Wind farm nimbyism means 10,000 jobs just went to Ireland

We're saving money, but Ireland is getting the work.

Yesterday the UK and Irish governments signed an agreement that could see British businesses and consumers funding wind farm developments in Ireland that will export electricity to the UK. As a way of mollifying wind farm critics and keeping costs down, the UK government’s approach is understandable. But the majority of Brits who favour wind power may question why they are paying for jobs in Ireland when unemployment is still at 7.7 per cent at home.

The scale of wind farm development in Ireland that may result from yesterday’s agreement is huge. One project alone, called Greenwire, could see 700 wind turbines with 3GW of generating capacity being built. The UK has a target to generate 30 per cent of its electricity from renewables by 2020 so this project could contribute a tenth towards that goal.

To enable projects like Greenwire to go ahead the UK Government will need to provide financial incentives to developers. If they use the same approach as has been proposed for developments within the UK, the government will guarantee developers a set price for the energy they produce. The money required to meet this guarantee will come from increases to the energy bills of consumers and businesses.

In one sense this is a sensible move. Despite onshore wind power being the cheapest renewable technology, there is a vigorous campaign against expanding its use in the UK. If the growth of onshore wind is restricted and options for producing renewable electricity are limited to the UK’s borders, more expensive technologies, particularly offshore wind, will be needed as an alternative. The Greenwire developers claim their project will actually save consumers and businesses £7 billion compared with a scenario in which an equivalent amount of offshore wind was built.

So far, so good. But there is a catch: by outsourcing the generation of cheap onshore wind power to Ireland, Britain will miss the opportunity to create good quality jobs, develop skills and secure a comparative advantage in a burgeoning sector with huge global potential. Greenwire alone will create 10,000 new jobs in Ireland during its construction phase and 3,000 jobs in the longer term, so the developers claim. These are jobs that could be going to Brits.

Greenwire is a concrete example of how anti-wind farm campaigns could cost the UK jobs and growth.

Campaigners tend to be concerned about the aesthetic impact of wind turbines on the countryside and this must be taken into account. Less valid, however, are claims often made about the effectiveness of wind power technology. The Institute for Public Policy Research has shown that wind power is an effective way to reduce carbon emissions. Furthermore, challenges posed by the variable nature of how much electricity wind farms produce, because the wind doesn’t always blow, are often overstated. This variability can be easily accommodated by the grid, posing no threat of power interruptions, at the levels of deployment expected for the technology by 2020.

The scale of opposition to onshore wind often seems larger than it is. This is because campaigners concerns have been amplified by certain segments of the press and championed by several government ministers including the Energy Minister, John Hayes. In fact most of the UK public consistently supports expanding the use of the technology.

These supporters should get angry if their money is used to support wind farms in Ireland instead of the UK, because major job and economic opportunities will be lost.

Editor's note: The headline of this piece was changed on 25 January at 15:45

Wind farms. Photograph: Getty Images

Reg Platt is a Research Fellow at IPPR. He tweets as @regplatt.

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Young people want big ideas – that's why I refuse to dumb down Radio 4

My week, from finding a way through the fog to getting the quarterly audience figures.

I walk to work through Regent’s Park, when possible accompanied by my dogs, which my husband then collects on his bike ride and takes home. If there is time we have coffee together in the small hut just before the inner circle. This is a good way to listen to the Today programme, I find, as I can keep one ear in, achieve a rational, critical detachment and still enjoy the birds, and then add the other ear if a strong interview demands immersion, or take both out altogether when despair creeps up. On the subject of Today, I hope to have some fun with Sarah Sands, whom we have just appointed as the programme’s new editor; it’s good to see an experienced woman brought in at a senior level to the BBC.

 

A winter’s tale

The park through the seasons has become something of an addiction, measured out by inspired planting of appropriate annuals, the names of which I note and discuss with the gardeners when I dare interrupt them.

Memorable events occur quite frequently during this walk: I once stumbled upon a proposal of marriage involving a beautiful young woman who once had worked for me; an elderly Chinese gentleman practises t’ai chi regularly at a certain spot and I imagine talking to him about the changes he has seen in his lifetime back home. I have seen a rare green woodpecker on the grass pecking boldly in plain sight, and hopeless ducks, silent, puffed up, marooned in the fountains, unable to find their way back to the ponds, so close by.

At the start of winter, while walking home one day, I got stuck in the park, with a group of other stragglers, as the gates locked with the onset of darkness. Rather than retreating the way I had come, I accepted the offer (from a rather good-looking stranger) of a lift down from the top of the gate. The atmosphere then was alive, exhilarating, with crowds heading for the Frieze Masters marquee. How different it all is now, in 2017. There’s a new mood, a new American president, a new era.

 

Musical interlude

Recently, Roger Vignoles – the glorious pianist and a close friend – was playing, as he often does, in a lunchtime concert recorded for Radio 3 around the corner from Broadcasting House at the Wigmore Hall, with the baritone Roddy Williams. French songs: Fauré, Poulenc, Honegger, with a handful from Caplet (the latter quite new to me). All thoughts of politics fled, giving way to “L’adieu en barque”, set late one summer’s day on the river, a moment to clear the fog, both within and enveloping us that day in London.

I left an hour later in clear sunshine, feeling smug because we have commissioned Roddy’s Choral ­History of Britain for Radio 4 later this year.

 

Power trip

Waiting for coffee to brew, I was discussing Book of the Week with Gill Carter, commissioning assistant on this slot, when my drama commissioner, Jeremy Howe, put his head round the door. “Clarke Peters (yes, the one from The Wire) is here reading The Underground Railroad for Book at Bedtime.” Assured, deep tones rang out from a tiny studio on the third floor. “I have to keep stopping,” he said, as I thanked him.

Who could not be overcome by this story of slavery and bravery at this moment in American history? I am so glad to bring it to listeners this month. “Can you help?” the producer pleaded as we left. “We’re about to be thrown out of the studio.” That’s real power, I thought, as ten minutes later Jeremy had conjured up the extra time.

Clarke Peters will be back in the autumn with a series about the real history of black music in the UK which, he says, is little understood.

 

Culture and anarchy

This is the time of year when we launch the commissioning round calling for big ideas for next year. It’s a humbling thing to stand in our beloved art-deco Radio Theatre in front of hundreds of programme-makers, hoping that they will be inspired to bring “the best which has been thought and said in the world” (my guiding principle from Matthew Arnold).

I try on these occasions to lay out a little of how I see the shape of the world in the commissioning period ahead. This year the Loneliness of the Long-Distance Runner overcame me. Better perhaps simply to outline the way we commissioned the first week of 2017 to catch the mood. T S Eliot, more or less all New Year’s Day, read by the formidable Jeremy Irons, raised an echo of the Thirties, then a factual series of considerable documentaries across the week described The New World, followed by writers around the globe Imagining the New Truth.

Finally, inspired by Twelfth Night and the spirit of misrule, the comedy writer John Finnemore, one of our favourites, took over as the Lord of Misrule himself.

The imaginative world and writers have never been more needed. Whether it is truth or post-truth, I suspect that dramatic, imagined and creative truth when properly achieved is probably the nearest we can ever get to truth itself.

 

Tuning in

It’s the week of Rajar. These are quarterly audience figures for radio. In the past few months, they tell us, over 11 million people have listened each week to BBC Radio 4, setting new records. Just under half are below our average age of 56 and 1.5 million are under 35. At the moment we seem to have over two million weekly visitors to the website and roughly 20 million monthly global downloads.

Who says young people don’t want intelligent content? Who says that dumbing down is the only way to attract big audiences? We at Radio 4 try to be all about smartening up. We mark Rajar Day (whether the numbers are up or down) with cake, so I make my way to Paul for two tarts, pear and blueberry this time.

Gwyneth Williams is the controller of BBC Radio 4

This article first appeared in the 16 February 2017 issue of the New Statesman, The New Times