The Tories draw level with Labour in new poll

The latest YouGov poll shows the two parties tied for the first time since March 2012 but the figures would still leave Labour just three seats short of a majority on a uniform swing.

Just in time to create some more pre-conference jitters for Labour, today's YouGov poll shows the party tied with the Tories for the first time since George Osborne's kamikaze Budget in March 2012. The Conservatives and Labour are on 36%, with UKIP on 12% and the Lib Dems on 10% (no sign of a conference bounce there).

Time will tell whether it's an outlier (YouGov has recently shown a Labour lead of around four points) but a year ago, when they trailed Labour by margins as great as 14 points, few Conservatives would ever have expected that they'd draw level just 12 months later.

On a uniform swing, the poll would still leave Labour just three seats short of a majority. This apparent bias has less to do with the unreformed constituency boundaries than it does with differential turnout (fewer people tend to vote in Labour constituencies) than it does to unequal constituencies. As a report by the University of Plymouth concluded: "The geography of each party's support base is much more important, so changes in the redistribution procedure are unlikely to have a substantial impact and remove the significant disadvantage currently suffered by the Conservative Party."

It's important to remember that uniform swing calculations are an unreliable guide to election outcomes since they don't take into account factors such as the incumbency bonus and above-average swings in marginal seats. Had there been a uniform swing in 2010, the Conservatives would have won 14 fewer seats, Labour eight more and the Lib Dems five more. But even if, as seems likely, the Tories perform disproportionately well in their existing seats, they will still need a lead of around three points over Labour to remain the largest party.

It does raise the possibility that the Tories could win the most votes with Labour winning the most seats (the reverse of the 1951 election). When I recently asked Lib Dem president Tim Farron how his party would act under this scenario, he said that while "morally" it should ally with the party with the most votes, "the arithmetic" meant it would have to favour the largest in parliament. But this rather ignores the fact that, unlike in 2010, both parties could conceivably win enough seats to form stable majority governments with Lib Dem support. As Andrew Adonis notes in his book 5 Days in May, Willy Brandt’s SPD administration in Germany and the current Swedish government are proof that second placed parties can legitimately assume power. The danger for the Lib Dems is that a dead heat in 2015 will cause a damaging schism between the party's Labour-leaning left and its Tory-leaning right. 

David Cameron and Ed Miliband walk through the Members' Lobby to listen to the Queen's Speech at the State Opening of Parliament on May 8, 2013. Photograph: Getty Images.

George Eaton is political editor of the New Statesman.

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Brexit confusion is scuppering my show – what next?

My week, from spinning records with Baconface, Brexit block and visiting comedy graves.

I am a stand-up comedian, and I am in the process of previewing a new live show, which I hope to tour until early 2018. It was supposed to be about how the digital, free-market society is reshaping the idea of the individual, but we are in the pre-Brexit events whirlpool, and there has never been a worse time to try to assemble a show that will still mean anything in 18 months’ time.



A joke written six weeks ago about dep­orting eastern Europeans, intended to be an exaggeration for comic effect, suddenly just reads like an Amber Rudd speech – or, as James O’Brien pointed out on LBC, an extract from Mein Kampf.

A rude riff on Sarah Vine and 2 Girls 1 Cup runs aground because there are fewer people now who remember Vine than recall the briefly notorious Brazilian video clip. I realise that something that gets a cheer on a Tuesday in Harrogate, or Glasgow, or Oxford, could get me lynched the next night in Lincoln. Perhaps I’ll go into the fruit-picking business. I hear there’s about to be some vacancies.



I sit and stare at blocks of text, wondering how to knit them into a homogeneous whole. But it’s Sunday afternoon, a time for supervising homework and finding sports kit. My 11-year-old daughter has a school project on the Victorians and she has decided to do it on dead 19th-century comedians, as we had recently been on a Music Hall Guild tour of their graves at the local cemetery. I wonder if, secretly, she wished I would join them.

I have found living with the background noise of this project depressing. The headstones that she photographed show that most of the performers – even the well-known Champagne Charlie – barely made it past 40, while the owners of the halls outlived them. Herbert Campbell’s obelisk is vast and has the word “comedian” written on it in gold leaf, but it’s in the bushes and he is no longer remembered. Neither are many of the acts I loved in the 1980s – Johnny Immaterial, Paul Ramone, the Iceman.



I would have liked to do some more work on the live show but, one Monday a month, I go to the studios of the largely volunteer-run arts radio station Resonance FM in Borough, south London. Each Wednesday night at 11pm, the masked Canadian stand-up comedian Baconface presents selections from his late brother’s collection of 1950s, 1960s and 1970s jazz, psychedelia, folk, blues and experimental music. I go in to help him pre-record the programmes.

Baconface is a fascinating character, whom I first met at the Cantaloupes Comedy Club in Kamloops in British Columbia in 1994. He sees the radio show as an attempt to atone for his part in his brother’s death, which was the result of a prank gone wrong involving nudity and bacon, though he is often unable to conceal his contempt for the music that he is compelled to play.

The show is recorded in a small, hot room and Baconface doesn’t change the bacon that his mask is made of very often, so the experience can be quite claustrophobic. Whenever we lose tapes or the old vinyl is too warped to play, he just sits back and utters his resigned, philosophical catchphrase, “It’s all bacon!” – which I now find myself using, as I watch the news, with ­depressing regularity.



After the kids go to sleep, I sit up alone and finally watch The Lady in the Van. Last year, I walked along the street in Camden where it was being filmed, and Alan Bennett talked to me, which was amazing.

About a month later, on the same street, we saw Jonathan Miller skirting some dog’s mess and he told me and the kids how annoyed it made him. I tried to explain to them afterwards who Jonathan Miller was, but to the five-year-old the satire pioneer will always be the Shouting Dog’s Mess Man.



I have the second of the final three preview shows at the intimate Leicester Square Theatre in London before the new show, Content Provider, does a week in big rooms around the country. Today, I was supposed to do a BBC Radio 3 show about improvised music but both of the kids were off school with a bug and I had to stay home mopping up. In between the vomiting, in the psychic shadow of the improvisers, I had something of a breakthrough. The guitarist Derek Bailey, for example, would embrace his problems and make them part of the performance.



I drank half a bottle of wine before going on stage, to give me the guts to take some risks. It’s not a long-term strategy for creative problem-solving, and that way lies wandering around Southend with a pet chicken. But by binning the words that I’d written and trying to repoint them, in the moment, to be about how the Brexit confusion is blocking my route to the show I wanted to write, I can suddenly see a way forward. The designer is in, with samples of a nice coat that she is making for me, intended to replicate the clothing of the central figure in Caspar David Friedrich’s 1818 German masterpiece Wanderer Above a Sea of Fog.



Richard Branson is on the internet and, just as I’d problem-solved my way around writing about it, he’s suggesting that Brexit might not happen. I drop the kids off and sit in a café reading Alan Moore’s new novel, Jerusalem. I am interviewing him about it for the Guardian in two weeks’ time. It’s 1,174 pages long, but what with the show falling apart I have read only 293 pages. Next week is half-term. I’ll nail it. It’s great, by the way, and seems to be about the small lives of undocumented individuals, buffeted by the random events of their times.

Stewart Lee’s show “Content Provider” will be on in London from 8 November. For more details, visit:

This article first appeared in the 27 October 2016 issue of the New Statesman, American Rage