The United Kingdom has a thriving creative industries sector that the Government are committed to supporting. The UK has one of the most generous offers in Europe for workers in the creative industries, including for touring musicians, many of whom already benefit from the very streamlined immigration requirements.
I thank my noble friend the Minister for that Answer. UK Music’s annual report will be published tomorrow, but I can give your Lordships a sneak preview of one of its findings: 95% of musicians impacted by our leaving the EU have seen their earnings decrease since Brexit. The movement of musicians in and out of the UK is vital to our live sector, our economy and our culture. Will my noble friend the Minister make two pledges today? The first is to work urgently across government to ensure that the new ETA and visa system does not make it more difficult for overseas artists to tour in the UK. The second is to prioritise sorting out the bureaucratic mess that Brexit has brought to our touring musicians by fulfilling the Government’s manifesto pledge for a European cultural touring agreement.
The UK is looking very closely with our European partners at resetting the relationship, and that means looking to make sure that we reduce as much friction as possible. As my noble friend has mentioned, this is an industry worth around £30 billion a year; it is important that we support that industry as a whole through our creative plan. I will certainly look at the points he has raised. The ETA applications are assessed on a case-by-case basis, and we are working to examine those issues, but the points he makes are very valid. I look forward to seeing the report when it is published tomorrow.
My Lords, one of the key asks from the sector is for visa waiver agreements, not just with the EU but with other countries. Are the Government pursuing this urgently, both as part of the reset and globally?
The Government are certainly looking at that as part of the reset, because it is very important that we have movement between countries that is as frictionless as possible, particularly in areas where individuals can now apply for long-term visas, although obviously the amount of time that they can stay in the UK depends on the visa that is granted. Musicians, entertainers, artists and technical staff from non-visa national countries, such as the US, Canada, Australia and New Zealand, can perform in the UK for up to six months requiring only an ETA, which costs just £16 and currently lasts for two years. That is a pretty good deal.
My Lords, another area in which musicians touring in the UK, and UK musicians touring in Europe, need help is selling merchandise. Merch was once a good earner for bands on tour, but now artists in the UK have to register as an exporter, secure an economic operator’s registration and register for VAT in every country. Europeans touring here must also do so, but for only one country—the UK. Can the Minister update us on what the Government are doing to reach a mutually beneficial deal on this?
The UK Government are currently consulting on reforms to the UK’s convention on international trade, which includes musical instruments, certificates, goods and services. The noble Baroness makes an extremely valid point. It is one of the consequences of Brexit, but we cannot relive that debate now. As part of the reset, we want to ensure that we have movement that is as frictionless as possible, which is in the interests of everybody, without the UK rejoining the EU.
My Lords, while I very much welcome this initiative from the Government, and it is overdue in many respects post Brexit, I have some concerns about reports that appear to be emanating from Europe that the Commission is looking more and more at conceding these things and various other important agreements between us only on the basis that we will contribute to the financial pot of the European Union for everything that we get. Surely that is not the right attitude and the right atmosphere for us to proceed with.
Let us let the UK negotiate with the European Union on these issues. The important thing is that we have as frictionless movement as possible for these sectors, both for UK residents going to the EU and EU residents coming to the UK. For the very reason that the noble Baroness gave, we need to ensure that we have effective movement of goods. The temporary movement of goods such as equipment continues to generate significant effort and cost, and we are looking now at having a carnet with the EU for the temporary admission of goods, so that we can deal with the very issue that she mentioned. Let us have that negotiation, but the objective is quite clear: let us make it as easy as possible for us to do business with the European Union.
My Lords, does my noble friend the Minister agree that it is vital, as we have heard, that costs for British artists touring in the EU are reduced urgently? I welcome his view on carnets—that is indeed a step forward—but what about cabotage? What about, as the noble Baroness said, the possible signing up to the CITES agreement? The merchandise issue, as my noble friend will know, can often make or break a tour, especially for small bands. If they cannot sell their merchandise because of rules of origin problems, it is not worth their while going to Europe.
As I said in answer to earlier questions, the Government are looking at making movement as efficient and effective as possible for all concerned. On the CITES reforms, the Government are currently consulting with the musical sector and we remain committed to making touring as straight- forward and affordable as possible. The points on merchandise that my noble friend and the noble Baroness made are extremely valid. The Government and the European Union need to look at how we make that as frictionless as possible. That does not dilute the Brexit agreement, it simply makes sure that British and European businesses can operate at a profitable level and that we can support the very acts that my noble friend is concerned to support.
My Lords, does the Minister agree that the problem that caused this issue was not just Brexit but the bungled trade and co-operation agreement, which completely left out Britain’s second-largest economic sector—the creative industries? This does not affect just musicians, it affects dancers, theatre, fashion, and so on. Is it not now time for the Government to try to put right what was done badly at the time of Brexit?
There were a lot of things done badly at the time of Brexit. The issue is—with due respect to everyone in this House—that we are where we are. Therefore, being where we are, the first step is to engage positively on a productive reset with the European Union on issues of benefit to it and benefit to us, which retain the spirit of where we were in 2019 and where we were in 2016, but which ultimately ensure that businesses—particularly, in this case, artists—do not find themselves victims of what was a hashed settlement in the first place.
Arriving here, I passed a plaque which read “Mozart lived here”, and, of course, he travelled to Britain and toured freely, as it was in those days. Everyone in the cultural sector knows that the arts know no boundaries of talent, inspiration or pleasure. It is important, in making rules and administration, that the position of the cultural industries as something that is international and free-flowing between nations and audiences is recognised by the Administration.
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Overseas Musicians Touring in the UK · Order Paper · Order Paper