UK artists are continuing to tour the European Union at significantly lower levels than before Brexit, with smaller and mid-level acts bearing the largest impact from increased costs and administrative barriers, according to new UK government-commissioned research.

The study, commissioned by the Department for Culture, Media and Sport (DCMS) and carried out by Ipsos UK and Nordicity, examines how UK touring activity in the EU has changed following the UK’s departure from the European Union.

Overall performances by UK-based music artists in EU countries remained 21% below 2019 levels in 2024. The decline has been particularly pronounced in the small and mid-sized venue sector, where performance numbers were still 22% below 2019 levels. By contrast, stadium and arena performances had recovered strongly and were 56% above their 2019 level by 2024.

The findings suggest that the additional costs and complexity created by the post-Brexit touring environment have had a disproportionate effect on emerging and mid-level artists, whose tours generally operate with smaller margins and fewer administrative resources.

£180 million impact on UK live music

For live music specifically, the study estimates that reduced EU touring between 2022 and 2024 was associated with a direct loss of £81.6 million in UK Gross Value Added (GVA). When indirect and induced economic effects are included, the estimated loss rises to £180.2 million.

The wider £208 million figure cited in coverage of the report refers to all touring sectors included in the study, not live music alone. It includes live music alongside orchestras, theatre, dance and visual arts. Across those sectors, the estimated impact reached £208 million in GVA and 2,490 full-time equivalent jobs between 2022 and 2024.

The effects also extend beyond the UK. Reduced touring by British musicians is estimated to have resulted in approximately £1.04 billion in lost GVA across the EU countries included in the research, with Germany, Denmark, France, Italy and the Netherlands among the most affected markets.

New barriers reshape touring

Before Brexit, UK artists and touring crews benefited from freedom of movement and the EU Single Market. Following the end of the transition period, tours have had to navigate a combination of immigration, work permit, customs, transport, taxation and social security requirements.

The report identifies the 90-days-in-180 Schengen limit, differing national work permit requirements, ATA carnets for equipment, merchandise import rules and restrictions on UK-registered touring vehicles as significant sources of additional cost and complexity.

Industry representatives interviewed for the study said these requirements can make European touring less financially viable and reduce the ability to add dates or festival appearances at short notice.

The impact has also extended into the touring supply chain. The research found evidence that some work previously undertaken by UK-based hauliers, production companies and merchandise suppliers has shifted towards EU-based businesses, while touring schedules have become shorter or increasingly concentrated in territories where artists already have established audiences.

Smaller artists most exposed

The report concludes that smaller and mid-scale artists, freelancers, crews and touring companies have been disproportionately affected by the post-Brexit environment.

For emerging artists in particular, reduced access to European touring could have longer-term consequences by limiting opportunities to develop audiences, build industry relationships and establish international careers.

The researchers conclude that post-EU exit rules have reduced both the volume and commercial viability of UK touring in Europe, particularly at smaller venues, while suggesting that reducing existing barriers could restore economic value on both sides of the UK-EU touring market.

The full report can be found here

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