A quarter of UK musicians will lose all EU jobs from 2021, report finds | Music

More than a quarter of British musicians will lose all their EU jobs by 2021, according to new research.

The report and European Movement UK, a party group promoting UK-EU relations, found that almost half of UK musicians will see their EU jobs reduced from 2021, while more than a quarter will lose them entirely.

Average touring costs have dropped by 45%, with 59% of musicians saying touring in Europe is not feasible.

Tom Kiehl, chief executive of UK Music, said the findings highlighted a serious problem in the creative economy, although he pledged to support the exchange.

“This research covers our experience of our £8bn music sector and the 220,000 jobs it supports, but the issues highlighted – particularly on the mobility and barriers to British and EU professionals working in each other’s environments – are very relevant to other production industries, including film, TV and video,” he said.

Under the “common understanding” in the UK-EU agreement reached in 2025, both sides are committed to supporting travel and cultural exchange, he added.

But, said Mr Kiehl, “moving to the EU remains a difficult economic situation after Brexit for many musicians and musicians, which hinders our efforts to expand our creative sectors.

Mig Schallache is the owner of Louisiana in Bristol, a music venue that has hosted Coldplay and Amy Winehouse.

“Because of Brexit, we are getting fewer artists from Europe,” he said. “But the problem it creates is that there aren’t enough artists in the UK to make records.”

He also spoke about the impact felt on restricted travel, lost work, reduced exports, weak ties and limited opportunities for audiences on both sides of the Channel.

“Pre-Brexit, it was easy for UK bands to go to Europe, but now it’s impossible,” he said “UK bands used to do a UK tour, then go to Europe and play European shows.

UK manufacturers now face different visa regimes in each EU member state, along with new work permit requirements and the Schengen rule of 90 days in 180 to limit the time they work across the bloc.

These combined restrictions, the report said, make long-distance transportation and cross-border cooperation more difficult to plan.

For emerging artists and small operators, the added costs and administrations can completely eliminate the financial feasibility of international travel.

The survey also shows that EU professionals and cultural professionals face barriers when working in the UK, which restricts the flow of talent in both directions.

The report provides a number of financial implications for traveling artists. Temporary Admission carnets (ATA) – customer documents that allow weapons and equipment to cross the border – can cost more than $ 400, and the security deposit up to 40% of the cost of the equipment. For musicians, this can be between £2,000 and £5,000 for an EU tour.

It also introduces rules to limit the number of stops that UK carriers can make within the EU, and increase costs for transport, small events and exhibitions. EU carriers face similar restrictions to the UK.

The loss of Creative Europe funding is also cited as a major problem. Between 2014 and 2020, the program invested €111m in 376 UK organisations, supporting research and development, co-production, trade fairs and European networks. Its absence, the report says, has been felt most by independent producers and SMEs.

Music alone contributed £8bn in 2024, including almost £5bn in exports, while the sports sector contributed over £11bn.

The report concludes that unless barriers to mobility are addressed, the UK could weaken a significant sector not only in terms of jobs and growth, but also in terms of its cultural reach abroad.