The New Europeans: Live music’s Brexit exiles
When the British prime minister, Boris Johnson, announced on Christmas Eve 2020 that the UK had signed a free trade agreement, the TCA (Trade and Cooperation Agreement), with the European Union, there was a collective sigh of relief across much of Britain. Four and a half tortuous years after the Brexit vote, the UK was finally out, and people on both sides of the new border could finally get on with their lives.
Well, sort of. That is, of course, unless you work in concert touring, in which case new requirements for visas (for people) and carnets (for goods) – as well as restrictions on cabotage (ie the right to transport goods and people within the EU and/or UK’s borders) for trucking companies – represented a less than ideal outcome for an industry built on decades of free movement across Europe.
In response, many UK-based firms, particularly hauliers affected by the new limits on cabotage in the European Union, are investing considerable sums to open new depots in mainland Europe or the Republic of Ireland.
In contrast to these ‘new Europeans’, many in the touring sector were “sleepwalking towards Brexit day,” according to Robert Hewett, founder and director of Stagetruck. “They were just completely indifferent to it,” he says, “thinking that we’d all just carry on as it was before. I would be saying to people, ‘Look, I don’t think you should assume that. This is how we make a living; it’s our livelihood…’”
However, with all touring still on hold because of the coronavirus, the impact of the TCA’s more restrictive provisions, particularly on cabotage, has yet to be felt fully, Hewett continues. “What happened with the pandemic when it hit is that it masked it [the Brexit question] for at least the next 12 months,” he says.
According to Stuart McPherson, managing director of KB Event, a ‘no-deal’ Brexit – repeatedly rejected as the worst possible outcome by most live music industry associations and professionals – would have been a better option for hauliers than the TCA signed by Johnson’s government and their counterparts in the EU.
“Bizarrely, for us that would have been a better outcome than the one we have,” he explains. “For rock’n’roll touring companies there was an exemption in place, from back in 1996, that allowed entertainment transport to move freely throughout the EU. That protocol was overwritten by the TCA, which came into law with the Brexit agreement and overrode the previous exemption we had under the ECMT [European Conference of Ministers of Transport] protocols. So for us, this is the worst possible outcome.”
A ‘no-deal’ Brexit would have been a better option for hauliers than the Trade and Cooperation Agreement
When the TCA was reached and the Brexit deal done, what we were left with was something that said we can no longer tour in Europe,” McPherson continues, “and so the only solution for that – as it sits right now and for the foreseeable future – is for us to open up a full European operating centre with a European operator’s licence, which gives us more freedom in terms of cabotage and interstate movements in Europe.”
As a result of that outcome, all the major UK-headquartered concert trucking and transport companies, which also include Stagetruck and Transam/EST (Edwin Shirley Trucking), are now based at least partially in the EU, or are considering a move, with offices in places like the Netherlands and Republic of Ireland serving as all-important hubs for continental operations.
Under the current rules, Transam/EST will have to make a choice: “Either to become Dutch or Irish, or a bit of both, or to stay in the UK – but I can’t see the latter happening,” says senior manager Ollie Kite. “We’re going to have to re-register all our trucks, or a lot of them, into the EU, and that costs money. So we want to be able to be ready to do that, but we’re delaying it as long as possible. Because until work starts to return, we’re a bit strapped for cash…”
McPherson estimates that the cost to KB Event to set up an office in Ireland – including the operations centre with parking for 60 trucks, an EU operator’s licence, and duplicate fleet insurance – is already up to £500,000 (€578,000), with European CPCs (certificates of professional competence) for KB’s drivers set to cost a further £100,000 (€116,000) – a considerable outlay for a sector that has had little revenue since March 2020.
Stagetruck, which already had an office near Veghel in the Netherlands, is similarly facing a bill of between £100,000 and £110,000 to send its drivers to the Irish republic to do an EU-certified driver CPC course, says Hewett.
“All the European countries, at this moment, are standing together and saying, ‘No, unless you come and take a driving test [in an EU member state] you cannot drive a European-registered truck,’” he comments. “That is the nightmare that we’re all facing at the moment.”
Kite says Transam/EST is also looking toward Ireland, to minimise the language barrier for the company’s UK drivers. “The nonsense of it is,” he adds, “is that they already know what they’re going to be taught, as the course and the exams are exactly the same as in England – just that you have to take them in Ireland or somewhere in the EU instead. Nothing’s actually changed.”
Currently, explains Kite, the UK allows EU drivers to drive British-registered trucks on an EU licence, “although they’re hinting that they won’t let that continue” should it not be reciprocated from the other side.
All the major UK-headquartered concert trucking and transport companies are now based at least partially in the EU, or are considering a move
Keep on truckin’
As Craig Stanley of Marshall Arts, who is the chair of the UK’s LIVE (Live music Industry Venues and Entertainment) Touring group, told IQ earlier this year, the cabotage issue – the lack of an exemption for concert hauliers under the TCA – is by far the biggest problem facing hauliers who haven’t already made the jump across the English Channel or Irish Sea. “Unlimited movement by UK-based concert hauliers will cease,” he said. “The biggest impact of the cabotage regulations is that non-EU-based haulage companies will only be allowed to have a load going into the EU and then two further movements before having to turn back to their place of registration. So, as it stands, to undertake EU tours it will be necessary to have EU-registered hauliers.”
The Road Haulage Association (RHA), the UK trade association for haulage and logistics operators, has called on Boris Johnson to secure an exemption, or ‘easement,’ from the current rules for UK-based entertainment hauliers to enable them to continue touring Europe. “If the UK events haulage industry is to have any chance of survival it needs an EU-wide easement so that trucks moving touring equipment can continue to make multiple stops across Europe,” says RHA chief executive Richard Burnett.
Unfortunately, on the British side at least, there remain fundamental misunderstandings about the role of concert hauliers and their needs in the post-Brexit landscape, says Kite. “We’ve been lobbying for change, we’re talking to the Department for Transport, and the Department for Digital, Culture, Media and Sport, but they don’t really understand. They think it’s just going from A to B, dropping off a kit and then picking it up again. We’re struggling with trying to get them to understand that under the TCA we simply can’t tour like we used to.
“We’re inching forward – whereas before, under other rules, cultural tours and events were exempt from the cabotage rule.”
“There is a lack of understanding in government about transport,” agrees Hewett, “even more than the lack of understanding about the music industry. Every headline you ever saw was about fishing, but if you compare what the music industry brings in – what it brings to every local economy when a big band arrives – it’s a massive injection of income into local areas, and they seem to have bypassed it completely. It’s amazing.”
“There is a lack of understanding in government about transport – even more than the lack of understanding about the music industry”
It’s not just hauliers who have been forced to set up costly EU offices to continue trading after Brexit. London-based World Touring Exhibitions, which celebrates its 20th anniversary this year, has been forced to slim down its UK office and set up shop in Rotterdam – a reflection of visa considerations and the other expensive barriers against both UK–EU and inter-EU travel for a non-EU company, founder Corrado Canonici tells IQ.
“It’s a shame, but it is necessary, as we can’t really bring UK people [to Europe] at the touch of a button, like we could before,” he says. “For example, we are about to open an exhibition in Germany – I can’t get my crew there unless I get them all visas, which would have taken an enormous amount of time and money, which makes no sense when you only need them to work five days. What sense does it make to get them a 30-day visa?”
For exhibitions coming into the EU, “we have to do all kinds of paperwork – ATA carnets, rule-of-origin papers – in addition to visas for the crew,” Canonici continues, “so we just thought, ‘How about we continue to be part of [the EU]?’ Europe is 27 countries and the UK is one. So [by opening an EU office] we have 27 countries that we can serve and tour without any problems.”
From a freedom of movement perspective, the political climate in the UK would never have allowed for permit-free travel between the UK and Europe, suggests Andy Corrigan of Viva La Visa. “Anything regarding immigration would have needed a degree of reciprocity: that if we [the UK] were saying we are going to have visa- free travel, the EU would have said, ‘Well, we want it to the UK,’ and the UK – the Home Office and Boris Johnson – would have said, ‘No way.’ Anything regarding Brexit that would have led to increased immigration into the UK, they’d have said no, because of how that would play out in the Daily Mail: ‘That’s not what we voted for…’”
While Corrigan believes the problems surrounding other aspects of post-Brexit touring “are soluble, it’s going to take a bit of time to make everything run smoothly. And anecdotally, things are not terribly well organised at the moment. We had a sound company went out [to the EU] on a carnet last week. I had to get them the emergency car and the two-hour special service, and they got to Folkestone and the guy there refused to stamp it. I don’t know why – he just said he couldn’t do it and moved them on. So they got to France and, because it was Ascension Day, customs was closed. There was nobody there.
“It’s one thing saying you need a carnet to take your goods over. But the actual practicalities of it – the system and the infrastructure – are not all together yet. And I think you will get more random decisions being made by border people asking for the wrong things and discriminating and asking for stuff they shouldn’t, and the same coming into the UK. Hopefully, it will smooth itself out.”
World Touring Exhibitions’ new reality was illustrated recently as the company prepared to put the aforementioned exhibition into Cologne. Canonici recalls: “All of a sudden we found out that if we were using a British company, it would have been a problem. We were told, ‘You can’t do that without a big, big cost.’ So, we used a Dutch company instead and immediately the shipper told us, ‘Oh, that’s great.’ We literally just signed one piece of paper and that was it.”
“When the pressure is coming from the other side of the Channel, that’s when things will change”
‘Make it work’
Despite this exodus of profitable business out of the UK, McPherson is of the opinion that there is little appetite on the British side for renegotiating the terms of the Trade and Cooperation Agreement, even on a bilateral basis (between the UK and individual EU member countries). “At the moment, it’s being made very clear that there is going to be no reengagement or renegotiating on the TCA,” he says. “To read into that, the message is: this is what you’ve got, and you’ve got to find a way to make it work.”
While KB Event and companies like it have already spent hundreds of thousands of euros on doing just that, McPherson remains concerned about what he sees as a fundamental lack of haulage capacity for tours in the pipeline – particularly given the number of shows that have been postponed to 2022 and beyond because of Covid-19 restrictions.
“When we get to 2022 and there are not enough trucks in the EU to be able to cover the tours, you’re going to have European promoters saying they cannot deliver their tours as they have no way of moving them because 85% of trucks for touring come out of the UK.”
Hewett emphasises the importance of also keeping the pressure on the government in the UK, warning that the entertainment haulage sector – especially those smaller British outfits that couldn’t afford to become ‘new Europeans’ – is facing wipe-out under current cabotage regulations. “We really need a concerted effort now, with the press, the music industry and everyone to come on board and push this issue because it could decimate this industry,” he says.
For Corrigan, there’s “too much at stake, economically and artistically,” for the UK and EU not to get back around the negotiating table to resolve the outstanding issues facing performers, crew and hauliers. “It’s going to happen. In the past, things have been overcome,” he says. “We used to tour Europe with carnets at every border, which was a nightmare. But today’s major touring is a much more business-like activity than it was 30 years ago, and think how much it would upset the accountants if the lighting truck didn’t make it to a gig because it got stuck at the Belgian border for 12 hours…”
In a scenario like the one mentioned, where promoters cannot deliver shows for which fans have bought tickets (and in many cases held onto them for a year or longer), “that’s when the pressure is going to change,” says McPherson, “from the UK trucking company shouting about the fact we can’t do what we do for a living anymore, to promoters in the EU shouting at their country’s government, saying, ‘You guys need to do something here. We can’t move our tours. Our revenue streams have dried up for us, and for our nation.’
“At that point, when the pressure is coming from the other side of the Channel, that’s when things will change.”
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EU cabotage rules threaten post-Covid-19 touring
Major touring productions will no longer be able to draw on the expertise of British-based hauliers under the terms of the current Brexit deal, industry experts have warned.
As IQ reported on new year’s eve, the day before the deal came into effect, the days of tours of starting in the UK and continuing on to an effectively unlimited number of dates in continental Europe have come to an end – with ‘cabotage’ rules in the new EU–UK Trade and Cooperation Agreement limiting UK trucks over 3.5 tonnes to just three stops in the EU’s internal market.
“Unlimited movement by UK-based concert hauliers will cease,” confirms promoter Craig Stanley of Marshall Arts, who is the chair of the LIVE (Live music Industry Venues and Entertainment) Touring group. “The biggest impact of the cabotage regulations is that non-EU-based haulage companies will only be allowed to have a load going into the EU and then two further movements before having to turn back to their place of registration. So, as it stands, to undertake EU tours it will be necessary to have EU-registered hauliers.”
“The only way that these concert hauliers can actually continue to provide this service is by setting up European operations,” echoes Richard Burnett, CEO of the UK’s Road Haulage Association (RHA). “So that means a European business, and a European operation centre that costs a lot of money.
“Unlimited movement by UK-based concert hauliers will cease”
“Bearing in mind we’ve had the worst year, from a concert perspective, because of the Covid impact, so these hauliers haven’t got any money. They’re struggling enormously. And these are the trusted hauliers that have done this for years and years – the guys that have been around for the best part of 20, 30, 40 years. So this is a massive, massive issue.”
Under the principle of reciprocity, even if UK hauliers which can afford to do so do open an EU office, the same rules apply in the other direction – with those newly EU-registered trucks having the same issue should they be needed back in the UK, explains Stanley.
With the UK occupying a central position in the “vast majority” of international tours, restrictive cabotage regulations risk the “erosion of our position” as a leader in live music production, says Andy Lenthall, GM of the Production Services Association (PSA).
“The whole UK position as a leader in production, and place to start EU tours, has been built on freedom of movement,” he explains. “There’s no going back to the old ways – because the ‘new way’ still exists [among the EU’s remaining 27 members] – but we do need some urgency on this, and the route to a solution.”
Complicating the issue is the fact that, because most hauliers are based in the UK, the majority of drivers are British, or at least UK-based. This means, at present, there simply aren’t enough drivers on the continent to service the major concert tours alone, says Stanley.
“The whole UK position as a leader in production, and place to start EU tours, has been built on freedom of movement”
For those who can’t afford to acquire fleet of EU-registered trucks, the only other solution would be for hauliers to return to the UK after having completed their maximum number of drops, says Burnett. “Could you imagine a concert tour packing up and coming back to the UK, and then going back out? It would be ridiculous,” he adds.
In spite of the ongoing uncertainty, both Stanley and Lenthall are confident the issue can be resolved, ideally before touring restarts post-Covid-19, with the former saying the British government has been supportive +and understanding of the issues so far.
“Clarity is the key,” says Stanley. “Where we’ve enjoyed unfettered access to the EU – that will end. But what we do need to do is ensure we get some kind of cultural exemption.”
LIVE (of which the PSA is a member) and the RHA are both lobbying the British government to intervene to protect the industry by ensuring large-scale tours will be able to continue to start in the UK.
Stanley is also calling on promoters and other professionals on the continent to make their elected representatives aware of the problem in order to also push for a solution from the EU side. “The only people who can help us with this are our colleagues in the EU,” Stanley continues. “Their support is what’s needed – we need them to realise it’s a problem, as ultimately it’s going to be down to the ministers of transport in, for example, of Germany or France, to help get this sorted.”
The new cabotage rules, alongside the impact of the reintroduction of ATA Carnets, will be discussed during the panel Trucking Hell! Is it really that bad? at this year’s ILMC Production Meeting on Tuesday 2 March.
Hauliers push back against proposed European regs
European live industry association Pearle* has urged the EC to rethink plans to force hauliers, along with their trucks, to return to their country of origin every two weeks, saying the proposals could “heavily impact live shows”.
As part of a revision of EU regulations 561/2006 and 1071/2009, the European Commission (EC) is considering making it mandatory for drivers to return home every fortnight, and requiring their vehicles to also be sent back to base – “something that would prove problematic for transport companies carrying gear on longer tours”, according to a spokesperson for the Netherlands’ Pieter Smit Group.
Responding to the proposals, Pearle* (Performing Arts Employers Associations League Europe), which represents more than 7,000 live music and performing arts organisations across Europe, calls on European lawmakers to “to consider the specificities of our industry when amending such rules”.
“Most artists aren’t on the roads for more than a few days or a couple weeks. But the logistics of longer tours – for example in the pop music sector – are much more complex due to tight schedules and the need to carry high-value, fragile equipment, be it audio gear, musical instruments or stage decor,” reads a statement from Pearle*. “Against this backdrop, it is in the interest of both artists and their promoters to be able to rely on one trustworthy service provider who is familiar with the processes in order to minimise interface costs and to keep up with demanding schedules over the whole duration of a tour.
“Requiring drivers and vehicles to return to [their home country] in the middle of a tour would prove very disruptive”
“On long tours, service providers – including drivers – are essentially part of the crew. They have the possibility to eat, rest and live with other tour staff and artists, and can use the facilities available at the show venues, which are much higher standard than most facilities used by the general haulage industry. They also have the option to spend their free time in hotels in the vicinity of show venues.”
The new proposals, says Pearle*, “are compromising this model – not necessarily for a majority of shows for which performers are not on the roads for a very long time, but would be critical for a number of bigger, longer tours. Requiring drivers and vehicles to return to the establishment country of the transport service provider in the middle of a show would prove very disruptive.”
The association proposes an exemption for hauliers working in the live entertainment sector, to allow them to stay with tours for their entire duration, like other crew.
“We call on decision-makers to consider the specific needs of our industry, and to align the regime of logistics and transport providers who serve us with the one of our other providers, who stay with the artists for the whole duration of a tour,” it concludes. “This can be achieved through a targeted exemption – only from the ‘return home’ rule – that would specifically apply to touring companies.”
Sheeran-themed truck launches as ÷ tour kicks off
UK-based trucking company KB Event has commissioned a Ed Sheeran-liveried trailer to commemorate its part in the singer’s landmark ÷ tour.
The truck – one of 14 KB Event vehicles on the road for the UK and European leg of the tour, which gets underway in Italy today and wraps up at The O2 in London on 3 May – was, says KB, “spotted by Ed’s fans as it arrived two days ago at Turin’s Pala Alpitour, with groups already gathering outside trying to get their photo taken with it”.
Sheeran’s ÷ album (pronounced ‘Divide’) is currently lighting up charts around the world, and the tour is expected is expected to do similarly well: His last world tour, x (‘Multiply’), grossed more than US$82 million, culminating with three nights at Wembley Stadium in London – the first headline show at the 90,000-cap. venue by a male solo artist.
Certain phrases get used more than others at a time when densely scheduled tours and festival dashes snake seasonally across a jumpy, troubled world.
When it comes to scheduling, the key phrase you need is ‘margin for error’, because there usually isn’t much – which is one reason why freight and trucking specialists, along with production staff, are the under-praised supermen and wonder women of this business.
And on the subject of Brexit, you can’t go wrong with ‘nobody knows what’s going to happen’, because that’s still pretty much all anyone can say about it. You might need ‘wait and see’ as well.
So there is a familiar feel to many conversations about live music transport, but that doesn’t mean it’s not one of the more quietly exciting areas of the business, as artists chase the money across the world, from festivals to shows to last-minute private gigs, and leave the freight forwarders and the truckers to make it all join up.
Live music transport is one more quietly exciting areas of the business, as artists chase the money across the world and leave the freight forwarders and the truckers to make it all join up
The big stuff
Freight forwarding, and logistics in general, comprises a world of very, very big things and very, very small details. One minute you’re packing seven jumbo jets full of superstar stage production. The next you’re telling the roadies off about batteries.
At the very, very big end this summer, Beyoncé set new standards of grandiosity with her Es Devlin-designed Formation production, famously featuring a four-sided video structure – ‘the monolith’ – at its heart. At 22m by 16m by 9m, the monolith is quite a spectacle, and it’s safe to assume it doesn’t fold up into a small box.
Sound Moves was the company tasked with shipping the thing – actually four of them, which crisscrossed each other as the tour stomped across the land. “The monolith is a fairly phenomenal piece of engineering,” says Sound Moves tour principal John Corr. “They are custom-made pieces, built in Belgium. We shipped all four of them to the USA by ocean. But the tour was so successful that they wanted to extend in America before coming to Europe, so they went from being able to move everything by ocean to being able to move only part of it by ocean, due to the time available.”
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