A new report has revealed that more than a quarter of British musicians have lost all their European Union work since 2021, with average tour earnings falling by 45%. The research, conducted by European Movement UK, a cross-party campaign group advocating closer UK-EU relations, found that nearly half of UK musicians have seen their EU work reduced, while 59% say touring in Europe is no longer financially viable.
Impact on the Creative Economy
Tom Kiehl, chief executive of UK Music, stated that the findings reflect a wider crisis across the creative economy. He noted that the research covers the experiences of the £8 billion music sector and the 220,000 jobs it supports, but the issues highlighted are also relevant to other creative industries such as film, TV, and video.
Under the UK-EU “common understanding” agreed in 2025, both sides committed to supporting travel and cultural exchange. However, Kiehl emphasized that “touring the EU remains financially unviable post-Brexit for many musicians and performers, hindering our efforts to grow our respective creative sectors.” He called for barriers to be removed.
Venue Owners Speak Out
Mig Schallache, owner of The Louisiana in Bristol, a music venue that has hosted acts like Coldplay and Amy Winehouse, highlighted the consequences. “Because of Brexit, we’re getting less and less artists from Europe,” he said. “But the problem that creates is that there aren’t enough artists in the UK to fill diaries.” He also spoke of cancelled tours, lost work, reduced exports, weakened collaboration, and fewer opportunities for audiences on both sides of the Channel.
“Pre-Brexit, it was so much easier for UK bands to go to Europe, but now it’s pretty much impossible,” Schallache added. “UK bands used to do a UK tour, then go to Europe and play European shows. But now that’s just not feasible because it’s not cost effective.”
Barriers and Costs
UK creatives now face different visa systems in each EU member state, new work permit requirements, and the Schengen 90-days-in-180 rule limiting time spent working across the bloc. These combined restrictions make extended touring and cross-border collaboration increasingly difficult to plan, especially for emerging artists and smaller operators.
The report sets out direct costs affecting touring artists. Temporary Admission (ATA) carnets – customs documents allowing instruments and equipment to move across borders – can cost more than £400, with security deposits of up to 40% of equipment value. For orchestras, this can amount to between £2,000 and £5,000 per EU tour.
Cabotage rules limit the number of stops UK hauliers can make within the EU, increasing costs for touring productions, small acts, and exhibitions. EU hauliers face similar restrictions in the UK.
Loss of Creative Europe Funding
The loss of Creative Europe funding is also cited as a major blow. Between 2014 and 2020, the programme invested €111 million in 376 UK organisations, supporting research and development, co-productions, trade fairs, and European networks. Its absence has been felt most acutely by independent producers and SMEs.
Music alone contributed £8 billion in 2024, including nearly £5 billion in exports, while the performing arts sector contributed more than £11 billion. The report concludes that unless barriers to mobility are addressed, the UK risks further weakening a sector central not only to employment and growth but also to its cultural reach abroad.
