Yes, I am, not least because I have written a couple of songs with the right hon. Gentleman that we have recorded down the years with our band MP4—legends in our own imagination. As we say in these groups, he is not only a drummer, but a musician: he has written songs himself, some of which have cult status on the internet.

UK Music’s recent “Power of Music” report sets out in clear terms the enormous and extensive benefits that music provides for health and wellbeing, with notable effectiveness in regulating and improving the mental health of so many people during the pandemic and in offering particular emotional respite for those with dementia. What is beneficial is not just playing and singing, but creating music. Organisations such as the Songwriting Charity empower young people and communities through the art and craft of songwriting to boost their confidence, self-esteem and mental health.

Some Members may not be aware—although you may be, Mr Deputy Speaker, given your origins—that Ivor Novello, the Welsh songwriter, playwright, composer and actor, was born on Cowbridge Road East in my Constituency in 1893. Christened David Ivor Davies, he took the name Novello from his mother, Clara Novello Davies. I was particularly pleased when, three years ago, the former British Academy of Songwriters, Composers and Authors—BASCA—rebranded itself as the Ivors Academy in his memory, and in acknowledgment of the world-famous Ivor Novello Awards, which it runs.

In economic terms, songwriters and composers contribute substantially to the value of our music, performing and visual arts ecosystem, which generates an enormous £10 billion domestically, with music exports constituting £2.9 billion in value to the UK economy. UK Music points out that one in 10 songs streamed globally were produced here in the UK. That is a lot of globally popular UK songs and music.

This past week—and I know that you were watching, Mr Deputy Speaker— exemplified the joy and excitement that songs can create, with the immense talents of a diverse range of musicians and composers from across Europe and beyond brought under the Eurovision roof in Turin. Congratulations, of course, to Ukraine’s Kalush Orchestra, the deserved winners on the night, but also to the UK’s Sam Ryder, who came second. Writing great songs is a Great British tradition, from Ivor Novello’s “Keep the Home Fires Burning”, through Lennon and McCartney’s “I Want To Hold Your Hand”, David Bowie’s “Life on Mars” and Joan Armatrading’s “Love and Affection”, to Adele and Dan Wilson’s “Someone Like You”; but we must not take it for granted that that will go on forever.

I am happy to inform those who are not aware of it that the UK’s Eurovision song, “Space Man”, was co-written by the incredibly talented former student of Cardiff’s Royal Welsh College of Music & Drama and Radio Wales presenter, Amy Wadge. Many had assumed that Britain’s recent lack of success in Eurovision was political, but it turns out that what is needed—as well as a talented artist, good presentation and good production—is, above all, a great song. I am old enough to recall a time when Eurovision was known as the Eurovision Song Contest, and the writers were featured on camera to take a bow for their part in the creation of the music. There is no singer without the song and no song without songwriters, so perhaps that recognition should be resurrected. When I was growing up with vinyl records, which are now popular again, I used to study the labels intently to see who had written the songs. I want people to do that again, so that the art of songwriting is once again given its proper due rather than being hidden away somewhere deep in the metadata.