National Assembly for Wales

Gerwyn. 

The report is in with us now; it's been in with us for a few weeks. We did extend the timescale for the report to allow us to strengthen it and allow us to speak to more music venues. There was some criticism before Christmas from a few music venues that they didn't have a chance to report into Landsker. So, we've made sure that has been remedied and now we've got a much higher rate of response into Landsker. What we're planning to do is meet with the Music Venue Trust in the next week or so, and then there's a Music Venue Trust meeting in March, where we'll basically disseminate the information from the report to all the key music venues and the Music Venue Trust, and when they're happy with it—we want them to be happy with it first—we'll then disseminate it via the website et cetera, following ministerial approval on the recommendations within it. But we want to do it in conjunction with the Music Venue Trust and the venues, so we'll be meeting with them in March to discuss it.

Yes, just to come back to the original question about the evidence base around the grass-roots music venues study. It's definitely something that we want to continue and want to look to build on, because it gives us the evidence base—back to the first question, Chair—about how many venues have closed. We'll have that evidence base to work from. So, while the first report is based only on grass-roots music venues, not rehearsal space, there is an opportunity to build that into future work.

The priority now for Creative Wales is to set up an industry-led music working group, where we bring all key players from all different parts of the music industry to work with us to develop an action plan. So, Joedi's in charge of the sector team. We are about to appoint a head of music as part of that team, and we're in the process of doing so. When that person is in place, their first task will be to develop an industry-led action plan, which will use the grass-roots music venue as a starter with regard to the evidence base, but we want to work with local authorities and other partners to make sure that's updated every year so that it becomes a living document and something that's vital to how we make our decisions going forward.

We can see into the future.

Diolch. Thank you. Could you tell us, Minister, a bit more about the new grass-roots venue fund and how you see that working?

I'll ask you to respond further on this.

Five thousand.

Thousand. Five thousand, and £120—

Five thousand. Yes, as the Minister said, the closing date was today for the first round. We've had 14 applications, which was very, very positive. The second round is open in May. So, there's £120,000 within the first pot of that, which is very much a pilot for us to understand how we can help and support the music venues.

Back to your earlier point, as well, working with the arts council and other partners to make sure the messaging is easy; there's no duplication about what we provide. So, it's been well received by the music venues and, hopefully, it will bring forward the issues that they face and how we can work with them in the longer term.

Just to ask for a little bit more detail, for our information—obviously the sector knows because they're putting the bids in, which is great news. Can you tell us: is there a maximum amount that individual venues can bid for in the grant?

Five thousand pounds.

Yes, I thought that's what we'd said. And spaces that are not strictly venues, like rehearsal spaces, they're not included in this—

Not in this pilot phase, no. It's all related to grass-roots music venues in the first instance, so, the study, the fund, and from there we build into the other areas.

Is that something that you might, because as you've said, it's a pilot, so is that something you might look at? Obviously, if the bands have got nowhere to practise, you won't have anyone to perform, and you can have as many venues as you like.

So, thinking about that then, just to move on a little bit to look at the kind of advice and support that are available to grass-roots music, I wonder what consideration has been given to funding a new body to give the kind of advice and support that the Welsh Music Foundation used to give? I should say, when I was running a youth work charity in Wales, we did a lot of work with the Welsh Music Foundation, and some of our young people have gone on to become professional musicians in lots of fields and made international careers for themselves that they wouldn't have been able to do, or they would have made mistakes around things like licensing, copyright and that sort of thing. So, are you thinking about a possible successor body to the Welsh Music Foundation, and if not, what sources of advice might there be at the community level for musicians? I'm thinking about musicians starting out in their career, but, of course, it could be people who perhaps are stepping up from an amateur to a professional status later on.

We have a music team now, within Creative Wales. So, Creative Wales's focus will be to provide advice and support to the music industry in Wales, but our remit is very much the commercial end of the music industry, and I think that's the difference between us and the arts council. So, there is some overlap there. But we have a team that will be providing that advice and support to the industry, but also, I think, when we develop this action plan for the industry, that will highlight any particular gaps that we need to look at plugging across our team and across what we need to put in place to support the industry overall.

I appreciate this is early days, so you may not have the answer to this yet, but because, obviously, this is a national team, a national centre with limited resources, how will you ensure that grass-roots organisations in communities know about the advice that's available, where to come and find you, and how somebody in Blaenau Gwent or Blaenau Ffestiniog could get access to that advice?

Well, because the whole creative sector is regionalised. It operates in a regional way and there's Gogledd Creadigol and there's those clusters in the south-east and there's activity in Swansea and to the west. So, the creative function is delivered very much in relation to grass-roots activity.

I think we'll also be doing a lot more social media activity, engaging with the industry in the way that the industry like to be engaged with. So, working with our key partners, as well, through this industry music group that Gerwyn mentioned earlier. We will work with them to establish the best ways of communicating, but I think a lot of it will be done through social media and online.

We're about to put in place a new marketing and communications team that will have a social media function, but that will have an engagement function, as well—how we engage with all the different parts of the industry. It's very diverse in its make-up, from music to digital, to animation, to film and tv. It's very diverse in what we do, so we need a strong engagement structure behind that so we ensure that all messages get to all people.

That's really helpful. Ms Langley mentioned the potential cross-over with the arts council's role in supporting live music. Could you just say a little bit about what those cross-overs are and how you see those different roles? It touches a bit on the Minister's earlier answers, of course, to the Chair in that regard, but particularly thinking about them in terms of giving support to the industry.

I think there are certain schemes that, for example, the arts council have in place that we've collaborated with them on—the momentum fund, for example, which supports music artists. So, I think there are certain areas of cross-over where we will work together with the arts council, not against each other. It's things like that, really. We're also talking to them about what we can do with the Horizons project that they're running at the moment, so a further extension of that, and BBC—

So, Forté Project, which is an arts council project, we're supporting that at the moment as well, to take that further around Wales and increase its reach. So, where we can work together to add our reach and our impact is what we'll focus on.

That's helpful, thank you. Just a final question: has the Government given any consideration to establishing a capital loan fund so that local authorities or other bodies could potentially buy music venues that were under threat and lease them back to their operators? Have you given—? Might that be something that might be in consideration?

Well, again, I will see what's in the Landsker report, but I'm not keen to establish a capital loan fund for local authorities. I'd be more interested in ensuring that other bodies that we have receiving funds from us, particularly Creative Wales, will be able to have partnerships directly with venues themselves and with organisations. We have the model in tourism where, from the Development Bank of Wales, we have a war chest, if that's the appropriate description in tourism, of a substantial amount that is—and I think I can say 'million' in this case—millions. Therefore, we're able to call upon that, and it would be the flexibility between a loan and grant in any specific aid or support for a project or a venue. That is the way that we would work.

If I could just add to that, we believe that music and the creative industries have a vital role to play in the regeneration of town centres agenda, so we'll be working with our partners in regeneration, who do have loans available through their schemes, to understand how we can support music and the wider creative industries to be part of the solution to the town-centre agenda. So, again, back to the fund, if the fund highlights grass-roots music venues around Wales that have the potential to go to the next level and become sustainable, long-term, larger businesses, we would be happy and interested to support them as well. So, understanding the landscape and then how we can support it is key for us.

So, just to make sure I've understood, potentially—and this is, of course, subject to the work that's been—. You might have a situation where, rather than—. Say you've got a business who's operating and operating reasonably successfully, but the landlord wants to buy them out, wants to clear the lease so that they can use it for some other purpose—that might be an opportunity for that company to perhaps make a direct bid, if it was a sustainable business, to potentially buy out its lease or that sort of thing, possibly.

Possibly.

Okay. Directly, rather than through local authorities.

Yes.

Yes, I think that was the issue. It was if the landlord wanted to change the use, that there would be a possibility that, if somebody else wanted to use it for music purposes, that could be retained, in a way, by seeking a loan. I think that's what we were trying to ask.

There are related planning issues, of course, if you want to talk about those—

We will be.

They're not for me or this committee, but they are—

No, they are for this committee, because we've been talking about planning as well, so—.

My questions—so, be prepared.

We're not limiting ourselves. Diolch, Helen. Carwyn Jones.

Do you want to—? Are you okay on that? Do you want to add something to that?

Do you want me to add something to it? So, we've funded a scoping exercise to look at how we can roll this out across Wales, looking at three in the south, two in the north. That's for the Forté BEACONS project, and then we're also looking at two Forté projects emerging, one in the south and one brand-new project in the north. So, we are working with them on that at the moment.

Thanks. Would it be the case, then, that, if we look at the map of support—if I can call it that—Forté, Horizons, other projects—? How can we ensure consistency to ensure that there's adequate support available wherever you live in Wales according to what sort of project might be available to you?

That's the job of Creative Wales. That's our function, basically, is to almost take a helicopter view over the landscape and the funding landscape to—

No, no, that's for the royal commission on ancient monuments.

A drone view.

A drone view then, sorry—to understand that the mechanisms available via Welsh Government and the public sector bodies are relevant to all areas of Wales and not duplicating. So, that's a key function of Creative Wales and where we'll be focusing.

Okay. In terms of Horizons, then, can Horizons develop into a more one-to-one service in terms of working with individuals?

So, Horizons is a project that's led between the BBC and the arts council. So, it's not something we're directly involved in. What we do is work alongside them to see where we can develop and exploit the impacts of Horizons. So, we're having ongoing discussions with the BBC at the moment around that. So, the Horizons project itself is led by the BBC and the arts council.

That's for specific artists, the Horizons project, and that's the emphasis I'm trying to develop. But I'm doing it not like that, but like this, as it were, in terms of encouraging people—

I'm not sure how that's going to work out on the Record there, Minister. [Laughter.]

Well, the Record is for somebody else. I can make what gestures I wish, provided it's within order in this committee. Diolch yn fawr.

Horizons works with 12 artists at the moment, I think.

Yes. 

So, that's right. Okay.

Do you want to add to that?

Yes. I think—you know, we're at the start of the journey here, really, I think, with Creative Wales. So, I think the first thing has been the grass-roots music fund, together with some of the other things we've talked about today, but this is something we want to talk to the industry about when we set up this music industry working group, and will form part of our action plan going forward—you know, how we support the other bits of the music industry, not just the bands and the artists and the venues.

So, we're having meetings on a regular basis with key stakeholders within Government who we think can help us push forward our agenda. So, the apprenticeship team within Welsh Government—we think there's an opportunity to develop some skills-based training around this area, but, again, it's going to be for the industry to tell us what they want in this space.

Do you want to come in on that?

Yes. I'm not—. I haven't got the deadline in front of me at the moment, and I'm not sure off the top of my head, but we can feed that into—

Yes. So, we've funded a feasibility into the Forté BEACONS project, which is exploring the roll-out of that across Wales, but there's an anticipation in that that there will be—. Forté south Wales will continue, but there will be a new Forté north Wales as well.

And in mid Wales, then?

Yes. So, there was—. Sorry—. I don't have this in front of me at the moment.

Because we don't want to recommend something that you're already doing, so—.

No, no.

That's all right. We're very happy with that—we just carry on doing it. It's a matter of getting funds from across Government.

Carwyn Jones. 

Diolch yn fawr, Gadeirydd. I wonder if you or your officials have had the chance to assess the impact of the agent of change principle, which I think was brought in about two or three years ago now. Just to remind everyone, that's where there is development into an area that has musical venues, or other venues, indeed, in terms of the night economy, it's up to the developers to ensure that the development is resilient and that there isn't any disturbance of the cultural activity that's going on around there. So, where do we stand with this? Has it helped? 

Well, this is relatively new territory, but obviously I am familiar with 'Planning Policy Wales', as a long-term resident of a national park, and there are very serious issues in relation to regeneration and urban change that arise out of your question. I think the latest relevant policy document is technical advice note 11 on noise, and I think that evidence relating to a review of TAN 11 has been published. I'll stand corrected if one of my colleagues would like to say something further.  

There was a call for evidence earlier this week on TAN 11.

I see. Okay. So, the intention is that the Government prepares a new TAN during this Assembly in this area. So, we are certainly very interested in any impact here. But these are difficult issues and there is a genuine conflict of interest now, of course, between residents and developers, or between new developers and older established activities. 

I suppose the agent of change principle does focus on the fact that we are moving residential into areas that previously had very little—perhaps the odd caretaker and one or two flats for people for temporary use, or whatever. So, the onus then, it seems, fairly naturally, is on the developers to ensure that the buildings are resilient, isn't it? That doesn't seem to me unreasonable. Some have suggested this principle should be taken even further with a deed of easement approach, whereby it's written into planning law that, you know, 'These are the conditions. You know the noise levels.'

There's a consultation on the agent for change, which is open now, so I think the key thing for us as Creative Wales is to get many of our stakeholders to feed into that consultation, to feed in their views on the agent of change, so that when that consultation comes in, we can work with others in Government to see if there is any potential for change. 

I think some of the approaches, such as the notion of place making, might be useful or, on the other hand, they may obfuscate, if that's the right word, some of the conflicts that inherently take place when places are changing and developing in a different direction. The only way that we ensure the democratic accountability of that and public acceptance is through the planning process. So, we will be participating across Government, obviously, in any discussion on planning impact processes. 

And then you've taken us on to this concept of place making and the well-being of future generations approach, in terms of planning ahead. Do you think some sort of approach by local authorities to be looking at cultural zones—is that useful? 

I'm not a fan of zones, as a concept, but what is important I think is the integrated planning approach, which is central to legislation produced by this National Assembly over the years. The social, economic, environmental and cultural impact of any development has to be assessed together. The physical development boundary is not just the issue, although, of course, zoning implies that you have that. And I alluded earlier to my affection for our designated landscapes, and the national parks in particular, but there are issues there, really—the countryside doesn't know that it is in a national park, it's just a designation. And I think we have to be very careful if we try to designate zones, which then either inhibit development or bring about development that is contrary to the expectation of the people within whose curtilage the development occurs. These are very complicated issues. 

I do understand this and it's a reasonable, important point indeed, because it can lead to inflexibility. But we do have zoning in effect. If you try to open a nightclub in the middle of Rhiwbina you'd have issues—and any other suburb that's principally for housing. I think that some of the operators of venues feel that the same principle doesn't work in reverse and this is an issue. 

I think for me it's—. Creative Wales—I think we're in our third week. So, there's a long-term discussion that's needed here, so we will be speaking with all chief execs, the more senior leads of the councils, bringing them together to understand how we, as Creative Wales, can work with them around the place-making agenda. My background is tourism, so I get the place-making agenda, and we think creative industries, music, have a big role to play in that agenda going forward. So, it's understanding what that discussion is about with regard to planning and licensing and all the other responsibilities of local authorities. It's through Creative Wales—how we can bring them together to make sure there's a coherent approach now.  

And then, finally, do you agree with me that this area needs a lot of attention, because it is very much the grass-roots and up to medium size venues that are vulnerable? Womanby Street is a classic example. Now, if one of my constituents complained about the noise from one of the big venues, then, that we have in Cardiff, they wouldn't get anywhere—the big arenas or the national stadium. People don't even attempt to complain, because they know those facilities are there and are of great national importance, and if you choose to live near them then you've made that choice. But then we do get to a level where people do feel that somehow they can be more active in their objections and this will have a big effect if it continues, and such venues are not viable, with no pipeline for talent and creativity being fully expressed, because the greatest acts usually start small, don't they? I think that's probably me imploring you to do something, rather than expecting you to respond immediately. 

I think I was one of the founding investors of the Clwb Ifor Bach project. So, I think we have an understanding of this issue, but we have to work with our colleagues in planning and we will do so.  

So, for example, Cardiff have set up the music board. We sit on that music board and a lot of that discussion at the moment is around planning and licensing. So, local authorities are starting to take it seriously and we're there to support them.  

And, in fairness, Cardiff brought together all the cultural portfolio holders throughout Wales this very week, and it was, I thought, a very positive discussion and there's a sensitivity to the issues you've raised. And we would certainly welcome further thought from this committee and any recommendations that you make—they don't have to be in a finalised state, but just to make sure that we do pay attention to these issues in any response that we make.

Diolch yn fawr. 

Can I just clarify what you meant by introducing a new TAN? I just wanted to be clear: you're consulting on the agent of change, what do you mean by a new TAN?

It's not a new TAN. So, technical advice note 11—

TAN 11 is being—

No, no, I understand that. But you said there could be a new TAN introduced. 

No, and it wouldn't be a new one, it would be a—

A revised TAN 11.

—revised TAN. We have enough TANs already. 

Well, that's what I mean—I didn't know what a new TAN would be, so thanks for clarifying. Okay, Mick Antoniw. 

Just a few questions with regard to licensing. Obviously, licensing legislation isn't a devolved matter, but obviously the implementation and application in many cases is. Is there any general view Government has in terms of how licensing is operating? Whether there are any concerns between licensing music venues and live venues as opposed to theatres, for example? Is there any issue that Government is looking at, or has a particular concern about? 

The licensing requirements will be certainly considered as part of the activity of Creative Wales, because it's precisely placed here between the commercial activity and the community or locality interest, and the relationship to both the business and to the artistic activity. We are aware of the issue of disparity in licensing between music venues and other cultural venues, and we will certainly expect Creative Wales to address this. Do you want to add anything to that, Gerwyn? Thank you. 

It's been brought up at the Cardiff music board, and other stakeholders have mentioned to us the disparity between different acts having different levels of licensing requirements. So, it's definitely something that's on our radar to work with the Welsh Local Government Association because it's not something that—. It's a local authority issue so we need to work with the WLGA to get a consistent approach to it. 

One of the issues, obviously, is concern in terms of—. These days, the importance of security at venues and the differential in terms of what's expected from a small venue to a theatre and so on, and also, the issue in terms of—. I mean, it's only since I've been on this committee I've understood what grime is, or I think I do. But, you know, there are the racial profiling issues and so on. Are those things that you're going to be looking at, or you have been looking at, or have a view at as to—? 

I think they are matters for local authorities and police forces in local areas, but it's part of the overall conversation that we're keen to have with the industry through this music action group that we're going to set up, but, in the main, it's for local authorities and local police forces to deal with those issues. But we understand that they are part of the issues around live music so we would be there to have conversations with them.

So, at some stage in the future, when you're before this committee, there'll be an opportunity to really explore how those conversations have developed, because these are certainly areas that have been raised to us by the stakeholders.

Could I just raise, then, one other area: again, there's the changing nature of events, with families and the increasing issue of children and licensing and so on—is that something that you will also be looking at? Because, again, it's been raised with us now and again—wanting to increase access to family participation in events and so on, and licensing generally there, and of course there are commercial aspects to it that raise that. Is that something that you think you will be addressing as well as part of this conversation?

We would hope to, yes. Nothing is closed off in terms of being a part of those discussions, so, as I say, it's very new in terms of Creative Wales being a part of these discussions, so licensing, we'll ensure, will form part of the action plan that we look at in terms of how we can work with partners to look at some of these issues that have been raised. But it's nothing we've looked at yet but we plan to do so. 

I suppose just coming back, because it's a little bit more controversial and has raised other issues as well, and that is just the racial profiling issue and so on. I mean, is that something, realistically, you think might be specifically addressed, because it raises certain broader issues than just the cost and the security issues and so on? 

Well, I think the celebration of the multiracial, multicultural nature of our society in Wales is central to any approach to this issue, and there must never be any suggestion that we do not recognise the cultural and community activities of all citizens to be of equal value, and, indeed, that diversity is a public good. I don't think I need to say more than that, and that will be the approach of Creative Wales.

What we can do, through Creative Wales, is show our commitment to that by supporting artists in the grime field, artists in hip-hop, artists in electronic music, not to just have a focus on folk music and rock music—traditional ones. We will, obviously, try and support all genres, and that will include grime and other areas, so that will be a definite focus for Creative Wales.

Okay, thank you.

Just one question, following on from that, you've mentioned the Cardiff music board, would you be anticipating that there could be other music boards across Wales? Because I think, partly, the problem is licensing. We've heard—. We keep going back to Newport; we've been told that that's really good, and then we come to Cardiff and it's quite a hindrance. In other areas, like Swansea, we are told by Sin City that if they want to have people under 18 to come, they'll wear a band and they can show that they're under 18, so then alcohol is not served. So, there are ways around it. I appreciate it's not your responsibility, but by having a more—Cardiff will be all well and good, but are you hoping that you will be able to have these conversations on a Wales-wide level, so that some consistency can be seen through the licensing system to take away some of these hindrances to live music here in Wales?

Yes, obviously, given my lifestyle in north and south, I'm very strong on trying to ensure that the opportunity for a wide choice of activity in music or in any other artistic genre or activity is available throughout Wales. Therefore, what we will want to do, through Creative Wales—I'm piling a lot on colleagues in developing this new organisation. The fact that it sits within Government, but it is also autonomous—and I go back to my experience in establishing Cadw in a similar structure. It is possible for you to have a public agency that is also very well located, both within the community and the society, but also within commercial activity, so that we can take account of all those pressures on businesses, as well as the interests of consumers. That is the guiding light of Creative Wales, because it is a creative body that promotes creativity, but does so in an open and progressive way. That has to be the key to its success.

It's for local authorities to decide if they want to set up music boards, so we can, obviously, help, and if there are positive things that come from the Cardiff music board, we will be sharing those positive things to ensure that other local authorities are aware that that kind of structure works. But it would be for local authorities to decide if they want to set them up, but we very much would encourage that approach through Creative Wales.

Diolch. John Griffiths.

Diolch yn fawr, Cadeirydd. A few questions on business rates. Firstly, are you able to tell the committee how many live music venues in Wales are currently receiving high street and retail relief?

This is administered by local authorities, but we do have some information on who has accessed relief. But we won't have this in full until the end of the financial year, but we'll certainly share whatever we have with the committee.

The guidance and the criteria of the scheme—. All music venues with rateable values of £50,000—I'll be careful with my thousands now, in English as well as in Welsh—or below should be eligible for relief. This is not the same as the relief system that is operational in England. The Welsh Government scheme is a different retail relief scheme, so there has been some confusion, because people think that some of these schemes are for England alone or for England and Wales. In this area, we will have to refine our own scheme if we are to make it effective.

Okay, well, whatever information you're able to provide to the committee would be useful. We picked up on some confusion, because I think the UK Government made an announcement of 50 live music venues being eligible for up to 50 per cent business rate relief, and I think they did that in terms of the UK before it was clarified that it was for England only.

It was the Music Venue Trust that got confused and said 'England and Wales' in their press release whereas it was for England only. 

Was it? 

Yes.

I am afraid this world is full of people who do not understand devolution. 

Indeed. So, there was a little confusion, but I just wonder, really, whether you've had or you might have any discussions with UK Government in terms of whether there might be any consequentials for Wales from that UK Government announcement.

Well, I suppose we have to wait to see who the new culture Minister will be in the UK. We've had quite a few of them recently. Certainly, we are always up for discussion with the UK Government on matters, provided that they also understand the parameters of devolution. 

I know that tax officials would say that they'd have to wait to see what the consequentials are and then decide where that gets allocated in Wales. Obviously, we'll be arguing that some of that comes to the creative industries, but it's for our tax colleagues to see what that consequential is when it comes in and how that's then divided up across Wales. 

So, do we know that there will be consequentials at the moment, or is that yet to be determined?

It's yet to be determined, I guess. It's not an area I'm up to speed on. 

Okay. Might you consider, or have you considered a similar scheme of live music venues being eligible for up to 50 per cent business rates relief in Wales?

We haven't yet, but if this committee were to recommend something, we would obviously pursue it and research its practicalities. I don't know whether you've got any particular issues on this that you'd like to mention?

No, just to say that the existing scheme applies to music venues in Wales. I think it's called the high street and retail relief scheme. That's available for music venues already and they're benefiting from that, but we're happy to look at whether there's something better we can do with business rates. 

I guess what it comes down to, when that's finished at the end of the financial year, if it's clearly obvious that most classes of music venues are not getting rate relief, then it's a conversation we need to have. But if most of them are, then it's just that we've got a different system in Wales to England and it's not badged as rate relief specifically for music venues but they are still getting that relief. We haven't got the evidence yet to make that decision. 

No.

How long has that programme been going? I appreciate that you're going to tell us in April, but we've had a lot of people coming in here saying that they know absolutely nothing about that particular rate relief scheme. So when we heard the new announcement, everybody went crazy thinking it affects Wales and they're getting really excited about it. I appreciate that the conversations are ongoing, but is this something that you could think about approaching the Treasury and saying, 'Well, if this money was available, we would want to do it in this way because we feel that there's an excitement around how that would help our venues'?

This is the announcement made last month, is it?

Yes.

Okay. So, that's a continuation of the scheme into 2020-21, and the figure I have is £24.2 million of support available financially as part of that scheme. Now, we don't know how much of that goes to music venues, but hopefully the Landsker report will have something to say on this. 

It's almost certain that the Landsker report is going to highlight business rates as a key issue. I guess, coming back to my earlier point about engagement and communication, we will have that structure, now, to make sure that business is aware of the opportunities, whether it's business rates, planning or whatever it is related to their issues; we will have a structure through Creative Wales to ensure that those messages get out.