Letter to MP about touring post Brexit
Dear Anne Marie Morris
I write as both a musician and concerned constituent about the potential decimation of the UK music scene and how I’d like you use whatever influence you have to stand up for UK musicians and the Arts so they can remain world-leading. The UK has an exceptionally diverse music scene, from classical to grime; spreading the UK’s soft power and influence across the world.
I’m a classically trained tenor and conductor and have lost all my performance work over the last twelve months due to the pandemic and my future work has been made more uncertain by the visa confusion surrounding the Brexit agreement. Furthermore, a third of UK musicians say they may well leave the profession for good.
As I’m sure you know, the UK music scene contributes greatly to the economy. During 2019 it made £5.8bn for the UK and significantly, 20% of that came from live touring, The entertainment industry as a whole, is worth over £111bn for the UK. As a consequent of the Brexit deal in December there aren’t workable solutions that will sustain the UK music scene, especially for classical artists and smaller groups and bands.
Whilst I have no interest in re-litigating the arguments surrounding Brexit, it is also true that the Brexit agreement reached with Brussels is also a template for the future to be built upon over time. Negotiations should therefore begin in earnest now to find a solution to this problem, especially as we have the time before live performance begins again, to work this out.
So what are the problems?
Visas/Travel
“Whereas previously UK nationals were able to move around the EU freely, from this Friday they will need a visa for stays of longer than 90 days in a 180-day period, and there will be restrictions on their activities.
While three months will probably be enough to cover most bands' European tours, matters may be complicated by the fact there are different rules in place in different EU countries. The likes of Spain, Italy and Denmark, for example, require additional work permits.” (UK government music touring proposals were 'rejected by the EU' https://www.bbc.co.uk/news/entertainment-arts-55483105)
And:
“The costs of visas will hamstring UK based musicians for years to come if they aren’t able to play for foreign audiences or be asked, last minute to perform for a sick colleague.
What is galling is that government repeatedly assured the industry during 2020 that it understood the importance of friction free travel for musicians and would be working with the EU to achieve this aim.” (https://www.theguardian.com/music/2021/feb/12/brexit-is-destroying-music-why-has-the-government-let-this-happen)
Carnet rules
Larger bands and orchestras with lorries full of instruments and equipment will be affected because of ‘carnet’ rules, “Transport rules known as “cabotage” dictate that UK freight companies can only make two stops in the EU before returning home, making multi-city tours impossible with UK firms; business is likely to be lost to European freight companies who can travel freely between countries.” (https://www.irishtimes.com/culture/music/brexit-negotiators-screwed-up-deal-for-musicians-says-elton-john-1.4478917 )
The UK haulage industry accounts for 80 per cent of the European market and the current suggestion that British trucks register in Europe could easily mean major sound, lighting and video companies relocating to Europe. More information about the issue can be found here: (https://www.iq-mag.net/2021/01/eu-cabotage-rules-threaten-post-covid-19-touring/#.YCpJwC2l3aY)
Unintended consequences
More importantly, this won’t just effect established artists but those artists starting out at the beginning of their careers, especially if the ‘carnet’ cost of taking their instrument with them is more than the fee they are paid. We have an abundance of talent in this country and government must stretch every sinew to protect and promote it.
Collectively, such prohibitive measures will severely impact the ability of musicians to freely travel and disadvantage UK based musicians, compared to their European colleagues.
This issue is separate to the Chancellors Cultural Recover fund, which was gratefully received by the industry. Rather this is about establishing a workable future for UK musicians. As the very existence of the fund proves, the UK Arts, although the envy of the world, are part of a fragile eco-system, easily buffeted by change, red tape and needless bureaucracy.
As Joe Middleton writes in his article, “Music is one of the true miracles of human endeavour. The intellectual rigour, the creativity, the empathy it demands of us can help us understand humanity. One of the greatest joys is the exchange of ideas with others from different backgrounds and diverse cultures. Take away the ability to move freely as a musician, and up goes a barrier. Composers, performers and audiences will all suffer.” Surely therefore, the UK music scene is emblematic of what ‘Global Britain’ is all about, the spread of our national identity and influence through soft power.
Such practical measures are mutually beneficial, a reciprocity which will sustain and grow the UK music scene at home and abroad. The irony at the heart of Brexit, of taking back control, is, as this situation bleakly illustrates, the loss of the rights of UK citizens.
However, it isn’t too late, something can be done and I implore you to please be our advocate in helping find practical solutions instead of mitigating responsibility by apportioning blame to the EU; just like UK musicians at present, the EU is going nowhere.
Yours sincerely
Richard Robbins