The Impact of Brexit on the UK Music Industry

TL;DR

Brexit created visa requirements, work permits, and customs regulations for UK musicians touring the EU. Some countries have bilateral arrangements; others remain bureaucratically nightmarish. The additional cost and complexity disproportionately affects emerging and independent artists.

What Actually Changed

Before Brexit, UK musicians could tour the EU freely — no visas, no work permits, no customs declarations for equipment. You booked a van, drove to France, and played gigs across Europe with the same ease as driving from London to Leeds.

Post-Brexit, the reality is dramatically different. UK musicians entering the EU now face a patchwork of regulations that vary by country. Some EU nations require work permits for paid performances. Equipment transported across borders requires ATA Carnets (customs documents that can cost hundreds of pounds). Merchandise is subject to import duties and VAT declarations.

The 90/180 day rule limits UK citizens to 90 days in the EU within any 180-day period — sufficient for short tours but problematic for extended touring, festival seasons, or artists who want to base themselves in Europe for periods.

The Impact on Emerging Artists

The impact of these changes falls disproportionately on emerging and independent artists. Established artists with management teams and booking agents can navigate the bureaucracy and absorb the costs. Emerging artists touring Europe in a van with a budget of £500 face paperwork, fees, and uncertainty that can make European touring economically unviable.

The cost of an ATA Carnet alone — typically £200-500 depending on the value of equipment — can represent a significant portion of an emerging artist's tour budget. Add work permit fees, potential visa costs, and the time required to navigate varying regulations across different countries, and the barrier to European touring becomes prohibitive.

The cultural impact is real too. UK artists are touring Europe less. European festivals report fewer UK artist bookings. And the cross-pollination between UK and European music scenes — which historically enriched both — is diminishing.

For an organisation like Noise, which champions emerging artists, this is deeply concerning. The ability to tour internationally is crucial for career development, and any barrier that limits this opportunity disproportionately for less resourced artists widens the gap between privilege and talent.

Workarounds and Solutions

Several EU countries have implemented bilateral arrangements that ease restrictions for UK musicians. Spain, Denmark, and others allow short-term performances without work permits under specific conditions. The ISM (Incorporated Society of Musicians) maintains an updated guide to the regulations in each EU country.

Carnet-free touring is possible for some equipment configurations, depending on value and the countries visited. UK government has negotiated some concessions, but the patchwork nature of regulations means artists need to check requirements for every country on their route.

Touring collectives — where multiple artists share transport, accommodation, and administrative costs — have become more common as a way to distribute the increased burden of European touring.

Some festivals and promoters now handle visa and permit arrangements for booked artists, recognising that the administrative burden would otherwise prevent bookings.

What Still Needs Fixing

The fundamental problem remains: the post-Brexit framework treats musicians as economic migrants rather than cultural exchange participants. A touring musician bringing instruments and merch into a country for a one-night performance faces similar paperwork to a business importing goods for sale.

The music industry has lobbied consistently for a cultural exemption or a dedicated touring visa that would allow UK musicians to work across the EU without country-by-country permits. Progress has been slow, but the pressure from industry bodies (UK Music, ISM, MU) and campaign groups continues.

For individual artists, the practical advice is: plan early, budget for the additional costs, research each country's specific requirements, and consider using a specialist touring services company for European runs. The era of simply jumping in a van and driving to Europe is, unfortunately, over.

The music industry is fundamentally international. A framework that makes international collaboration harder — especially for those at the beginning of their careers — diminishes the UK's musical output and cultural influence. This isn't a political opinion; it's an observable reality that needs continued attention and advocacy.