Conference Motions 2025

Provision of independent financial advice for members

East & South East England Region

 

Conference believes that MU members would welcome the provision of independent financial advice as a benefit of membership to help them plan for their future in respect of how best to provide for savings and pensions.  This is especially important for the large number of members who are self-employed and who find it difficult to locate truly independent financial advice without significant cost.

Conference therefore calls upon the Executive Committee to consider whether this important additional benefit of membership could be provided to members on either a free or discounted basis. Other unions already provide this as a benefit to members and it is an important area that is currently lacking for our members.

The Union exists to support its members.  Members already have support in the form of free public liability insurance and instrument insurance and access to legal advice and assistance amongst other benefits of membership.  Advice on important financial decisions that self-employed members have to make is currently lacking and could be valuable additional membership benefit and a helpful recruitment and retention initiative.

The MU already has a link with insurance brokers Hencilla Canworth in respect of insurance and the MU Pension Scheme (MUPS) but there is currently a lack of independent financial advice available to help members regarding decisions on long term financial planning such as savings and which pension might be best for them. 

 

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Equity and Musicians’ Union joint membership agreement.

London Region

 

MU members can often find themselves in situations in which it is not immediately obvious whether an MU or Equity agreement is the most appropriate to be working under. This includes, for example, those engaged as 'actor-musicians' in theatres and singers working in choral settings. As it stands, unless they are full members of both unions, they cannot get advice when working under an agreement negotiated by the other union. This can lead to their not being able to quickly access advice and protection from the MU or Equity.

The MU currently has a discounted joint membership scheme in place for the National Education Union and University and College Union, entitling members access to not only MU advice and legal protection, but also services provided by these other unions.

We are much stronger if we can work and tackle issues together, so conference calls on the Executive Committee to investigate a joint membership agreement with Equity, enabling members to benefit from the best and most appropriate protections and advice.

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Membership support service for funding applications.

Midlands Region

It is a well known aspect of professional music making that the process of applying for funding support from organisations such as the Arts Council can be difficult and fraught with missteps. Added to this the different ways in which funding bodies assess applications and make awards, a situation exists where members are faced with sometimes insurmountable challenges to bring to life music projects that are of great merit and benefit. Furthermore, the access needs of applicants are not always taken into account and serves to make applications even more challenging.

The MU already provides a range of services from insurance and advice through to negotiations with employers. An additional membership benefit to assist in submitting better funding applications and how to avoid common pitfalls would be welcome. This would improve the chances of successful applications and help sustain musicians in their careers.

The MU has in the past provided some support on funding applications but this has been time limited and is currently not available.

Conference calls on the Executive Committee to seek to establish a membership benefit that gives support and advice for funding applications through, for example, but not necessarily limited to, bespoke 1-2-1 help, workshops and written material. This should also include assistance for those with specific access needs.

Notice of granted student funding before course acceptance deadline.

London Region

Introduction

As it presently stands, there is no legal or procedural expectation that conservatoires alert prospective students who have applied for scholarships and bursaries as to whether they will be granted said financial support (either partially or in full) before the date on which they must accept their place on the course (as defined by the Conservatoire UCAS platform). This, in the rare instance when this oversight occurs, leaves students risking signing up for a course they cannot afford to complete, unsure of their financial standing and possibly in severe debt. This might then be resolved when the conservatoire reveals adequate funding, or it might not, leaving the student having to consider dropping out of the course, and therefore losing their 10% course fee deposit, which can, in the case of foreign students, be quite large (£2,900 for a Bachelor's in Music 2025-26 course fees at the Royal Academy of Music, and £3,490 for a Master's in Music). Or the student must decline the place, unaware that they may (or may not) have been granted enough funding.

Why this is a Union matter

Students of music are the next generation of musicians,  and protecting them should be of the utmost importance when it comes to ensuring the future of the music industry. It should never be the case that a prospective musician is forced to give up on their dream of attending their preferred conservatoire or be unable to complete the qualification due to financial constraints. Even more concerningly, this is an issue that will disproportionately affect students of lower income families, who are not receiving parental financial support and therefore do not have the flexibility to accommodate a difference in granted funding between what they were expecting or hoping for, and what they are eventually told they will receive.

What is already being done

This issue is likely not a frequent problem, but the fact that it has occurred at least once strongly suggests that there is nothing being done yet at all. The advice of the MU was sought but there is seemingly no precedent for this situation and no adequate resolution occurred, leaving a student and MU member working multiple jobs on top of their full-time academic course to compensate for the lack of funding, thus living a very high-stress lifestyle that has not been conducive to academic success.

The motion

Conference calls on the EC to engage with conservatoires to establish a two-week notification deadline before the course sign-up deadline date with regards to the funding (bursary and scholarship) that they will grant a prospective student. This ensures every student, of all financial backgrounds, is granted a minimum of two weeks to ensure they can afford the course, seek further funding or discuss other arrangements with the conservatoire in question, ensuring no student is required to gamble with their finances, or miss out on potentially years of valuable musical education.

MU engagement with Scotland’s Youth Music Initiative

Scotland and Northern Ireland Region

The Youth Music Initiative (YMI) is a Scottish music programme established in 2003 with a £10 million budget to deliver free music tuition via Scotland’s 32 local authorities and various music organisations, engaging or employing over 1100 musicians when last evaluated. Despite its importance, the budget has remained virtually static for over two decades, limiting the scheme’s scope and sustainability and raising concerns about fair remuneration for tutors.

YMI was created in response to the Scottish Government’s commitment that every child should receive a year of free music tuition. It differs from the Instrumental Music Service, offering a broader range of music-making opportunities, often delivered by freelance musicians and focused on participation.

MU engagement with YMI has been limited in the past so there was little oversight of pay, conditions, and contractual terms. However, the MU Education Representative scheme has provided valuable insights. The MU Education Representative in Argyll & Bute has identified YMI pay rates being incorrectly presented as union-agreed. MU intervention has ensured rates aligned with union recommendations, though standard council contracts remain inadequate, failing to account for travel, training, and preparation time.

Given that wide ranging education work is vital to many musicians' incomes, MU should treat YMI as a case study to inform wider music education policy and strengthen support for members in achieving fair pay and conditions. Ensuring YMI reflects the Scottish Government’s Fair Work principles will set a benchmark for fair pay across publicly funded music education and arts sectors.

Conference calls on the MU to:

• Develop a clearer understanding of YMI and its relationship with freelance musicians.
• Gather data on musician engagement, pay rates, contractual terms, and associated costs (travel, preparation, training).
• Ensure that MU rates and Fair Work principles govern contracts across all local authorities and partner organisations.
• Strengthen MU’s role in advocating for fair pay and conditions in publicly funded music education.

This will provide the foundation for broader reforms, improving pay and conditions for freelance music educators across Scotland and reinforcing MU’s position in shaping publicly funded music education policy.

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Musicians’ Union scheme endorsing individuals or organisations committed to fair pay and conditions of work for professional musicians. 

Wales and Southwest England Region

 

Introduction: 

Times are currently extremely tough for all workers within the creative industries. The past 20 years have seen a marked decline in opportunities, pay and working conditions for many professional musicians, undertaking activities ranging from live performance to teaching.  

 

The Motion: What do you want the MU to do about it? 

We would like the Musicians Union to expand the ‘Fair Play Venue Scheme’ used to highlight venues committed to fair pay and working conditions for performing artists, creating two new strands to run alongside this initiative.  

The first would celebrate schools and music hubs committed to fair pay and treatment of their musical workforce. 

The second would make positive examples of fixers and ensembles committed to fair pay and treatment of their musical workforce. 

 

Why is it a Trade Union matter? 

The MU has no power to force any individual or organisation to treat its musical workforce well. However, it can and should use its platform to celebrate examples of good practice, and conversely to proactively and specifically call out examples of bad practice and exploitation of the musical workforce. 

 

What’s already happening? 

The Musicians Union is already working with the Arts Council in an effort to ensure that hub funding is linked (in part) to music education providers' commitment to fair pay and working conditions for their musical workforce. This would represent a hugely positive step forward for members working within music education. 

The MU publishes excellent guidance for schools on employment status for visiting music teachers. However, this passive approach alone is not enough to incentivise musical employers to treat highly skilled and experienced practitioners fairly. The time is right to name and shame those organisations that consistently undervalue their musical workforce. 

On Instagram, accounts such as TV Hell (An independent working group to expose & improve worker conditions in TV) provide an anonymous platform to share examples of poor practice (All DMs anonymous, private & confidential. Nothing reposted without consent). A resource such as this for musicians, facilitated by the Musicians Union would help to raise awareness of poor pay and employment practices within music education and live performance. 

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Musicians Union rates for musicians working within healthcare settings. 

Wales and Southwest England Region

 

Introduction: 

Performing within healthcare settings (for example, care homes, hospitals, or hospices), can form a valuable and meaningful part of any musicians portfolio career. At present the MU does not offer any guidance on suitable fees for this type of work. 

 

The Motion: What do you want the MU to do about it? 

We would like the MU to publish suggested rates for work undertaken within healthcare settings. 

We would also like the MU to publish guidance for healthcare settings wishing to bring live music into their clinical spaces, outlining best practice when working with performers within care environments and setting out clear guidelines on how best to look after artists within this context. 

 

Why is it a Trade Union matter? 

Publishing MU rates of pay, and offering guidance around baseline expectations for working conditions for musicians working within healthcare settings would help members to ensure they are treated, and paid appropriately when undertaking this type of work. 

 

What’s already happening? 

The Culture Health & Wellbeing Alliance (CHWA) have produced a Creative Health Quality Framework, although this document does not include specific guidance on artists rates of pay 

Newcastle Hospitals recently put out an open call for musicians interested in working within the hospital and the rates of pay quoted were ‘developed using guidance from Musicians Union and via benchmarking across similar initiatives’. 

 

References

https://www.culturehealthandwellbeing.org.uk/resources/creative-health-quality-framework

https://www.culturehealthandwellbeing.org.uk/sites/default/files/Creative%20Health%20Quality%20Framework.pdf

https://charity.newcastle-hospitals.nhs.uk/get-involved/arts-programme-newcastle-hospitals-charity/open-calls/live-music-programme-hospital-sessions-open-call-for-musicians/

 

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Musicians Union to endorse Congo Week

London Region

Music technology has democratised access for many MU members but there is a lack of accountability on how consumer demand exacerbates the extraction from Congo (DRC) mineral mines. With the current death tolls in Goma and the recent release of the documentary Soundtrack to the Coup’ d'etat, we desperately need to amplify the Congo Week campaign so that the MU can influence Government and Music technology businesses to safeguard the dignity of the people of Congo.

A core principle of the MU is equality for all. In 1957, the MU banned its members from performing in South Africa to segregated audiences, as an act of solidarity against Apartheid. DRC is estimated to have 70% of the world’s cobalt reserves. Cobalt is a critical part of batteries we use to perform and create music. We must ensure we are not complicit in supply chains that abuse the people of the DRC, such as children who are often exploited in Congo mines (Save the Children, 2024). We must share solidarity with the Congolese diaspora who perform and live in the UK.

Conference notes that Artist 4 Humanity Campaign in Feb 2024, raised funds for DRC, Gaza and Sudan at a humanitarian benefit concert. An alliance of student organisations and departments at Stanford University had their inaugural Congo Week in 2024 (Oct 14th-20th 2024).

Congo Week presents an opportunity to raise awareness and funds and collective bargaining to campaign to remove the harmful legacies of imperialism.

Conference urges the Executive Committee to express full support of Congo Week by Friends of the Congo.

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Busking

East & South East England Region

 

The freedom for musicians and other performers to perform on public land is an important part of artistic freedom in a modern democracy.  It is also an option for some musicians and music students to supplement their income and indeed, some musicians use busking as a major part of their earnings.  Good quality busking also has a positive effect on the atmosphere in urban environments and can have a wider economic impact by increasing footfall in local shops.

The MU and Keep Streets Live have been successful in developing good practice guides for buskers with local authorities and to encourage good quality busking.  Many local authorities now have supportive policies and practices on busking which strike a balance between the right to perform on public land and the right of local businesses and residents to live and work alongside live performances.

Despite this, there is a minority of local authorities which have unlawful and often discriminatory restrictions on the rights of anyone to perform on public land – for example, by operating licensing schemes with no lawful basis and/or unreasonable and unlawful restrictions on issues such as performance style, length and locations.  Such restrictions are based on a poor understanding of legal powers by council staff and impulsive responses to a small number of unreasonable buskers which implicitly stereotype all buskers and street performers.  These approaches are usually not developed in consultation with bodies such as the MU and Keep Streets Live. 

MU members who are involved in busking are affected by such restrictions.

Conference therefore resolves that the EC ensures that the MU continues to:

 

Institute a system of Busking Reps

London Region

Busking is a legal activity, and buskers are a part of our national cultural life. They work in every part of the United Kingdom, but too often they are targeted by malicious complaints from residents, businesses or councils seeking to prevent them from performing.

The ease of access to busking opportunities varies greatly across the regions and nations, with a variety of differing local authority licensing schemes, private-land initiatives and local codes of conduct, meaning that often buskers are unaware of the local rules, customs, and practicalities and do not know how best to organise to protect busking opportunities. The Union's Education Department has a successful system of Education Reps who organise in their workplaces despite the fragmented nature of the workforce, and it would be helpful to replicate this success in the busking world.

Conference calls on the Executive Committee to establish a system of Busking Reps to organise and recruit other buskers so that issues can be effectively dealt with locally or reported back to the MU, if necessary, for a more powerful response. This could help to make the busking community much safer, fairer and more inclusive for musicians to work in, and help enable performers to hold local authorities and landowners to account.

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Doubling Instruments

Midlands Region

Doubling (or indeed more than that) is a part of the music industry that sees musicians performing on more than one instrument. This is obviously necessary in a great deal of musical settings but has since become the method by which theatrical productions have sought to reduce the size of performing ensembles. Over the last 20 years we have seen the size of theatre ensembles diminish and performers required to play, in some cases, up to five instruments.

The MU role of negotiating fees and employment conditions for work with theatre employers has the mechanism to change the emphasis from tolerating the increase of doubling instruments to encouraging employment of additional musicians.

Recording agreements already in place specify that overdubbing should cost 110% of the fee thereby making it cheaper to employ a second player. Using a similar means with UK Theatre and the Society of London Theatres, the MU could encourage larger ensembles in our theatres and develop employment opportunities.

It should be made clear that this in no way means to eliminate doubling, but rather to keep it to a manageable size to encourage greater employment. Important exemptions should be made to ensure that those opportunities for specialist instruments are protected.

Conference calls on the Executive Committee to look at agreements with UK Theatre, SOLT and other relevant theatre employers to make a positive change in fee structures that encourage more musicians to be employed and to end the excessive use of single musicians playing multiple instruments.

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Fairer work conditions through the Stadium Ticket Levy

Scotland and Northern Ireland Region

Conference welcomes the recent developments in the live music sector regarding the stadium ticket levy - so far a voluntary mechanism that sees a small proportion of stadium and arena ticket sales being diverted to small capacity and grassroots venues. Such venues can be incredibly valuable community hubs, forging grounds for artists to hone their craft and an indispensable source of income for musicians and culture workers. They are in dire need of these kinds of measures to ensure their doors stay open, however not all music venues are created equal and there are those which will use unethical practices and exploitation to generate profit.

Conference notes that the ticket levy has gained support from the public and the government, acknowledging the value these venues hold for artists and how they represent the start of a pipeline for musicians - taking them from small, basement rooms to arenas and stadiums. Yes, great acts begin at small venues but great acts are also currently struggling to eke out a living from these spaces. There is a chance here to encourage and even mandate that venues in receipt of these funds follow ethical and just practices including fair pay, fair treatment and transparency in the handling of the fund.

It is also important to ensure that there is equity across the whole of the UK in terms of how the levy scheme is implemented – ensuring that venues, festivals and artists are all supported through this initiative fairly whether they are based in Scotland, Northern Ireland, England or Wales.

 Conference calls on the MU to lobby key stakeholders to ensure :

• All venues that are to receive stadium levy funds are signed up to the MU Fair Play scheme and must adhere to the standards set out within- regarding Fair Pay and Fair Treatment etc.
• The levy is administered in an equitable manner so that workers and venues reap the benefits no matter what part of the UK they are in.
• The MU has a seat at the table for any future development of the scheme so that musicians are at the heart of the conversation and our voices are taken into account.

Conference notes that any development that helps keep our places of work open is of great benefit, however we also see this as an opportunity to increase fairer working conditions and raise the standard of treatment for musicians and other workers.

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Recommended minimum rates, conditions and contracts for musicians working in professional pantomimes

Wales and Southwest England Region

Introduction:

Around 260 professional pantomime productions are staged annually in Britain, with more than 3 million people watching at least one performance each year. Despite the continuing trend of smaller bands being used for theatre productions, pantomimes are still using live musicians, albeit mostly in bands of 3 to 5 players, rather than the large pit orchestras of years gone by.

 

As things currently stand, the rates and conditions being offered to musicians for professional pantomime productions are generally far lower than those used elsewhere in professional theatre (such as the rates in the MU/UK Theatre agreement), and there are no minimum rates or contract templates provided by the MU for musicians to use as a starting point in their negotiations with producers.

 

The Motion: What do you want the MU to do about it?

Conference calls on the Executive Committee to publish minimum recommended rates and conditions for musicians working in pantomime productions, and publish contract templates for use in these engagements.

 

Why is it a trade union matter?

Members are currently in a no man's land when it comes to negotiating rates for professional pantomime productions, because the MU doesn't publish any rates relating to them. There is no specific reference point for comparing the rates they are being offered with what should be expected as a minimum, nor is there anywhere they can direct producers to when asking for an increase in what they've been offered. Members working in other theatre productions (including amateur theatre, thanks to the MU's agreement with the National Operatic and Dramatic Association (NODA)) have clear minimum rates to work from, and musicians performing in pantomimes are currently excluded from this. The MU publishing minimum recommended rates would provide more fairness across the industry, and enable members to receive fair pay for their work.

 

What's already happening?

The MU already publishes minimum recommended rates for other types of work, such as the MU Orchestral Rates, which are the recommended rates to cover orchestral playing where an orchestra is not part of the Association of British Orchestras, or where a direct collective agreement with the MU doesn't exist. There is no obligation for engagers to pay these minimum rates, but their very existence serves as a starting point for negotiations, and provides members with a specific framework to refer contractors to when the rates being offered for work are considered unacceptable.

 

Elsewhere, there are instances such as the agreement between the MU and NODA which calls on NODA members to use the subsidised rates from the MU/UK Theatre agreement as a basis for amateur theatre shows, albeit with a variation to allow a minimum of 5 calls per week to be paid rather than the standard 8. A similar arrangement (such as the subsidised rates from the MU/UK Theatre agreement forming the minimum rates for pantomime productions) could be used here as well.

Carers in orchestras

Midlands Region

Musicians who are also carers often find themselves in situations where they are having to choose if they are able to accept certain work offered to them because of their caring role. It can be very difficult for carers to focus on their careers when they are having to deal with not having enough support and understanding from their workplaces and colleagues.

PiPA (Parents & Carers in Performing Arts) run a charter programme for performing arts organisations to help to make places of work more inclusive and accessible to parents and carers. At the moment, there is not a single orchestra (apart from those who also run venues and/or are linked to a dance company) on the charter programme.

Conference calls on the Executive Committee to actively encourage those orchestras with an MU collective agreement to sign-up to the Charter Programme at PiPA, to increase awareness, support and understanding of the issues faced by carers working in orchestras.

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Practice space for all including those in social housing.

London Region

1. The benefits of learning musical instruments have been championed by the government, however adequate practice space is essential to properly facilitate and maintain musical skills, particularly for musicians in social housing.

2. Without appropriate space to practice, a future generation of professional musicians would be unable to reach their potential. Equally, professionals unable to practice may be unable to perform fully, risking both their livelihood and overall wellbeing.

3. The EC should lobby the government to introduce protections for musicians against the application of Statutory Nuisance Laws as experienced by Musicians in Lewisham in 2023.

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Labour Party in Northern Ireland

Scotland and Northern Ireland Region

Conference and the MU notes:

In Northern Ireland over 1,000 fee-paying Labour Party members, and almost 40,000 trade union members who pay the political levy, are denied the same rights and representation as their counterparts in the rest of the UK. This is because Labour’s National Executive Committee has repeatedly refused members in Northern Ireland the right to stand Labour Party candidates in any election: for local councils, for the regional government at Stormont, or for Westminster.
The Conservatives already stand candidates at every level of government in Northern Ireland and claim to be a UK-wide party of government, a claim Labour cannot make, as Labour seeks no mandate from this region of the UK and yet the leadership of the Labour Party are constantly making this wrongful claim.

This Conference and This Union believes:

That the above is completely unacceptable and anti democratic and the Labour Party has a responsibility to grant to all of its members and affiliated trade union members, including those in Northern Ireland, the full representative rights of membership.

The Labour Party also has a responsibility to Northern Ireland citizens to offer progressive, cross-community, Labour policies and values at every level of government, a political space which is currently vacant and offers significant electoral potential which is particularly important given the Labour movement’s proud anti sectarian history and strong holding of the line against violence during the troubles.

Conference calls for, calls on and mandates:

The MU to unequivocally support the Right to Stand Campaign of the Northern Ireland Constituency Labour Party and for all our actions to reflect this including those of our NEC member when these matters are being decided upon and we furthermore, call on the Labour Party NEC, at the earliest opportunity, to commit to standing candidates for election in Northern Ireland at local, devolved and national government, ahead of the next set of public elections in 2027, and to engage with the Executive Committee of the NI CLP on the process of organising branches in Northern Ireland akin to Scotland & Wales.

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Funding for Arts and Culture in Wales

Wales and Southwest England Region

Since 2010, Wales has seen a real terms cut in revenue funding for the Arts of 40%, as highlighted by Arts Council Wales in its recent Economic Impact Report. In addition, the January 2025 Senedd report "A decade of cuts" shows that Wales ranks second lowest in Europe for per­ capita spending on the Arts. This has had a devastating effect on the cultural life of the Nation.

Music Education has been grossly underfunded, with a cut in the latest funding settlement for the National music service and further cuts to what little remains of Local Authority spending on Music Services. The RWCMD has had to cut its Junior Conservatoire program and Cardiff University has proposed closing its music department.

On a National level, Welsh National Opera have had to endure swathing cuts, Trac Cymru, the folk development organisation for Wales, and Mid Wales Opera, which brings opera to the rural areas of Wales, have lost their funding and St David's Hall, the National Concert Hall, has sat mothballed for over 18 months with no prospect of reopening before 2027.

The benefits of investment in the Arts are well documented, with Arts Council Wales own economic impact report showing that for every £1 invested in the arts, £2.51 went back into the economy. In addition, DCMS recently reported evidence of the huge health and wellbeing, and community building benefits of investment in the Arts.

This conference calls on the EC to intensify its lobbying of the Welsh Government and UK government in relation to Wales, encouraging them to increase funding for the Arts and Culture in Wales to at least the UK average and to seriously consider the recommendations in the Senedd report "A decade of Cuts".

 

References

Arts Council Wales: Economic assessment report - October 2024

 

Senedd Report: A Decade of Cuts.;  lmpact of funding_reductions for culture and sport

 

DCMS Report: Culture and heritage capital: Monetising the impact of culture and heritage on health and wellbeing

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A Union for the Nations: Reflecting increased Devolution

Wales and Southwest England

Introduction

While our union already works across the different legislatures of England, Scotland, Wales and the north of Ireland, the current make-up of ‘regions’ does not reflect the political reality of devolution, nor the autonomy of the UK’s constituent nations.

The geography of the Wales & SW England region, for example, requires work across two different political realities, and geographically, means that meetings tend to be held at a mid-point (Bristol), meaning that members in the north of Wales and in the far south-west of England may find it difficult to attend meetings. Practically, in a meeting of Wales and South-West England for example, members will have to listen to proposals that they can’t necessarily be involved in.

Considerations of language must also be taken into account. At the 2023 Delegate Conference, the MU committed to doing more of its work through the medium of Welsh. At present, any communications are translated (professionally, or ad-hoc by members) from English into Welsh. A dedicated Wales region could be more suited to employing a Welsh-speaking officer, for example.
This could also be true for Scottish Gaelic and Irish Gaelic (without forgetting the resurgence of Kernewek (Cornish)): languages which are kept alive partially through the medium of music.

 

Why is this a trade union matter?

As devolution progresses, it’s important that the union is best-placed to develop expertise in particular devolved nations and regions of England. This is not simply a matter of drawing geographical lines, it is a matter of empowering the members and officers of nations/ regions of England to run their own campaigns and local messaging, rather than relying on one central source. De-centralising our communications would be truly in the spirit of devolution – power closer to the people.

 

There is a conversation to be had about this, and the spirit of this motion is to spark a debate and question whether the union is currently organised in the best way to reflect a new political reality.

 

Motion

Conference calls on the Executive Committee to initiate an official consultation with members to gather their views on the union’s organisational structure. This consultation should specifically address whether the union should reorganise its regions to reflect the principle of devolution, including the establishment of separate regions for Northern Ireland, Scotland, and Wales.

 

What’s already happening?

Some unions, such as the GMB and USDAW still have regions which operate across nations and regions of England. The unions below, considered by many to be among the more politically-progressive unions, are organised as follows (as listed on their official websites).

 

Unite the Union East Midlands London and Eastern North East, Yorkshire and Humber North West Northern Ireland Republic of Ireland Scotland South West Wales West Midlands	CWU Eastern Region London Region Midland Region North East North West Northern Ireland Scotland South East South West Wales and the Marches
PCS Cymru/Wales Eastern London and SE Midlands Region Northern Region North West Region Scotland South West Yorkshire and Humberside	EQUITY Midlands East and South East South West North-East, Yorkshire and Humberside Scotland Northern Ireland North West London Wales

 

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Motion to ban vaping in public spaces

North of England Region

Conference calls on the EC to lobby the government and devolved administrations to bring vaping and e-cigarettes under the same legislation and controls that apply to tobacco, in order to prevent non-vapers from being exposed to potentially dangerous vapours and odours.

Vaping is currently not prohibited in enclosed public spaces, even though the vapour released also affects people who are not vaping. Whilst many organisations have voluntary policies in place, about where people can and cannot vape, others still allow vaping indoors and in enclosed spaces. This is a major issue for people working in pubs and clubs, in particular musicians and entertainers, who may be in vapour-filled environments for hours at a time. Vaping and e-cigarettes are both relatively new, and the long-term health effects are unknown. However, known side-effects include mouth and throat irritation, headaches, coughs and feeling sick. Therefore, for reasons of both courtesy and protecting public health, vaping and e-cigarettes should be subject to all current and future controls applied to tobacco and cigarettes, including a ban on vaping in enclosed public spaces.

Conference also calls on the EC to lobby the government and devolved administrations to more stringently enforce current tobacco regulations, as these appear to have become very lax in recent years. 

Devolution, Music and the Arts

North of England Region

Since 1997 government policy has been to transfer power from UK central government to the nations and regions.  For Scotland, Wales and Northern Ireland the powers have gone to the devolved governments.  In England the devolved powers and responsibilities are being transferred to various forms of local government: regional mayors and local authorities. 

The result of devolution is that decisions about subjects such as culture, climate change, diversity, regeneration and transport are being made locally with limited national intervention.  Devolved and local governments are known to value culture and see it as a leading way to regenerate their areas. 

This suggests that culture unions, such as the MU, need to be involved with the devolved decision making to make the case for culture and integrate it with local initiatives such as climate change measures or public transport planning.  This would support the development of music and the arts and avoid harming existing employment or infrastructures.

Conference calls on the EC to review the operation of the MU to ensure that it can engage with local decisions to make the case for music and the arts.

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Free Childcare Restrictions     

East & South East England Region

Working parents are currently able to access up to 15 hours of free childcare per week under the free childcare for working parents scheme. This scheme is in the process of being increased to up to 30 hours per week of government funded childcare from September 2025 for eligible working parents with a child from 9 months old up to school age. There are criteria that have to be met to access this support, however restrictions in how this free childcare can be used significantly disadvantages our members and others who work in the night-time economy, and specifically single parents unable to share childcare responsibilities.

Currently, free childcare for working parents is restricted to a set of defined uses, all of which are limited to within school hours or extended wraparound hours.  Whilst Tax Free Childcare is available to be used outside of school hours it only receives a 25% government subsidy of £2 for every £8 the parent pays in Childcare.       

It is the musician’s lot to have to work antisocial hours, whether in the evening or at weekends, at times when free state funded childcare is not available. We should not be subject to, yet another barrier placed in our way that significantly limits our ability to work in our profession.

Conference requests the Executive Committee to lobby Government to seek to address this anomaly, alongside sister Unions and the TUC, to seek amendments to the current free childcare for working parents arrangements to enable those parents whose work is outside of school hours to access this important benefit.

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Celebrating and promoting EDI values at the MU.

Equality, Diversity and Inclusion Committee

Introduction:

The Musicians’ Union is its members. Without us, the Union would not function or have reason to exist. Our members are a diverse group of musicians and we have a duty, not only to represent them as activists, but also to champion Equality, Diversity and Inclusion through our words and actions. As activists we should call everyone in, rather than calling them out, which avoids risks.

A 2025 UK report by Ernst and Young, an accounting and professional services firm, showed that a sense of belonging can increase job performance by up to 56% and yet many of our employers see EDI reporting as only optics or worse, a requirement for Arts Council funding. Working environments that are representative of the wider population and truly equitable are proven to be better for all workers. There is also plenty of research that proves, time and time again, that there is a strong business case for meaningful diversity and inclusion in workplaces. However, the music industry seems left behind. As a union and as individual activists, we should be celebrating and cementing equality, diversity and inclusion throughout both the Musicians’ Union and the wider musical profession.

With everything that is happening in the world right now, whether it be political hate speech against the trans community, the degradation of women’s rights at the hands of the US Government, the attacks on disabled workers’ benefits by UK Labour, blatant racism and discriminatory rhetoric of mainstream media, political parties and organisations, or the pitiful state of global LGBTQ+ rights, we have collective rights to fight for. We are stronger together.

The Motion. Conference proposes:

1.) MU Committees elected to stand for the principles of our union, must follow a code of

conduct to reflect these principles and provide an example for all members

2.) All MU committee members should be encouraged to undertake up-to-date unconscious

bias training, with a view to expanding to other EDI training as necessary

3.) A rules change, to explicitly embed EDI principles within the disciplinary rules for all

committee members, as well as EC, so that standards can be upheld

 

Suggested code of conduct.

Elected activists and all union members should:

- Be aware of the MU rule XVII.2c and characteristics protected under the Equalities Act 2010.

- Educate themselves about and actively oppose all forms of harassment, prejudice, discrimination and unfairness.

- Encourage inclusivity, diversity and representation.

- Share best practices and publicly challenge entrenched attitudes.

- Use their positions of influence as committee members, reps and stewards to support traditionally marginalised voices.

- Be mindful of conflicts that may arise when supporting members and seek appropriate guidance from officials and other activists.

 

Why is it a Trade Union matter?

The MU exists to support and protect musicians. Our EDI work protects musicians who are the most vulnerable. This work is undermined when our own activists are not aware of issues or our existing work to support musicians with protected characteristics.

Whilst our existing rules, namely XVII.2c, and the Equalities Act 2010 do lay out the expectations of members and activists, it would be simpler to also have a Code of Conduct for committee members to follow, in order to ensure that EDI really is at the heart of all of our work. This would also serve to guide committee members in supporting and protecting all musicians.

What’s already happening?

The EDI committee is already working to create relationships with other committees across the MU and often have visitors in our meetings. The Members’ Assembly is also a good example of this work and is chaired by the former EDI Chair. The EDI department has already worked to improve EDI awareness and training across the MU staff; it would be a positive step to see this reflected by activists and committee members too.

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Supporting music EDI Programmes

North of England Region

Conference notes that across the global music industry, programmes to support musicians with protected characteristics are under attack. These programmes enable access to the music industry in an equitable and inclusive manner and help to make it more diverse. 

The current backlash against Equality, Diversity and Inclusion (EDI) in the United States, impacts directly on the global music community. Such regressive crackdowns are often exported, emboldening discriminatory movements everywhere.

EDI schemes are focused on creating working environments and cultures where every individual can feel safe, experience a sense of belonging, and be empowered to achieve their full potential. These schemes are introduced to level the playing field making sure everyone has equal access to opportunities in the music industry. 

Conference calls on the Executive Committee to:

• Create a comms strategy to highlight the importance of EDI initiatives in the music industry
• Hold music industry bodies to account to ensure they maintain and expand investment in EDI initiatives
• Proactively lobby the government to continue and expand investment in EDI initiatives
• Offer solidarity to musicians across the globe who are already facing the removal or cutting of EDI programmes 

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No platform for hate in the music industry.

North of England Region

Conference believes that music and the arts should be spaces of inclusivity, diversity, and respect, free from discrimination and harm. Across the world, we are witnessing the rise of the far right in mainstream politics, and the palpable threat to these values.

The violent, white supremacist riots in 2024 demonstrated that the far right in the UK is a very real threat, particularly targeting Muslim people, refugees and Global Majority communities. The far right use their platforms to undermine equality and solidarity, spreading hate, discrimination, and misinformation that has violent repercussions on our streets, in our communities, faith spaces, homes, and to individuals.

Conference calls upon the Executive Committee to:

• Review, develop and publish MU policy and clear guidelines for MU members, venues, and promoters on ethical platforming, ensuring that hate speech, discrimination, and the far right have no place in our industry.
• Work to ensure that artists and events promoting racism, misogyny, homophobia, transphobia, ableism, antisemitism, Islamophobia, or other forms of hate are not given a platform.
• Provide support for MU members who speak out against hate in the industry, ensuring they are protected from professional or personal repercussions.
• Provide a set of resources on the MU website detailing how MU Members can respond to incidents of hate being platformed, with evidence-based responses for deplatforming hate and confidently challenging the rise of hate content and the far right.
• Build upon existing partnerships in the creative industries to agree joint approaches and cross-promote efforts.
• Advocate for policies at a national level that ensure public funding and industry support are not used to promote hate or discriminatory content.

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Opposing the Labour Government’s Welfare Cuts

North of England Region

The Labour government's cuts to welfare benefits announced in the latest budget disproportionately affects disabled individuals, low-income workers and people experiencing ill health including terminal illnesses. At the time of writing this motion, no equality impact assessment for this policy has yet been published by the government.

The government’s own data reports that cutting benefits will push 250,000 people into poverty. This will also increase reliance on food banks, worsen mental health and reduce access to healthcare. Up to 1.2 million disabled people will lose £4200 - £6300 a year by 2029 in the Personal Independence Payments (PIP) cuts. Carer’s Allowance will also be negatively impacted. 

The MU reports that many disabled musicians experience cost-related career barriers, are in debt and face significant challenges in the music industry.  This motion calls for urgent action to stand firmly against these inhumane policies that will harm many in our society. 

Conference calls on the Executive Committee to:

1. Lobby the government to reverse the welfare cuts and adopt policies that genuinely support disabled workers and welfare recipients.
2. Continue to actively and publicly oppose the government’s proposed welfare cuts through statements, campaigns, and media engagement.
3. Regularly consult with the MU Disabled Members Network on this issue.
4. Work with other trade unions including arts unions, disability rights organisations/activist groups, and anti-poverty campaigners to collaboratively advocate for fair social security.
5. Support members affected by these cuts by providing current legal advice, welfare support resources, and campaigning for better music spaces & workplace accessibility.
6. Organise members to attend protests, sign petitions, and where relevant workplace actions to demonstrate solidarity with those impacted by the disability and welfare cuts.

Our music scenes, communities and cultural landscapes are enhanced and more representative of our society when ensuring accessibility for disabled arts workers.

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