The report found that more than a quarter of UK musicians have lost all of their EU music industry work since 2021

More than a quarter of British musicians have lost all their EU gigs since 2021, according to new research.

The report by European Movement UK, a cross-party campaign group calling for closer ties between the UK and the EU, found that nearly half of British musicians have seen less work in the EU since 2021, while more than a quarter have stopped working there altogether.

Average touring revenues fell by 45%, with 59% of musicians saying touring in Europe was no longer feasible.

UK Music chief executive Tom Kiehl said the findings reflected a wider crisis across the creative economy, despite commitments to support exchanges.

“This research covers the experiences of our £8bn music sector and the 220,000 jobs it supports, but the issues highlighted – particularly around mobility and barriers for UK and EU professionals working in each other’s jurisdictions – are also relevant to other creative industries, including film, TV and video.”

He added that under the “common understanding” between the United Kingdom and the European Union agreed in 2025, both sides are committed to supporting travel and cultural exchange.

But, Kiehl said, “Touring the EU remains financially unviable post-Brexit for many musicians and performers, hindering our efforts to grow our creative sectors. We need to remove these barriers and build on the work already being done.”

Meg Schalach owns The Louisiana in Bristol, a music venue that has hosted acts including Coldplay and Amy Winehouse.

“Because of Brexit, we are receiving fewer and fewer artists from Europe,” he said. “But the problem that arises is that there are not enough artists in the UK to fill the diary.”

He also spoke of the consequences that could be felt in canceled tours, loss of business, reduced exports, weak cooperation and fewer opportunities for the public on both sides of the Channel.

“Before Brexit, it was much easier for British bands to go to Europe, but now it’s pretty much impossible. British bands used to tour the UK, then go to Europe and play European shows. But now that’s not possible because it’s not cost-effective,” he said.

UK creatives now face different visa regimes in each EU member state, along with new work permit requirements and the 90-in-180 Schengen rule that limits time spent working across the bloc.

Together, these restrictions make it difficult to plan expanded tours and cross-border cooperation, the report said.

For emerging artists and small operators, the additional costs and bureaucracy can completely eliminate the financial viability of international touring.

The study also highlights that EU artists and cultural professionals face barriers when working in the UK, limiting the flow of talent in both directions.

The report identifies a series of direct costs affecting touring artists. Temporary Admission Carnets (ATA) – customs documents that allow tools and equipment to move across borders – can cost more than £400, with security deposits of up to 40% of the value of the equipment. For orchestras, this can amount to between £2,000 and £5,000 per EU tour.

It also highlights cabotage rules that limit the number of stops UK carriers can make within the EU, increasing costs for tourism production, small businesses and exhibitions. EU carriers face similar restrictions in the UK.

The loss of Creative Europe’s funding is also cited as a major blow. Between 2014 and 2020, the program invested €111 million in 376 UK organisations, supporting R&D, co-production, trade fairs and European networks. Its absence has been acutely felt by independent producers and SMEs, the report says.

Music alone contributed £8 billion in 2024, including nearly £5 billion from exports, while the performing arts sector contributed more than £11 billion.

The report finds that unless barriers to mobility are addressed, the UK risks weakening a sector essential not only for employment and growth, but also for its cultural outreach abroad.