioned by the noble Lord, Lord Londesborough. Thanks to this larger pie and increases from the National Lottery, Arts Council England will be spending £30 million per year more through its core investment programme than in the previous NPO round.

    The question is how that larger pie should be sliced. In the last portfolio London benefited disproportionately, receiving around £21 per capita compared to an average of £6 per capita in the rest of the country. Even accounting for the important role that London plays as our capital and the wonderful organisations housed here, that is a stark discrepancy. Some 133 local authorities across England did not receive any funding—not a penny. A national portfolio should be based across the nation. I am sure that noble Lords would agree that it is not the case that there is no culture of note in places like Bolsover, Mansfield or Blackburn. These areas are all now represented in the new portfolio, which covers 217 local authorities compared to 180 last time.

    Working with the Arts Council, DCMS identified 109 levelling-up for culture places which received historically lower levels of funding, or which had lower levels of participation through metrics we set out transparently and published on the Arts Council’s website. Because of that decision, investments in those levelling-up for culture places were more than doubled.

    The noble Baroness, Lady McIntosh, asked about the instruction to the Arts Council. The letter from the previous Secretary of State to the Arts Council was published and set out precisely what she asked it to do. It is important to stress that it was not giving instructions based on specific institutions or art forms, but it was asking the Arts Council to ensure that the taxpayer subsidy—which comes from taxpayers across the country—is spread more equitably across England. That is consistent with the arm’s-length principle we all cherish.

    As a result, towns like Mansfield will receive funding for the first time. Mansfield District Council will receive £1.7 million over three years to manage Mansfield Museum and Mansfield Palace Theatre. Unanima Theatre, which brings young people and adults with intellectual and developmental disabilities together, will benefit from nearly £700,000 over three years—something I hope noble Lords welcome.

    We have seen an increase in the number of organisations led by people with disabilities in the new portfolio to 32. I had the pleasure of visiting one of them, DASH in Shropshire, three weeks ago. We have also seen a huge increase in the number of organisations led by people from black, Asian and ethnic-minority backgrounds, from 53 in the last portfolio to 1483 in the next. Arts, culture and creativity are all enriched when everybody is able to tell and share their stories. I congratulate the Arts Council on its work to enable that.

    At the same time, we recognise the special role played by our nation’s capital. It houses world-class institutions. People visit them from all over this country, and indeed from all over the world. We see that particularly at the moment as tourists flock to London to enjoy the cultural offering. Those institutions perform a levelling-up function in providing a national stage on which people can perform. For the fictional Billy Elliot, it was dancing with the Royal Ballet which persuaded his family of the value of dance as an artistic medium. That story is based on “Dancer”, a play by Geordie playwright Lee Hall, which premiered at the Live Theatre in Newcastle and was heavily influenced by the photographer Sirkka-Liisa Konttinen’s book Step by Step, about a dancing school in nearby North Shields, the town of my birth. The film “Billy Elliot” made over $100 million at the box office. It won three BAFTAs and was nominated for three Oscars, which is an illustration of the economic benefit and soft power of UK culture. We want to see more films and plays like it. That is why I am proud to see an additional £90,000 going to New Writing North to encourage new playwrights like Lee Hall and continued funding of £640,000 for the Live Theatre and its connected organisations. Like the noble Lord, Lord Shipley, I am delighted by the cultural renaissance we are seeing on Tyneside.

    Noble Lords and people beyond this House may disagree with some of the individual funding decisions taken by the Arts Council. They were made entirely independently of the Government, so, as I said, I cannot comment in detail on individual outcomes. They were taken against well-established criteria and expectations, with careful consideration taken by employees and the regional and national councils of the Arts Council, who have a deep understanding of the sector. Some of them are appointed by the Government; some are appointed by other politicians such as the Mayor of London. Many others are simply drawn from people with expertise across the sector and in their regions.

    A number of noble Lords have mentioned the English National Opera. I saw earlier that its excellent chairman Dr Harry Brünjes and its excellent chief executive Stuart Murphy were here watching our debate. I think one of their colleagues has stayed behind; they are all very welcome. The English National Opera has done tremendous work. I pay tribute to it and all the staff for the work they have done, including the fantastic ENO Breathe programme, which has been helping people with respiratory problems as we emerge from the pandemic. The noble Viscount, Lord Chandos, asked about transitional funding for the ENO. I confirm that Arts Council England has offered the ENO a package of support. We are keen that the Arts Council and ENO work together on the possibilities for the future of the organisation.

    My right honourable friend the Secretary of State encouraged the Arts Council to provide a larger and longer pot of transitional funding, which will be available to all organisations affected by the decisions in this portfolio. [N.B. this reference is to the Arts Council England Transition Programme for organisations previously in the National Portfolio, but who were unsuccessful in their application for the 2023-26 Investment Programme.] I reassure noble Lords that in the new investment programme, Arts Council England’s investment in opera, orchestras and other classical organisations will represent around 80% of all investment in music. I hope that will be music to the ears of the noble Baroness, Lady Wheatcroft.

    Through this programme, opera will continue to be well funded, remaining at around 40% of overall investment in music. Organisations such as English Touring Opera and the Birmingham Opera Company will receive increased funding. There are many new joiners such as Opera Up Close and Pegasus Opera Company based in Brixton, which I had the pleasure of visiting yesterday. The Royal Opera House will continue to be funded, receiving the largest amount of any organisation in the portfolio of more than £22 million—about the same as all of the east Midlands.

    London’s role as a global cultural centre is clearly reflected in the next investment programme, with 61 London organisations receiving funding for the first time, including the Jewish Museum and the Foundling Museum. Arts Council priority places in the capital such as Croydon and Brent will receive £18.8 million over the next three years. In Croydon alone investment will double, and the borough will see three organisations join the portfolio. We are levelling up within London as well as between London and the rest of the country.

    As noble Lords have noted, this funding round was extremely competitive. With a record number of applications, it was inevitable that some organisations would be disappointed. As the noble Baroness, Lady McIntosh, said, it was ever thus. There is no automatic entitlement for arts organisations to continue receiving public funding in perpetuity. We recognise that leaving the portfolio can be an anxious and challenging experience, particularly as we emerge from the pandemic and with the challenges of the winter we all face. But this can also lead to organisational innovation and development in the organisations that did not get as much as they were bidding for. As the noble Viscount, Lord Chandos, said at the start, the nature of the arts is to be open to dynamic change, and I agree with him that this should be encouraged carefully, mindful of the need for balance.

    A number of noble Lords mentioned the Creative Industries Sector Vision that we are developing, which will set out our 2030 ambitions to drive growth and employment in our world-renowned creative industries as well as increase the positive impact that they can play in our lives. I recognise that the delays in publication have been frustrating, but we will publish it early in the new year—I hope that is better than “in due course”. At the heart of the sector vision is £50 million of investment from DCMS to drive growth across the country through the Create Growth programme, the UK Games Fund and the UK Global Screen Fund. UKRI has announced over £100 million of support for R&D and innovation in the creative industries, including the Creative Catalyst and CoSTAR programmes.

    In August last year, we announced our flexi-job apprenticeship offer, including a £7 million fund to support sectors with flexible employment patterns and project-based working, which is particularly the case in the creative industries. Five active flexi-job apprenticeship pilots are currently under way, with creative employers such as the BBC and the National Theatre. The ScreenSkills apprenticeship pilot, supported by DCMS, Netflix and Warner Media, also focuses on widening participation and diversifying the talent pipeline in the TV and film sectors. Both the Department for Education and DCMS continue to work closely with the creative sectors through the creative advisory group to explore further possibilities and flexibilities for apprenticeships, alongside other post-16 pathways, including T-levels, higher technical qualifications and skills boot camps. I am delighted that the noble Baroness, Lady Bull, has agreed to chair the expert panel to inform the new cultural education plan.

    The noble Lord, Lord Storey, spoke with passion about ensuring that everyone, whatever their background, has the opportunity to take part in arts and culture. You should not have to sofa-surf in London or know someone already in the business in order to pursue a career in the arts that can be rewarding in every sense of the word. As a former comprehensive schoolboy who grew up in Tyneside and rural Suffolk, I feel passionately about this and welcome the expertise that the noble Baroness, Lady Bull, will bring, along with her fellow panel members, to help us to deliver that. She is right to highlight the commission of the Local Government Association, chaired by the noble Baroness, Lady Young of Hornsey—I am pleased to say that I will attend its launch later this afternoon.

    A number of noble Lords talked about the international reputation of UK arts and creativity. The cultural sector is a key asset that boosts perceptions of this country abroad, with both a financial and a reputational return on investment. Research shows that people who have been exposed to UK culture and education report more interest in doing business with the UK than those who have not—an average difference of 11 percentage points.

    The noble Viscount, Lord Stansgate, talked importantly about the two cultures, which have never been closer, and the importance of science and scientific researchers. He may have seen the new exhibition at the Science Museum, “Injecting Hope”, about the search for a Covid vaccine. This will move from London to tour China and India. Earlier this week, I was at the Grant Museum of Zoology at University College London, which benefited from the £4 million pot of funding from the DCMS/Wolfson Foundation.

    The noble Viscount and the noble Baroness, Lady Crawley, mentioned the importance of touring. We have supported the sector to adapt to new arrangements with the European Union, and we worked extensively with it and directly with EU member states to clarify arrangements on the movement of people, goods and haulage. We have worked across Government and with the industry to develop guidance on landing pages on GOV.UK specifically for touring musicians and other creative professionals. We have worked to ensure that that is clear, accessible and available to people, and we continue to work with the sector to make sure that it is.

    I mentioned the Government’s commitment through the Culture Recovery Fund, but a number of noble Lords asked about freelancers. The Omicron strain hit about this time last year, and I am glad to say that we provided £1.5 million of emergency funding specifically for freelancers, matched by £1.35 million from the theatre sector, which was distributed through the Theatre Artists Fund, Help Musicians and the Artists Information Company. This helped in addition to the money provided to organisations to ensure that they were able to open their doors and employ freelancers when the pandemic abated.

    The last Budget increased tax reliefs for theatres, orchestras, museums and galleries until 2024. These additional tax reliefs are worth almost £250 million to the sector and are a fantastic boost to it to keep producing the content for which we are world famous. Taken together, along with the other pan-economy support measures that the Treasury provided, these interventions supported the cultural sector throughout the challenges of Covid. Furthermore, the £500 million Film and TV Restart Scheme helped us to ensure that our screen sector could continue to produce content safety, protecting over 100,000 jobs and more than £3 billion of production spending.

    We continue to be aware that arts and cultural organisations face new challenges because of the increase in energy prices. I recently hosted a series of round-table discussions with people from the performing arts, heritage and museum sectors to ensure that we maintain our focus on the ongoing impact of energy price increases and inflation as well as identifying opportunities to improve energy efficiencies. The Government continue to support all sectors in the economy this winter with the Energy Bill Relief Scheme, but I have heard first-hand how important this support has been to our cultural organisations. DCMS has worked closely to inform the Treasury-led review of the scheme, which will be published by the end of this year, and we have provided evidence on the nuanced challenges faced particularly by the cultural sector as part of this review.

    In the Autumn Statement last month, the Chancellor set out his plans to restore stability to the economy, protect high-quality public services and build long-term prosperity. He also announced a £13.6 billion package of support for payers of business rates in England, which will support people in the cultural sector too. Plans for the second round of the Levelling Up Fund were confirmed, with at least £1.7 billion to be allocated to infrastructure projects around the UK before the end of the year. One of the themes for that fund is supporting cultural and heritage assets, which will give another important boost to the sector.

    The noble Lord, Lord Leong, asked about text and data mining, and we recognise the concerns that the sector raised about this. My honourable friend Julia Lopez raised this with the IP Minister in the Department for Business, Energy and Industrial Strategy, who has agreed to engage further on the text and data mining exemption. We will consider all of the evidence before making a decision.

    The noble Lord, Lord Foster, asked about creative clusters programmes. Since the last spending review, UKRI has announced more than £100 million of support for the creative industries to support innovation. The decision to fund Creative Clusters is made by UKRI, but I am keen to work with it to look at the results of the programme and other interventions to see what has worked and ought to be replicated.

    So the Government recognise and appreciate that London is a leading cultural centre, with organisations that benefit not just the capital but the whole country and that are enjoyed the world over. But that is true of other towns and cities too: only last night, Veronica Ryan won the Turner Prize—I congratulate her—which was announced at Tate Liverpool. Next year, the eyes of the world will be on that city as it hosts the Eurovision Song Contest, inspiring people around the world about the power of music.

    Through the Arts Council’s next investment portfolio, by increasing investment outside London, it will help to generate culture and creative opportunities for more people in places that have been underserved for too long. In doing so, it will help to redress an historic imbalance in arts funding. I firmly believe that that work, alongside the investments and other programmes that I outlined, can ensure that our world-class arts and culture can continue to thrive into the future.this specific contribution

    I thank all noble Lords who have spoken in this debate and the Minister for summing up. I endorse the comments of many noble Lords who welcomed his return to the Front Bench with this portfolio. The richness and breadth of the contributions from the 20 or so speakers are a symbol of the richness and breadth of the creative industries and the arts and culture sector. I have certainly learned a great deal and been challenged to think in a new way about many things.

    I mentioned that there had been 20-odd speakers, but my noble friend Lady McIntosh and the noble Baroness, Lady Bull, probably represent the experience of about six people between them, whether as performers, producers or academics.

    The Minister picked me up on implying or suggesting that levelling up was in conflict with maintaining our world-leading position. I had meant to make it clearer in my opening remarks that, at least in the medium and long term, I think that they are not in conflict—but in what we are seeing in the clumsy and ill-planned implementation, at the very least, in the short term, there is that danger.

    I also wanted to make it clear that this is not about us metropolitan Londoners going out, educating and bringing culture to the north or any other part of the country. As has been mentioned, there are wonderful and long-established institutions all over the country. The noble Lord, Lord Shipley, talked about Sage Gateshead, which is one of the great cultural achievements of the past 25 years, and was very much the initiative of the local community. Indeed, it is two-way traffic; the wonderful Kings Place office building with its two concert halls was the result of a Newcastle property developer, Peter Millican.

    I welcome the Minister’s indication that the Secretary of State is pushing—if I understood him correctly—to make the transitional payments available widely to affected organisations and to make them larger and longer, although anything that is transitional rather than ongoing will clearly still be only some small consolation.

    The noble Lord, Lord Foster, was I think the first of several noble Lords to mention the absence of the creative industries from the five sectors prioritised in the Autumn Statement. I found that depressing and a bit ominous. This month’s Chancellor was the Secretary of State at the beginning of the coalition Government for what is now DCMS. His ruthless pruning of the departmental budget may have aided his ascent up the slippery pole of his political career, but it did nothing for the sector. That is when so much of the damage was done, whatever modest adjustments there have been to funding more recently.

    At the heart of many noble Lords’ concerns is the question of the arm’s-length nature of the Arts Council’s position, and whether it has been dented or breached. I have a different view from my noble friend Lady McIntosh, but I guess I am a bit defeatist, and the reality may be that the arm’s length is not being and will not be maintained, so it is better to acknowledge it by bringing more direct into the department.

    I will wind up with one last comment. My noble friend Lord Leong, my newest colleague, said that he sometimes wondered whether he had found himself in Hogwarts. This is my 40th or 41st year in the House, and the only difference is that I know that it is Hogwarts.

  • George Freeman – 2022 Speech on Remuneration for Songwriters and Composers

    George Freeman – 2022 Speech on Remuneration for Songwriters and Composers

    The speech made by George Freeman, the Minister for Science, Research and Innovation, in Westminster Hall, the House of Commons, on 7 December 2022.

    It is a pleasure to serve under your chairmanship, Mr Hollobone—in the warmth of your chairmanship in this cool room this morning. I congratulate the hon. Member for Cardiff West (Kevin Brennan) on securing the debate and on his ongoing work in this field. I welcome the chance to update him on the progress that has been made and to re-emphasise the message that I gave at the Dispatch Box several months ago before the turmoil of the summer. I want to reiterate the commitment made by my officials, the Government and me to get the issue right and to strike the right balance and continue the pressure that I know he welcomes in trying to secure that.

    I am here as Minister for Science, Research and Innovation in the Department for Business, Energy and Industrial Strategy, and as Minister with responsibility for the Intellectual Property Office. I also co-chair the Office for AI with the Department for Digital, Culture, Media and Sport. I am also here as a Member for Parliament and a citizen of this country who is very cognisant and aware, as the hon. Member for Cardiff West has highlighted, of the role of music in our society and our economy. I am the husband of a theatre director, Fiona Laird, who has composed her own music. I have watched her go through the motions as a creator and as a musical theatre director. She composed the music for her recent Royal Shakespeare Company production of “The Merry Wives of Windsor”. We have a friend, a digital entrepreneur in the music scene, who uses the global streaming revolution to get a foothold as a minor artist in this incredible global economy. I therefore have some personal feel for the challenge, and I know how strongly the industry respects the commitment of the hon. Member for Cardiff West to try to get the balance right.

    The strengths of the UK music industry are a major part of our economy. It contributed £4 billion to our economy in 2021, and probably more this year. A key component of that is exports. British music brought £2.5 billion into the UK in 2021. It is also a major force for soft power. Next week I will be in Japan making a speech on global science soft power. I suspect the Japanese associate the UK with the Beatles, Ed Sheeran and the fabulous creative artists we saw celebrated in the Jubilee, as well as with our science. They go together as global projections of our values as a democracy and a creative powerhouse in the world.

    I absolutely share the hon. Member’s view that songwriters and composers should enjoy a fair share of the value. The challenge is to make sure we get a framework in the UK where that is true—it is a lived experience and reality—without unilaterally moving so hard or fast that we undermine the sector. We must try to establish best practice, which fits with the wider work I am doing on innovation and regulation. This country has an opportunity to set the global standards in many of these sectors, which could then, through our soft power, become international standards. That is how we see this.

    The principles of fairness and sustainability underpinned the inquiry by the Digital, Culture, Media and Sport Committee into music streaming, which kicked off so much of this. I want to reassure Members that those principles absolutely underpin the Government’s approach. I will address the issues that the hon. Member has raised and give him the update that he asks for. On streaming, we kicked off a significant piece of work on data, which the Intellectual Property Office has completed. The data gives us a good grasp of what is going on, which is key to fair remuneration. Too often, information that identifies songwriters and composers, along with their works and owners, is incomplete, inaccurate or missing entirely, which means that creators often face delays in being paid, and some are not paid at all. That predominantly affects not rock stars and superstars but the smaller creators on modest incomes, who depend on that data for their livelihoods.

    That is why, since the DCMS Committee’s inquiry last year, the IPO has established a working group on metadata, which we have tasked with developing industry-led improvements. These are complex issues and there is no silver bullet, as the hon. Gentleman knows, but the working group has made real progress on a good code of practice on metadata and a two-year roadmap for industry to deliver tangible improvements through education and technical solutions. That output is very close to completion. Since returning to office a month ago, I have asked to see it, so that I can ensure that it reflects the undertakings that I gave to the hon. Gentleman and the House. Officials in the Intellectual Property Office will share it with the music industry more widely very early in the new year to seek final agreement.

    Similarly, the IPO has established a working group to develop a code of practice on transparency. That code is also close to completion, and we will be seeking wider industry agreement on that early in the new year, too. I hope and believe that those actions on data and transparency will achieve their aim: real improvements in the fair remuneration of songwriters and composers, and songwriters enjoying more timely and accurate data payments as a result of the improvements in data. Those are key elements of the package.

    Let me turn to competition and the distribution of revenues. However good the data is, many feel—the hon. Gentleman made this point very well—that the share of streaming revenues that go to songwriters and publishers, particularly the smaller creatives at the lower end of the pecking order, as it were, is too low. It is key that the remuneration is fair and internationally competitive. Let me break those two points down. As the hon. Gentleman said, the CMA published its final report on the market for music streaming last week. The report was launched after the DCMS Committee and the Government encouraged the CMA to look into this and other claims.

    We read the report carefully. As the hon. Gentleman said, it found no suggestion that publishing revenues were being deliberately suppressed by distorted or restricted competition. The report also set out the fact that the overall share of streaming revenues enjoyed by publishers and songwriters increased from 8% in 2008 to 15% in 2021. At the same time, the share enjoyed by the recorded music industry has remained steady. It is true that the publishing share has declined slightly since 2017—from 17% to 15%—but during that time overall publishing revenues paid out by the larger streaming services in the UK have more than doubled. More and more money is being paid out to songwriters and publishers from streaming, which is great. Because songwriters typically enjoy the largest share of publishing royalties—an average royalty rate of 84% in 2021—the vast majority of the publishing share is going to songwriters.

    The key point, however, is whether streaming revenues are fairly distributed within the ecosystem. There are still many who feel justifiably that the devil is in the detail. They want to know how that overall number is allocated, and think that we need to do more to ensure that the allocation is fair. The question of how revenues are distributed between artists, songwriters, record labels, publishers and streaming platforms is complex, and we have a responsibility to ensure that any arrangements work for the industry as a whole. There is no perfect solution, but I repeat that there is more that we can do, by working with the industry, to get closer to something that is widely recognised as fairer.

    Record labels and publishers each play an important role in supporting and investing in British artists and songwriters. We do not want any unilateral or dramatic reapportionment to undermine the UK sector, but we want to ensure that we do right by the next generation of talent, which we require to feed the whole sector. The Copyright Royalty Board in the US recently laid down that song rights holders should receive around 15% of streaming revenues, which is similar to what we have achieved in the UK. Given that, and given the movement in France, which the hon. Gentleman highlighted, it is interesting that there is a global movement towards ensuring that this growing sector is based on principles of fair remuneration.

    I will come on to the changes to copyright law. The DCMS Committee recommended several changes aimed at improving remuneration, including a right to equitable remuneration for streaming, a right to regain ownership of copyright, and a right to renegotiate contracts; those are measures that the hon. Gentleman brought forward in his private Member’s Bill. I made it clear at the time that further consideration of those measures was an active priority, and that remains the case. We have seen some positive action from some in the music industry on remuneration for creators. The three major record labels have agreed to disregard unrecouped advances in older contracts, which means that many artists are now being paid from streaming for the first time. Several independent record labels have announced minimum digital royalty rates in their contracts of 25% or more, even for contracts agreed prior to streaming. There has been some progress and these steps are welcome, but I appreciate that creators want to see more substantial and wide-ranging action on remuneration; that is why, in the coming months, we will be actively considering the evidence from the research, as well as the voluntary action taken by the industry, and weighing up our approach on remuneration.

    I will come on to a specific proposal that I am making to bring all of this together, including looking at the text and data-mining issue, which is my next point; it is causing real concern for rights holders. As the hon. Member for Cardiff West was kind enough to say, I was out of office when this reform was announced. In the few short weeks I have been back, I have already met with the DCMS Minister for the creative industries, my hon. Friend the Member for Hornchurch and Upminster (Julia Lopez), to highlight the fact that we must get this right. Of course, the UK wants to be a leader in AI—we are, and we want to continue building on that, but we must not allow that support to undermine our creative industries. My hon. Friend the Member for Hornchurch and Upminster absolutely agrees with me, and we have established a small taskforce of officials between the two Departments to ensure that we get this right. Following that meeting and this debate, I propose to convene a roundtable between DCMS and the Department for Business, Energy and Industrial Strategy of the key WHvoices across the sector to look at the whole issue. It will look at the rate of progress, the report from the Intellectual Property Office and the CMA, and the AI piece to see if we can get a proper settlement that everyone acknowledges would be fair and reflects the principles that we have set out, which—I will repeat again—are absolutely fundamental to our approach.

    I believe deeply that, if we get this right, we can establish a Government-supported but industry-led code of conduct that will be respected around the world. It will improve and continue the process by which the industry is improving and ensure that we continue that momentum, so that it does not require private Members’ Bills to keep nudging the industry and we have leadership in setting the standards for fair remuneration that are the envy of the world. As the co-chair of the Office for Artificial Intelligence and Minister with responsibility for the Intellectual Property Office on this issue, I will suggest that my hon. Friend the Member for Hornchurch and Upminster and I convene that roundtable; I will obviously be in touch with the hon. Member for Cardiff West and the DCMS Committee.

    In closing, with two minutes on the clock, I will highlight the fact that we believe that there is an opportunity here. The industry has shown willingness to move in the right direction. The Government signal that our preference is not to legislate; our preference is to encourage the industry to move in the right direction but, if we must legislate to get this right, we reserve that right. However, our preference remains to avoid that—not least because we would like to get a quicker solution for the benefit of all those in the industry.

    Kevin Brennan

    I understand what the Minister asked, because we have not discussed it previously, but I do not want the point about composer buyouts to be lost in the discussion. I welcome what the Minister said about convening a roundtable and his continued commitment. We need a discussion at some point about the implication of the increasing trend for composer buyouts.

    George Freeman

    I am grateful to the hon. Gentleman for putting that on the record; I will put it on the record that we will include that in the roundtable discussion. I will pick up the detailed point that he made and write to him on it, because that is part of the mix. I hope that the House and the hon. Member for Cardiff West can see that we are making progress, and I look forward to working with him on this in the months ahead.

  • Kevin Brennan – 2022 Speech on Remuneration for Songwriters and Composers

    Kevin Brennan – 2022 Speech on Remuneration for Songwriters and Composers

    The speech made by Kevin Brennan, the Labour MP for Cardiff West, in Westminster Hall, the House of Commons on 7 December 2022.

    I beg to move,

    That this House has considered remuneration for songwriters and composers.

    Good morning. It is always a pleasure to see you in the Chair, Mr Hollobone. I should at the outset declare that I am a member of the Ivors Academy, PRS for Music and the Musicians’ Union, and I chair the all-party parliamentary group on music.

    Last night was quite special because some of us, including the Secretary of State for Digital, Culture, Media and Sport, were invited to Abbey Road Studios in St John’s Wood for an event in the famous Studio Two, where the Beatles recorded the vast majority of their material that has ever been released. We were treated to a wonderful performance by a young singer called Olivia Dean, who is also a songwriter; she performed her song “The Hardest Part” quite beautifully for us. I predict big things for her in the next 12 months or so. It was a reminder of the wonderful talent for songwriting and composing in this country, and the great legacy we have.

    I was fortunate recently to help host the Ivors Academy’s composer week here in the House of Commons, when several composers came to celebrate great British achievement in composing. That great legacy is also a live one, with young performers such as Olivia Dean. The legacy of Abbey Road itself is not just the Beatles, but Pink Floyd and many other great artists, including more recently Stormzy, Adele and Ed Sheeran. But behind some of those great performers are often professional songwriters. Amy Wadge, who lives quite close to my constituency in south Wales, is behind some of Ed Sheeran’s biggest hits, as she co-writes with him. We should remember not just the artists, but the songwriters and composers.

    Visiting Abbey Road last night reminded me that we should protect the legacy of our great recording studios, including the Maida Vale Studios, which the BBC is now selling off, and which there is an opportunity to keep, as a going concern, as a recording studio. It would be a loss to the country if the studio were sold off for flats, rather than maintained as a recording studio.

    This morning I want to talk about three things to do with songwriters and composers, and give the Minister an opportunity to respond. First, the Select Committee on Digital, Culture, Media and Sport wrote a groundbreaking report on the economics of music streaming, which contained a series of recommendations in relation to songwriters and composers, as well as to performers. I know the Minister has taken a close interest in that inquiry, particularly in relation to some work going on in the Intellectual Property Office. I am glad to see him back in his role; we discussed a lot of these matters when I introduced my private Member’s Bill, the Copyright (Rights and Remuneration of Musicians, Etc.) Bill, into the House of Commons a year ago. He made several commitments at that stage that I hope he might revisit a little today.

    Secondly, I will talk about composer buyouts and the growing problem they present to our songwriters and composers, and the threat to the future pipeline of songwriters and composers.

    The third point I will discuss—to give the Minister a heads-up—is artificial intelligence and the implications of the data mining of musical works.

    Jim Shannon (Strangford) (DUP)

    I commend the hon. Gentleman; he is a dear friend of mine, and a dear friend of many. On the Back Benches we like his wit—we will probably get some of his wit today at Prime Minister’s Question Time. It is a delight to hear him talk with passion on a subject that means so much to him. Does he agree that the unfair disadvantage for the songwriters and composers who have made their breakthrough via a viral song on a social media streaming platform, only to receive a minimal payment, must be addressed by Government? The industry has had more than enough time to fix it, and it has refused to do so. I believe there is clearly a legislative requirement—the broken record will not be fixed.

    Kevin Brennan

    I completely agree with the hon. Gentleman. I know that he is a bit of a musician himself. I am not going to go into lengthy detail about that issue this morning. However, suffice to say, the recent Competition and Markets Authority report into competition issues in the music industry, and, in particular, into the cross ownership of both publishing and recording rights of the major record companies, did not decide to proceed to a full market investigation. In a way, it threw the ball back to the Government, by saying that it

    “is not to say that we think the market gets a ‘clean bill of health’ or cannot be improved further… We think it is a matter for the Government and policymakers to determine whether the current split is appropriate and fair, and to explore whether wider policy interventions are required, for example those relating to the copyright framework and how music streaming licensing rates are set.”

    I note that in France, for example, a form of equitable remuneration—to use the technical term—which is a guaranteed payment when music is streamed, was successfully introduced recently. The research into equitable remuneration from the Intellectual Property Office research programme is over three months late already. Will the Minister update us on what is happening in those groups that were set up in the Intellectual Property Office? What is happening in relation to the research?

    I also put this to the Secretary of State for Digital, Culture, Media and Sport, yesterday at the DCMS Committee, but can the Minister take a closer interest and put some ministerial input into driving that work further forward and bringing it to a conclusion? There has been some turmoil and changes in Government since we discussed this a year ago, but I know he had hoped it would have been done by last September, and for a number of reasons—not entirely his fault, and because the work is complex—the work is still incomplete. Some ministerial input is what I am calling for.

    When we discussed this a year ago, the preference was that the industry should come to an agreement. That is what it has done in France to improve remuneration for songwriters and performers. If the industry did not do that, the Government were prepared to consider action. I remind the Minister of that, and ask him to respond today as to where he and the Government stand now.

    The CMA concluded that it does not have the power to determine whether the current split is appropriate and fair. In the United States, things are done differently—it has a copyright court that determines those things. The judge there described some of the assumptions that the Competition and Markets Authority made about the problems that might be caused if the split was changed, and how that might disadvantage songwriters or other artists, as “heroic” assumptions. I was surprised to see that in the CMA report. But if the CMA does not have the power to do it, and it is instead a policy issue for the Government to resolve, what avenues are the Government pursuing and exploring to resolve the issue?

    The second point I will mention is the issue of buy-outs. Parliament has determined, over many decades, that songwriters and composers should be entitled to a royalty when their work is performed or recorded. It did so because it recognises that the creative act involves the creation of intellectual property. That is extremely important, and many people do not understand that it is a key source of income for songwriters and composers.

    This is nothing new; throughout history, people have wanted to get their hands on composers’ and songwriters’ money and get a piece of the pie, whether it is Colonel Tom Parker with Elvis Presley or whoever else. In recent years a particularly pernicious practice has emerged among some media companies of demanding up front, when they commission a piece of music—perhaps for a TV series or film—that the composer or songwriter signs a contract that waives their right to royalties, which they have a right to for their lifetime and beyond. It was Parliament’s intention that that should be the case.

    Some might say, “Well, that’s their choice. They don’t have to sign the contract. A contract is something entered into equally by two parties,” but the power dynamic is weighted towards the powerful media companies. Composers know that they will end up on a blacklist of some sort if they do not agree to sign away some or all of their rights. They are often prepared to do some of that, but they are increasingly being asked to completely give up their rights to royalties when they are commissioned. Some composers got in touch with me before this debate and described the practices of one particular media company called Moonbug. When it commissions works from composers, it demands that they give up 100% of their royalties.

    The Government might say, “This is a private matter. It is a contractual matter,” but there is room for Government leadership. They should support a code of conduct for the industry to make sure media companies are not routinely able to get away with this pernicious practice, which is becoming more and more common.

    The third thing I want to talk about is artificial intelligence and the potential threat to our songwriters and composers from a decision that the Government announced earlier in the year—I understand they are now reviewing it. I have spoken to the Minister about this privately, and I have expressed my concerns. I know other Members have done so too, as have stakeholders in the music industry.

    Christina Rees (Neath) (Ind)

    I congratulate the hon. Gentleman on securing this very important debate and on his superb leadership of the APPG on music. Does he agree that the proposed text and data-mining exception to promote AI would remove the need for a licence to reproduce copies of original works, so would remove any opportunity for performers and creators to be remunerated for their talent and work? Furthermore, because there is not an opt-out for performers and creators, it will have a severe detrimental effect on their creative personality, because in the future it will be done by a computer.

    Kevin Brennan

    The hon. Lady has made part of my speech for me, so I thank her for that. She emphasises the point that I wish to make. To be clear, if the Government’s original position on this matter were to be maintained, any tech company could freely data mine creative output, including musical works, to produce, using artificial intelligence, not an exact copy of that music but a kind of facsimile, in order to commercially exploit it. The composer would not have any ability to give permission for that and rights holders would not be able to license it. It seemed strange for a Conservative Government to trample over property rights in that way. I hope it was a decision taken in some of the turmoil that has been going on recently in government, and that they will actively reconsider it.

    I spoke to the Secretary of State at the Digital, Culture, Media and Sport Committee yesterday, and she indicated that the matter is under review. I pressed her on the Government’s likely direction of travel and whether it would go back towards allowing reasonable exemptions, perhaps for academic purposes, as long as it really is for that reason and is negotiated properly with rights holders and the industry, but not allowing free access for people to exploit other people’s work and, in a sense, be able to pickpocket their intellectual property, then reproduce it in a slightly different format using artificial intelligence. The implications of that for songwriters and composers and their ability to make a living is quite considerable in future.

    I hope the Minister can tell us a bit more about the review and why the Government came to such a conclusion originally. I understand why he might want to promote tech. We all want to see innovation using technology, but it cannot be done at the expense of people’s creative rights and intellectual property. When he responds, perhaps he will tell us about the timeline for the review and about who he is listening to on this subject, and perhaps he can lean into what the direction of travel is.

  • Paul Scully – 2022 Speech on BBC Local Radio

    Paul Scully – 2022 Speech on BBC Local Radio

    The speech made by Paul Scully, the Parliamentary Under-Secretary of State for Digital, Culture, Media and Sport, in the House of Commons on 8 December 2022.

    I thank my right hon. Friend the Member for Hemel Hempstead (Sir Mike Penning) for securing the debate and the Backbench Business Committee for supporting it. The BBC is a great national institution that has played a vital role in informing, educating and entertaining audiences since it was created 100 years ago. Its charter requires it to act in the public interest and provide distinctive content that reflects and represents people and communities from all corners of the UK. That includes providing, as we have heard, genuinely local content that is directly relevant to audiences.

    As we have heard, local services are a key part of the BBC’s public service remit and an example of how it can use its licence fee funding to provide services that may be underserved by the market. BBC local radio is one of its crown jewels and remains highly valued by audiences. We heard that testimony in the debate when my right hon. Friend the Member for Hemel Hempstead and my hon. Friend the Member for Watford (Dean Russell) talked about BBC Three Counties Radio; my hon. Friend the Member for Cleethorpes (Martin Vickers), my right hon. Friend the Member for Haltemprice and Howden (Mr Davis) and the right hon. Member for Kingston upon Hull North (Dame Diana Johnson) talked about BBC Radio Humberside; and my hon. Friends the Members for North Norfolk (Duncan Baker) and for North West Norfolk (James Wild) talked about BBC Radio Norfolk.

    My right hon. Friends the Members for Maldon (Sir John Whittingdale) and for Rayleigh and Wickford (Mr Francois) and my hon. Friend the Member for Southend West (Anna Firth) talked about BBC Essex; Mr Deputy Speaker and my right hon. Friend the Member for Pendle (Andrew Stephenson) even talked about BBC Radio Lancashire—well done to them for getting that in; and the hon. Members for Strangford (Jim Shannon) and for Foyle (Colum Eastwood) talked about BBC Radio Foyle, funnily enough. There are so many pairs there—I am wondering which are the Smashie and Nicey of the House in terms of their DJs.

    My right hon. Friend the Member for Wokingham (John Redwood) talked about BBC Radio Berkshire; my hon. Friend the Member for Worcester (Mr Walker) talked about BBC Hereford & Worcester; the hon. Member for York Central (Rachael Maskell) talked about BBC Radio York; the hon. Member for Easington (Grahame Morris) talked about BBC Radio Tees; and the hon. Member for Tiverton and Honiton (Richard Foord) talked about BBC Radio Devon. My hon. Friend the Member for Warrington South (Andy Carter) was greedy and talked about two—BBC Radio Merseyside and BBC Radio Manchester. Not surprisingly, the right hon. Member for Orkney and Shetland (Mr Carmichael) talked about BBC Radio Orkney and BBC Radio Shetland.

    The hon. Member for Barnsley East (Stephanie Peacock) talked about BBC Radio Sheffield. My hon. Friend the Member for Worcester talked about doing the regional round, and I remember talking to Toby Foster in the morning in Sheffield when I was hospitality Minister about the struggle of that sector during covid. I think I still owe him a visit to his comedy club. These things do stick in the mind and we are regularly tested at a local level.

    We also heard from the right hon. Member for Hayes and Harlington (John McDonnell) about BBC Radio London, which he shares with me and the Media Minister, my hon. Friend the Member for Hornchurch and Upminster (Julia Lopez), who is unfortunately in her sick bed with covid so could not respond to the debate. We have great presenters and journalists, such as Susana Mendonça, the great political journalist, and I enjoy sparring energetically and enthusiastically with Eddie Nestor often during drivetime.

    As we have heard, there are some fantastic examples that remain highly valued by audiences up and down the country. Those local services bring communities together and play a vital role in reflecting local experiences and delivering local news. Developed in the late 1960s and 1970s, the BBC’s 39 local radio services in England still reach 5.8 million listeners every week and collectively have a higher share than stations including BBC Radio 5 Live and BBC Radio 6 Music, even though coverage on FM and DAB is not universal across England.

    As we all know, BBC local radio is especially valued outside London and the south-east, where there tends to be less competition from commercial services. BBC local stations in places such as Derby, Stoke, Lincolnshire, Gloucestershire, Cumbria and Shropshire have a larger audience share and reach than the average for BBC local radio. The Media Minister has already made it clear to the House, in answer to an urgent question a few weeks ago, that she was disappointed—we are all disappointed—that the BBC is planning to reduce its local radio output. These are precisely the kinds of services that the BBC is uniquely well placed to provide.

    I was also disappointed that last week, as we have heard, the BBC announced proposed changes to its radio output in Northern Ireland, including cuts to BBC Radio Foyle’s output. BBC Radio Ulster, including Foyle, reaches nearly a third of radio listeners in Northern Ireland and is a vital part of Northern Ireland’s media landscape. Understandably, the BBC’s announcement has caused a significant reaction in Northern Ireland, as we have heard, and I know that it was raised by the hon. Member for Foyle with the Prime Minister at Prime Minister’s questions on 30 November—reaching the highest levels.

    We recognise that commercial local news providers have concerns about the potential impact of the BBC’s plans to increase investment in online news services. The charter requires the BBC to consider its market impact, and to seek to avoid unnecessary adverse impacts on competition that are not necessary for the fulfilment of its mission and public purposes. The Government are considering the regulation and governance of the BBC’s market impact as part of the mid-term review—my hon. Friend the Member for Warrington South raised this issue—and we will obviously bring that back to this place as soon as we can. Ofcom is also reviewing the BBC’s online news proposals, including an assessment of the concerns raised by the News Media Association and the BBC’s own analysis.

    We cannot ignore the considerable concerns that have been raised in response to the BBC’s recent announcement —not just today, but in recent weeks. Since the BBC’s announcement, my hon. Friend the Media Minister has met the BBC’s leadership, and she has expressed our shared concerns in this House. She made it clear that the BBC must continue to provide distinctive and genuinely local radio services, with content that represents communities from all corners of the UK. She also emphasised that we expect it to consider the views of this House when it makes the decision about whether to proceed.

    The Prime Minister also committed in this House to raising the changes to BBC services in Northern Ireland with the BBC. The Prime Minister has since himself met the director-general of the BBC, and they discussed the proposed changes to BBC Radio Foyle and the importance of the BBC considering the views of stake- holders when deciding whether to proceed. The Secretary of State wrote to the BBC earlier this week to remind it of its responsibilities under the charter, including the importance of transparency about changes to services.

    Last week, the Digital, Culture, Media and Sport Committee held an evidence session with the BBC on its planned changes to local radio, and I welcome the important role that the Committee plays in ensuring that the BBC is accountable for its decision making.

    Grahame Morris

    Would the Minister clarify what the current position is with Ofcom? My understanding is that the Media Minister was going to seek Ofcom putting pressure on the BBC in respecting its obligations under the terms of the charter.

    Paul Scully

    Indeed, and the Media Minister was actually due to meet Ofcom this morning, I believe, but unfortunately that obviously changed because of her illness. However, she will continue to work with Ofcom to make sure that the greatest pressure is brought to bear on this.

    Separately, we have asked the BBC for advice on how it would manage a major local incident—we have heard a lot about flooding today, for example—that requires a dedicated rolling news service, given the BBC’s important responsibilities under the charter and agreement to support emergency broadcasting. The latter is really important. At its best, for example during covid, BBC local radio is able to bring communities together. It plays a vital role in reflecting local experiences and delivering local news. It is a lifeline, as we have heard, for many older people living in rural areas, and it is a source of reliable information in emergencies, which is part of its public value.

    The Secretary of State also raised the BBC’s proposals with Ofcom last month, and it has confirmed that it is monitoring the BBC’s local radio proposals in England. In particular, it will scrutinise the BBC’s detailed plans for sharing programming on local radio. Ofcom has made it clear that it expects the BBC to continue to deliver for all audiences as it transitions to a digital-first organisation, and will hold it to account in areas where it needs to do more. As I say, we will continue those discussions with Ofcom to make sure that happens.

    I want to take this opportunity to stress that the BBC is, rightly, operationally and editorially independent from the Government, and decisions on service delivery are ultimately a matter for it. The BBC agrees with the Government on the need for the organisation to reform over the coming years, and recognises that there will be challenges as the BBC moves towards becoming a digital-first organisation and that those reforms will involve difficult decisions.

    Rachael Maskell

    I held something back from my speech because I wanted to put it specifically to the Minister. If the BBC were to put the question I suggested to local radio about making its own reforms, would the Minister and the Department step in if it was to build new partnerships, perhaps with universities and other community groups, to strengthen the local position of the BBC and to have further reach but also greater capacity for the future?

    Paul Scully

    The hon. Lady raises an interesting point, but I would not want to put words in the Media Minister’s mouth. I will certainly make sure that she reflects on that, because I do not want to be treading on her toes or to make her decision. I know she will have heard that. I am sure she will be flicking over from BBC Radio London, on her sickbed, to the Parliament channel to hear what is discussed today, so she will have heard what the hon. Lady said.

    The Government welcome the BBC’s plans, as part of the reforms, to maintain its overall investment in local services, and that includes £19 million from broadcast services being moved to online and multimedia production to adapt to audience changes. The BBC has also confirmed that it is protecting local news bulletins throughout the day and local live sport and community programming across all 39 stations. There will be fully local programming between 6 am and 2 pm, with neighbouring or regional sharing in most of the remaining listening hours. We have heard the difficulties that Members have with that regional sharing. In Northern Ireland, we understand that the changes will result in local investment in BBC iPlayer, which in itself is to be welcomed. But the recent announcements do appear to fundamentally change important BBC local services, particularly BBC local radio, which is an essential part of the public service remit.

    Andy Carter

    I heard what the Minister said about weekday services. The point I made earlier was that, on many stations, the peak of the week is Sunday morning, which is a fundamentally important point for audiences, yet that is when local radio is being shared and regionalised. Does he accept that that is a point in the audience day when local radio should be local?

    Paul Scully

    I totally agree. My hon. Friend has a background in radio and speaks with great experience. The BBC should not be salami-slicing its services. It should be responsive to local need, and that includes looking at the peak times my hon. Friend describes.

    We all agree the BBC has been entertaining and informing us for 100 years. We want the BBC to continue to succeed over the next century in a rapidly evolving media landscape and we are clear that BBC radio has a significant role to play in that success. In the light of the concerns raised in the debate, the BBC needs to clarify itself how it is going to manage those long-term tensions between modernising and becoming more sustainable while also maintaining its core public service function and output. I recognise that the BBC faces difficult decisions in reforming its services and becoming the digital-first organisation it seeks, but the debate has highlighted concerns shared across the House about the BBC’s proposals to reduce its local radio output.

    I stress again that the BBC is independent from the Government, but it is now for the BBC to reflect on the concerns raised in the debate and elsewhere on its proposals. It must also clarify whether it has other plans to change local radio services in future, particularly in Scotland and Wales.

    The Government are undertaking a mid-term review, as I said earlier, which will evaluate how the BBC and Ofcom assess the market impact and public value of the BBC in an evolving marketplace and how that relates to the wider UK media ecology, including with regard to commercial radio and local news sectors. That will take regard of the views of this House and the review is ongoing.

  • Stephanie Peacock – 2022 Speech on BBC Local Radio

    Stephanie Peacock – 2022 Speech on BBC Local Radio

    The speech made by Stephanie Peacock, the Labour MP for Barnsley East, in the House of Commons on 8 December 2022.

    I begin by thanking the Backbench Business Committee for granting this important debate, and I congratulate the right hon. Member for Hemel Hempstead (Sir Mike Penning) on securing and leading it.

    The BBC is a great British institution, a cornerstone of our creative economy and an important part of our day-to-day lives. From CBeebies to Bitesize to Radio 4, the BBC has something for everyone, providing round-the-clock news, education, entertainment and culture. It is absolutely right that institutions such as the BBC modernise in an increasingly digital world and keep pace with global media giants, but in doing so, we must protect the traditional yet vital services, such as the excellent local radio network, that make our BBC the world-leading service it is.

    Today’s debate has focused on the contribution of local radio across our country. From Easington to Worcester to Wokingham, there is agreement across this House that the BBC should review its decision to end local programming on weekdays after 2 pm and secure the future of the local radio network. Given the importance that local communities place on local BBC radio, and the fact that it is an intrinsic part of what their licence fee goes towards, there is concern that reducing local radio content will drive a wedge between the BBC and the public to its detriment. Indeed, BBC local radio contributes a huge amount to each area it serves, and I certainly know that BBC Radio Sheffield does that in my local area.

    Everyone across the Chamber has paid tribute to their local stations, particularly the hon. Member for Southend West (Anna Firth), who did so poignantly. The hon. Member for North Norfolk (Duncan Baker) and others shared the statistic that local radio reaches nearly 6 million people—that is 15% of adults in the UK. First and foremost, it provides truly local news. Although the BBC has provided assurances that local news bulletins and live sport will continue to run under its proposals, the National Union of Journalists has warned that the BBC’s erosion of local output could mark the beginning of the end for local radio. My right hon. Friend the Member for Hayes and Harlington (John McDonnell), the chair of the NUJ group, outlined its concerns passionately and in detail.

    Dame Diana Johnson (Kingston upon Hull North) (Lab)

    I am grateful to my hon. Friend for giving way, and I apologise for not being here; I was in the Westminster Hall debate, too. My hon. Friend might be able to help me with this. BBC management has said that the impact of its proposals would be the loss of 48 roles. However, in the Radio Humberside and Radio Lincolnshire regions alone, it wants to close seven staff presenter roles, plus around five other jobs may go in the planned restructure. That is around 12 jobs across two out of the 39 local radio stations. It may be that our area is being hit particularly hard, but if that is spread across all the areas, that would be a loss of around 200 jobs, would it not?

    Stephanie Peacock

    My right hon. Friend is absolutely right, and as we have heard in the debate, it is not just Radio Humberside; it is across the country, and I know that colleagues from Northern Ireland have made this case as well.

    This is a real concern to local journalists and to listeners, because local radio is such an important part of our lives. Whether it is local traffic updates, school closures or extreme weather events, the provision of trustworthy local news is vital, especially at a time when misinformation is becoming common but hard to spot in a digital world. BBC local radio’s news facilities, for example, provided a lifeline during the pandemic, giving reliable and localised case numbers, guidance and vaccination updates for each individual area.

    It is not just “breaking news” bulletins that keep people informed. Regular local programming gives people access to the arts, charities, education and cultural events that are truly relevant to them, helping to ensure that each area remains connected to its past and present. The hon. Member for North West Norfolk (James Wild) spoke about some of the programmes in his area. It is precisely that kind of programming that faces the axe under these proposals.

    The past few months have also shown us how BBC local radio can contribute to the healthy functioning of our democracy, enabling national leaders to be held to account on local issues and local leaders to be questioned by those they directly represent. Regional and national alternatives to such shows simply will not have the same effect, and once these local opportunities are gone, it will be extremely hard to get them back, as the hon. Member for Watford (Dean Russell) described.

    Local radio helps connect those at risk of digital exclusion to their communities. Although many people, and particularly the younger generation, now access a lot of their media online, there still exists a group who cannot access the digital world. Some cannot get a reliable fast connection due to their location; some were never taught the skills to navigate the online world; and others simply cannot afford the price of a phone bill or broadband. For people in that group—particularly older people or those living in rural areas—truly local programming matters, as the right hon. Member for Maldon (Sir John Whittingdale) described. In a period when loneliness is increasing, now is simply not the time to threaten cutting people off. My hon. Friend the Member for York Central (Rachael Maskell) rightly pointed out that many lonely people turn on the radio for connection and companionship when they are on their own.

    Of course, we understand the need to modernise our institutions, as outlined by the BBC in the four pillars it set out yesterday. Over the last 20 years, the media landscape has changed dramatically. Indeed, when the last remit for public service broadcasters such as the BBC was created, it was done through reforms to the Communications Act 2003. Back then, online platforms such as YouTube had not even launched, and nor had devices, such as the iPhone, that brought the internet to our pockets. Now global media giants such as Amazon have become major players, and phones challenge radio and TV for our attention. It is due to these changes that the media Bill must be brought forward as soon as possible, with the obvious exclusion of the privatisation of Channel 4, so that our public service broadcasters can continue to cater for British audiences in the modern world.

    In the meantime, the BBC has remained competitive in the digital space through BBC News online, iPlayer, BBC Sounds and more. Although these updates and changes are necessary to capture digital and young audiences, they do not need to come at the expense of traditional services that are still contributing to communities across the country. BBC local radio still has value in today’s society, and that must be taken into account. The hon. Member for Warrington South (Andy Carter) made that case very strongly.

    The News Media Association has warned that the BBC moving its content from radio to online could force competition with local written news from commercial providers, threatening their ability to generate sustainable revenue. The BBC needs to ensure that its modernisation plans continue its tradition of promoting local journalism rather than stifling it. The hon. Member for Cleethorpes (Martin Vickers) quoted his local NUJ rep, who articulated that.

    We recognise that the BBC, by its very nature, must remain impartial and independent, but that does not stop it from making its decision-making processes transparent, to ensure that its plans help create a BBC that caters for all its audiences. The BBC must be clear with the public on what analysis and consultation it undertook to prompt its decision to restrict local radio services and what assessment it has made of the impact this will have on its listeners.

    That is particularly important in the light of Ofcom’s fifth annual report on the BBC, which found that some audiences, such as those in lower socioeconomic groups, have been persistently less satisfied and are less likely to use its services. Like every other organisation, the BBC must be clear on its best practice for managing cuts to its workforce. Local journalists should not be finding out through the media that over 100 audio jobs will be cut, placing their livelihoods at risk overnight just before Christmas.

    Local radio has been at the heart of communities for generations, and this debate has highlighted how important it is for so many people up and down the country. I know that many across Barnsley enjoy and rely on Radio Sheffield. We hope the BBC can review its decision to cut local radio and support the network for many years to come.

  • James Wild – 2022 Speech on BBC Local Radio

    James Wild – 2022 Speech on BBC Local Radio

    The speech made by James Wild, the Conservative MP for North West Norfolk, in the House of Commons on 8 December 2022.

    What more could the House want than a playlist of Norfolk MPs speaking back to back? I join others in congratulating my right hon. Friend the Member for Hemel Hempstead (Sir Mike Penning) on securing this debate on the BBC’s proposals to cut local radio output. This debate is of great importance to my constituents and those of the Members across the House who have spoken, whose contributions have shown the damage the proposals would do to our communities. This is about the vital issues of local identity, community and companionship.

    During the pandemic, we became far more aware of the importance of our local communities, and local radio played a massive role in that, so it is staggering, frankly, that the BBC’s response to that growing sense of community is a plan to remove local content after 2 pm on weekdays and at weekends, apart from live news and sport. Instead, content on BBC Radio Norfolk would be shared across a much wider regional area including Norfolk, Suffolk, Northamptonshire and Cambridgeshire—all fine counties, undoubtedly, but how can that content be considered in any way local? On Sundays, after 2 pm, there would be only one national show across all 39 local stations. Which licence-fee payers want that loss of local content?

    As I said when I met BBC bosses, I do not believe that the proposals reflect the importance that the 147,000 people reached every week by Radio Norfolk place on listening to its output and having properly localised content. Indeed, my constituents from West Norfolk want to see more content about West Norfolk as opposed to Norwich and Great Yarmouth. That is particularly true of the elderly and people in remote rural areas who rely on the radio for companionship.

    Retaining only Chris Goreham’s breakfast show—on which I am always pleased to be interviewed, particularly about my campaign for a new Queen Elizabeth Hospital in King’s Lynn—and the mid-morning show is wholly insufficient. The proposals would lead to the loss of much-loved shows. My hon. Friend the Member for Southend West (Anna Firth) referred to Essex Quest, and my hon. Friend the Member for North Norfolk (Duncan Baker) mentioned Treasure Quest, which is a Radio Norfolk institution that shines a light on amazing people, places and events of which people would otherwise be unaware, and it is rightly valued by listeners. But, 15 years after it was first broadcast, Treasure Quest would go under these plans. I made those points to the BBC bosses at the DCMS Committee hearing on these proposals, and they acknowledged that Treasure Quest was a distinctive programme, so I very much hope that they will rethink their plans to scrap it.

    The Bishop of Norwich has highlighted the loss of Radio Norfolk’s flagship Sunday morning show with Matthew Gudgin and others, which carries important news, debate, and discussion about and from faith communities. I could go on by listing Stephen Bumfrey, Anna Perrot, the weekend quiz and many more important shows and local content, but I think the point is made.

    Of course, people are increasingly going online, and output needs to change to reflect that. I am not arguing against any change, but I encourage the BBC to drop the Aunt Sally argument that it has repeated in correspondence with me—that there will be some who believe that unless every hour of the day comes from each existing local radio base, we will be losing something special. Not everyone is shifting their listening patterns online, so the timing and scale of the cuts in local content are the issue here.

    Mr Alistair Carmichael (Orkney and Shetland) (LD)

    Like the hon. Member for Strangford (Jim Shannon), I have been in Westminster Hall, so I have missed most of the debate. Is not the fact that this goes beyond the local content and into the availability of well-trained and professional journalists in each community, like those I see regularly for Radio Orkney and Radio Shetland? They are then available to feed into network news or BBC Scotland, not just on radio but on television? If we keep pulling the BBC presence out of local communities, the news content of the networks eventually becomes ever more centralised and metropolitan.

    James Wild

    The right hon. Gentleman makes a very good point. We are fortunate to have such expertise in our local news and local radio stations, as well as the knowledge, passion and love for the area they are reporting on, which mean that they can come at it not only with understanding, but with an impartial eye, which is so important.

    The BBC enjoys a privileged position with licence fee income of nearly £4 billion a year. That is why it is under an obligation to provide content that is of particular relevance to the area and communities it serves. Ofcom has an important role to play here. Last month, it warned that the BBC

    “must not lose sight of the importance of local content.”

    It said it would keep

    “a close eye on programme sharing between local radio stations, to ensure the sustained provision of high-quality local content”.

    Frankly, that is far too passive, as any action would only come after the event, when the shows have gone and the redundancies have been made. Ofcom needs to act now and look at the operating licences of the BBC.

    As my right hon. Friend the Member for Maldon (Sir John Whittingdale) mentioned, Ofcom also has a role to play in preventing the BBC from crowding out commercial providers. In west Norfolk, we are fortunate to benefit from Your Local Paper, the Lynn News, Town & Around, as well as commercial local radio from Radio West Norfolk and KL1. The BBC should not use its guaranteed income—guaranteed for now—to undermine commercial organisations by shifting more resources online. The BBC is there to serve its audience—local people; our constituents—and it needs to engage, listen and respond by changing its proposals to protect more local content. These proposals cannot be the final answer. The BBC needs to think again and Ofcom needs to act according to its duties to protect licence fee-paying listeners. Local radio stations, including Radio Norfolk, are assets that we must protect.

  • Duncan Baker – 2022 Speech on BBC Local Radio

    Duncan Baker – 2022 Speech on BBC Local Radio

    The speech made by Duncan Baker, the Conservative MP for North Norfolk, in the House of Commons on 8 December 2022.

    It is a great privilege to speak in this debate, which was brought to us by the right hon. Member for Hemel Hempstead (Sir Mike Penning)—I thank him for that—and also to follow my hon. Friend the Member for Warrington South (Andy Carter), an hon. Member who actually knows what he is talking about on these matters.

    Mr Deputy Speaker, you can tell that this is an important debate, because there are two Norfolk MPs present in the Chamber this afternoon. We have been very competitive about who gets to go last, so I thank you for calling me now.

    Local BBC radio in my part of the world is like a cosy cardigan. When people put it on, they immediately have some familiarity. They feel like they know the presenters personally—there is that special connection. That is why my constituents in North Norfolk are so upset about these proposals. The decision to change their local radio programming has really affected the listeners. It is no secret that the older a person is, the more likely it is that they will listen to local radio. The BBC estimates that 58% of its local radio listeners are over 55 years of age, with a near perfect split between both male and female listeners.

    As the Member of Parliament with the oldest average age of any constituency in the country, it is clear that, in North Norfolk, we have a very special relationship with our local BBC radio station. A total of 148,000 listeners tune into BBC Radio Norfolk every week. However, that should not be taken as an indication that local radio is somehow just for people of a certain age. Although there are demographic trends, it is also clear that local radio appeals to people from all age groups and backgrounds. As we have heard already in the Chamber this afternoon, it is an astounding statistic that local radio stations, through the BBC in England, reach nearly 6 million listeners every week, which is an absolutely phenomenal number.

    From speaking to my constituents, I know just how important those local radio services are to them—whether they are schoolchildren or pensioners. I hear on the doorsteps time and again about how local radio is an invaluable source of knowledge for constituents. They get to hear what is happening, bespoke, locally in their own area, and the service provides an immense amount of satisfaction and joy.

    Let me just give an indication of how much Radio Norfolk is listened to. I can remember on my summer tour, at 10 o’clock in the morning, knocking on a door only to be met by a bemused-looking older lady in her Marigolds and with her hair curlers in. She looked at me and said, “You’re on my doorstep.” I replied, “Yes.” “But you were on the radio a few seconds ago,” she said. “You’re that nice young man with the refugees living with you.” She was absolutely right. I had just been interviewed on the radio from my car, and the first door that I had knocked on belonged to this lady who had heard me coming out of her radio as she did the washing up. I rather cheekily said, “That is the kind of service you expect from the Conservative MP from North Norfolk. You merely think about me and I appear.”

    When we get elected, we are told that journalists are not our friends, but, of course, we all build relationships with our local BBC networks. It is our duty to be accountable, to go on the air and face questions, as many have said this afternoon, and to ensure that we represent our constituents. Across the east, we are absolutely spoiled not only for our radio, but for our television as well. Andrew Sinclair and Deborah McGurran are consummate professionals and fair, hard-working journalists, as a number of hon. Members who have spoken this afternoon will know. The BBC is lucky to have them.

    Equally, on the breakfast show on Radio Norfolk, Chris Goreham and his team are superb. I like to think that all MPs for the region form a relationship with those local teams. There is no doubt that they are beloved in my patch, and I put on record my thanks for the way they have always treated me, that includes Chris, Richard, Tim, Paul and Emily, who I deal with regularly. If I am doing charity work, such as marathon running, raising money for local charities or running aid to Ukraine, as I did last month, they always let me go on the show to talk about the work we do in the constituency and I always get a platform to talk about the things I am doing.

    That is how the relationship should work with our local BBC. When I ran a North Norfolk promotion to get 100 new apprenticeships into my local area, the BBC breakfast show at the weekend, run by Kirsteen Thorne, set up an entire programme dedicated to getting work opportunities for young people. Again, that was something I never asked for, but we worked together on the project.

    I am worried to hear how our drive programmes may well be combined. It simply will not be local as we know it. Under the current proposals, we face having no local weekend breakfast shows, which is unthinkable. In my constituency, “Treasure Quest” is a beloved Sunday morning show that has been on the air for 40 years. If that goes, there is no doubt that the local BBC across my region will have a far weaker product. We know that BBC local music has helped to launch careers for such esteemed artists as Ed Sheeran—even I had heard of him, and I have not got past Dire Straits, so we know it can be a humongous help to local artists who make it big. I feel very strongly about those programmes that are currently on air, but may not be for much longer.

    At the end of the day, the BBC is editorially and operationally independent, and can decide how it will deliver its services, but I implore the BBC, which will be watching this debate, to listen to all hon. Members from across the House who have contributed. We have heard some real joined-up thinking and agreement. Digitising and taking away locality of services is not always best for all our constituents. There is immense affection and support for local radio.

    We have in Norfolk an extremely rich tapestry of media, and we are lucky to have excellent newspapers as well. I worry enormously about some of the changes and the impact that the dominance of the BBC will have on our local and regional print press, which is already struggling as times change. I do not think we have spoken enough about that this afternoon. I would not like to see those journalists, who work extremely hard, put under even more pressure, when there is a fair playing field at the moment.

    Jim Shannon (Strangford) (DUP)

    First, Mr Deputy Speaker, I apologise for the fact that I was in another debate and could not be here for this one—I had to withdraw my name to speak. In support of the hon. Gentleman, I want to make a quick plug for BBC Radio Foyle, where 36 staff will lose their jobs. Those are the journalists who have come through the ranks. The move will save £2.3 million, with further redundancies expected. The audience for Radio Foyle is almost half a million per week, which in a Northern Ireland population of some 2 million indicates the critical role it plays. Does he believe that there remains a duty of care to the smaller programmes and the smaller stations, to ensure that local people have a local voice?

    Duncan Baker

    I am grateful for the hon. Gentleman’s intervention. He is absolutely right that it is all about having a local voice and presence. For the constituents of the areas we represent around the country, it is absolutely right that they hear what has been said and re-echoed around the entire Chamber: the importance of that localised service to so many constituents, who want it to continue.

    I will sum up by saying that I understand that there is change and that it is even healthy occasionally, but media is a fluid landscape. People consume their information in different ways—that has been incredibly clear over the last couple of years—but there is, and I think there always will be, a very strong case for local radio. It commands an enormous following, as we have said many times, and it is, in many cases, absolutely integral to our local communities. We should not take it for granted, and I hope that the BBC hierarchy does not take it for granted. We should conserve and improve what we have, not rationalise it.

  • Andy Carter – 2022 Speech on BBC Local Radio

    Andy Carter – 2022 Speech on BBC Local Radio

    The speech made by Andy Carter, the Conservative MP for Warrington South, in the House of Commons on 8 December 2022.

    It is a great pleasure to follow my hon. Friend the Member for Southend West (Anna Firth), and I am grateful to my right hon. Friend the Member for Hemel Hempstead (Sir Mike Penning) for securing this important debate. I speak not only as the Member of Parliament for Warrington South, but as chair of the all-party parliamentary media group and the all-party parliamentary group on commercial radio, and I spent all my life, before I came to this place, working in radio.

    There is something very special, indeed unique, about local radio’s relationship with its audience. It provides companionship, news, information and entertainment in a way that most other media simply cannot achieve. As my hon. Friend the Member for Watford (Dean Russell) said, it is about the voice that emerges from a speaker in the corner of the room and talks one to one with the listener. Most listeners are doing something else while they are listening to the radio—they are driving a car, making tea or in the shower—and that opportunity to be part of a radio community is something very personal, portable and social. Radio is a medium that allows us to use our imagination to build pictures in our own minds in a way that no other medium can.

    Local radio has a unique place in our media ecology. It is the space on the dial that jumps out and says, “We are all about the towns and villages that are familiar to you.” The travel news talks about the motorway that we are on, not the one on the other side of the country. Local radio features the high street where we do our shopping. It is about the town hall to which we elect our councillors. It is where the daily phone-in happens, when residents can go on air and share their views in authentic accents, using words that only local people understand to talk about the issues that really matter to them. Great BBC local radio stations around the country have the ability to connect in a unique way, providing for their audiences and for the whole community. Commercial radio simply cannot provide that. It is not that commercial radio is not great, but it is not licensed to do what BBC local radio does. BBC local radio has a special place on the dial.

    Given what I have said about the unique role of BBC local radio, it is perhaps not surprising that I am concerned to hear about the BBC management plans to regionalise programming content after 2 pm each day, and to share programmes over the weekend. The weekly peak for many stations is Sunday morning. Why give that away to regional space when listeners are specifically tuning in to find out about their local area? I worry about what that says to local audiences about how much BBC management values local listeners.

    I take this opportunity to acknowledge the work of the BBC teams creating local content for Radio Merseyside and Radio Manchester in my area. The Friday afternoon programme on Radio Merseyside presented by Claire Hamilton provides distinctive local content that I cannot hear anywhere else, but it will be lost. On Friday 11 November, Radio Merseyside did an outside broadcast from Tate Liverpool not only focusing on the Turner prize but celebrating the local arts scene across Merseyside. By inviting contributions from listeners, it provided a rounded experience of what is going on in the city and across Merseyside.

    The following Friday, Claire was in Cheshire presenting a special programme on the upcoming City of Chester by-election, which included an hour-long daytime debate with the main parliamentary candidates, which is something only the BBC can and should be doing. Last week Radio Merseyside carried a special broadcast on knife crime to mark the murder of Ava White a year ago, and it culminated in an hour-long feature analysing what has changed in the city.

    I have heard from many listeners who are worried about losing the friend on the radio they know and trust. I have also heard from people who work inside the BBC, and they are disappointed and angry about how the BBC is treating local radio. They know it will have an impact on ordinary listeners and licence fee payers, for whom local radio services top their list of BBC products.

    I was struck by an email from a person who works at the BBC, saying that the teams working in local radio know their listeners like nobody else, “They tell the stories. They laugh with their listeners. They celebrate the wonderful events that take place in the cities and in the towns, and they grieve with them when tragedy strikes. They are the friends on the radio, and that is what is at risk.”

    Listeners in my constituency have a massive range of stations from which to choose, but no other channel delivers content in the way BBC local radio does. The BBC holds an extremely privileged position as the nation’s public service broadcaster, but it is also our local communities’ public service broadcaster. The charter granted to the BBC sets out specific obligations and gives it an advantage that no other service provider can match.

    First, the BBC has unrivalled funding from the licence fee. Secondly, it has a network of transmitters and streaming platforms, meaning audiences can pick up services on whichever platform they choose, which is a massive advantage over many other broadcasters. Thirdly, BBC local radio benefits from cross-promotion opportunities on the BBC’s television and online services. BBC local radio should be growing because it benefits from the wider BBC operation.

    In fact, adding national radio, the BBC maintains a 50% market share in UK radio, which is far in excess of its TV market share of around 28%. The BBC is expert in radio, yet it wants to withdraw from local radio. I have shared my views with BBC executives and, in some respects, I believe the route they are taking will probably hasten the demise of local radio. In every part of the media landscape, the ability to personalise and precisely target audiences benefits a channel. By merging services, the BBC is effectively creating Radio Nowhere, which means audiences are likely to go elsewhere.

    Matching cities and towns such as Leicester and Northampton to share programmes makes no sense. Anyone who knows the east midlands media market knows that Leicester, Nottingham and Derby have always sat together—that is the TV region. Why suddenly stick Northampton with Leicester? It makes no sense. Two minutes looking at the latest radio audience tables shows clear evidence that stations that remain fiercely focused on their local audiences, such as Radio Cornwall, maintain the highest market share of local radio in the UK. If you focus on a geographic area and serve it well, you will generate reach and time spent listening—it is as simple as that.

    I urge the Minister to read a report published about 10 years ago by one of the UK’s leading radio executives, John Myers, who is sadly no longer with us. He was commissioned by the now director-general of the BBC in 2011 to review all the BBC’s radio services. Sadly, many of his recommendations have never been taken up and I feel certain, having read that report again today, that it would deliver better value for licence fee payers and would result in more popular, distinctive and sustainable services for the BBC.

    I would like to use my remaining few minutes to focus on the independent regulation of the BBC by Ofcom. As the Minister will know, the Secretary of State has already set out the terms of reference for a mid-term review of the BBC, focusing on the governance and regulatory arrangements. This is a timely opportunity to look at the operating licences for all the BBC radio services, but particularly for local radio, which have been reduced and made less robust since Ofcom took over the regulation of the BBC. Having been involved with challenging the BBC Trust 15 years ago, I never thought I would get to a stage where there was less regulation of the BBC than there was with the BBC Trust, but sadly Ofcom has managed to achieve that.

    The proposed operating licences being put forward by Ofcom remove a significant number of quotas that are essential for the BBC to be distinctive and to meet its public purposes. The few that remain are 15 years old and not as a relevant as they were. Although some of Ofcom’s updates to the operating licences are welcome, I share the concerns raised by Radiocentre that the proposed operating licences simply fail to adequately regulate and enhance the current provision provided by the BBC. Strangely, Ofcom appears to have accepted in principle the importance of retaining quotas in order to guarantee a minimum level of distinctive output but then, despite that acceptance, proposes to remove most of them and dilute core elements of the BBC’s public service broadcasting. Notably, on BBC local radio the proposal is to reduce the requirements of speech at breakfast time from 100% to 75%, so news output will actually reduce on BBC local radio at the peak breakfast time.

    BBC local radio will be less tightly regulated than the commercial radio equivalents, who are providing news and speech for audiences but receive zero public funding. I am pleased that Ofcom proposes an operating licence for BBC Sounds, as that is long overdue, but it is the woolliest operating licence I have ever seen. It simply creates a situation where the BBC has a mandate to create services to compete against commercial services. I urge the Minister to look at that again. Finally, removing the requirements to deliver niche genre content—arts and religious content—simply allows the BBC to walk away from that as the corner foundation of public service broadcasting.

    To conclude, the age profile of BBC local radio is older, with 33% of listeners over the age of 65. Its age profile is less attractive commercially and therefore is less likely to be served by other operators. This is the space that a publicly funded public service broadcaster should be operating in. Most critically, there is a need to update the BBC’s operating licences, and I do not believe Ofcom’s current proposals are sufficiently comprehensive to hold the BBC to account and to ensure it delivers distinctive content. Frankly, the entire direction of travel by Ofcom, given that the BBC is a public service provider, is to give the BBC more freedom. The BBC receives £3.8 billion from the licence fee and it is not unreasonable to ensure that regulatory conditions are in place to ensure the corporation delivers the public purpose set out in the BBC charter. The services provided by the BBC should be distinctive and should deliver an output that is public service-orientated, rather than simply offering a service that is already provided by other operators.

  • Anna Firth – 2022 Speech on BBC Local Radio

    Anna Firth – 2022 Speech on BBC Local Radio

    The speech made by Anna Firth, the Conservative MP for Southend West, in the House of Commons on 8 December 2022.

    Thank you, Madam Deputy Speaker—[Interruption.] Mr Deputy Speaker, I apologise—[Interruption.] This is live radio. I thank my right hon. Friend the Member for Hemel Hempstead (Sir Mike Penning) for securing this debate. What a privilege it is to take part in a debate in which we are listening to everybody from around the Chamber and finding so many points in common.

    I am glad to see my right hon. Friends the Members for Maldon (Sir John Whittingdale) and for Rayleigh and Wickford (Mr Francois) here, because I will start with the bold proclamation that Essex is the greatest county in the whole of the UK, and, as I am sure they would agree, Southend is the greatest city in Essex. Part of what makes Essex so special is its community spirit. My right hon. Friend the Member for Maldon talked a lot about that. BBC Essex plays a huge, leading part in our community spirit. Only three weeks ago, I was in the centre of Southend for our Christmas lights switch-on with hundreds of people. It was led by Sonia Watson and her team from BBC Essex, on a Saturday night; they went above and beyond to lead the community in Southend.

    The points that have been made eloquently about the role that local radio plays in local democracy are absolutely right. It gives voice to local issues and holds us to account. It is common—this happens pretty much on a weekly basis—that when I put a story on my Facebook page or my website about what I have been doing, I will get a call or email from BBC Essex and will be invited to go on one of their shows to talk about that. The interviews are very good; they are searching. We absolutely have to be able to argue for what we are doing here and why that is important to our local people. That is incredibly valuable, and I pay tribute to Sadie Nine and Simon Dedman, who are two of the journalists who get me on the hook on a weekly basis.

    This is about more than just democracy; BBC Essex news coverage is second to none. It really understands the local issues that we are grappling with in Southend. It will be the first to highlight a problem with a flood, an accident or a problem at Southend Hospital, and it puts people’s minds at rest when our brilliant police force does one of its Project Servator operations. When it floods an area with police officers, the local radio will inform people about what is going on, so that they are not concerned and know that it is normal, proper policing.

    That brings me to something that happened—which we all know about—last year. BBC Essex was absolutely brilliant in its coverage of the horrific murder of Sir David. They were some of the first press on the scene, and they were unique among the press in knowing the community and being able to report on that awful situation that day with sensitivity and authority.

    Mr Mark Francois (Rayleigh and Wickford) (Con)

    We all miss Sir David greatly, but the way that BBC Essex reported that and what followed was incredibly empathetic. It really understood the pain that the community in Southend were going through, because it had the reporters and production staff who knew those people and could tune in to what they were feeling. The way it did that was brilliantly commendable. Does my hon. Friend agree that we would abandon that link with our communities through our broadcasters at our peril?

    Anna Firth

    I absolutely agree with my right hon. Friend, who puts it brilliantly. Our local journalists really know how our community feels. I pay tribute to them, because it takes time and hard work to get that understanding. The way they handled the situation last year was brilliant.

    It is not just about covering sad events. BBC Essex’s “Drivetime” show is incredibly practical: it has very helpfully kept my constituents up to date with the dreadful problems on our roads when Just Stop Oil has been causing chaos.

    Local radio also celebrates our community heroes. I have always been a big supporter of local media, and not just radio—our local papers do the same thing. It is so valuable. People who do so much for our community deserve to be celebrated. We have already heard about the Make a Difference awards, which BBC Essex arranges every year, but I want to give another example.

    We have a brilliant disability campaigner in Southend West called Jill Allen-King, who has done so much over so many decades for blind people and people with sight impediments and the like. She got a Pride of Britain lifetime achievement award this year, but the local radio made a big play of going to her house without letting her know and presenting her with another tribute and another award, because it has covered her work over so many years. It was not asked to do it. It rang me to talk about it. That is just another example of how it goes above and beyond. Similarly, with the Music Man Project, which we are trying to get a Christmas No. 1 with this year, BBC Essex is joining us and helping every step of the way.

    Of course, I cannot talk about BBC Essex without mentioning its coverage of Southend’s local football club. Southend United have a huge following, but their matches are not shown on television, so the only way people who cannot go to the matches can hear how their team are getting on is through BBC Essex. One of my constituents, a lovely lady called Annie Maxted, is a big Southend United fan. I met her at our famous centenarians’ tea party this year—she is about 101. She came with me to watch the match, and she absolutely loved it because she never gets the chance to go and watch; she always has to listen on BBC Essex. That entertainment, which makes a real difference to quality of life, will be lost if these changes go ahead.

    Mr Robin Walker

    My hon. Friend is making an excellent speech. Does she agree that, even if the BBC says it will keep sports programming, the deep connections with and understanding of local clubs that reporters have cannot be protected if the number of local journalists is reduced? We have to take with a pinch of salt some of the commitments that have been made to protect sporting coverage. If programmes do not have those strong local connections, they will not be able to follow sports teams as effectively.

    Anna Firth

    No, they will not. In Southend, we will not get dedicated coverage, so there is no guarantee that our local football team will be covered on a regional basis. My hon. Friend makes an important point: it is because local media are so embedded in our communities that their voices are so well received and so comforting. It is because of their local connection that they tackle loneliness and provide comfort to our residents. The statistics bear that out: more than 2 million people tune in to BBC local radio and to no other BBC station.

    According to the BBC’s own listener figures, the majority of the audience for BBC local radio are over 50, with 20% between 55 and 65, and 35% aged over 65. It is the elderly population we have been talking about who really appreciate local radio. That is so important in Southend West, where more than a fifth of people are over 65, and 8% of the people I represent are over 80—a significantly higher proportion than the national average. BBC Essex is a lifeline for them, providing that local, comforting voice in their homes.

    Every Sunday between 10 am and 2 pm, BBC Essex journalists go around the county providing cryptic clues to where they are for listeners to solve. The programme is called BBC Essex Quest, and I know from talking to my constituents that it is hugely popular. It is a Sunday ritual for those who are housebound and who may be lonely. That is one of the reasons I was so disappointed by the recent announcements. If the changes go ahead, we will lose Essex Quest, because we will not have that local weekend coverage—we will only have local coverage between 6 am and 6 pm on weekdays—and that will be a real loss to my constituents.

    We hear a great deal about the BBC moving its news content online. Of course I see the argument for that, but we must bear in mind—I urge the BBC to consider this—that only 35% of over-75s go online for their news content. The 65% who do not are exactly the people we have been talking about today, who obtain their news from their local radio stations. I do not want to go into any great detail about the arguments for and against the BBC’s increasing its online content, competing directly with the commercial sector at the expense of the hard-working taxpayer, but I do want the BBC to consider the needs of my elderly and vulnerable constituents.

    The BBC was founded on the principles of informing, educating and entertaining people, and BBC local radio is the epitome of that. My constituents need a local radio station that is relevant to their lives, and I urge BBC Essex to commit itself to continuing to provide the comprehensive local radio station that they love and deserve.