More than one million faster broadband connections have been delivered to homes and businesses across Scotland, backed by £1 billion of publicly-driven investment.
The £463 million Digital Scotland Superfast Broadband (DSSB) programme launched in 2014 and connected more than 950,600 premises to fibre-based broadband – over 150,000 more than originally anticipated. The build was completed in 2020, with independent analysis showing that the programme is delivering £12 of benefits to the economy for every £1 of public funding.
The £600 million Reaching 100% (R100) programme, one of the most ambitious and complex digital infrastructure programmes in Europe is now rolling out connections in some of the country’s most challenging rural locations.
Originally conceived as a superfast broadband programme, R100 is now providing a gigabit-capable connection – a speed more than 30 times faster than superfast broadband – in around 99% of cases. Building to some of the hardest-to-reach parts of Scotland, 48,000 connections have so far been delivered through the R100 contracts, with a further 3,800 connections provided through the R100 Scottish Broadband Voucher Scheme.
To mark the delivery milestone, Wellbeing Economy Secretary Mairi McAllan visited Highland Fling Bungee in Perthshire, a small business that has benefitted from the R100 contracts.
She said: “Fast and reliable broadband has never been so important: it is an increasingly vital tool for everything from work and leisure, healthcare and education. As illustrated by Highland Fling Bungee, it is also unlocking new ways for businesses to innovate and thrive.
“This is precisely why the Scottish Government has prioritised investment in digital connectivity in the 2024-25 Budget. Indeed, despite telecoms being reserved, we have now committed to investing more than £650 million across the DSSB and R100 programmes, recognising that faster broadband is a key building block for a green and growing economy.
“Enabling more than one million connections to faster broadband is a landmark achievement in delivering this vision, and we are fully committed to ensuring as many people as possible can benefit from the advantages of future-proofed digital infrastructure to run businesses and services across the country.
Laurie Thomas, Operations Manager at Highland Fling Bungee in Killiecrankie said: “Full Fibre broadband connection has benefited all aspects of our business. It has had huge positive impacts for our marketing and operations so that now we can livestream jumps and send edited videos of customer jumps in around a day, as well as helping our social media.
“This has made a significant difference to how we can engage and respond to customers, which has been game-changing for our business.”
Chief Engineer for lead delivery partner Openreach Scotland Fraser Rowberry said: “Scotland’s digital journey is a story of resilience and progress. From adapting to remote work and learning during the pandemic to expanding ultrafast internet access, we’ve come a long way.
“Today’s milestone marks a massive engineering success, connecting people and businesses from Shetland to Stranraer, and we’re proud of the part we’ve played through our work with the Scottish Government.
“Change on this scale, reaching even the most rural areas, is a testament to teamwork and determination. Let’s celebrate our achievements as we keep reaching for better connectivity across Scotland.”
UK Digital Infrastructure Minister Julia Lopez said: “It’s fantastic to see that so many will benefit from the one million connections we’ve worked with the Scottish Government to fund and deliver.
“All these communities, who were previously stuck with snail’s pace internet, now have the speeds available to stream, work and play.
“In addition to the rollout of Superfast connections, we now want to ensure Scottish communities have the connectivity they need for the decades to come.
“This is why we are planning further investment in contracts to bring much faster full fibre broadband to hard-to-reach premises right across Scotland – futureproofing rural communities by empowering homes and businesses to seize the benefits of digital technology.”
A blog by the Youth Justice Board’s (YJB) Business Intelligence and Insights Directorate that highlights racial disparity in the youth justice system and the ongoing work to tackle it.
Today, people across the UK remember Stephen Lawrence, who at just 18 was murdered in an unprovoked racist attack. Every year, on 22 April, Stephen Lawrence Day is an opportunity for people to come together and honour Stephen’s life and legacy and stand up against discrimination.
At the YJB, we have been highlighting the issues of over-representation and disproportionality of Black children and those with Mixed ethnicity within the youth justice system for more than a decade. And so, it seems timely to highlight the information on disparity that we have captured in our Annual Statistics.
What do our Annual Youth Justice Statistics show?
While there have been promising reductions across different stages of the youth justice system, Black children and those with Mixed ethnicity continued to be over-represented.
Compared with the proportion of Black children in the 10-17 population, Black children are disproportionately represented across most stages of the youth justice system.
Disproportionality of Black children in the youth justice system
There have been some encouraging reductions across several areas in recent years, including stop and search, arrests, youth cautions, first time entrants, sentencing and children in custody.
What does the wider evidence tell us?
Addressing ethnic disparities in the youth justice system is one of the YJB’s strategic priorities and will require close partnership working to achieve. We now know more about the existence and extent of ethnic disparities, and potential drivers, but less about potential solutions.
Intersectionality is also apparent when analysing the data from other government departments – for example custodial sentences have been found to be twice as common among care-experienced children with a Black or Mixed ethnicity compared with care-experienced children who were White.
YJB research identifies that the key drivers of ethnic disparity in child reoffending include:
Marginalisation of individuals and communities.
Individual, institutional and systematic bias.
Weaknesses in prevention and intervention.
Negative experiences of the wider youth justice system.
This is consistent with findings from wider research and data which finds that Black and Mixed ethnicity children are:
With the structure and safety of the school system removed (including access to heat, food, and a community of peers) it may increase the chances a child may become involved in crime.
The HM Inspectorate of Probation thematic review also reports that Black and Mixed ethnicity boys in the justice system are more likely than others to have an Education, Health and Care plan and unaddressed special educational needs and disabilities.
This creates additional vulnerability for these children for which they may be currently receiving insufficient support both before and after entry to the youth justice system.
Promising interventions to address ethnic disparity include racially sensitive interventions and training for staff to be more culturally competent, with a contextual understanding of the child/families’ personal experiences, as well as constant investment/interest in improving and understanding structural inequalities.
Ongoing and upcoming work to further explore and address disparity for children from ethnic minority backgrounds includes:
research into the usage of Pre-Sentence Reports being conducted by Ipsos Mori and Manchester Metropolitan University will be published in spring 2024
Revolving Doors have been commissioned to produce a Disparity Good Practice report which will include case studies of good practice in tackling inequalities in youth justice which will be published in 2024
bids for the Addressing Disproportionality Pathfinder have now closed and the commercial process is ongoing
the upcoming release of the Case Level Ethnic Disparity Tool which will be made available to youth justice services and enable them to investigate disproportionality within their service
A range of research activity is being delivered by the sector around ethnic disparity, many of which we will keep track of through our strategic relationships, including:
The Youth Endowment Fund have commissioned The University of Greenwich to review evidence of what works in tackling racial disparity
The Nuffield Foundation have funded a project on Racial Disparity in Diversion which The University of Bedfordshire will undertake
Stephen Lawrence Day serves as a poignant reminder of the need to confront racial injustice and systemic discrimination.
But there is no one-solution to a systemic problem. Of course, we want fewer Black and Mixed ethnicity children entering the justice system, but to achieve this, we need to recognise the drivers for disparity and work collaboratively to achieve whole system change.
One of the UK’s leading theatre companies for learning disabled actors, Lung Ha celebrates four decades of brilliant theatre-making
Lung Ha is an Edinburgh-based theatre company for actors and theatre makers with a learning disability and autism which produces award-winning productions and works with a year-round, 25-strong Ensemble to develop their practice and remove barriers to participation into the arts.
April marks the start of 12 months of the Company’s 40th anniversary celebrations which will see it take part in or present a remounting of the Company’s 2021 hit An Unexpected Hiccup at the Edinburgh Festival Fringe, the world’s biggest stage.
Originally created and performed under strict COVID procedures during the global pandemic, the show is a tale of comic misunderstandings, sinister goings on and dangerous eccentricities.
This will also be the inaugural production of the Lung Ha Touring Company which will provide further opportunities for performers to create and tour new and existing work, with bespoke and specialist actor training.
An Unexpected Hiccup is a co-production with Plutôt La Vie featuring five Lung Ha actors, written by Michael Duke after a devising process with the Company. It will be presented between 2 and 10 August at Zoo Southside.
The Company is also commissioning initial research to develop an Access and Creative Principles Toolkit which will support the launch of Lung Ha Touring Company. The research aims to cover three main areas:
To understand the access support structures required for learning-disabled actors in a professional company.
To apply fair and equitable pay remuneration frameworks for ourselves and other theatre companies working with actors and artists in receipt of varied and complex benefit arrangements.
To create a practical toolkit for working with learning-disabled actors which has a wider culture sector benefit and application.
The first publication of findings is expected in spring 2025. The project is funded by RS Macdonald Charitable Trust.
Lung Ha Theatre Company has been invited as a guest contributor at the Europe In Action Conference, a partnership between Inclusion Europe and Enable in May 2024 in Glasgow during Learning Disability Awareness Week, hosted by Enable who are also marking an anniversary year (70th).
The Company will be hosting the closing session of the conference with the theme of deinstitutionalisation, including a presentation about the Company’s work and a focus on the award-winning production Castle Lennox from 2023.
Also in May, Lung Ha Theatre Company will host the World Premiere of its short film, Love Like Salt, at Traverse Theatre – a loose adaptation of Shakespeare’s King Lear, featuring the Lung Ha Ensemble and co-created by Maria Oller, Susan Worsfold and Stuart Platt. The evening will also feature a short snippet from an anniversary documentary about the Company made and edited by a Lung Ha actor, Emma McCaffrey.
Throughout the year Lung Ha will be spotlighting our Ensemble actors using commissionedportraits from photographer and long-time collaborator Peter Dibden. The photoshoot was a glamourous “Met gala meets night at the theatre” extravaganza.
The actors were given the opportunity to curate their own costumes and threw themselves into model poses and characterful performances which are beautifully captured in this series and in our commemorative 40th anniversary Ensemble group photograph.
Short history of Lung Ha
Lung Ha Theatre Company began its life as Lung Ha’s Theatre Company in October 1984. A sixty strong team of performers, with a learning disability, under the direction of Richard Vallis and Peter Clerke created and performed their own version of the fabled Monkey stories (for a time the Company was called Lung Ha’s Monkey Theatre).
The production was hugely successful and a new company and vitally important new theatrical voice launched onto the Scottish stage, now a vital part of it.
Since then, the Company has worked with over three hundred performers with a learning disability creating over forty original productions. The Company and has also worked with some of the leading artists and creative organisations across the country and toured internationally to England, France, Ireland, Poland, Sweden and Finland.
Some of the Company’s achievements include the Critics’ Awards for Theatre in Scotland (CATS) for Best Ensemble in Huxley’s Lab in 2009 (co-recipient with Grid Iron Theatre Company) and for Castle Lennox, a 2023 co-production with The Royal Lyceum Theatre Edinburgh.
Now the company offers a range of creative opportunities for learning disabled actors. Our Pathway for Progression features six strands of work where actors can access training and performing opportunities in an inclusive and welcoming environment and on an established platform.
These are The Lung Ha Ensemble, Lung Ha Touring Company, Lung Ha Across Scotland (an online nationwide actor training workshop series), Creative Development (one to one skills development, mentoring and critical response), Sharing our Expertise (via our Access and Creative Principles Toolkit, and workshop leader training), and Supporting External Opportunities (where the Lung Ha team prepares and supports people with their creative ambitions outwith Lung Ha).
Artistic Director Maria Oller and Executive Director Ruth McEwan said: “Entering our 40th year, we are so proud of our achievements and what has come before now.
“We have shared incredible moments with everyone we work with and our audiences far and wide.
“From here, we are passionate about continuing to create fabulous theatrical experiences and breaking down barriers in our sector and beyond. Our actors are the inspiration and the beating heart of Lung Ha Theatre Company.”
Lung Ha actor Fern Brodie said: “I see Lung Ha and the other actors as my other family.
“I feel safe and happy when I spend time with them.”
Lung Ha actor Gavin Yule said: “Lung Ha is a place where I can perform and practise acting skills and develop new ones.
“It’s also where I can make friends and have a social outlet. It also allows me to experience professional theatre and perform incredible pieces of work.”
Theatre critic Neil Cooper said: “Its first show, Lung Ha’s Monkey, gave the company both its name and an identity that seemed to suggest that monkeying around on stage was a good thing.
“In the forty years since, that sense of liberation through play has remained at the company’s core throughout work by a stream of writers and directors who followed in Vallis and Clerke’s footsteps.
“With current Lung Ha Artistic Director Maria Oller at the helm for the last fifteen years, the company’s radical philosophy has put it at the centre, not just of community-based arts initiatives, but of Scotland’s entire theatre ecology.
Watching the company grow into itself over these years has been a joy. Long may Lung Ha continue to thrive.”
We’re ready to go after a week of planning and prep! Buzzing to see all our young people this week
Reminder: All young people need a consent form to attend our project, this MUST be completed by the legal guardian of the child – if you have completed one since September last year, you do NOT need to do another one.
Launches Sunday 26 May 2 – 4pm at Earth in Common, Leith Links
Announcing a new collaboration between Earth in Common and Deborah Shaw (Aurora Engine), supported by the National Lottery Community Fund’s Together for Our Planet Fund
Highlights include environmental songs from Karine Polwart, works from Tinderbox Sparks Orchestra, stories from Edinburgh’s Gaelic community and Scottish International Storytelling Centre, poems from Ash Dickinson and Alec Finlay, folksong from Kirsty Law, sonic works from Siôn Parkinson and Aurora Engine, incorporating political themes of land rights, references to highland clearances and the Edinburgh housing crisis as local rents continue to increase
Coinciding with Earth Day, a new soundwalk at Earth in Common has been announced, with an upcoming launch event scheduled from 2 – 4pm on Sunday 26th May 2024, with live performances and a guided tour of the new installation with Deborah Shaw.
Tickets are now on sale for the launch event with various price options available. Book now: https://bit.ly/harksoundwalk
Environmental organisation Earth In Common presents HARK!, an immersive soundwalk nestled within the grounds of Leith Community Croft.
This unique experience will offer a tapestry of compositions, soundscapes, poetry and stories, curated by composer and sonic artist Deborah Shaw (Aurora Engine), supported by Together for Our Planet fund.
HARK! aims to foster a deeper connection to nature and reflect Earth In Common’s values regarding crofting, land and the intrinsic relationship between arts and the environment.
Alongside the pastoral, is the political, with themes of land rights, references to highland clearances and the Edinburgh housing crisis as local rents continue to increase. Some works explore the effects on communities, raising the importance of nature access in urban landscapes which the Croft provides.
Visitors will be able to access recordings through their electronic devices, and experience sonic folk tales, haunting choral compositions and immersive soundscapes featuring the collected sounds from nature and wildlife.
HARK! contributors include renowned musician Karine Polwart with a brand new song composed for the croft, “Earth In Common” inspired by her passion for nature and environmental causes. Tinderbox Orchestra will present “ICE” from their Sparks collective a piece composed in response to an ice installation at Dynamic Earth.
There will be pieces from Edinburgh’s Gaelic community, a story from Donald Smith, Director of Scottish International Storytelling Centre, and a haunting choral from Earth In Common’s own climate choir and a song from folk singer Kirsty Law.
Poet Ash Dickinson will be featured with poem ‘Fox Fishing’ about declining nature, and Alec FInlay’s words from their Push the Boat Out Poetry festival commission ‘Manifesto for Urban Crofts’ will also play as part of the soundwalk.
Sonic works will include pieces from Siôn Parkinson, composer and sound artist currently an AHRC Research Fellow at RBGE with ‘Pastoral blah’, curator Deborah Shaw (Aurora Engine) with a sound work about land rights and pieces inspired by birdsong.
As participants navigate the Croft with a provided map on their smartphones, they are invited to immerse themselves in the sounds and music at their own pace. A visit to the charming farm shop/café can enhance the experience, allowing for leisurely exploration of the works on display.
Deborah Shaw, HARK! curator, said: “I wanted to create a magical world that invites audiences to leisurely experience music while immersing themselves in nature.
“HARK! facilitates this journey, inviting listeners to tune into music, sounds, poetry and stories while also sparking conversations about land rights, climate and current housing issues”.
Alec Finlay, featured artist in HARK!, said: “I was inspired by Leith Urban Croft, which was conceived by Evie Murray, and is a contemporary twist on the traditional allotment, with an attempt to encourage a more communal approach, as well as broadening the social activities, helping with wellbeing, and giving young people an experience of nature and nurture.
“Some of the growing plots are run by schools. There’s a wee cafe, they sell produce, and are developing a visitor centre. It’s used by parents and toddlers … I think in terms of pandemic culture and climate breakdown, every park and green space should have an urban croft.
“It aligns with the idea of a ‘culture of recuperation’, which I’ve been thinking about for the past few years, and more specifically, with a project I did in Glasgow, with the Walking Library, exploring ideas of urban rewilding.”
Evie Murray, Earth in Common’s Founder and CEO said, “The Soundwalk project embodies Earth in Common’s ethos and builds on all we have achieved over the last decade.
“Leith Community Croft is an established hub for social, cultural and environmental regeneration. The Soundwalk enhances our identity at a crucial time for Earth in Common, when we are recovering from disruption caused by a major capital building project and our reserves are running low.
“If people like our work, they can visit the ‘Soil-idarity’ page on our website to learn how they can help us survive and thrive.”
Protecting the environment and reducing marine litter
The supply and sale of wet wipes containing plastic will be banned across the UK following overwhelming support during public consultation, with 95% of respondents agreeing or strongly agreeing with the proposals.
Measures have been set out in a joint response by all four UK nations published today (Monday April 22), including a transition period for businesses to help them prepare.
Scottish Ministers will introduce regulations by the end of 2024 with the ban due to come into force 18 months later.
Wet wipes containing plastic do not biodegrade in the natural environment and persist for many years, which may cause harm to wildlife and the environment, and are a source of unsightly litter and of microplastic pollution.
Minister for Green Skills, Circular Economy and Biodiversity Lorna Slater said: “I am delighted to confirm today that the Scottish Government will ban wet wipes containing plastic.
“These items are a problematic source of marine litter and are a threat to the health of our environment and wildlife. This ban delivers on an important commitment made in our Marine Litter Strategy and builds on previous actions to ban unnecessary single-use plastic items such as plastic-stemmed cotton buds and plastic straws and cutlery.
“These policies are all proof of the progress Scotland is making toward protecting our environment, and all contribute to our journey toward a circular economy.”
Plastic-free wet wipes are readily available and several retailers have already stopped selling wet wipes containing plastic.
An 18-month transition period will commence when legislation is passed to allow businesses time to prepare. Following consultation with industry, the ban will not include the manufacture of these products, in line with other recent single-use plastic bans.
However, the governments of all four UK nations will continue to encourage manufacturers to move to a position where all their wet wipes are plastic free.
The joint response also sets out exemptions to ensure that wet wipes containing plastic remain available where there is no viable alternative – such as for medical disinfectant purposes.
For the period 2015 to 2020, an average of 20 wet wipes were found per 100m of beach surveyed across the UK according to Defra Beach Litter Monitoring Data.
Katie Fowlie, an art specialist, and educator from the East Neuk, has been commissioned to deliver Remembering Together Fife, a project that strives to sensitively mark the Covid-19 pandemic.
She has named the project PROCESS, and her role is to co-create something collaboratively with communities across Fife to respond to a difficult period in our lives. A series of free, bookable, and drop-in workshops are being delivered across Fife. Participants will explore the language (Floriography) associated with plants to express emotions in a non-verbal way and will create art using plant-based materials.
By gathering materials from the landscape, participants are learning immersive, process-based activities which encourage relaxation, improve mood, and encourage people out of isolation.
The workshops come about after 18 months of engagement with communities across Fife listening to individuals’ unique experiences from this challenging time. Ideas were collected to mark this experience in a way which would resonate with people across the Kingdom.
Katie explains: “Many ideas were offered during the initial engagement phase, and areas of overlap started to emerge. Most participants noted a decline in their mental health, their self-confidence, and feelings of isolation.
“There was an overwhelming desire to create something with a positive legacy, something which invests in people, and which is supportive in terms of their wellbeing.
“People shared how important the daily permitted hour outdoors became to their wellbeing. But also, how this habit was so quickly abandoned as life started to return to normal. They were keen to create something collectively which celebrated Fife’s varied landscapes while encouraging healthy habits such as slowing down and reinstating regular time spent outdoors. All in a way which enabled reflection and a chance to process how our lives changed.”
This period of co-creation will culminate in the creation of a bespoke publication called PROCESS. This will be a collection of images, reflections, words, and fragments that offers ‘how-to’ details to undertake further exploration. This publication will be gifted to appropriate organisations across Fife, as well as being free to access online.
Katie is continuing to host a series of free community workshops during the coming months as public drop-in events, alongside those offered to community groups and key workers. For updates, please follow ‘Remembering Together Fife’ on Facebook and Instagram.
‘Drop-in’ events are being hosted by: Kellie Castle, May 18th & 25th (11am – 3pm), The Larick Centre, May 20th & 27th and June 3rd (1pm – 2.30pm).
Bookable workshops [PROCESS: The Art of Foraging] started in Kennoway on 16th April, and then take place in Buckhaven on 19th April, Leven on 25th April and Methil on 4th May.
Katie will be collaborating with Jayson Byles from East Neuk Seaweed to offer cooking demonstrations and create botanical inks from foraged finds. These workshops are supported by Lateral Lab with additional funding from the Coalfields Regeneration Trust.
New research from Ambassador Cruise Line finds that over half (60%) of Brits take tea bags with them on holiday
For more than a third (41%), a good cup of tea is what holidaymakers miss most while away, beaten only by their ‘own bed’ (54%)
On National Tea Day on 21 April, Master Tea Blender for Tetley Tea, Sebastian Michaelis, reveals why we have an unmatched love affair with the nation’s favourite brew – and his thoughts on the perfect recipe for a great cup of tea
OUR love affair with tea goes beyond borders, it seems – new research from Ambassador Cruise Line has found tea to be an absolutely essential packing item for British holidaymakers, with over half (60%) admitting to having packed tea bags alongside their swimming costumes and sun cream when preparing for a holiday.
The survey of 2,000 respondents commissioned ahead of National Tea Day on 21 April by the UK’s leading premium-value, no-fly cruise line in partnership with its onboard tea supplier, Tetley, reveals the unshakable bond between Brits and their beloved brew.
As a nation that drinks 100 million cups of tea a day*, the fact we struggle to part with our favourite blends while away is understandable. It seems there is no substitute for a quality cuppa, even when abroad; our love of tea even trumps family bonds it seems!
The research found that, two in five (41%) of Brits miss English Breakfast tea most whilst on holiday, topped only by missing their ‘own bed’ (54%). Just 21% put ‘missing family’ on the home-sickness trigger list.
Despite the many variations of tea available today, Brits remain unwavering in their loyalty to a classic cup of English Breakfast tea, with over half (56%) stating that it is their preferred choice , followed by Earl Grey and Green tea (both at 8%).
The survey found that one in 10 (10%) drink more than five cups a day, with the average being two (23%) to three (18%) cups a day. For more than a third (36%), it is the first thing to be done in the morning, with 21% postponing breakfast until they have enjoyed their first cuppa. Just 5% seem to enjoy a tea after their evening meal or before bed.
So, how do we as a nation make our tea? Just 8% of us use a teapot these days, with the vast majority of Brits putting the tea bag directly into a mug (84%). 82% opt for water before milk, with only 14% championing milk first .
Most commonly, more than half (59%) brew their tea for less than two minutes; one in ten (10%) leave the bag in for five minutes; and 3% brew for over eight minutes.
The survey showed that people love a good cup or tea not only for its taste: it’s also about the familiarity and friendliness a good cuppa provides.
More than half of those surveyed (63%) say tea is the first thing they would offer when welcoming tradespeople to their home. Similarly, tea is the ‘go-to’ pick-me-up for friends or family that are feeling stressed (49%) or sad (43%), with females (50%) more inclined than males (36%) to offer comfort with a cuppa.
Commenting on the findings, Seb Michaelis, a Master Blender from Tetley, Ambassador Cruise Line’s onboard tea partner, says: “It’s no surprise that tea is right up there on the ‘must-have’ packing list – tea lovers know their teas and love their brands.
“Tea is a natural, comforting beverage, a social glue that delivers a perfect ‘me moment’ when needed. However, just as a holidaymaker seeks out new experiences, I would urge tea lovers to explore the wider world of tea also.
“Tea has come a long way since it first reached our shores, with different varieties and strengths available. From everyday black teas to flavoursome speciality teas, fruit and herbal infusions and decaf, there’s a tea to suit every mood and moment, from the first waking hour to the final wind-down time in the evening.”
Gordon Nardini, Ambassador Cruise Line spokesperson, adds: “Away from the business of our day-to-day lives, a holiday is a great chance to take time for a proper cuppa, brewed to perfection.
“Food and beverage plays an important part of the overall guest experience at Ambassador and we pay as much attention to the tea we serve as we do the outstanding cuisine our guests enjoy while onboard.
“With 2.7 million cups of tea expertly served onboard Ambassador’s two ships, Ambience and Ambition, last year, it looks like our guests’ own tea bags will stay firmly in their suitcases for many years to come!”
Making the Perfect Cup of Tea according to Tetley’s Master Blender, Seb Michaelis:
“I’m always asked how to make the perfect cup of tea! We in the tea buying and blending team are quite particular with how we make our tea, so much so that we’ve developed a formula for it!
“But in all honesty the right way to make tea is the way you like it and enjoy it best. However you like it, my top tip for getting the richest brew at home is to use freshly drawn water from the tap and to pour it as soon as it’s boiled; don’t let it cool down.”
Central Scotland saw the biggest annual increase of any UK region
Despite recent increases, drivers are seeing some respite. The latest data shows how prices have fallen by £30 (-4%,), on average, over the last 3 months.
Glasgow and Motherwell are the most expensive areas in Scotland. Average prices are now £971 and £879, respectively, following annual increases. In Glasgow, prices increased by £341 (54%), on average, and by £303 (53%), on average, in Motherwell.
Prices across the rest of the UK have all continued to see annual increases. And further research shows how 3 in 4 (75%) drivers who renewed in the past 3 months saw their renewal price increase by £94, on average.
Motor expert Louise Thomas at Confused.com helps drivers to understand why their car insurance prices are so high, and how they can save money by shopping around.
Car insurance prices in Scotland are up by £254 (48%) in just 12 months. That means the average price is now around £775.
And it’s drivers in Central Scotland who could be seeing the biggest increases overall. That’s as prices are now £871, on average, following £298 (52%) rise. Not only is this the most expensive region in Scotland, but it’s also seen the biggest annual increase in comparison to other UK regions.
That’s according to the latest car insurance price index from Confused.com, powered by WTW.
Based on more than 6 million quotes per quarter, it’s the most comprehensive car insurance price index for new policies in the UK. However, prices in the country stalled somewhat by £30 (-4%) in the past 3 months, offering a brief respite to drivers. But despite this slight U-turn, prices do remain expensive for drivers as financial pressures continue to mount up.
And how much a driver pays continues to vary from region to region. The East and North East regions saw an annual increase of £220 (46%), making prices now £701, on average. Prices in the Highlands and Islands are now £674, on average, following a £201 (43%) annual increase. And drivers in the Scottish Borders are benefiting from the cheapest prices, despite a £206 (46%) increase in 12 months. Average prices are now £634.
Region
Average £
Annual £ change
Annual % change
Quarterly £ change
Quarterly % change
Central Scotland
£871
£298
52%
-£26
-3%
East & North East
£701
£220
46%
-£34
-5%
Highlands & Islands
£674
£201
43%
-£38
-5%
Scottish Borders
£634
£206
48%
-£23
-3%
When looking closer at areas within each region, Glasgow came out on top as the most expensive area for drivers overall. Following a £341 (54%) annual increase, prices are now £971, on average. Motherwell also topped the list as one of the most expensive areas in Scotland, with average prices now £879. That’s as prices increased by £303 (53%) in comparison to 12 months ago.
Here’s a full breakdown of the latest car insurance prices across Scotland:
Central Scotland –
Postcode area
Average £
Annual £ change
Annual % change
Quarterly £ change
Quarterly % change
Edinburgh
£769
£250
48%
-£37
-5%
Glasgow
£971
£341
54%
-£27
-3%
Kilmarnock
£765
£262
52%
-£6
-1%
Motherwell
£879
£303
53%
-£23
-3%
East and North East:
Postcode area
Average £
Annual £ change
Annual % change
Quarterly £ change
Quarterly % change
Aberdeen
£699
£218
45%
-£29
-4%
Dundee
£732
£235
47%
-£34
-4%
Kirkcaldy
£683
£211
45%
-£41
-6%
Highlands and Islands:
Postcode area
Average £
Annual £ change
Annual % change
Quarterly £ change
Quarterly % change
Falkirk
£689
£210
44%
-£42
-6%
Hebrides
£504
£98
24%
-£73
-13%
Inverness
£620
£181
41%
-£28
-4%
Kirkwall
£606
£188
45%
£13
2%
Paisley
£751
£228
44%
-£49
-6%
Perth
£644
£197
44%
-£30
-4%
Shetland
£674
£164
32%
-£81
-11%
Borders:
Postcode area
Average £
Annual £ change
Annual % change
Quarterly £ change
Quarterly % change
Dumfries
£635
£210
49%
-£25
-4%
Galashiels
£632
£199
46%
-£21
-3%
The latest pricing follows similar trends across the UK. According to the latest data, the average price in the UK is now £941, following an increase of £284 (53%) in comparison to this time last year. But the data also shows a drop in pricing over the past 3 months of £54 (-5%). So although this can be a small sigh of relief for drivers, it’s likely many are still having to pay high prices.
And it seems that most drivers are recognising the impact on the steep increases over the past year. Further research by Confused.com(1) found that more than 2 in 5 (43%) UK drivers claim they are paying more for their insurance now than ever before. And only 1 in 7 (15%) claim they are happy with the amount they pay for their car insurance.
Despite their loyalty, renewing customers are also seeing their prices increase significantly. But some were able to save money by shopping around. According to the research, of those who received their renewal between January and March this year, 3 in 4 (75%) received a more expensive price compared to the previous year. According to the research, these drivers saw their renewal price increase by £94, on average. After receiving their price, almost half (45%) went on to shop around and switch insurers, saving £90 compared to last year’s price, on average.
This shows that even while premiums are still high, drivers could save money by switching to another insurer, rather than sticking with their renewal.
But some drivers will of course see more expensive car insurance prices than others. And in some cases, drivers are actually paying significantly more now than they were at a younger age. This is because car insurance prices spiked last year as the insurance industry recovered from the turbulence of COVID-19. For example, a 22-year-old driver is now paying £667 more than they possibly were 5 years ago.
Today, a 22-year-old can expect to pay £1,930 for their car insurance. But in comparison, 5 years ago, a 17-year-old was paying £1,263, on average. This is true for all age groups. In some cases, they are now paying hundreds of pounds more than they would have at their age 5 years ago, even though they may have gained more driving experience and built a no claims bonus.
Difference in prices over 5 years
Age now (Q1 2024)
Premium now (Q1 2024)
Age 5 years ago (Q1 2019)
Premium 5 years ago (Q1 2019)
Difference
22
£1,930
17
£1,263
+£667
35
£1,126
30
£751
+£375
45
£892
40
£615
+£277
55
£666
50
£489
+£235
65
£545
60
£421
+£204
How much a driver is paying for their insurance very much depends on where they live, or how old they are. For example, men are now paying £1,001 for their car insurance, on average. While this is a £60 (-6%) drop in the average price compared to 3 months ago, this is still £299 (43%) more expensive than premiums for male drivers 12 months ago. In comparison, female drivers are paying £841 for their insurance – a £258 (44%) increase year-on-year. This has, however, dropped by £43 (-5%) in the past 3 months.
Some age groups are also paying out more for their insurance, with younger drivers typically bearing the brunt of expensive premiums. For example, 18-year-olds are now paying £3,145 for their car insurance, which is an increase of a staggering £1,300 (70%) in the past 12 months. For drivers of this age, prices only dropped by £17 (-1%) in the past 3 months, which is significantly lower than the average decrease in the UK.
While prices dropped for most, the price for 17-year-olds is the only age group to have increased this last quarter. Motorists of this age are now paying £2,919, on average, for their car insurance. This is £1,307 (81%) more expensive year-on-year, and £42 (+1%) higher than 3 months ago. This is the most expensive price recorded for this age group.
Meanwhile prices for 28-year-olds fell the most over the past 3 months, with premiums now 9% (-£139) cheaper, on average. This brings the average premium for drivers of this age to £1,353. However, this is still £403 (42%) more expensive year-on-year.
Even with prices seemingly starting to drop, drivers are still paying over the odds for their premiums. But why are prices still so high? Inflation has played a key role in the rise of car insurance costs, due to the impact on the cost of repairs and claims. Since the end of the pandemic, the number of cars on the road has increased to a normal, if not inflated level.
This means the risk of accidents and claims is a lot higher than before. And the amount insurers are having to pay for these claims has increased too, as parts and labour costs are all impacted by inflation.
Similarly, cars are holding their value for longer, or are generally equipped with more technology or expensive equipment. This means the cost to replace a car is more than before too. So while inflation remains high, insurers are paying more to cover the cost of claims. This is reflected in the prices they’re offering drivers for their car insurance.
There are some tips drivers can try to keep costs down when it comes to renewal:
Use a price comparison site – When it comes to keeping costs down, the best thing you can do is compare prices. That way you can ensure you’re getting the best deal to suit your needs and not paying more than you need to. And it’s likely that you can make a saving.
Pay for your car insurance annually – If you can afford it, pay for your insurance in one go rather than monthly. That’s because insurance companies often charge interest for spreading the cost of your cover over the year.
Increase your voluntary excess – Increasing your voluntary excess can help you get cheaper car insurance. But you need to make sure you can afford to pay it, if you need to claim.
Be accurate with mileage – Generally, the more miles you drive, the more likely you are to have an accident and make a claim. This means the higher your mileage, the more you pay for your car insurance. So, driving fewer miles can be a great way to save money on your car insurance policy. But don’t assume that a low mileage always means low prices. If you barely drive at all, your insurance company could see that as a risk as well.
Enhance your car security – The harder it is to steal your car, the less of a risk it is. This usually means cheaper car insurance. There are several ways to improve your car security including:
Installing a Thatcham-approved car alarm or immobiliser, if it doesn’t already have one
Adding secondary levels of security like a steering lock
Parking overnight in a secure, well-lit car park, or at home in a garage or driveway, if possible.
Louise Thomas, motoring expert at Confused.com car insurance comments: “For the first time in a while car insurance prices have stalled slightly for most drivers, and this may come as a relief. However, prices are still incredibly high and so people can expect to see their price increase compared to the previous year.
“The important thing to remember is that you don’t have to accept your renewal, especially as we know from our research that shopping around can find you a cheaper price.
“And on top of this, there are additional ways you can save as well. Choosing a higher voluntary excess can bring down your overall premium – but remember to only choose a price you can afford should you need to make a claim.
“And if you can, paying annually will save you money too, as monthly payments can incur an interest charge. If these aren’t viable options, things like increasing your security or reviewing your mileage to be more accurate could make a difference when quoting.
“Ultimately, shopping around is the only way to know you’re paying the cheapest price available to you. With prices so high, it’s a very competitive market. So if you look around, there’s likely to be an insurer out there willing to offer a cheaper price.
“We’re so certain that we offer a guarantee to beat your renewal, or pay you the difference, plus £20(2). In this scenario, you not only get the best price, but you also get more cash. So there’s nothing to lose and lots to be gained.”
We would love to learn some songs from non-English speaking families to celebrate Bookbug Week this year!
Would you like to share any with us?
If so, send us a message or speak to us at the library desk. We will ask you to teach us your song or rhyme and then we will use it in a special session in #BookbugWeek2024!
PY Spring Programme 
