Review of Arts Council England – Fan Led review -European Touring – AI update – Creative Industries Sector Plan – Agent of Change
Review of Arts Council England – Fan Led review -European Touring – AI update – Creative Industries Sector Plan – Agent of Change – Is this the triumph of hope over experience?
1 Review of Arts Council England
This section evidences the slipshod and insouciant way that jazz and grassroots musics are is being treated by the DCMS its review of Arts Council England
Dr Johnson remarked on a person marrying for the second time, “that it was the triumph of hope over experience”. This review has a similar ring about it.
It is important that people and organisations complete the survey. There is little point in sitting on your hands and when it is all over bar the shouting wringing your hands in dismay as the review has not helped jazz and grass roots music
Details of the deadline and the survey can be found here The deadline is midday on the 30th June 2025.
I wrote to the DCMS to to make sure that people can respond by sending their own word document. Note they are using AI which does not inspire confidence – how has the AI machine been trained is the crucial question – if it was trained on Grantium it will be “Carry On Up The Review”.
“Thank you for your correspondence of 21 February and 1 March to the Department for Culture,
Media and Sport regarding the Arts Council England (ACE) review. I am replying as a member
of the Ministerial Support Team”.
The survey and use of AI in its analysis allows the review to gather and process data from the
vast number of ACE’s stakeholders and interested parties spread across the country within an
efficient timeframe for the review.
If you wish to submit evidence in another format, such as a Word Document or PDF, please
forward it to us at enquiries@dcms.gov.uk, and it will be passed to the review team for
inclusion in their evidence base.
Here is my submission on behalf of the All Party Parliamentary Jazz Group. If you are submitting a form – and everybody should – please feel free to use whatever you like from my submission,
The submission is here
However for those of you who complete the survey on line you need to be aware of the following:
“You cannot save and come back to the survey. You either need hours with an open window (and the risk of it crashing and losing all your responses), or you need a template in which you can plan the response and then cut and paste that into the survey form”.
My grateful thanks to Paul Kelly, chair of Swanage Jazz Festival for this and for providing the template that will save you from losing your submission.
The template can be found here
The Advisory Panel to the review and potential conflicts of interest
There has been no change in the advisory panel. Whilst the seven strong advisory panel are eminent managers in the arts, 6 of them are in receipt of Arts Council funds albeit indirectly through their organisations. Regrettably this poses a potential conflict of interests.
There are no musicians, dancers, composers, singers, promoters, large and small scale, visual arts, educationalists etc on the advisory panel – people who are at the sharp end of the arts. A case in point is how many of the Advisory Panel have filled in a 73 page Lottery Project Grants application? And for that matter how many members of the Arts Council England National Council have filled in a form. I bet you a pinch of snuff to a pound of horse manure – not one.
My freedom of information inquiries into the review panel and laco of arts practitioners produced the following:
First of all the response to my letter of the 20th May to Dame Margaret Hodge who is the chair of the review of Arts Council England. One would think you would write to Dame Margaret Hodge at the DCMS. Here is the DCMS reply of the 18th June 2025.
“Advisory Panel members were selected for their wealth of knowledge and experience across
the sectors that Arts Council England serves. They each bring a unique perspective from
across the country to support the review.
Please note that review’s engagement with sectors is not confined to the Advisory Panel’s
membership. Stakeholders from different sectors across the country are being consulted as
part of the review.
Regarding the survey extension, the decision was taken to extend the deadline due to the
significant engagement in the survey to date, showing there is continuing demand for people to
feed into the review.
I note that you addressed the Rt Hon. the Baroness Hodge of Barking DBE, who is a member
of the House of Lords and does not sit in this department. In order to contact a member of the
House of Lords, you can email contactholmember@parliament.uk. The department has also
received the Freedom of Information request you made on 28 May.”
I then made a freedom of information inquiry on the 28th May 2025 as follows:
“I would be grateful if you could supply me with the following information regarding the DCMS
review of Arts Council England:
– The specific selection criteria used to appoint advisory panel members to the review
– Any documentation outlining how sector representation was considered.
– Whether any practicing artists or educators were formally invited to join the panel”.
The response was less than inspiring and didn’t fill me with confidence over the shape of the review that will follow. The response to “whether any practicing artists or educators were formally invited to join the panel”, is risible as it is disgraceful. The blunt fact is you can’t trust the DCMS to run your bath let alone a review of the Arts Council
A) Criteria against which candidates have been considered:
- An understanding of the Arts Landscape across the UK and the practicalities of operating arts organisations
- A strategic focus and ability to provide impartial oversight and critique of the review’s aims and recommendations.
- An ability to build effective relationships at the highest levels.
- An aptitude for analysing information and to make reasoned strategic recommendations that fulfil the aims of the review, and address any underlying issues in the department or public body.
B) The department does not hold specific “documentation outlining how sector representation was considered”, however the selected members for the Advisory Panel represent a strong regional mix, as well as a diversity of skills and sectoral experience, that support the aims of the review. A panel of around 6 members was sought to ensure balance and fair coverage of the sectors Arts Council England serves, as well as geographic spread.
C) We do not hold any information in relation to this part of the request.
Please make sure you respond to the review and I dont have a problem with anyone using and cutting and pasting from my submission.
My letter is published in the Stage this week and can be read here
A summary is here:
The letter draws attention to the bloated administration and inefficiency of Arts Council England (ACE) and the Department for Culture, Media and Sport (DCMS):
- It highlights disproportionate administrative spending and low award rates in ACE’s funding programme.
- Argues for a national, costed arts action plan to replace fragmented strategies like Labour’s “five missions.”
- Proposes unifying major arts unions—representing over 180,000 professionals—into a coalition capable of influencing policy.
- The message: systemic change will not come from within ACE or DCMS, but from grassroots organising and united sector advocacy
2 Fan Led Review
Music fans, artists, DJs, festival goers, and everyone that loves live and electronic music are being asked to share their views in a wide-ranging survey recently launched. A simple survey so please share your views and share the link wide and far.
The survey, part of the fan-led review of live music which was set up earlier this month, aims to find out more about the music fan experience, and invites views on everything from gig ticket prices and selling practices through to venue safety and accessibility.
The review, backed by the Culture, Media and Sport Committee, brings music lovers together to discuss ideas and policies to protect the industry and ensure it works in the best interests of fans.
3 European Touring – Freedom of Information Inquiry
I made a freedom of information inquiry to the cabinet office on musicians touring in the EU and here is the result:
“I would like to request information regarding the recently secured agreement between
the United Kingdom and the European Union, which aims to support British businesses,
protect jobs, and improve financial outcomes for UK citizens. Specifically, I seek details
on:
1. The anticipated impact of this agreement on UK musicians wishing to tour in the EU.
2. Measures taken to facilitate frictionless movement for UK musicians touring Europe
and EU musicians touring the UK.
3. Any discussions or agreements related to visa requirements, work permits, and trans-
portation of musical equipment.
4. Correspondence or policy documents outlining steps taken to address challenges
faced by touring artists post-Brexit.
Please provide copies of relevant documents, reports, or communications that address
these points. If any part of this request is exempt from disclosure, I kindly ask for an ex-
planation of the exemption applied.”
We are writing to advise you that following a search of our paper and electronic records,
we have established that the information you requested is partially held by the Cabinet
Office.
In response to your request we can share the following:
1. In relation to paragraph 1 of your request, following a search of our paper and
electronic records, we have established that the information you requested is not
held by the Cabinet Office.
2. In relation to paragraph 2 of your request, the agreement sets the intention for
further UK-EU engagement to support travel and cultural exchange, including the
activities of touring artists.
3. In relation to paragraph 3 of your request, information you have requested is ex-
empt under section 27 (1)(a) and 27(1)(b) of the Act. Section 27(1)(a) and
27(1)(b) exempts information if its disclosure would, or would be likely to, preju-
dice relations between the United Kingdom and any other state or international
organisation.
4. In relation to paragraph 4 of your request, information you have requested is ex-
empt under sections 27 (1)(a), 27(1)(b) and 35 (1)(a) of the Act. Section 27(1)(a)
and 27(1)(b) exempts information if its disclosure would, or would be likely to,
prejudice relations between the United Kingdom and any other state or interna-
tional organisation. Section 35 (1)(a) exempts information that relates to the for-
mulation or development of government policy”.
Whitewash, obsfucation, the assumption you can draw from this is that nothing has been achieved or prbably not even discussed; driving a coach and horses through the commitment in the Creative Industries Sector Plan which is to:
“Export and Touring: The government commits to supporting international cultural exchange and touring post-Brexit, including progress on EU touring for musicians”.
The All Party Parliamentary Jazz Group are working in Partnership with UK Music on a number of topics including lobbying for further negotiations with the EU and Member States on reducing red tape connected with touring musicians. Please see the Review of Jazz in England
4 AI Update
To bring you uptodate on AI and Data Access Bill, UK Music CEO Tom Kiehl has written an article in Music Week on the next steps for the industry’s AI campaign as bill passes in Parliament. You can read the article here
5 Creative Industries Sector Plan
Here’s a summary of the key elements from the Creative Industries Sector Plan – with a focus on what it means for musicians, other performers and freelancers:
For Musicians and Performing Artists
– New Investment: A £30 million music growth package over three years will support emerging artists, with a proposed arena ticket levy to fund the grassroots sector.
– Export & Touring: The government commits to supporting international cultural exchange and touring post-Brexit, including progress on EU touring for musicians.
– Access to Finance: Creative businesses (like labels and venues) will benefit from improved access to debt and equity through the British Business Bank and better support for IP-backed lending.
For Freelancers and Creative Workers
– Career Development: A refreshed UK-wide £9 million creative careers service will offer guidance for freelancers and those navigating the gig economy.
– Diversity and Skills: There’s emphasis on a more resilient, skilled, and diverse workforce, including better pathways for underrepresented groups.
– Curriculum Reform: The plan hints at a new curriculum in England that values creative skills—potentially strengthening the pipeline of future musicians and artists.
Innovation, IP and Createch
– AI & IP Protection: The sector plan acknowledges the rise of AI and pledges to protect and incentivise human creativity—a significant nod to artists worried about copyright erosion.
– Createch Ecosystem: Musicians and digital creatives will benefit from initiatives that blend technology and creativity, e.g. immersive sound, interactive performance, or AI-assisted composition.
Regional Support
– Cluster Investment: A £150 million fund will go to regional creative clusters—supporting local venues, rehearsal spaces, and music ecosystems outside London.
– Public Service Media: There’s strong support for broadcasters like the BBC, recognising their role in commissioning and showcasing music and performance.
In essence, the document positions musicians and creatives as key drivers of future UK growth—economically, culturally, and globally. It promises increased investment, policy recognition, and infrastructural support, but it also subtly acknowledges past underinvestment and sets out to redress that.
You can read the full report here
Agent of Change – crucial for venues – especially grass roots venues
The Chair of the House of Commons Culture, Media and Sport Committee and Conservative MP Dame Caroline Dinenage has hailed the vital importance of Agent of Change, which UK Music has long campaigned for, making the case that venues must be protected in light of the Government’s upcoming Planning and Infrastructure Bill. (12.06.2025)
Agent of Change is designed to ensure that developers take into account the impact of any new plans on pre-existing businesses like music venues before going they commence work.
Tom Kiehl CEO of UK Music has written an article that explains in greater detail “Agent of Change”. Please read here
© Chris Hodgkins
28th June 2025