PARLIAMENTARY DEBATE
Edinburgh Festivals: Cultural and Economic Contribution - 8 October 2024 (Commons/Westminster Hall)

It is a pleasure to serve under your chairmanship, Mr Efford, and I am very grateful to the House for allowing me to have this debate today.

I have three purposes for calling the debate. First, I want to draw attention to the economic and cultural phenomenon that has developed in Edinburgh. Secondly, I want to talk about the challenges and opportunities that the Edinburgh festivals face, and how there is a clear role for public policy. Thirdly, I will argue that it is not just about what the Government can do to support the Edinburgh festivals, but what the Edinburgh festivals can do to help the Government achieve their goals for the country at large of economic growth, breaking down barriers to opportunity and establishing Britain’s place in the world.

The Edinburgh festivals and Fringe are not simply a highlight in my city’s annual calendar, or an attraction to lure some tourists for the month of August. In August, Edinburgh becomes the cultural capital of the world. The gathering of creative talent and cultural wealth is truly unique. The Edinburgh festivals and Fringe did not happen by accident. Years, indeed decades, of painstaking commitment have led to the phenomenon we see today—not least in recent years, with a pandemic, Brexit uncertainty, and a cost of living crisis, which is also a cost of putting on a show crisis.

The Edinburgh international festival started in 1947, when Europe was emerging from the shadow of war. The German venues that had previously played host to opera and classical music festivals were closed. Edinburgh, undamaged by bombing, with stunning scenery and spectacular venues, was a perfect location to bring people together. Indeed, in the years after the war, the international festival was twice nominated for the Nobel peace prize for its work bringing people together. At the same time, a group of acts that were uninvited to the official festival pitched up anyway and performed in the city. They were described as performing “on the fringe”, so the Edinburgh Fringe was born. We politicians have just come from our party conferences, with a hive of activity on the conference fringe, but the very concept of a fringe event comes from Edinburgh. Ours, I have to say, is more glamorous than the political version.

But that was then. Today, the Edinburgh festivals and Fringe are the third biggest ticketed event in the world. Edinburgh puts on an event on the scale of the FIFA world cup or the Olympic games every year. I think we have become numb, through familiarity, to the scale of what has been achieved. We are talking about 4,000 shows that attract an audience of 3.5 million and over 300 venues across the city, ranging from the Usher Hall to basement comedy clubs. It is a phenomenon, truly unique and exceptional in scale.

What started in the 1940s as the international festival and Fringe has now grown into the biggest cultural gathering in the world. It includes the Edinburgh book festival, the world’s largest literature festival; the Edinburgh film festival, the world’s longest-running film festival; the Edinburgh military tattoo, an iconic celebration of one of Scotland’s biggest cultural brands; the jazz festival, the biggest of its kind in the UK; the television festival, with its agenda-setting Mactaggart lecture; and the arts, children’s, storytelling, and science festivals.

Other countries take years to plan, and millions in public money, to put on events at such a scale. The Paris Olympics this year attracted 20,000 participants to its one-off event. The Edinburgh festivals attracted double that—and we do it every year. The scale is impressive, but I argue it is important for two reasons. The first is economic. It not only generates £400 million in economic impact, creates a supply chain of £15 million for 800 businesses, of which 97% are based in the UK and 80% are small and medium-sized enterprises, and represents incredible public investment, with £33 generated for every £1 invested by the public purse—it also creates an economic ecosystem. We may not get that one emblematic, televised moment of an Olympic opening ceremony, but that moment is attenuated throughout the year, every time we watch a comedy show, drama or talent that was incubated in Edinburgh.

Think of the Fringe: it is not just an attraction for audiences to watch shows, but the global trade fair for comedy and the arts. New shows, new materials and new acts show off their wares and get snapped up. We just get to watch. The UK is a cultural powerhouse, and our cultural and creative sectors can thrive in the way that they do because we have the Edinburgh festivals and Fringe operating at this capacity in our country. On that note, I am sad to see that today the Fringe’s chief executive, Shona McCarthy, is stepping down after nine years. She has done an incredible job in Edinburgh, and we wish her well.

Secondly, the festivals put Edinburgh on the global plane, and Britain needs cities operating at that level. Edinburgh has the raw material to thrive in the 21st century: we have a thriving university sector, with world-class clusters in research and development, IT and biotech; we have the energy transition on our doorstep; we have a dynamic financial services sector; and we have a world-class tourism offer. When we add the festivals and Fringe, Edinburgh’s potential moves to that of the top tier of global cities, ranking like a British San Francisco.

I have not secured this debate to extol the benefits of my city, although, as I think you can tell, Mr Efford, I could do that at length. My argument today is that there is a role for Government, and I want to make five points about the role of public policy.

First: funding. I am not asking for more money, per se—although that would be welcome—but I do argue that the Edinburgh festivals need economic stability and the ability to plan. My right hon. Friend the Chancellor has said that she plans to move to multi-annual budgeting; no sector would benefit more from that than the creative sector. Will the new Government be exploring how to leverage economic stability and multi-annual financial planning to support the arts?

Secondly: recognition. I have tried to set out how the Edinburgh festivals are a national jewel. We value our cultural sector in Britain and we know how much institutions such as Wimbledon, the premier league, the Proms and the Edinburgh festivals set us apart. No Government would let those fail, so is it right that we make the Edinburgh festivals compete for funding like any and all creative ventures? Is it fair on any arts project, big or small?

Thirdly: cross-UK engagement. Cultural policy is devolved, quite properly, and you will find no greater defender of devolution and the importance of respecting the status of the Scottish Parliament than I, but, with the election of a UK Labour Government, I hope that we are moving to a less antagonistic, more constructive relationship. There have been some failings in Scottish Government policy on culture in recent years, such as the ongoing debacle in Creative Scotland and the fact that, in just nine months, the Scottish Government published an absurd 10 strategies on culture, but I hope that the new Government will work as constructively as they can with the Scottish Government to support the festivals.

I would also say that to see the festivals thrive we need a constructive relationship between UK, Scottish and local governments. Edinburgh puts on a show of this size every year, yet, per capita, it is the poorest-funded local authority in Scotland. Council budgets are severely overstretched, as disproportionate cuts are passed from Holyrood to the city chambers. That means that the People’s Story Museum in my constituency, which tells the story of working class history, is currently temporarily closed, and it means that the Brunton theatre in the Musselburgh part of my seat is also closed. I know that the Minister has no responsibility for that, but it is important to set it on the record when we talk about culture in Edinburgh.

Fourthly: visas. The festivals depend on artists and technicians coming from overseas, but the process is cumbersome, expensive and, most dangerous of all, unpredictable. Can the Department for Culture, Media and Sport work with the Home Office to explore ideas, such as those set out by the festivals visa working group, to navigate that?

Finally: crisis support. This year the Edinburgh book festival, the world’s biggest book festival, lost its funding from Baillie Gifford, the investment firm, after a campaign by Fossil Free Books. I do not wish to rehash that affair here, save to say that although I fully support tackling climate change, I am unconvinced that defunding a book festival is the way to go about it. Is there something we can learn from that episode? In this country, the cultural sector depends on philanthropy as well as public investment. Is there a way that DCMS can help book festivals, or indeed any festival, navigate the controversies that can abruptly arise in the social media age? I know that the new Government are fully committed to seeing the cultural and creative sectors thrive, so I would be grateful if they could undertake to give these issues some consideration.

It is important that Parliament recognises that other countries would give their eye teeth to have what Edinburgh has established in the past 75 years. We fail to polish the cultural jewels in our crown at our peril. We have an opportunity. The potential for the festivals to thrive is right in front of us. The Fringe is opening a new home in the Old Infirmary and the Dunard Centre will add a new modern concert hall to the city’s venues, but the support of public policy is necessary to achieve that.

Think back to the 18th century. Some argue that the reason Edinburgh became a leading city of the enlightenment was the structure of the old town. Nobles, artisans, middle-class professionals, skilled and unskilled workers lived cheek by jowl on top of each other in the old town’s tenements. That created the incubator where debates and ideas could thrive, and that is how the enlightenment took hold there. Today we have a similar phenomenon, from the most avant-garde and edgy Fringe performances trying something new to the international festival and the best classical music performances in the world, with the world’s biggest literature festival discussing the most salient ideas of our time in the same place at the same time. It is in this petri dish that humanity hatches and nurtures the creativity that can drive our economy and our society in the years ahead. That is why I called this debate to discuss the power of the Edinburgh festivals.

Order. I remind Members that they should stand if they intend to contribute to a debate.

It is a huge pleasure to serve under your chairmanship, Mr Efford. I congratulate the hon. Member for Edinburgh East and Musselburgh (Chris Murray) on securing the debate and on the excellent way in which he championed his city. As someone who has visited the festivals during August many, many times over the years, he has made a fine case for the value of them and makes me want to go back again.

Anyone who has visited Edinburgh at any time of the year will say what a wonderful, vibrant and historic city it is. I was not at all surprised to find out that of all the cities in the UK, Edinburgh receives the highest proportion of international visitors to the UK: 68% of the total. The challenge for policymakers is how to grasp the strong pull factors and turn them into gold dust that benefits not only Edinburgh but the rest of Scotland and indeed the rest of the UK. The festivals play a massive part in that.

How can we best use our cultural heritage to further our soft power abroad and promote prosperity at home? The 11 major festivals that comprise the Edinburgh festival are a perfect tool to do it. The international festival, the Fringe and the tattoo always get the limelight, but of course 11 festivals make up the complement. The Edinburgh international book festival, which the hon. Gentleman mentioned, remains the biggest in the world, with more than 900 authors in attendance.

However, the reports that have been released by the festivals lay bare some of the significant challenges, including the rise in the cost of living accommodation and security expenses, and the costs are being exacerbated by the frustrating, restrictive and punitive bureaucracy that has been imposed on Edinburgh’s landlords by the Scottish Government. I also have concerns about the future of funding for acts at festivals such as the Fringe. Both those issues tie into the all-important question of how and why the Government should and could be stimulating cultural activity, specifically to develop artists, actors and creators.

This issue is too big for Edinburgh council to deal with alone: it has an impact on the whole of Scotland and the whole of the UK. In short, it is for all of us to work out how the various festivals can continue to play a role as the incubator—a sort of research and development department for world-class artistic talent—and a role in tourism, expanding the horizons of those who come along and see them. That is why, despite the fact that both culture and tourism are devolved, the previous Government spent £1 million supporting the festivals with their digital offer.

It is the talent that brings visitors in their hundreds of thousands. There were 700,000 unique visitors last year alone, and that number does not account for the many artists who require somewhere to live. They are the up-and-comers who are looking for their big break. They are young, not well off and looking for somewhere cheap to stay, but for many the heavy-handed licensing and prohibitive legislation around short-term lets is destroying any chance of their being put up for the night. Gone are those days when a well-meaning, friendly person who wanted to support aspiring artists could just give over their spare bedroom for a few weeks.

New regulations require landlords to be compliant with rigorous safety rules, fit and proper person tests and assurances that the let will not adversely affect the community. The measures have adversely impacted the availability of short-term lets, which is especially ironic considering the fact that 72% of locals say that the festivals make Edinburgh a better place to live. If my local city was inundated with people every year and I could not find a table to go out and eat, I am not sure whether I would feel the same way, but people do feel the benefit of the festivals.

I urge anyone with a stake in the future of Edinburgh festivals to engage with Edinburgh council’s consultation on the scheme, which closes on Monday. The Scottish Government would do well to review the 2022 regulation and ask themselves why they have decided to restrict access to one of our most successful cities and festival programmes at a time when the events are inevitably finding it more expensive and difficult to operate.

I hope the Minister will have a conversation with his counterpart in Holyrood and emphasise the benefits not just to Scotland but to the nation as a whole, and the need to cut through the bureaucracy and enable the market to work a lot more effectively. I am worried about the effect of the Scottish Government’s budget cut to Creative Scotland. The almost £700,000 fund was a vital resource for participants in the festivals. It was already extremely over-subscribed, so it is difficult to rationalise the decision by both the Scottish Government and Creative Scotland. Artists cannot rely on pots of money such as Phoebe Waller-Bridge’s “Keep it Fringe” fund. We need artists whose careers have started at the festivals to pay into support to help others coming up behind them, but we also need all the authorities to feed in and support them.

Festivals such as the Fringe are often the first big test for an emerging artist. They are a way for people to have the most amazing experiences, and the cultural contribution is second to none. They also bring the world and its cultural wonders to Scotland, whether that is through the Tattoo or the international festival. It is vital that the Scottish Government recognise the part that they can play, and I hope the Minister will do his bit to encourage co-operation with the festivals in future years.

I intend to call the Front Benchers at 5.26 pm. A number of Members did not indicate to the Chair before the debate that they wanted to speak. We will get everybody in, but I will have to impose a four-minute time limit.

It is a pleasure to serve under you as Chair, Mr Efford.

I congratulate my hon. Friend the Member for Edinburgh East and Musselburgh (Chris Murray) on securing time for this important debate. Edinburgh—Scotland’s beloved capital and my home—is renowned worldwide not just for its historic beauty and ancient heritage but for its vibrant cultural scene. This goes beyond grand shows with expensive tickets. It includes things like Big Noise Wester Hailes, Forget Me Notes, Edinburgh Printmakers and the Filmhouse, which I hope will reopen soon. All four of those organisations operate in my constituency. Edinburgh’s festivals are a beacon of cultural expression, showcasing the very best of literature and all varieties of performing and creative arts. But more than that, the festivals serve as a cornerstone of the city’s economy and underpin the wellbeing of its citizens.

I welcome the progress made by the Dunard Centre and the redevelopment of the Royal High School. These venues will extend the tourist season in Edinburgh and enable it to compete with the great European cultural centres—places like Hamburg, Vienna and Paris. I have no doubt that the Dunard Centre will be world-class. That will be not just because it is a fantastic building but because of its values. I not only expect people from the most deprived parts of my constituency to be working in the Dunard Centre; I expect them to have places in the audience, and I also expect Big Noise Wester Hailes to be on the stage. This reflects the Edinburgh International Festival’s mission statement, which is

“to provide the deepest experience of the highest quality art for the broadest possible audience.”

For countless businesses across Edinburgh, the festival season throws a lifeline of increased footfall, which provides income that sustains them right through the year. The associated demand for staff is invaluable in providing local young people and students with the opportunity for summer work. The festivals provide many people in Edinburgh with their first paying job. We in this place have a responsibility to ensure that staff are supported by legislation and that they are well treated at work. That is why I will support the Deputy Prime Minister’s new deal for working people, which will help to enable that.

Investing in the breadth and depth of the festival offering in Edinburgh also helps to spread the tourist economy to the quieter parts of the year. It will help Edinburgh to move upmarket, with visitors staying for longer and spending more. This will mean that working in the tourist economy will be a career for more people—rather than just a summer job—with better pay and better conditions.

The economic contributions of the festivals do not stop at employment opportunities and turnover for local businesses. They also provide a wholly unique opportunity to show off and sell not just Brand Scotland but Brand Edinburgh to the world. Culture lets us connect with our international partners on an emotional level that no sales pitch can compete with. We should not forget that Rudolf Bing, a Jew who escaped Nazi Germany, established the Edinburgh international festival in 1947 as a way of bringing people together in post-war Europe.

I am proud that people come to Edinburgh from all over the world, but too often I am ashamed of what they see. Edinburgh’s position as Scotland’s worst-funded local authority comes with consequences, not least where homelessness is concerned. To address the point about why Airbnb is being regulated, it is a key driver for that in Edinburgh. The indifference that our capital is shown means that hardly a year goes by without a council-owned cultural venue being put at risk. Last year it was the King’s Theatre; this year it is the People’s Story Museum. Edinburgh needs fair funding, and the importance of its ecosystem—

Order. I call Jim Shannon.

I congratulate the hon. Member for Edinburgh East and Musselburgh (Chris Murray) on leading today’s debate and on setting the scene and giving us a flavour of the Edinburgh festival. It certainly seems exciting. For all our constituencies, we have things to be proud of. I have heard so much from others about the Edinburgh festivals and what they bring to Scotland, so it was fantastic to hear the hon. Member speak so highly of that.

Similarly, if we look to Northern Ireland, there is so much to highlight, so it is great to be here to discuss some of the things that we do, with the inspiration of the Edinburgh festival. The hon. Member set out the role for Government that could and should be the plan for other parts of the United Kingdom of Great Britain and Northern Ireland. He referred to it as a UK public project and UK engagement. Bearing those things in mind, and looking at what the hon. Member said, gives us an idea of what we need to do elsewhere and what we have tried to do.

It is fantastic to hear of the variety of cultural entertainment that Edinburgh has to offer, including the science and the jazz festivals, the Edinburgh Fringe, the arts and the book celebrations. It is the biggest book show in the world. I did not know that but, again, it shows how important it is. In my Strangford constituency we have numerous events, some of which are private and some of which are run by the council, to celebrate the true essence of what Northern Ireland and Strangford are about. We can take a lead—if I may say this gently to all our people back home—from the Edinburgh festival. We can all learn from it and get ideas for the way forward.

The coastal peninsula where I live has recently had some other events, including a kite festival, which has been held for a number of years, and the Portaferry gala. A few months ago, we celebrated the Comber Earlies; hundreds came along to that festival in Comber to celebrate its famous, EU-designated farm potato. Chefs showcased their culinary skills and talents, and there was live music and an artisan bar. Mount Stewart in my constituency also holds dozens of festivals, and some of the ideas are taken from the Edinburgh festival, including jazz Sundays for jazz lovers.

One thing that sticks out is how loved the Edinburgh Fringe festival is—especially the comedy. That is an example of some of the good things we see. It ripples across the United Kingdom: some of the people who perform there are from Northern Ireland, and they take those skills, that entertainment and that value back home to my country. Comedy is on the rise across the UK. Especially in Northern Ireland, the wealth of comedy is outstanding. Events at comedy clubs and festivals are important for the local economy, as they truly have the means to bring everyone together to have a laugh. We sometimes forget about the fun that we have; perhaps we need to focus on that more.

In North Down, the constituency neighbouring mine, the Open House music and arts festival takes place each summer in Bangor. I know dozens of constituents who would not miss the events it has to offer. That highlights how instrumental these examples are to our local economies. One of the thrusts of argument of the hon. Member for Edinburgh East and Musselburgh is that we can grow the economy and do more. He is right to pursue that; we should be doing it. Our constituents rely on such events and festivals to boost our local economies and bring communities together. The mark they make on local tourism is phenomenal, so it is important that we give them the means they need to succeed.

I am pleased to see the Minister in his place; he takes his responsibilities incredibly seriously. I look forward to his comments, which will give us some ideas about how the Government can help more. I gently ask him whether he will consider engaging with local councils and the Northern Ireland Assembly back home to ascertain what more the Government can do to support and celebrate culture across this great United Kingdom of Great Britain and Northern Ireland.

I congratulate my hon. Friend the Member for Edinburgh East and Musselburgh (Chris Murray) on securing this debate, which is important not just for the city of Edinburgh but for the whole country and beyond.

The Edinburgh festivals make a tremendous contribution to the UK economy. They bring people from around the world to perform and experience music, dance, drama, comedy, literature and culture more generally, and I have been lucky to enjoy them on many occasions. We are lucky to have many arts, music, theatre and cultural festivals across the country offering similar opportunities. The International Gilbert and Sullivan festival, which takes place each August in Buxton, near my constituency of Mid Derbyshire, is one such example.

In 2022, it was estimated that the creative industries contributed about £126 billion in gross added value to the UK economy and employed 2.4 million people, but they are so much more than an item on a balance sheet. They are a vital catalyst that enables people to express and explore ideas, and they bring communities together.

The arts are common to every culture since the earliest times; music, the visual arts, dance and drama provide an opportunity to walk in somebody else’s shoes. They build a more inquiring society, and help us to understand who we are and what it is to have somebody else’s experience. They are also a vital educational tool, but far too often they are not a staple in schools and are not something that people have the opportunity to adequately engage with throughout their lives.

One of the most important roles of festivals such as those that take place in Edinburgh each summer—especially the Fringe—is to be an incubator for young performers, who can test new ideas, grow their confidence and build their profile in front of a truly international audience. But the future of cultural festivals across the country, and all they offer, is being undermined, because increasingly young people do not have the opportunities they should have to benefit from a creative education.

There has been an overall decline of almost 50% in the number of arts GCSE entries since 2010, and some schools no longer offer some arts subjects at GCSE level at all: 42% of schools no longer enter any pupils for GCSE music, 41% no longer enter any pupils for drama GCSE and 84% enter no pupils for dance GCSE.

Increasingly, the creative subjects are becoming the preserve of those with the ability to pay. However, talent has no postcode and every young person should have the right to a creative education. That decline matters—for our economy and the UK’s standing around the world, but also for who we are as people and how we understand the world and interact with each other.

I am delighted that the Labour manifesto commits the new Government to supporting children to study a creative subject until they are 16, and that it will integrate a creative industries sector plan as part of its industrial strategy, creating good jobs and accelerating growth in film, music, gaming and other creative sectors. The new Government are also committed to launching a new national music education network—a one-stop shop with information on courses and classes for parents, teachers and children.

The new Government face huge challenges, and they have inherited an appalling legacy from their predecessor. I urge them to keep the creative industries and arts education at the forefront of their thinking as they undertake their work of national renewal.

Just to warn the two last Members: I will have to drop their time to three minutes after the hon. Member for Edinburgh West (Christine Jardine).

It is a pleasure to serve under your chairmanship, Mr Efford. I also congratulate the hon. Member for Edinburgh East and Musselburgh on securing this debate. We cannot talk about the festival too often—I have loved it since I was a child. I learned the story of Rudolf Bing for the first time from Allan Little at the book festival that went ahead this summer. Rudolf Bing was an Austrian-born opera impresario, a Jewish refugee from the Nazis, who set up the Edinburgh festival in 1947 to heal, he said, the wounds of war through the arts. The very first performance was the Vienna Philharmonic orchestra, and they performed Mahler. Since then, it has become the massive event that it is today.

Growing up in Glasgow, we were slightly jealous because all those famous people were going to Edinburgh, and that city had all the publicity, but actually, we got to benefit, too. I went with my school to see “Hamlet” as part of our higher English. We saw Derek Jacobi, and my love of the theatre was born that night—I love Shakespeare. The festival provides a valuable educational tool for children throughout Scotland, and I have grown up with it. My husband, an Aberdonian, spent one August working on a show at the festival. My daughter, a Glaswegian, spent a summer working there, and I got to “headline” at the political festival this year. It is part of people’s lives.

In Edinburgh, we have a strange relationship with the festival. We love it—it is the world’s window on us and our chance to show off. However, there is also an underlying tension, which the hon. Member for Gosport (Dame Caroline Dinenage) referred to, between the influx of tourists every year—we have also seen that tension in Vienna and Barcelona—and the cost to the city, which has the most underfunded council in the country; the mess when we have strikes which coincide with it; the pressure on our public transport; and the cost of accommodation in Edinburgh, which is now outrageous. However, looking at what the festivals bring to the city, I do not think the tensions can be compared with the benefits. Think about where we would be without the £400 million that it brings to the city itself, and the other £300 million it brings to the rest of Scotland when it acts as a tourism gateway. It is a jewel in our cultural crown and we need to preserve it.

It suffered during the pandemic and lots of venues only just survived. We need to help it to extend the level of tax reliefs for small businesses, many of whom make a massive contribution to the festival, and to address the barriers to financial support that they face. We need to do more to support small venues, which do not have the massive events. Let us say, £1 on tickets for Murrayfield stadium would help—but do not tell Murrayfield I said that! It also provides a stage for new talent—the incubator that has been talked about. In any comedy programme on British television on any weekend of the year, there will be someone who learned their trade at the Edinburgh festival.

In short, over the past 75 years, it has enriched our city, its reputation across the globe and our national reputation, for music, theatre, comedy, books, television—you name it. It has enriched our reputation. I believe that we can say with some confidence that it has played a part, particularly this year, in fulfilling that original vision of fostering international understanding through the arts.

Order. We move on to the next speaker.

I congratulate my hon. Friend the Member for Edinburgh East and Musselburgh (Chris Murray) on securing this debate. From the early days, it has been the people of Edinburgh who have pushed for the best. At the inaugural festival in 1947, the Minister for fuel and power banned the floodlighting of Edinburgh Castle, as coal rationing was still in place. However, the people of Edinburgh would not stand for that and generously donated their coal rations so that the castle could be lit from dusk to midnight during the festivals.

There is no doubt that the festivals are an economic success for Edinburgh and Scotland. The economic impact study published by BOP Consulting showed that the gross economic impact of the festivals in 2022 was £492 million for Edinburgh’s economy and £620 million to Scotland. However, a worrying development highlighted by that study showed that between 2010 and 2022, visitors spent more money on accommodation and less money on local public transport, entertainment and food and drink.

In 2010, visitors spent 37% on accommodation, which jumped to 51% by 2022. With the expansion of the short-term let market and the increasing numbers of hotels, that spend does not benefit our communities but rather industries that are ripe with insecure and low-paid work. Similarly, in 2010, visitors spent £11.4 million on transport, which tumbled to £4.1 million in 2022, reducing the ability of Lothian Buses and train companies to increase stretched local services, but also, crucially, indicating that the wealth of the festival delivery remains concentrated in the very localised area of the city centre.

I was lucky. At my state school, we were all given a recorder. I say lucky; I am not sure my parents felt the same. We had a school orchestra and our teachers ran theatre productions and our school trips took us to galleries and museums, so we knew that those places were for us. That must be everyone’s experience.

That is why I am impressed with projects such as the new Dunard music centre that I visited over the summer, a new venue in the constituency that is committed to delivering a model to enable up-and-coming amateur talent from Edinburgh to perform there, as well as having a ticketing system that will enable people to enjoy what is on offer. Similarly, I look forward to supporting impressive plans at Customs House in Leith for a community and creative hub that will bring Leith’s rich history and culture to life, and also long-established projects such as North Edinburgh Arts, which since 1998 has been based in the heart of the community in Muirhouse, supporting local people to access high quality arts and cultural opportunities. Its new purpose-built centre will open later this year.

Affordability is key to delivering arts for all—affordability of tickets, but also of studio and hire space. That is evident in the private sector, too, where Wasps Studios, whose ethos was to provide affordable studio spaces, have sadly moved—

Order. I call Patricia Ferguson.

I thank my hon. Friend the Member for Edinburgh East and Musselburgh (Chris Murray)—I hope he does not mind this interloper from Glasgow West coming into the debate. The importance of the book festival is well worth recognising, particularly as Edinburgh is the first UNESCO city of literature, something that we sometimes forget.

As we have heard, the Edinburgh festivals make an important contribution to the economy of Edinburgh and Scotland and provide a showcase for Scotland and a venue for art and artists from around the world. Every year, hundreds of thousands of tourists and art lovers fill up the city as they make their way from one venue to another, to enjoy one of the 40,000 performances on offer.

Many artists come to Scotland to showcase their work, but I want to focus briefly today on a homegrown artist who is synonymous with the Edinburgh festival, my old friend Richard Demarco. Richard was born in Edinburgh in 1930 to parents who had come to Scotland from Italy. Now aged 94, Richard Demarco has attended every Edinburgh festival, which is really quite something, and he has organised arts programmes at most of them. Since its inception, he has also been heavily involved with the Fringe festival.

Over the years, Ricky Demarco has hosted hundreds of artists and staged more than 1,000 art exhibitions, featuring artists from over 60 countries. He has challenged the boundaries of the Fringe by staging performances outside Edinburgh, including a production of “Macbeth” on Inchcolm island. He has also been a critical friend of the Fringe, speaking publicly about what he saw as the over-emphasis on commercial considerations and also the increase in the prominence of the comedy festival, which was something he did not quite approve of.

Ricky has won many awards over the years from Governments and arts organisations around the world, because of his own artistic excellence and his devotion to internationalism. He has a CBE and in 2013 was the European Citizen of the Year. During the cold war, Demarco crossed the iron curtain 100 times. He often went to eastern Europe to bring back artists and groups to perform at the Edinburgh festival. That emphasis on internationalism is, of course, no accident; it is underpinned by the founding principles of the Edinburgh festival, which have already been remarked upon today. When it was founded in 1947, the idea was that the festival would be about healing the wounds of war through the language of the arts, which is something that Ricky Demarco did not just talk about but actively participated in, as he does to this day and encourages others to do the same. That alone is quite a legacy, but it also emphasises the so-called “soft power” of the arts, and I offer that “soft power” as a third reason for supporting the Edinburgh festivals and the arts more generally.

Order. Apologies, but I have to call the Front-Bench spokespersons.

It does not sound like it would. [Laughter.]

Order.

It is a pleasure to serve under your stewardship, Mr Efford. I hope you do not mind that I have taken off my collar to allow a bit of movement. If my head starts to wobble, please do intervene. Congratulations to the hon. Member for Edinburgh East and Musselburgh (Chris Murray) on securing this debate. It is fantastic to have a discussion on this. Looking through Hansard, I note there has not been a debate on this topic since 1992. He brings a wealth of knowledge and passion that clearly came through, as it did in speeches by a variety of MPs whom I do not have time to thank. That was our own MP fringe event happening right here.

I admit I have never been to the fringe festival, although strangely I, too, have been to a stag do in Edinburgh. I always like to look what the best joke was each year. This year’s was from Mark Simmons:

“I was going to sail around the globe in the world’s smallest ship but I bottled it.”

I first saw him on TikTok, which shows the power of how these artists can spread. Have I stolen the Minister’s line?

Yes.

I was also interested to hear that another major Scottish city—Glasgow—has been successful in getting the Commonwealth games. I believe the hon. Member for Edinburgh East and Musselburgh moved to Edinburgh from his home town of Glasgow. It is great to see that success in both those cities is supporting the UK as a cultural destination. I wish the city of Edinburgh well as it prepares for its international storytelling festival, with Hogmanay on the horizon.

The previous Government provided significant support to the sector, including the then Chancellor’s spring Budget, in which he announced £8.6 million of support to festivals, to help boost Scotland’s status as a destination for creative industries, as we have heard. I also understand that the Edinburgh and South East Scotland city regional deal, agreed under the previous Government, is giving the city the chance to unlock opportunities for economic and cultural growth.

The hon. Member for Edinburgh East and Musselburgh is well aware of the successes of the festivals. I thought I would add a couple more bits of data: more than 2.6 million tickets issued, more than 3,746 shows registered, and more than 60 different countries represented on stage. That shows the appeal, not only locally but internationally. As my hon. Friend the Member for Gosport (Dame Caroline Dinenage) said, the R&D incubator for the creative industries is something we must cherish.

I noted that the Edinburgh fringe app was downloaded 124,000 times, which shows that a traditional festival can move with the times, and work with others to be creative and engage more people. The extent of the data on the impact of this year’s festival has not been fully quantified or produced yet. In 2022, the Edinburgh fringe festival was on a par with the FIFA World cup. In 2022, BOP Consulting was commissioned by the Edinburgh festival to undertake an economic impact of the previous 11 Edinburgh festivals. The festival in 2022 generated an economic impact of £407 million—a significant increase from £280 million in 2015—not to mention the 7,000 direct jobs and 8,500 jobs across Scotland.

As the hon. Member for Edinburgh East and Musselburgh said in his maiden speech just a couple of months ago,

“culture, hospitality and tourism form the economic backbone of my constituency, not least in August, when it plays host to the Edinburgh international festival and fringe.” —[Official Report, 25 July 2024; Vol. 752, c. 883.]

With that, and turning to the Minister, I am interested in understanding whether he believes the visitor levy being proposed in Scotland will benefit the Edinburgh festivals. Will it benefit the city of Edinburgh and Scottish tourism as a whole? I understand that Edinburgh City Council, as well as Glasgow and Aberdeen, are looking at using the legislation. Does the Minister feel that Scotland has got this right and is he considering that across his Department in Westminster?

The Minister has a jam-packed portfolio, and I would hate tourism and the creative industries to become a fringe, as they are too valuable for that. Will he ensure that the creative industry budget is maintained in the upcoming Budget? Has he spoken directly to the Chancellor about tourism and creative industries? What assurances has he received that the creative industries will be protected, with tax reliefs maintained?

That being said, we are all here to celebrate a fantastic event. I again put on record my thanks to the hon. Member for Edinburgh East and Musselburgh for bringing this forward, from 1992 all the way to 2024.

Minister, I wish to call the mover of the debate at 5.45 pm, so I ask that you give him a minute at the end of your speech.

It is a pleasure to serve under your chairmanship, Mr Efford. I should point hon. Members to the Register of Members’ Financial Interests, because I was paid by the Edinburgh book festival a year ago. I note that nobody else has had that to point out.

I will start by paying tribute, as many others have, to Shona McCarthy. She has done a phenomenal job over nine years. She has taken the festival through some of its most difficult moments, and it is striking that 2.6 million people bought tickets this year, which is the fourth highest number in its 77 years. That is absolutely brilliant, and we wish her well.

The Minister—I am sorry, I meant the shadow Minister. We keep on doing this because we are not used to it. I do not think the shadow Minister said that the joke he told was by Mark Simmons—he should attribute jokes. Simmons also had the no. 5 joke, which was:

“I love the Olympics. My friend and I invented a new type of relay baton: well, he came up with the idea, I ran with it.”

[Laughter.] Yes, it was terrible, wasn’t it?

I pay tribute to my hon. Friend the Member for Edinburgh East and Musselburgh (Chris Murray). It is great to have a lot of new friends, especially from Scotland, and we are delighted to see Edinburgh so well represented. I will try an innovative thing, which is to answer the questions that have been asked as much as I can.

My hon. Friend asked about multi-annual financial planning. In so far as we possibly can, we want to be able to give economic stability to arts organisations, just as we do to local authorities in many other parts of the economy. That is one of the things we are driving towards in the spending review. However, I am afraid I must point him to the fact that there will be a Budget at the end of the month, and I can hear my right hon. Friend the Chancellor in the back of my ear already saying, “That’s far enough, Bryant!”

My hon. Friend the Member for Edinburgh East and Musselburgh asked about cross-UK engagement. I want to make this absolutely clear: I do not want to engage in any kind of cultural battles with Scotland, Northern Ireland or Wales. We should be seeing this as a joint venture. The creative industries are a part of what defines this nation across the world, and we will only do well if we work together to achieve the best outcomes for performers, people who might become performers and the industry as a whole.

My hon. Friend makes a good point about visas. I will take that away and think about how we could work most creatively with the Home Office to make sure we get this right. It is not just about people coming into the UK; I also argue that it is about UK acts being able to tour in Europe. I was absolutely delighted earlier this year to go and see Depeche Mode in Cologne. I have never seen Germans so excited; they just can’t get enough. [Laughter.] Thank you.

My hon. Friend made an important point about crisis support. I am worried about the situation that arose, in particular, for the book festival and Baillie Gifford. He makes a fair point about whether that is the right way to go about making important points about climate change. One of the things we need to do as a Department is look at the whole package of the whole funding of all the arts and creative industries, which used to come from five or six different segments, including local government, which was prominent in that when we were in power before 2010. Most of that funding has completely gone, and philanthropy is struggling outside London and the south-east. We need to look at this in the round.

It is great to see the Chair of the Culture, Media and Sport Committee, the hon. Member for Gosport (Dame Caroline Dinenage), in her place, as she always is—she was in your place earlier for a previous debate, Mr Efford. She makes very good points about short lets. The legislation already in place for England and Wales, for which we are now considering how we will implement and take forward secondary legislation, would not apply in Scotland. However, we want to learn some of the lessons of what has happened in Scotland so that we can apply sensible legislation in England and Wales. I thought her point about co-operation was very well made—my hon. Friend the Member for Edinburgh East and Musselburgh made that point as well. It is not just about us: there is a Government in Scotland, and it is also about local government across the whole of the UK. In England, I would argue that it is also about regional mayors, who play a very important part in the creative industries.

My hon. Friend the Member for Edinburgh South West (Dr Arthur) referred to quieter parts of the year. It is a very well-made point. I would also argue that there is an issue about quieter parts of the country. It is all very well getting all the tourists to come to London, Oxford, Cambridge, Stratford, Bath and Edinburgh, but if they do not also go to other places—Stirling, I know, has a very fine castle, because I danced the Highland fling in it when I was 12, I think. Making sure that the benefits accrue to the whole of Scotland and to the wider economy is a really important part of what we need in our tourism strategy.

My hon. Friend the Member for Edinburgh South West also made a good point about a tourism career. That is something we need to take far more seriously as a country. Why is it that somebody who works in a bar in Paris, or in a restaurant in France, Spain, or wherever, thinks that is a career for life, whereas we think it is somehow a demeaning job, which it is not? We need to completely transform that if we are to transform our tourism opportunities so that we get more than 32 million people coming to the UK.

The omnipresent hon. Member for Strangford (Jim Shannon) made important points about Northern Ireland performers—some of the best comedians we have known over the years—coming to Edinburgh and getting an opportunity, and about other festivals. Trying to get the economic possibility for festivals to flourish goes back to the point I was trying to make about the whole package of finances available.

My hon. Friend the Member for Mid Derbyshire (Jonathan Davies)—a former music teacher, no less— made very good points about other festivals. I am not sure about the Gilbert and Sullivan festival—I am worried now that I might get into trouble. I just remember that line from “Trial by Jury”: “She might very well pass for 42, in the dark, with the light behind her”—

“In the dusk”.

There we are—I have been corrected. The most important point my hon. Friend made was about creative education. We need to make sure that every single child in this country gets a proper creative education. It is a force multiplier for other forms of education and means that children will prosper better in the work market. We are determined to transform that.

My hon. Friend—sorry, the hon. Member—for Edinburgh West (Christine Jardine)—she is a friend as well; she is a very friendly person—is from my mother’s part of the world: Glasgow. She made a very important point about the world’s window on us. That element of soft power, which several Members have referred to, is important. The Edinburgh festivals as a whole are an important part of that. For instance, the film festival and the television festival are world-renowned moments when people look to the UK. She talked about the cost of accommodation in Edinburgh, which goes back to some of our discussions about short lets. It is a significant concern, and one of the things that we want to learn lessons from.

My hon. Friend the Member for Edinburgh North and Leith (Tracy Gilbert) also referred to accommodation costs. I am conscious that some people think we are going to be looking at dynamic pricing in relation to those costs: we are not; we are looking at dynamic pricing in relation to tickets. It is very interesting that the Edinburgh festivals do not use dynamic pricing. That is a really important part of making the whole package affordable and more accessible to more people.

My hon. Friend the Member for Glasgow West (Patricia Ferguson) referred to the book festival—it is not just because Walter Scott gets a great big statue; so many literary figures have come from Edinburgh. She also referred to the importance of Edinburgh being a UNESCO city of literature.

The hon. Member for Cheltenham (Max Wilkinson) talked about the Cheltenham festival. I welcome him to his place and look forward to working with him. I am going to answer the questions from the shadow Minister, who I think sings in a barbershop quartet or chorus—

Not quite yet.

Not yet—all right. He asked about the levy in Scotland, which is of interest to lots of people. Lots of other countries do it; it is not something that we are pursuing at the moment. He asked about the creative industries in the Budget—well, he will have to wait for the Budget, won’t he? He asked about tax reliefs—he can wait until tomorrow morning.

Question put and agreed to.

Resolved,

That this House has considered the cultural and economic contribution of the Edinburgh festivals.