- Question for Short Debate
- 1:33 pm
- Asked by
- To ask His Majesty’s Government what assessment they have made of the contribution of live music to the UK’s culture and economy.
- My Lords, I start by drawing the House’s attention to my declaration in the register of interests, including my membership of the Musicians’ Union and the Ivors Academy. It will not surprise a number of colleagues here that I will take this opportunity of a debate about live music to talk and plug my fan-led review of live and electronic music, which came out earlier this year.I was commissioned by the Culture, Media and Sport Select Committee of the House of Commons, and it was a pleasure to be able to speak to music fans in conferences, round tables, venues, clubs and festivals right across the UK. I know the House is very familiar with some of the facts about the contribution of music to our economy and with the fact that, as outlined in my review, the live sector in 2024 was worth £6.7 billion to the UK economy.One fine example of that from my own part of the world is the Green Man festival in Wales, which takes place in August. It is a proudly independent festival, run by the remarkable Fiona Stewart, who was recently profiled in the Times, and it sells out each year in half an hour, without anybody even knowing who is going to be playing at the festival the following year. It contributes £28 million to the Welsh economy, as well as doing great work in the community through the Green Man Trust, its charitable arm. I think that is proof positive that what music fans want to maintain is that independent spirit in an ever more corporate world, and that came through very strongly in my fan-led review.I hope my noble friend the Minister will take this in the best possible spirit, but I do not want this to be a review that gathers dust on a shelf somewhere in the Department of Culture, Media and Sport. I want the Government to go through it, and when they come back to appear in front of the Culture, Media and Sport Committee in the Commons—I believe I might also be making an appearance in that time—I would like to hear very positive responses to the bits of the report that are recommendations for the UK Government. The report contains recommendations for the industry and for local authorities, but it also contains recommendations for the UK Government, and I hope they will take it on board.
- 1:41 pm
- My Lords, I will focus on the cultural importance of live music, which can enrich the lives of us all. The response to the noble Lord, Lord Brennan, shows that there is feeling around the House on just that. It supports artistic expression, preserves musical heritage and strengthens communities. Live events showcase artists from different backgrounds and cultures, promoting inclusion and cultural exchange.Does the Minister agree that charities are vital in protecting and promoting opportunities to take part in producing live music or simply to enjoy it? Charities such as the LIVE Trust raises funds via voluntary ticket contributions to fund grass-roots music events and venues. Music for All provides grants and instruments to disadvantaged communities to ensure that everyone has the chance to participate in and experience live music. Youth Music invests in hundreds of grass-roots music projects, helping marginalised young people to learn about music production, singing and live performance.Government can play a role in supporting the development of live music. In creating the Every Child Can fund for 2024-28, the Government pledged that they would work with the National Lottery Community Fund, young people and youth organisations to ensure that the monies would be spent in a way that reflected the priorities of young people to make, perform and produce music. What assessment have the Government made of the progress that has been achieved over the past two years by the Every Child Can fund”?
- 1:43 pm
- My Lords, I congratulate the noble Lord, Lord Brennan, on an excellent speech. In policy terms, the guidance provided for culture as an area of competence for the mayoral strategic authorities—we discussed this at length during the passage of the devolution Bill—is that it needs to be a consultation from the bottom up. The DCMS and the Ministry of Housing, Communities and Local Government are, I hope, coming together on this. Every level of government should be involved, as well as stakeholders such as live music venues. I ask the Minister to confirm that. The danger with a larger governmental body will be rationalisation of assets.On community assets, I applaud the Government’s intention explicitly to include cultural assets within that grouping, although I would still prefer them to have their own designation—as the noble Lord, Lord Brennan, asked for on another occasion. I welcome the £61 million the Government have set aside for that scheme, but I am disappointed that there was no reference to cultural assets in the recent announcement. It is important that local authorities and the public are fully aware that cultural assets are covered by this scheme, and the guidance clearly states this, with pertinent examples such as live music clubs and recording studios.I am grateful to the Musicians’ Union for its briefing on the risk to live music in theatres. The disbanding of the RSC’s music department earlier this year is an unwelcome sign of the times; costs are cited and it is all too easy to replace real musicians with sophisticated software, which has its place in music but can never be a substitute for live music. I ask the Minister what thought the Government have given to those concerns.Finally, European Movement UK calculates that over 25% of British musicians have lost all their work in the EU since Brexit, with average tour earnings down by 45%. In reality, nothing substantial to improve matters has happened in the last two years. With the cancellation of the 22 July UK-EU summit, when will this be discussed and resolved?
- 1:45 pm
- My Lords, I too congratulate my noble friend on an excellent opening speech. My focus today is on the pipeline of musicians and the music teachers needed to train them—a pipeline damaged by young people’s lack of access to music in state schools. Our Labour Government inherited an education system where music had been squeezed out of the curriculum by the EBacc, which, from 2010, incentivised schools to focus on subjects excluding music and arts. This damaged music teacher recruitment and the take-up of music at A-level and GCSE.A-level music remains in crisis. Only 4,635 students took it this year—a record low, down 41% since 2013. GCSE music entries are around 27% down since 2010. Music teacher training and recruitment have fallen by around 51% since 2010-11 and it remains a shortage subject. Even last year’s welcome rise in the number of trainees came with a warning: the number of music teachers with no relevant qualification beyond A-level rose by 10% in a single year.Teach First found that schools in the poorest areas are three times more likely to lack a trained music teacher, and 17% do not offer music A-level at all—more than triple the rate of schools in the most affluent areas. The Social Mobility Commission found that children from the poorest backgrounds are three times less likely than wealthier pupils to learn an instrument, sing in a choir or play in an orchestra.UK Music has warned that fewer trained teachers and a shrinking A-level cohort are damaging the industry’s talent pipeline. Without music in schools, music in the economy, culture and society will be seriously impacted. This Labour Government have rightly committed to scrapping the EBacc, but now we face the task of rebuilding music education, particularly in state schools in our most deprived areas. I urge my noble friend the Minister to press DfE Ministers to do all they can to reverse this decline we inherited by rebuilding the music teacher workforce and restoring the bursary for music teacher training, so that every young person, whatever their background, has the chance to choose music.
- 1:48 pm
- My Lords, I congratulate the noble Lord, Lord Brennan, on his epically superb speech. I declare my interest as a trustee of the KOKO Foundation. As all noble Lords know, KOKO is a fantastically cool music venue in Camden. In fact, it was made live music venue of the year.Stemming from my involvement with KOKO, I want to make a point about businesses in general. KOKO has never received a penny of government money. Since its creation, it has created about 10,000 jobs, paid £80 million in taxes and helped the regeneration of the area. But the recent increase in NI means that KOKO now has to attract 4,000 additional customers a week in order to meet its NI bill. At the same time, KOKO has set aside £500,000 for the foundation to help local people; it works with the Department for Business and Trade in welcoming foreign Governments to look at hospitality; and it has helped in many other ways. My point is more general: every time the Government impose taxes on business, they are harming or impacting venues such as KOKO.Everybody knows the importance of live music. The recent Harry Styles tour, for example, generated about £1.1 billion in revenue beyond the actual events. However, we cannot be complacent about the success of the major live music industry in the UK. We did not go ahead with the Sphere—that was nothing to do with this Government—but the London fireworks are falling behind. Major countries in the world see live music and events as central to diversifying their economy. It is incumbent on the Government and on local government to work more closely with the private sector.I echo the points that have already been made about secondary ticketing and flag the point about visas for musicians, which is becoming a particularly thorny issue for many involved in the live music business.
- 1:49 pm
- My Lords, I congratulate my noble friend Lord Brennan on securing this debate and on his powerful introductory speech—at a time when live music is at the crossroads, to reference an iconic song by one of my heroes, the Delta blues singer Robert Johnson.I want to focus on the crisis facing grass-roots music venues, on whose behalf the Music Venue Trust campaigns vigorously. I regularly enjoy music at such venues as Mercato Metropolitano, at Elephant and Castle, and the Ain’t Nothin’ But blues bar, in Soho. Sadly, two live music venues close every week across the UK. That is not because people are losing interest in music: there were more than 100 million audience visits to a gig in the UK in 2024, but 75% of those were accounted for by concerts.Over 30,000 people work in grass-roots music venues, which are the R&D of the UK music industry and generated £8 billion in gross value added to the economy in 2024. Various new arenas are proposed to open in the UK over the next few years, but there is no record of such venues making a financial investment in the pipeline, and I think we are entitled to ask why that is.My noble friend Lord Brennan mentioned football fans, in comparing them with music fan. That sport demonstrates what can be done to help develop the next generation. The Premier League shares 16% of its central revenues with the wider game. I see no reason why the top end of the live music industry cannot do the same, and reinvest in the talent and venues that are supporting it and supplying the next generation of performers.Venues are suffering extreme hardship from unaffordable energy bills and other costs, as well as a cost of touring crisis. Live music generates huge returns for the Treasury, yet currently 20% of the value of every ticket sold at a grass-roots venue is lost to VAT, removing almost £5 million from the sector in potential investment in new and emerging talent. There is now no impediment to the Government zero-rating VAT on ticketing for grass-roots music venues. I urge my noble friend to consider that as a means of supporting this vital pipeline.
- 1:51 pm
- My Lords, I declare my interest as chair of trustees of CDMT. I thank my noble friend Lord Brennan of Canton for his leadership of the fan-led review of live music. Its central message is simple: live music must work for audiences, artists and communities alike, and that starts with strong foundations.In my home city of Newport, live music is not an abstract concept; it is part of our identity. You can hear it, see it and feel it. We have a proud musical heritage. That spirit lives on in grass-roots venues such as Le Pub, a community-owned venue that has nurtured local talent for decades while attracting touring artists from across the UK. It reminds us of a vital truth: the music industry is not built from the top down. Every headline act and every arena tour begins on a small stage somewhere.The sector contributes billions to our economy and supports hundreds of thousands of jobs, but its value goes beyond economics. Every gig supports local businesses, strengthens town and city centres, and brings communities together, but these foundations are under real pressure. Grass-roots venues face rising costs, tight margins and increasing uncertainty. For Wales, this matters profoundly. We are a nation of song, culture and community; from the Eisteddfod to the streets of Newport, music helps define who we are.Will the Government recognise the full value of live music, not only as an economic asset but as a cornerstone of community life? Will there be meaningful support for grass-roots venues so they can survive and thrive? If we want a world-leading music industry tomorrow, we must invest in the small stages of today. A nation that values its music must value where the music begins.
- 1:53 pm
- My Lords, “Do You Want to Know a Secret”, “It’s Not Unusual”, “Hit the Road Jack”, “We Will Rock You” and “Song 2” are all songs that last just two minutes, the length of our speeches, but have had a long-lasting impact and show that music has the unique ability to bring people together across generations and communities.I congratulate the noble Lord, Lord Brennan of Canton, on eloquently setting out in his speech the importance of the matter, and I congratulate him on getting the debate. We know that, whether they are in our great concert halls, theatres, churches, festivals, or grass-roots venues that nurture emerging talent, such performances enrich our national life and strengthen the social fabric of our country. The economic contribution is equally compelling, with the industry contributing several billions of pounds and supporting hundreds of thousands of jobs, yet none of this success is guaranteed. Our international reputation as a musical powerhouse rests upon the strength of our grass-roots sector, and pretty much every globally recognised British artist began by performing in small venues in front of audiences.Too many venues face mounting financial pressures, particularly from rising energy costs and business rates. When venues close, we lose local culture and the opportunity for local talent to prosper. Therefore, supporting live music is both a cultural choice and an economic necessity. Venues were well supported during the pandemic—the Cavern Club was saved in Liverpool. I welcome the voluntary levy, which has raised more than £6 million since starting last year. It is right that the industry supports the grass roots, just as we see in football. The previous Government abolished permitted demolition rights for live music venues.
- 1:56 pm