FAC and MU call for blanket ticket levy in UK
The Featured Artists Coalition (FAC) and Musicians’ Union (MU) have spoken to IQ after jointly penning an open letter calling for a blanket ticket levy to share the cost of investing in the future of the UK live scene.
In the midst of a “cost of touring crisis”, the government is expected to respond imminently to the Culture, Media and Sport (CMS) committee’s report on grassroots live music, published in May, which called for a process for an arena-level levy to safeguard grassroots venues to be put in place “before September 2024”.
But despite Coldplay pledging to donate 10% of proceeds from their 2025 UK stadium dates to the Music Venue Trust, and Sam Fender vowing that £1 from every ticket sold for his upcoming UK shows will go to the organisation, a levy is yet to come to pass.
The LIVE Trust, an industry-created charitable body which would collect and distribute funds, is currently in the process of being set up with the UK charity regulator.
As a result of the delay, FAC CEO David Martin, who gave evidence to the CMS committee alongside Lily Fontaine from Mercury Prize winners English Teacher, says he is “increasingly concerned about the direction of travel”.
“Today, we call on the government to help get this conversation back on track to deliver the £1 ticket levy that grassroots live music so desperately needs,” he says.
Moreover, the organisations insist that “just supporting venues in itself will not save grassroots music”.
“The entire ecosystem needs support, and especially the artists and musicians who perform on the stages in those venues,” says the letter. “This is how we will develop new artists and audiences, ensuring that it’s viable for artists to progress through the live sector – from grassroots venues to arenas.”
“We urgently need to see the introduction of a robust and sustainable funding mechanism, allowing artists to carry out tours without significant risk”
The FAC and MU argue the levy must be implemented on a blanket basis “so that the responsibility is shared across all of those that contribute to the live industry”.
“While it is remarkable that some artists have voluntarily come forward to offer individual support, this burden should not be placed at the door of individual, British artists on an ‘opt in’ basis,” they say. “This blanket approach will ensure a level playing field for UK artists and that the whole of the live sector shares the cost of investing in the future of live music in the UK.
“Unless we return to the consensus position of May 2024, where the entire grassroots sector can benefit from a ticket levy, we risk causing irreparable harm to British music. We are encouraging artists, fans and the wider industry to show their support for this open letter by signing our petition.”
Kelly Wood, head of live at the MU, adds: “If artists can’t rely upon a healthy and financially viable grassroots live sector, the industry as a whole suffers. We urgently need to see the introduction of a robust and sustainable funding mechanism, allowing artists to carry out tours without significant risk. Without this kind of support, we will lose artists from the music community, and the talent pipeline will be severely disrupted.”
Speaking to IQ, the pair explained what would happen if an artist declined to participate in the scheme, or preferred to support a cause of their choosing with a ticket add-on.
“We support a blanket, industry-wide levy to be implemented by the live sector in order to ensure that the whole ecosystem contributes”
“We support a blanket, industry-wide levy to be implemented by the live sector in order to ensure that the whole ecosystem contributes, and to avoid individual artists being burdened with the decision about opting in,” they say. “Where that can’t be agreed, we will campaign for a government intervention.
“Artists are of course free to support any cause that they wish, and already do. Additionally, there are already a number of fees and levies placed on tickets which are not voluntary and which artists have no say over the distribution of.”
Martin and Wood say a £1 levy, implemented on a blanket basis, would provide clarity on the collection mechanism, the amount and the purposes it is used to support, as well as ensuring it can be used to support the grassroots in its entirety.
“Furthermore, any Trust or body that is set up to distribute the level should have significant representation and expertise from the artist community, to ensure that the distribution of any levy is done in a manner that adequately supports grassroots artists,” they tell IQ.
The duo say they remain supportive of the creation of the LIVE Trust “as a vehicle for collecting and distributing a levy”, though the open letter expresses concern over the industry’s “ability to enact the mechanism voluntarily”.
“In its absence, donations made by arena-level artists won’t necessarily lead to direct funding opportunities for artists performing at grassroots level,” it concludes. “Therefore, we believe that the government should retain the option to intervene and implement a statutory levy. Our organisations will campaign to bring forward such steps if necessary.”
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Music charities report uptick in mental health issues
UK-based charity Music Support is reportedly supporting a record number of live and music industry professionals, after seeing a 51% increase in calls to their helpline over the past year.
In a new survey, the organisation detailed challenges facing industry executives — including drug and alcohol problems, mental health issues, and suicidal thoughts — are up across the board, steadily increasing from last year’s report.
In addition to a steep increase in helpline calls, Music Support revealed that nearly half of respondents divulged mental health problems, rising from 40% last year.
More than one-fourth of respondents stated drug and/or alcohol problems, up from 19% in 2023, and 21% said they had suicidal thoughts in the past year, up from 18% last year.
“Whilst the increase in demand for our services is a concern, we are also encouraged that stigmas around mental health and problematic substance use are breaking down and people are more willing to reach out for help,” says CEO Joe Hastings.
Responses were collected from on- and off-stage individuals across Music Support’s Safe Hubs at summer festivals, a service it has offered since 2016.
“It’s vital that those who work in music know there is somewhere they can turn for their mental health”
Elsewhere, Music Minds Matter (MMM) announced its first batch of partners in the creation of Music Minds Matter Allies. The mental health-focused industry charity will work alongside the six organisations to help connect their networks to support, co-develop new resources, and facilitate connection and collaboration through communal events.
The first set of allies include the BIMM Music Institute, the British Phonographic Industry (BPI), the Featured Artist Coalition (FAC), the Music Managers Forum (MMF), the Musicians’ Union (MU), and We Are The Unheard (WATU).
“A life in music is full of uniting highs but sadly the hours, pace and passion can have an impact on wellbeing too,” says Sarah Woods, chief executive of Music Minds Matter and Help Musicians. “It’s vital that those who work in music know there is somewhere they can turn for their mental health and we want to ensure that messages spreads to all who need us.”
“With our Music Minds Matter Allies, we can work together to develop more supporting resources and reach so many more who need support, whether a venue booker, artist manager, festival owner, record producer or label accountant.
“Music Minds Matter is here for everyone working in music at any time and we’re so pleased to work with our Ally organisations to ensure that help and guidance reaches those in need now, or those who may need it in the future.”
“Having artists talk about their mental health struggles allows us to normalize the conversation around mental health”
This year alone, Music Minds Matter has supported over 3,300 people working in music, and research has shown that industry professionals are at a higher risk of experiencing depression and other mental health-related illnesses.
Those working in the music industry may be up to three times as likely to experience depression compared to the general public, a MMM survey revealed.
MMF chief executive Annabella Coldrick emphasised the importance of allyship for the industry: “Against a backdrop of cutbacks elsewhere in the music business, managers are under increasing pressure, shouldering a greater range of responsibilities and expected to deliver on multiple fronts. It can be an incredibly stressful and isolated role.
“Taking a more tailored approach that listens to the concerns of managers and provides them with bespoke mental health resources is, we feel, the best way to alleviate these challenges.”
In response to these challenges, Live Nation recently launched a “music meets meditation” app in collaboration with Mindful Nation. Created by Niamh McCarthy, former assistant manager to Madonna and U2, the app is purposed to help artists and professionals find balance in the rigours of touring.
“Having artists talk about their mental health struggles allows us to normalize the conversation around mental health and opens a space for others to also share their experiences and struggles with mental health, anxiety and depression,” McCarthy says.
“Creating boundaries for self-care can feel hard but ultimately helps not only the performer but the crew and those around them to also prioritize their needs creating for a happy and safer tour experience.”
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UK general election: What the live biz wants
As the United Kingdom gears up for next month’s general election, a range of music organisations have told IQ how the new government can best help the live business.
The main political parties have now put out their manifestos ahead of the 4 July vote, with varying degrees of support for the arts. Labour, the party currently leading all opinion polls to form the UK’s next government, has reiterated its pledge to cap ticket resale if it wins the election.
“Access to music, drama and sport has become difficult and expensive because of ticket touting,” it states. “Labour will put fans back at the heart of events by introducing new consumer protections on ticket resales.”
While stressing that Britain will remain outside the European Union, the party vows to improve EU touring for UK artists.
“Labour will work to improve the UK’s trade and investment relationship with the EU, by tearing down unnecessary barriers to trade,” it says. “We will seek to negotiate a veterinary agreement to prevent unnecessary border checks and help tackle the cost of food; will help our touring artists; and secure a mutual recognition agreement for professional qualifications to help open up markets for UK service exporters.”
Touring regulations also feature in the Liberal Democrats and Green Party manifestos, with the former saying it would push to “negotiate free and simple short-term travel arrangements for UK artists to perform in the EU, and European artists to perform in the UK”, and the latter promising to “ensure that musicians have access to visa-free travel to the EU through negotiating a reciprocal arrangement at the earliest possible opportunity”.
“This will be a government seeking to kickstart economic growth, and implementing the right policies to support the live music sector”
The Lib Dems also set out their desire to “protect fans from being exploited by ticket touts by implementing the Competition and Markets Authority’s recommendations to crack down on illegal ticket resale”.
The Conservatives, meanwhile, pledge to “extend our Community Ownership Fund to help more communities across the UK take control of vital community assets like pubs, music venues, libraries, green spaces, leisure centres and more”.
Stressing its support for apprenticeships as “a key pipeline of talent into our world-leading creative industries”, the party adds: “We will work with industry to deliver a dedicated flexible coordination service so that everyone who wants to work in the film, TV, gaming and music sectors can work on live productions whilst benefiting from at least 12 months of secure training.”
Jon Collins, CEO of LIVE (Live music Industry Venues and Entertainment), which serves as the collective voice of the UK live music business, says the trade body is looking forward to working with the next government on “a range of issues that require a fresh focus, considered investment and informed action”.
“With Labour likely to form that government, it is very encouraging to see many of our key asks set out in their manifesto and their action plan for the arts, culture and creative industries,” he says. “This will be a government seeking to kickstart economic growth, and implementing the right policies to support the live music sector with a value of £5.2 billion will deliver that growth – both domestically and internationally.
“Labour is committed to facilitating easier touring arrangements with the EU which will critically drive up activity; the current provisions have seen a 74% drop in activity and left orchestras either unable to tour or facing prohibitive costs. We welcome Labour’s support for our grassroots sector and look forward to working with ministers to ensure grassroots music venues are able to thrive, update them on the progress of the LIVE Trust, and ease the trading environment through business rates reform.”
“The rest of the world recognises this country as a beacon of music innovation, and it’s vital that an incoming government maximises that potential”
Collins adds: “Whilst not a manifesto commitment, we will be looking to the next government to act on the recommendations made by the Culture, Media and Sport Committee in their recent report (May 2024) on grassroots music venues to reduce VAT on tickets and undertake a comprehensive economic analysis of the impact of a reduced rate applied across the sector.
“We are pleased that Labour has committed to take forward our proposals published in our Live Music Manifesto on secondary ticketing and reforming the apprenticeship levy. LIVE will work with the next government on plans to deliver Martyn’s Law in a way that protects fans without putting unnecessary burdens on venues and festivals.”
Last week, the Music Venue Trust (MVT) published a report entitled, A Manifesto for Grassroots Music, which outlined the steps the charity says are required in order to stem the closures of grassroots music venues and bring stability to the sector.
“In 2023, of the 366 small music venues Ed Sheeran played while learning his trade, at least 150 are now closed,” said MVT CEO Mark Davyd. “Another 72 grassroots music venues significantly reduced or ended their live music offer. 38% of GMVs in the UK made a loss in the last 12 months. The sector operated on a 0.5% profit margin overall while running live music events at a £115 million loss.
“All of this can be changed if the next government delivers the five simple steps we have set out.”
Music Managers Forum (MMF) CEO Annabella Coldrick highlighted touring, the grassroots scene and streaming as key areas of concern.
“When the general election was called, the industry was in deep discussion with policy makers about reforms to music streaming and to grassroots live music,” she says. “In the next parliament, those discussions must be transformed into tangible actions – and fast! Our artists and music makers deserve nothing less.
“Underpinned by those reforms, it’s really important that music, culture and the creative industries are at the heart of the UK’s business and growth strategy. The rest of the world recognises this country as a beacon of music innovation, and it’s vital that an incoming government maximises that potential – for instance, by negotiating new improved touring arrangements for UK artists wanting to perform in Europe, and by addressing our concerns about exorbitant visa fees for the US. Both have been a real focus for the MMF, and for the FAC, with our joint #LetTheMusicMove campaign.”
“To reset the market, we want the UK to follow the example of Ireland and outlaw ticket resale for profit”
David Martin, CEO of the Featured Artists Coalition (FAC), says: “The FAC’s priority is to ensure that the momentum to drive forward artist-friendly reforms of streaming and the sustainability of the live music ecosystem continue into the next Parliament. The next government must take forward the work that was started by the Culture Media & Sport Select Committee in these areas. We can’t let progress slip.
“There are plenty of challenges facing our industry, but with a UK music strategy for growth the next government can maximise its untapped potential. Through practical changes to the way we do business – such as implementing fair royalty rates or a live ticket levy that directly supports artists – British music will thrive. The new government should legislate on these issues if industry consensus cannot be found.”
Unsurprisingly, the focus for Adam Webb, campaign manager of of anti-touting pressure group FanFair Alliance, is on cleaning up secondary ticketing.
“To reset the market, we want the UK to follow the example of Ireland and outlaw ticket resale for profit,” he tells IQ. “Thankfully, because of FanFair’s campaigning, this is firmly on the radar of politicians. The Labour Party has already committed to introducing a 10% cap on resale prices, and action against ticket touting is one of the key music-related pledges in their manifesto. The Liberal Democrats also have a manifesto commitment to clamp down on speculative ticketing and other anti-consumer practices.
“Alongside that, I’d like to see the Competition & Markets Authority provided with new enforcement powers. The UK’s ticket resale market is not highly regulated. We need that to change, and for capped consumer-friendly ticket resale to be made more visible and viable.”
Meanwhile, the Association of Independent Festivals (AIF) plans to resume its Five Percent For Festivals campaign – calling for a reduced VAT from 20% to 5% on ticket sales for the next three years – post-election.
“We are delighted to see so many references to music and meaningful commitments that will change our members’ lives for the better”
“I think there will be intervention. My concern is that by the time something does happen, how many [festivals] will have gone?” AIF CEO John Rostron told IQ earlier this month. “What’s good for us is there is an election about to happen, so we’ll have a new group of politicians with a five-year mandate, and that is stronger to work with than where we were, which was with a group of MPs that didn’t know how long their futures would be.”
Elsewhere, the Musicians’ Union (MU) has welcomed the Labour Party Manifesto, saying it tackles many of the issues the organisation has raised with the party on behalf of members.
“The MU is Labour-affiliated and, along with fellow unions, we have been involved in shaping policy for a Labour government for many years now,” says MU general secretary Naomi Pohl. “Having not had significant access to Conservative ministers, with a few notable exceptions, we have a chance of a government that prioritises the arts and wants to engage with us on issues facing musicians.
“This is the first time that the MU has been so directly involved in the Labour Party manifesto process and had a chance to influence the final document. We are delighted to see so many references to music and meaningful commitments that will change our members’ lives for the better.
“While we know our membership is a broad church politically, we would be missing a once in a generation opportunity if we didn’t encourage musicians to vote Labour. This is an opportunity to shift the dial for the creative workforce of today and tomorrow.”
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Musicians’ Union backs FAC’s 100% Venues scheme
The UK’s Musicians’ Union (MU) has given its backing to the Featured Artists Coalition’s (FAC) 100% Venues initiative, which encourages venues to allow artists to sell merchandise without charging commission fees.
The FAC launched the 100% Venues scheme – a public directory of music venues that charge zero commission on the sale of merchandise – in 2022 in a bid to address the “outdated and unfair” practice of performance spaces taking a cut of acts’ merch proceeds at gigs.
The MU, which represents over 32,000 musicians working in all sectors of the music business, says the work being done by the FAC to highlight the issue aligns with its own Fair Play Venue database, which includes details of UK venues that have committed to engage artists in line with the Fair Play Guide.
“We’re delighted to show our support for the 100% Venues initiative, which is becoming a vital resource for musicians in the UK,” says Kelly Wood, national organiser, live, theatre & music writers – Musicians’ Union. “Touring remains a key part of many artists’ careers, and whilst it can help to grow fanbases and support releases, it can also prove very challenging from a financial perspective.
“The growing number of venues that have signed up to the initiative so far sends a very strong and positive message to artists”
“The UK has an incredible network of music venues, which are loved universally by artists and audiences. However, to protect the viability of future tours and careers, we need consistent and fair terms for performers. Artists rely on a combination of income streams when on tour, and any threats to these – such as unfair or unexpected commissions on merchandise – can have devastating effects.
“The growing number of venues that have signed up to the initiative so far sends a very strong and positive message to artists, and we hope that this leads to more pressure for other venues to improve their terms and get behind the campaign.”
The MU’s support follows the extension of the 100% Venues campaign into North America in late 2022, and after the issue of merchandise commission was raised in last month’s US Congressional hearing regarding the US live touring landscape.
“We are hugely grateful to receive support for 100% Venues from our friends at the Musicians’ Union,” adds FAC CEO David Martin. “The MU and FAC’s members deliver the performances that the whole live music industry is built on, yet many are facing an almost impossible task to keep the show on the road. That is why the issue of merchandise commission has become so pronounced and why we will continue to fight for a fairer settlement for artists.”
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Naomi Pohl elected MU general secretary
On International Women’s Day, the UK’s Musicians’ Union (MU) has confirmed that Naomi Pohl has been elected as the first female general secretary in its history.
Pohl has worked full-time for the MU – the leading organisation for musicians in the UK – since 2009, spending the past three years as deputy general secretary. Previously, she served as the Union’s national organiser for recording and broadcasting.
Pohl, who succeeds Horace Trubridge in the role, will be responsible for the administration of the MU’s affairs nationwide in partnership with the MU’s elected executive committee.
“I am delighted and humbled to have been elected to the role of MU general secretary,” she says. “It means a great deal that musicians across genres and disciplines have put their faith in me and I want nothing more than to deliver for them all.
“Thank you to all members who engaged with the election process, took the time to vote and who reached out to me directly with feedback about the Union. I also want to acknowledge our fantastic activists, staff and officials; I couldn’t hope to work with a more dedicated and passionate team of people.
“To all those who didn’t vote for me, I hear that you want change. The Union is here for every musician, and I hope it can be a unifying force as we take on many challenges collectively – please reach out.”
After the toughest imaginable two years for musicians, there is plenty of work to do”
Prior to the MU, Pohl was assistant general secretary at the Writers’ Guild of Great Britain.
“After the toughest imaginable two years for musicians, there is plenty of work to do,” she adds. “We can improve pay for our employed and freelance members post-pandemic, tackle the impact of Brexit and fix streaming. We will also ensure we meet the objectives set out in the MU Equality Action Plan, in the UK Music Diversity Ten Point Plan, and we will continue our vital work to eliminate discrimination and harassment from the industry.
“In order to secure the future of the profession, we will also launch a new music education campaign and move arts funding back up the Union’s lobbying agenda during my term. I know these are issues that really matter to musicians.”
The general secretary position is the most senior post in the organisation, which was founded in 1893 and consists of more than 32,000 members. The electoral process consisted of a series of meetings in all six of the Union’s democratic regions and a comprehensive postal ballot of all members.
Trubridge, who served in the role from 2017-2022, adds: ‘It’s been an honour and a privilege to lead the Union for the last five years, ably assisted by Naomi and assistant general secretary Phil Kear.
“I have had the pleasure of promoting Naomi up through the ranks and I am delighted to hear that she has won the election to become the MU’s very first female general secretary.”
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Outdoor events get go-ahead in England
Small open-air concerts, festivals and other live events can resume in England this weekend, provided social distancing measures are applied, the government announced yesterday (9 July).
The news comes in a week of positive developments for the UK live industry, following the announcement of a £1.57 billion aid package for the cultural sector on Sunday and a reduction in value-added tax (VAT) levied on event tickets on Wednesday.
The easing of restrictions, which sees the country move to stage three of a five-step roadmap for the reopening of the live entertainment industry, allows outdoor shows to take place “with a limited and socially distanced audience”.
Venues will also have to use electronic ticketing systems and keep a record of visitor details in case test and trace measures are needed.
“Our culture, heritage and arts are too precious to lose. That’s why we’re protecting venues like theatres from redevelopment if they fall on hard times,” says culture secretary Oliver Dowden.
“From 11 July we can all enjoy performances outdoors with social distancing and we are working hard to get indoor audiences back as soon as we safely can, following pilots.”
The government is currently working alongside industry bodies including the Musicians’ Union and UK Theatre, as well as with venues such as the London Palladium, to pilot a number of small indoor performances to inform plans on how to get indoor venues back up and running.
“It is a step forward that some performances can resume in limited outdoor settings, but there is still no date for a return to indoor live performances”
Indoor events will be permitted to reopen in England in the next stage of the roadmap, restricted to a “limited, distanced audience” and stage five allows for the reopening of all events with fuller audiences, but dates have yet to be given for the latter stages of the recovery roadmap.
Dowden adds that the government is working to give “further clarity on restart dates”.
Members of the UK entertainment industry have repeatedly criticised the absence of dates from the government’s reopening roadmap.
“It is a step forward that some performances can resume in limited outdoor settings, but there is still no date for a return to indoor live performances, either with restricted or full audiences,” comments Incorporated Society of Musicians CEO Deborah Annetts.
“This uncertainty hangs over many thousands of musicians whose income is overwhelmingly dependent on performing, and whose lives have ground to a complete halt as a result of Covid-19.”
Night Time Industries Association (NTIA) CEO Michael Kill says that the announcement “lack[s] any real detail or information on where our sector stands”.
“We implore the government in the strongest terms to recognise our sector within Arts and Culture, and prioritise sector specific support before some amazing cultural businesses are lost forever,” says Kill.
Photo: UK Parliament (CC BY 3.0) (cropped)
This article forms part of IQ’s Covid-19 resource centre – a knowledge hub of essential guidance and updating resources for uncertain times.
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FIM outlines recommendations for return to work
The International Federation of Musicians (FIM), an umbrella body comprising around 70 musicians’ unions worldwide, has issued a series of recommendations to enable artists to return to work in the safest possible way amid the ongoing Covid-19 outbreak.
The guidelines – targeted at classical musicians but relevant for all touring artists – say while “there is a common desire of musicians, employers and audiences” to reopen music venues “as soon as possible”, this must be accompanied by the “adoption, implementation and enforcement of adequate safety measures in order to protect musicians against the risks arising from possible exposure to the Sars-Cov‑2 [coronavirus] as they return to work.”
Among the FIM’s recommendations are that musicians with one or more symptoms of Covid-19 infected should be “exempted” from performing or rehearsing; that distance is kept between musicians on stage, as well as between artists and performers; widespread access to hand-washing facilities or sanitiser; and one-way paths inside venues, and separate entrances and exits to enclosed spaces such as dressing or green rooms, to avoid unnecessary social contact.
The guidance also expresses a preference for open-air events; where that is not possible, everyone attending an indoor concert should wear face coverings, it adds.
The FIM document follows the updated WHO mass-gathering guidelines, put out earlier this month, as well as other previously released guides to safe venue reopening, available from IQ’s Covid-19 resource centre.
Download the federations’s recommendations in full in PDF format here.
This article forms part of IQ’s Covid-19 resource centre – a knowledge hub of essential guidance and updating resources for uncertain times.
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Live industry reacts to new UK immigration plans
Live music industry professionals are warning against the “significant barriers” that EU musicians and their crews will face under the UK government’s new immigration plans – and fear the consequences for UK artists if the European Union imposes similar restrictions.
Yesterday (19 February), the UK government unveiled its new points-based immigration system, which takes effect from 1 January 2021.
Under the new system, points are assigned for specific skills, qualifications or professions, with visas awarded to those who gain enough points.
However, musicians coming from the European Union to tour in the UK can curtail the points system due to their designation as being of a ‘specialist occupation’.
“Under the current immigration rules, there are a range of other immigration routes for specialist occupations, including innovators, ministers of religion, sportspeople and to support the arts,” reads the Home Office’s policy statement.
“Our broad approach for January 2021 will be to open existing routes that already apply to non-EU citizens, to EU citizens (the current ‘Tier 5’).”
This means EU bands will need to meet the same criteria as those from the US and other nationalities as of Jan 2021. According to Steve Richard of T&S Immigration Services, the majority of US acts and those of many other nationalities do not need actual visas to tour the UK for a short amount of time, but rather carry paperwork with them issued by the UK promoter, agent, venue or label, and show it on arrival.
The news could mean more paperwork for EU acts wishing to tour in the UK, but also points to more bureaucracy for the UK live industry. As Paradigm agent Rob Challice asks: “Will the EU apply a similar system for UK artists travelling the other way – is this the Brexit people voted for?”
The retaliation from Brussels is a worry for all the industry professionals and experts IQ talks too – not least because touring crews have already reported difficulties crossing EU borders in a post-Brexit world – as well as a concern for the future of the grassroots sectors on both sides of the Atlantic and a strong sense of frustration at the continued lack of clarity coming from Westminster.
Tom Kiehl, CEO, UK Music
New plans confirm that from 2021 EU musicians coming to the UK for concerts and festivals will be treated in the same way as those from the rest of the world.
This will drag some agents and promoters into the immigration system for the first time and increases the possibility that member states introduce new bureaucratic hoops for UK musicians to jump through when seeking to perform across the EU.
It’s welcome the government has reduced its salary cap, yet these proposals will still not work for many in the EU who want to work in the UK music industry over a longer period of time given musicians average earnings are £23,000 and a reliance in the points-based system on the need for elite academic qualifications.
“This will drag some agents and promoters into the immigration system for the first time”
Mark Davyd, CEO, Music Venues Trust (MVT)
Assuming the EU responds reciprocally to this position, which it has publicly stated on a number of occasions is the intention, then this will create very significant barriers to touring in Europe for both artists and crew.
Those barriers will be experienced most severely at DIY artist and grassroots touring artists level, where tight margins and schedules simply do not have the capacity to absorb additional costs or waiting times, and where skills to manage such a process simply do not currently exist.
If this is the final outcome of Brexit for our industry, then a comprehensive immigration support service which is free to access for musicians and crew from the grassroots sector must be swiftly created so that it can professionally manage such a process.
An ability to tour is a key element of any music industry UK Export strategy, and we trust the need for such a service will already have been fully considered and costed within the government’s plans.
“This will create very significant barriers to touring in Europe for both artists and crew”
Horace Trubridge, general secretary, Musicians’ Union (MU)
Our major concern is that other EU countries will apply the same restrictions to us. Equally, UK musicians are going to lose work through the fact that others won’t want to come here – visiting bands hire local support and have UK musicians perform with them.
Therefore, this is a dual problem – it is reducing work opportunities for UK musicians, as well as causing difficulties for EU musicians.
We are, however, still getting positive noises for our Touring Passport, which would allow musicians, their crew and equipment to move freely. The good news is that our campaigning has meant the message has got through to politicians – they are aware of the issue and have repeatedly said they will do something, we just but don’t know what yet.
We are not giving up. Hopefully, there will be some sort of carve out for musicians – there has to be, the music industry is too valuable to the UK for them to cut us adrift.
We just want make sure that any solution is reciprocal between the UK and the EU – that is just as important to us.
“The music industry is too valuable to the UK for them to cut us adrift”
Ian Smith, founder, Frusion/Fizzion agencies, UK EU Arts Work
This is going to have several effects on the industry. For one, there’s a lot of misunderstanding going on around this. Promoters are freaking out and will be hesitant to book artists post-2020. This will have a real impact on small venues and the live scene in general.
Uncertainty from market to market will mean that UK musicians won’t be booked into the EU, either. Whatever happens on the EU side now, the live music scene is generally suffering and will continue to do so.
The Permitted Paid Engagement currently exists for acts coming in for a short period of time. Promoters and artists need to know if there’s a simple entry point available to use.
While this uncertainty continues, there is going to be a lot of pressure on the industry resulting in, in my opinion, a lost year of potential bookings. This will only settle down in January/February next year, then there will be a slow uptake again until 2022 when things will flatten out as we all figure out how to deal with it.
For now, we all just wish it wasn’t happening.
“For now, we all just wish it wasn’t happening”
Paul Reed, CEO, Association for Independent Festivals (AIF)
It is a concern that these plans will increase bureaucracy for EU musicians coming to the UK for festivals from 2021.
The salary threshold remains unsuitable for the industry. Hopefully, this is also an opportunity for government to review other matters concerning the visa system, such as the out-of-date definition of what constitutes a ‘permit free’ festival [those not needing a certificate of sponsorship under the points-based system]. We have members below 15,000 capacity that programme from far and wide outside of the European Economic Area (EEA).
Deborah Annett, CEO, Incorporated Society of Musicians (ISM)
It’s really difficult to understand what all this actually means at the moment. The government is talking about an immigration system, but what we are referring to is touring, rather than immigration and we are very keen to explain this to the Home Office.
The creative industries are worth £111 billion a year to the UK economy, that’s as much as the finance and building sectors – we are so valuable. However, there is no evidence that the Home Office is listening to the creative industries at the moment.
We are also worried about this not being a great starting place when thinking of UK musicians working in the EU – what do we expect will happen in return? If we are coming up with a regime to harm EU musicians, that can only come back to bite us.
“If we are coming up with a regime to harm EU musicians, that can only come back to bite us”
David Martin, GM, Featured Artists Coalition
This policy demonstrates that the government has paid no heed to advice about the devastating impact of their plans on the UK’s music industry.
The impact of the loss of free exchange of ideas and experience, cannot be overstated but moreover, this policy would have a career-ending impact on many artists.
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“Back to the bad old days”: UK crews face Brexit backlash
Some British touring crews are reportedly being held up at European border crossings following the UK’s recent exit from the EU, despite the Brexit transition period running until the end of this year.
Touring in Europe was a concern for UK artists and crews as Brexit loomed, with industry experts repeatedly warning against costly visas and carnets, complicated bureaucratic procedures and lengthy border checks. According to multiple people affected, some of those concerns are already being realised – even though an 11-month transition, or implementation, period technically keeps the UK bound to the EU’s rules for the remainder of 2020.
Sound engineer and tour manager Jim Mitcham, who was recently stopped on the German-Dutch border for “passport and identity checks”, says it was made clear that border officials were “targeting British vehicles due to Brexit”.
“The transition period doesn’t mean waiting 11 months before making changes; the changes are being made now and have 11 months to settle in,” states Mitcham, who adds that “we are back to the bad old days.”
Another British tour manager cites similar grievances, saying his crew was stopped and held for six hours on the Italian border on the day after Britain left the EU. “It can only get worse,” the tour manager writes in a Facebook post. “It’s a sad day for the live music industry.”
The problems are not limited to road travel, either, with one musician describing issues encountered at Munich airport, where he was asked for proof of accommodation, onward travel and funds. According to the source, automated passport machines would no longer accept British passports at the airport.
“Everything is very up in the air at the moment,” Horace Trubridge, general secretary of the Musicians’ Union (MU), tells IQ. “The uncertainty is making people back off and a lot of tours are being put on ice.
“The idea of Europe now being difficult to get into is just horrifying”
“We need to establish a two-way agreement with the EU to allow musicians to easily visit and work in countries,” continues Trubridge, who states the MU is “very anxious” about what the end of the year may bring.
The MU, along with umbrella body UK Music, has been at the forefront of the push for a live music touring passport, which would allow musicians, their road crew and all their equipment to “go in and out of EU member states freely”.
The MU’s proposal would allocate the passport to musicians for a minimum of two years, provided they pass an application process. The passport scheme would be reciprocal, removing obstacles for European crews entering the UK, as well as for UK artists touring in the EU.
The MU are used to helping artists navigate the barriers imposed by stringent visa and border restrictions, having spent years advising musicians and their crews on how to get into the US.
“The idea of Europe now being difficult to get into is just horrifying,” says Trubridge. “I remember the days when you needed a carnet to get your equipment across borders – it was just a joke. We really don’t want to go back to those days.”
Expect further information on the new touring reality as the end of the implementation period approaches. For now, advice on how to tour in a post-Brexit world can be found on the Musicians’ Union and UK Music websites, as well as on the newly launched UK, Europe, Arts Work portal.
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UK Music: touring may be “unviable” for many in no-deal Brexit
UK Music CEO Michael Dugher has highlighted “growing concerns” around the potential impact of a no-deal Brexit on the live music industry, in a recent letter to the home secretary.
Dugher states that the “viability of future tours” would be threatened if Britain were to exit the European Union without a deal.
The introduction of pre-paid income duty and value added tax on all merchandise brought on tour in the EU, as well as charges for moving equipment across borders, could result in an income loss of around 40% for touring acts, says Dugher.
The UK Music boss also calls for more clarification on what to expect in relation to freedom of movement post Brexit, stating the “worryingly inadequate” information currently available is preventing the industry from preparing for the possible changes ahead.
UK agents and promoters would find themselves under “considerable strain” if freedom of movement ended.
“Agents who have more EU acts on their books will see most impact,” writes Dugher, with some agents, promoters and festivals “who deal exclusively with EU artists” being “dragged into the immigration system for the first time.”
“[Immediate end to freedom of movement] would cause considerable disruption to the international live music touring industry”
The immediate end to freedom of movement “would cause considerable disruption to the international live music touring industry, in terms of UK artists travelling to the EU for concerts and vice versa,” says Dugher.
Dugher also states such a policy would “run contrary” to existing guidance which indicates there would be a three-month window in which EU citizens would be able to enter the UK to work.
“If an alternative ‘cliff edge’ policy is pursued,” continues Dugher, “it could result in retaliation from EU member states, requiring UK musicians to apply for expensive and bureaucratic visas and work permits in order to continue to tour the EU.”
UK Music and other industry associations, including the Musicians’ Union, have repeatedly pushed for a ‘touring passport’ which would allow musicians and their crews to move freely post-Brexit.
The UK’s Incorporated Society of Musicians recently called on the government to cover the additional costs incurred by musicians in the event of a no-deal Brexit.
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