Rough ride: how Uber quietly took more of your fare with its algorithm change

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More than a decade after being one of 19 Uber drivers who took the company to court in 2015, Abdurzak Hadi continues to drive for – and fight with – the ride hailing app,The group won their claim confirming their entitlement to the legal minimum wage – but the Silicon Valley company’s insistence that its drivers were self-employed contractors meant the case went all the way to the supreme court,In 2021, Hadi and friends won there too,If that sounds as if the British legal system left the former Somalian refugee in the driving seat, he argues that life for Uber workers is now as precarious as ever,On Thursday, academics at the University of Oxford – in conjunction with the non-profit gig worker organisation Worker Info Exchange (WIE) – launched a report analysing a mass of data relating to 1.

5m trips provided by 258 UK Uber drivers, who had used privacy legislation to extract their personal data from the ride-hailing app.The study gave a rare opportunity to study the workings of Uber’s technology and produced some eye-catching findings.It found that many Uber drivers have earned “substantially less” an hour since the app introduced a “dynamic pricing” algorithm in 2023, which is said to adjust trip prices in real time based on a number of factors.These include time, distance, the number of available drivers in the area, the passenger demand, traffic and the weather.The report found that these earnings drops coincided with the company taking a significantly higher share of fares.

The study unearthed further data suggesting that drivers such as Hadi are experiencing less and less control over their working lives.They described their days as being controlled by increasingly sophisticated pieces of computer code, which left them unclear how much Uber would take in fees on discrete jobs.“[The old system] was clear, transparent,” Hadi told the Guardian and ITV News.“You can calculate, you can see.Say, for example here it says about eight miles, so I know eight miles plus how long it took me, plus the starting fare, minus Uber’s fee, which is 20%.

Even when they increased it to 25%, I would exactly know how much.Exactly.”The new system has resulted in Uber taking a variable cut, or “take rate”, of 29% of a fare on average, rising to more than 50% in some cases, the University of Oxford researchers found.The study also found that Uber’s take rate increased on higher value rides – something the company has denied.The 29% figure appears to chime with disclosures within Uber’s latest quarterly results figures, which show that the company made $1.

2bn (£890m) of income from its operations in the first three months of this year,Meanwhile, the WIE estimates that UK Uber drivers lost out on $1,6bn in pay, as a result of Uber increasing its share of the fare, during the 12 months to March 2025,Uber said the UK take rate and lost earnings figures are inaccurate, and that its take rate had remained “steady” at 25%,The company added: “The Uber app reviews real-time information to provide the best price to appeal to the drivers in the area, helping to minimise waiting times for customers and maximise earnings.

Drivers are shown their earnings for the trip before they decide whether to accept,”But as Uber grows more confident in its calculations, those transporting passengers say they are becoming less so,A driver’s livelihood depends on their ability to guess what kinds of trips they will get at particular times and places, and how much those trips will pay,However, the University of Oxford study stated that “drivers frequently complained about the unpredictability of pay post-dynamic pricing”,It continued: “Any tacit knowledge drivers have built up over years about how much pay a given trip is likely to yield may no longer help them … the predictability of pay drastically changed after dynamic pricing was introduced.

”A company spokesperson said: “Uber drivers in the UK took home over £1bn in earnings between January and March of this year, which is up on the year before.“Drivers choose to drive with Uber because we offer total flexibility on when they work and provide full transparency over the trips they accept.“All drivers receive a weekly summary of their earnings, which includes a clear breakdown of what Uber and the driver received from trips.“We are proud that thousands of drivers continue to make the positive choice to work on Uber as passenger demand and trips continue to grow.”
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Eric Cantona and Ella Toone help meld football and art for Manchester festival

“Everybody needs his own ritual or way of preparing,” says the former Dutch footballer Edgar Davids. “Those minutes that you’re in the tunnel is where we’re going to start.”Davids is talking about a piece he has worked on alongside the artist Paul Pfeiffer in which the pair recreate the tension of the tunnel before a big game.The work will serve as the passageway into the “set piece” of this year’s Manchester international festival – Football City, Art United – where the beautiful game is moving off the pitch and into the artist’s studio.“It’s now more important than ever to bring things together,” says Hans Ulrich Obrist, who has co-curated the exhibition alongside Josh Willdigg and the former Manchester United midfielder Juan Mata

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At a festival, are you Elinor or Marianne? | Brief letters

Your articles presented two entertaining but very different approaches to kitting yourself out for a music festival (‘A godsend at 5am’, 12 June; Field the love, 13 June). One was all boots and head torches, the other pretty dresses and earrings. How appropriate, in this Jane Austen anniversary year, to see the contrasting demands of Sense and Sensibility so clearly set out.Mary RooksLeicester Adrian Chiles’ piece (Who could deny a hot, tired delivery driver the fruit from their cherry tree?, 12 June) reminded me of a tree we had at the front edge of our garden by the pavement. When its luscious red fruits were ripe, we’d often see someone pluck a handful, only to spit them out a moment later

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‘A giant parenting group’: how online comedians are making a living by laughing about the chaos of kids

Many Instagram-frequenting parents of small children will have seen George Lewis’s sketch about two toddlers discussing their feelings of abandonment and relief wrapped in a game of peekaboo.“It was a normal day, I was just playing with Dad. And then he put his hands in front of his face and he was just gone,” the British comedian and father says in the widely shared video. “He was behaving so erratically.”Life through a two-year-old’s lens – especially in relation to their sleep-deprived parents – is fertile ground for a growing group of online parent comedians whose content is clocking up millions of views

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Speaking out on Gaza: Australian creatives and arts organisations struggle to reconcile competing pressures

As cultural institutions respond to political statements on the war, many artists say they face a choice between career opportunities and standing up for their beliefsGet our weekend culture and lifestyle emailWhen Michelle de Kretser accepted the 2025 Stella prize on 23 May, the celebrated author shared a warning.“All the time I was writing these words, a voice in my head whispered, ‘You will be punished. You will be smeared with labels as potent and ugly as they’re false,’” De Kretser told the Sydney writers’ festival crowd. “‘Career own goal,’ warned the voice.”Earlier in her prerecorded speech, De Kretser had denounced what she called a “program of suppression” against creatives, scholars and journalists for “expressing anti-genocide views” in relation to Israel and Gaza

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Adam Hills: ‘I knew I should have gone to the King’s birthday but I really wanted to go to rugby training’

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Andrew Lloyd Webber is ‘hot again’ –with help from new kids on musicals block

When Andrew Lloyd Webber walked on stage to collect the Tony award for best musical revival for Sunset Boulevard, it was the first time in 30 years he had been recognised by the American Theatre Wing.The Jamie Lloyd-directed revival was the star of the show at American theatre’s big night last Sunday with its three wins signifying a return to prominence for the veteran composer.But this wasn’t just about one hit show starring a former Pussycat Doll.Look around theatreland on either side of the Atlantic and Lord Lloyd-Webber’s fingerprints are everywhere: a successful revival of Starlight Express (in the unlikely environs of Wembley); a forthcoming outing for Jesus Christ Superstar; Jamie Lloyd is directing Evita (starring Rachel Zegler) in London, there is a new musical called The Illusionist in the works, and cryptic messages announcing the return of Phantom of the Opera have sprung up around New York.Arguably, we have reached peak Lloyd Webber five decades after his work was first performed on stage