As always, it is a pleasure to serve under your chairmanship, Mr Rosindell. It is also a real pleasure to sum up the debate for the Scottish National party, and I congratulate our trio of trusty troubadours, led by the choirmaster, the hon. Member for Caithness, Sutherland and Easter Ross (Jamie Stone), on bringing this important issue to the House. I refer to my entry in the Register of Members’ Financial Interests.
This is yet another instalment of the ongoing travails of our live music industry and the artists who are involved on the frontline of it—the next verse in the
song entitled “The Worst of Times”. Live music is vulnerable, like no other sector, to the strictures and conditions of covid. It suffers probably more than any other sector under the requirement to keep people socially distanced as we get on top of this pandemic. Music is a social business: it involves people coming together, and it involves performance. It is all about community and coming together, and it is obvious that music will suffer as a result of people being restricted in coming together. Whereas other sectors can now look forward with a degree of optimism to the possibility of getting back to work and back to normal, live music can only surveil its future with continuing anxiety and concern, underpinned by the lack of clarity at the heart of the planning.
Everybody just wants to get back to gigs. We have heard from hon. Members about how imperative that is and what it does, not just for the economy of this nation, but for our wellbeing, our sense of ourselves and our enjoyment of the things that we like to get out and do that make us feel normal. A YouGov survey that really struck me a couple of weeks ago showed that half the UK population want to go to live events this summer and that 75% believe that live events are a critical part of our culture. We know that the demand is there and that people are just waiting for the green light to go out and see their favourite bands once again.
Hon. Members are right to remind us of the contribution that live music brings to the economy and of the sense of joy that music gives us all. The Government can help unlock this boost to the economy, at no real cost to themselves, by giving a commitment to help underwrite the costs in case of any cancellations that might occur—cancellations that have nothing to do with the festivals, but that result from obeying the requirements set by the Government.
We recognise what the Government are doing, and we welcome the measures that have already been outlined—I am sure the Minister will tell us about them again, and there is no question about the fact that they have been thoroughly good. The expanded support for freelancers and the self-employed is a step in the right direction for an industry in which three quarters of the 200,000 workforce are self-employed. We welcome the £300 million boost to the culture recovery fund, but I still do not understand why it cannot be extended to include freelancers, which is how we operate our schemes in Scotland and Wales.
All of that is welcome and will help, but for live music, and particularly for our festivals, as we heard from hon. Members who discussed the festivals in their constituencies, there have to be guarantees and assurances so that events can go ahead, secure in the knowledge that, if there are covid events beyond their control, there will be somebody there to step in. There is only a period of weeks for staging live music events this summer. Organisers will have to make decisions in the next few days and weeks about whether they can proceed or whether they will be forced to cancel. It is all about having the confidence to proceed and the security to go ahead. The live music industry urgently needs this Government-backed insurance scheme to protect against the risk of losses if a festival or concert is forced to cancel due to covid.
Already, as we have heard, it is too late for some great music festivals across the UK. Some have decided that they just cannot take the risk; Glastonbury will not be going ahead for a second year this year. Others have decided that the risk is still worth taking, and are still planning to put on their festival events. Reading and Leeds festivals have been mentioned, and I really hope they are able to go ahead this year. Some are still assessing the risk. Festivals such as Latitude, Wireless and Download say that everything hangs in the balance, with the final choice dependent on whether an insurance scheme is in place.
It is worth recognising that, even without covid, festivals are already a risky business, and that risk could be of the order of millions of pounds. The fields of the UK are littered with failed festival enterprises. Every year, the margins get tighter and it gets tougher and tougher for festivals to prosper and succeed. The festival experience is variously a holiday, a rite of passage and an opportunity to participate in a little weekend of all-consuming hedonism. The general rule is that if you remember it, you were not really there.
I have been pretty lucky: I have seen festivals from both sides. I have played in most of the big festivals around Europe, and I know exactly what they mean to people—not just the people who go to see it, great as it is for them, but for the artists. I think it is only me and the right hon. Member for Islington North (Jeremy Corbyn) who have appeared live on the Pyramid stage at Glastonbury, though I think I am the only one who appeared there with a musical instrument. For the artist, it is the highlight of the live performance calendar, and for so many it is an essential source of income. If a new band is invited along to a festival such as T in the Park, Reading or Glastonbury, they share a stage with legends—people who have been in the business for decades. It is such an immense thrill and opportunity. Sometimes, they get the opportunity to play to tens of thousands of people, maybe after just performing in the local pub. They are tipped as being the next big thing, and it is a real opportunity to test their talents. For musicians, it is immense; it is such an important feature of the development of their career and the progression of what they have to offer.
It is not just about the musicians; it is also about the crew, the stage constructors, the security staff and the hundreds of members of the public recruited to ensure the success of the event. In fact, building a festival is like constructing a temporary large town or small city, with all the infrastructure that is required. I had T in the Park just next door to me in the Ochil and South Perthshire constituency, and for one weekend per year when T in the Park was on the go, it was the eighth-largest settlement in Scotland.
It is more than that; it is about what it delivers for the community in Perthshire. T in the Park was the second-biggest festival in the UK, and throughout the weekend when it was on, every single hotel and restaurant in Perth in my constituency was full. The communities of Kinross and Milnathort, which were a sort of base camp for T in the Park, were practically part of the festival. We need reassurance that these festivals can go ahead, not just for the artists, the musicians and the industry but for the communities we serve. They need to know that the festivals can go ahead with security. People need the confidence to put on festivals again.
I think it was the hon. Member for Cardiff West (Kevin Brennan)—it was certainly one of our trio—who said that other countries are able to do this. They think it is valuable. Last week, Denmark became the latest country to introduce Government-backed insurance for events. I know Danish festivals really well. Festivals are an intrinsic part of the music offer in Denmark. Every single town and city has a festival, so the Danish Government have moved in to protect their industry, and I congratulate them on that. It is not just Denmark; festival organisers have been supported in Germany, Norway, the Netherlands, Austria and Belgium. If all those countries right across Europe can do it, why cannot the UK?
It all starts with the UK Government engaging with the industry on how best to ensure that we get an insurance scheme that works for our live music sector. As we have heard, the Government have already backed the film industry with a bespoke insurance scheme. That is great: it is required and it needed to happen, but it needs to happen for music too. There is a proposal on the table. We know that several live events organisations have got together and worked to produce a scheme that is probably sitting on the Minister’s desk: all she needs to do is sign it off, and we are there.
Tysers is calling for the UK to support a £650 million insurance scheme to get our live sector back on its feet. This proposal could support the whole of the live events sector—promoters, venues and artists—and prevent job losses and economic inactivity. As an insurance fund, it has the added benefit that it may not even be used, making it even more cost effective than grants. The Government have absolutely nothing to lose from getting involved with the live music sector and going along with this. This package of support will be targeted directly at UK beneficiaries, providing them with the support and confidence they need to put on shows and events, and unleashing over £2 billion of economic potential. The Minister has nothing to lose, so I ask her to look at the scheme, and give it her backing and the green light.
The proposed scheme would have a timeframe only up to the end of 2022, and it would be available only to companies putting on shows in line with guidance. It would not cover non-coronavirus issues, and claims would be capped at a certain budget and must be justified. This is all in the Government’s hands—it is all there, ready to go, if there is the political will—and the benefit for the Minister is that this time around, she does not have to deal with the invidious EU. This is nothing to do with it; it is not a constraining feature or factor. She does not have to sit around the table to negotiate a visa arrangement with it: it is all about her and her Department. The only door she needs to knock on is that of the Treasury, to unlock this fund, give the assurance, the confidence and the backing, and get this unleashed. People want to go to gigs; let them go. The artists just cannot wait to get back to performing live. I have tried every week to watch a live show online, just to make sure that our artists are supported, but believe me, they want to play in front of audiences again. They have been deprived of that for a year, and they need to have that contact. They need to get those guitars, keyboards, drums, basses, or whatever in front of an audience and play them.
People want to get back to gigs. Live music is important to all the communities we represent, and live music and music tourism give a real boost to our economy. This is
in the Government’s hands; they can give the reassurance that is required. Let us bring the music back.
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