Touring Musicians: EU Visas and Permits

[Dr Rupa Huq in the Chair]

Before we begin, I remind Members that they are expected to wear face coverings when they are not speaking in the debate, in line with current Government guidance and that of the House of Commons Commission. I also remind Members that they are asked by the House to have a covid lateral flow test twice a week if they are coming on to the parliamentary estate. This can be done either at the testing centre downstairs or at home. Finally, please give each other, and members of staff, space when you are seated and when entering or leaving the Chamber.

I beg to move,

That this House has considered enabling visa- and permit-free working for musicians in the EU.

It is a great pleasure, Dr Huq, to see you in the Chair for this debate, and I am grateful to the Backbench Business Committee for agreeing to the application for this debate from myself and the hon. Member for Somerton and Frome (David Warburton), who is chair of the all-party parliamentary group on music. That application had the backing of the Chair of the Digital, Culture, Media and Sport Committee, the hon. Member for Solihull (Julian Knight), and numerous MPs from all parties, from Scotland, Wales and every region in England. The concern is cross-party; the demand for Government action is UK-wide.

The music sector is important to the UK, both culturally and economically. It accounts for nearly 200,000 jobs and, at least before covid, it was worth £5.8 billion, £2.9 billion of which was generated in export revenue, with the EU being by far the biggest market. The finances of the sector—both of individuals and organisations—depend for a significant section of income on touring in the EU, with a survey conducted just before covid showing that 44% of musicians received up to half their earnings in the EU. Our music sector financially depends on touring in the EU.

Of course, we do not just look at this issue in economic terms. We have to recognise the role that music plays in the very quality of our lives, in the definition of our communities, and in our ability to engage with our emotions, and to understand ourselves and each other. Our music is precious and our musicians should be celebrated, protected and supported in their art. However, they face a great problem that is not of their making, which is the post-Brexit obstacle to touring in the EU.

A tour of Europe often needs to involve more than one country to be viable and sometimes many countries. The problem is that for British musicians to tour in Europe now there are 27 different work permit regimes, 27 different visa regimes and 27 different requirements for proof of the work that is going to be undertaken. That means hours spent on forms and certificates, downloading bank statements and acquiring certification and statements about the nature of the work; days spent travelling to and sitting in consulates; weeks spent waiting for Her Majesty’s Revenue and Customs to process A1 forms to provide to employers in Europe; fees for applications; and further expense and time to obtain musical instrument certificates with expert verification that the instrument does not consist of endangered wood or ivory, with the risk of the instrument being confiscated if the paperwork is not in order.

Does the right hon. and learned Lady believe that specialised visa renewals for touring groups, which would streamline the time and the cost for visa applications for working musicians, would be a step in the right direction, and if so would the Minister consider that suggestion?

We need to take all the steps in the right direction that we can, and we look forward to hearing from the Minister. I thank the hon. Gentleman for his contribution to the debate today.

There is time and cost involved. I recommend to the Minister that she download and look at some of the forms that are required. I have only four of them here, but they are of mind-boggling complexity, and they are all different—that is the point. People cannot just get the hang of doing one of them and then do it again; they have to be done differently for every country, every time. That means plans being curtailed and opportunities being lost, and that is without even mentioning the dreaded cabotage rules that prevent a lorry needed to carry instruments or equipment from making more than three stops before returning back to the UK. That does not fit with how touring bands or orchestras work in just one country, let alone if they are touring a number of countries.

Some 85% of the European concert trucking industry is based here in the UK. Those firms will be put out of business or have to relocate to Europe unless this matter is sorted.

The industry was based in the UK, but, according to the information that I have, a lot of it has already gone to Holland. Although touring is not taking place at scale, the planning that goes into touring is taking place right now. It is necessary to get the rules changed now, and not when we discover we do not have an industry left.

The hon. Gentleman is absolutely right. Time is not on our side. We all recognise this is an immensely skilled and professional industry that we should protect, and it should not have to move. Our musicians and those who work to support them are highly committed, resourceful and skilled. They say there is a problem that they cannot solve and they need Government action. The Government must reach agreements with all EU countries for consistent regimes so that our musicians can once again tour freely in the EU. As the hon. Gentleman said, they should do it quickly. Plans are being made in the EU that leave out our sector.

I am grateful to the right hon. and learned Lady for securing this debate. I declare my interest as chair of the all-party parliamentary group on opera. She has referred to touring bands and orchestras, but there is also a real issue for singers and freelancers. For an individual singer, especially a young singer, trying to negotiate the forms is nigh on impossible. A production of “Peter Grimes”, the great Benjamin Britten opera, which requires an English-speaking cast at the Teatro Real in Madrid, was in jeopardy for months before eventually a workaround was achieved. Even though the situation in Spain has improved, in many places it is very difficult for British singers, and they are not getting the bookings. Bookings for opera companies are made years in advance, which is why we need certainty now.

The hon. Gentleman is absolutely right about that. Plans are being made, and if the Government do not move quickly some organisations will become unviable. Some musicians at the top of their career will feel their best option is to relocate to Europe, and we do not want them to have to do that. Many of the next generation of musicians will never have the opportunity to get into the profession, and to develop their careers, without the financial and artistically important benefits of working in Europe. Whether it is established artists or those just starting out, big organisations or freelancers, our music sector needs the cultural creativity that they get from working in Europe. We do not want to become a musical Galápagos with our musicians locked out of the cultural partnership that is so important for creative development.

I hope the Minister will recognise the weight of opinion, which includes Sir Elton John, Sir Simon Rattle, Howard Goodall, Sting, Judith Weir, Nicola Benedetti, Ed Sheeran, the Sex Pistols, Roger Daltrey, Bob Geldof, Brian May and many more. I pay tribute to the work done by the organisations demanding Government action: the Musicians’ Union, UK Music, the Association of British Orchestras, BECTU, the Incorporated Society of Musicians and Carry on Touring, to name just a few. They all call for a concerted response from the Government to support the sector while matters are being sorted out.

The Prime Minister has said that there is a problem and he promised to fix it. I have talked to the new Secretary of State for Digital, Culture, Media and Sport. She knows about this and I know she wants to sort it. We are genuinely not looking for a political row. We only want a solution, but we need absolute clarity and honesty from the Government. There is no point in telling the sector that the problem is solved if it clearly is not. There is no point in the Government just issuing more guidance. Those involved in the music sector do not need to be told what the problem is. They know only too well and they need the Government to sort it.

Like others, I congratulate the right hon. and learned Lady on securing this debate. I agree with everything that she has said, but there is an aspect that she has not touched on—the festivals around the country. In Orkney we have the world-famous St Magnus festival in June, which was founded by the late Sir Peter Maxwell Davies. In Shetland, we have the Shetland folk festival. Those are community enterprises, albeit highly professional ones. The administrative burden for them from having to deal with visas of the sort that the right hon. and learned Lady has already pointed out will be phenomenal. That cultural growth would be an enormous loss for our communities.

I completely agree with the right hon. Gentleman’s point. We have to think of the impact of those coming into this country: we need them to be part of our music sector here.

I welcome the Minister to her place and I wish her well in her work. If she wants any help to get this sorted, we are all here to help and do whatever we can to back her up on this. I look forward to hearing from her this afternoon that she acknowledges the scale and nature of the problem, and that she will deliver on the Prime Minister’s promise. I know she will have to work with many other Departments. No pressure, but we are looking to her to deliver. We want to hear from her what progress she has already made, and what further progress she anticipates the Government will make in respect of which countries and by when.

This is a very popular debate. In fact, my name is on the original list of people speaking in it. To allow the Mother of the House, the right hon. and learned Member for Camberwell and Peckham (Ms Harman), time to wind up, the first Front-Bench spokesperson will start at 3.58 pm. If everyone can keep within a five-minute time limit, everyone will get in.

It is a pleasure to see you in the Chair, Dr Huq, and it is a pleasure to follow the Mother of the House, the right hon. and learned Member for Camberwell and Peckham (Ms Harman). I congratulate her on her words, on her continuing efforts in this area and on securing this important debate.

We should not be having this debate. It is endlessly amazing to me that the public consciousness, the media and the press can, day after day, follow the intricacies of fisheries and the arguments over the European Union and fishing rights, for example, but the music industry, which employs more people than the fishing and steel industries combined, hardly gets a look in.

We ought not to be having this debate because this should have been wrapped up long ago, but, on leaving the EU, the trade and co-operation agreement very much focused itself on goods rather than services, so cultural touring was left a little behind. I know the Prime Minister has openly committed to working flat out to solve the problem, and progress has been made, particularly this week with Spain, but we have a long way to go. The problem is not only the practicalities of UK musicians, artists, crew and creatives from other sectors touring the EU, but the perception that this is a niche, side issue and not one that we need to firmly address.

Looking at the facts, employment in the music sector has dropped by 35%, with revenues almost halving in the last year. We were riding high before the pandemic. The sector grew by 11% in 2019, far beyond the rest of the economy, not only dragging the rest of the economy behind it, but flying the flag as well, by demonstrating the creative skill of the UK.

The EU is our most vital market. The European Commission itself said that UK acts “dominated the European panorama”, and that must continue. In order for it to continue, the uncertainties around cabotage, carnets, visas and work permits need to be resolved, not only in a purely logistical sense but because without the certainty, as we have heard, that comes from knowing that artists, orchestras, musicians and all their retinue can travel freely and work, it is impossible for them to book ahead and have the confidence to look forward.

It is a pleasure to serve under your chairship, Dr Huq, particularly on a topic that quite clearly means so much to Members and their constituents across the country. I congratulate my right hon. and learned Friend the Member for Camberwell and Peckham (Ms Harman) and the hon. Member for Somerton and Frome (David Warburton) on securing this very important debate. I have said it a number of times—colleagues across the border may refute my claims—but music really is such a unique part of Welsh culture and identity. We have obviously seen some fantastic musicians from across Wales have great success across Europe and the world over the years, too. Indeed, it is about time that we recognise both the cultural and economic benefits that musicians and their craft bring to our nation. While I am hesitant to make reference to the undisputed king of Wales, Sir Tom Jones, this early on in a debate—it’s not unusual—it would be remiss of me to ignore the incredible influence he has had on so many artists, big and small, in Wales and beyond.

When we speak about musicians touring in the EU, we must also be clear to establish that there are also artists at the very start of their careers hoping to catch a big break overseas. As we have heard, there are the further complications when considering the needs of orchestras, or brass bands, such as the incredible Cory Band based in the constituency of my hon. Friend the Member for Rhondda (Chris Bryant), who travel with large instruments or require advanced technical support. The vast majority of brass bands are led by volunteers who have day jobs; they are unable to navigate and circumvent the necessary paperwork and arbitrary requirements needed to travel to all these countries.

The success of our music industry has been well documented in this place, but it really is remarkable that the UK—as small as we physically are—is currently the second biggest exporter of music in the world. It comes as no surprise to learn that Europe is our industry’s closest and most important international market. Put simply, it is not a market we should be seeking to cut off. We all know that European touring has become more expensive, more complicated and more difficult to execute. What is even more frustrating is that the confusion, lack of clarity and co-ordination over the requirements of the 27 EU member states for touring musicians was clearly an oversight by the UK Government during the negotiation period. The UK’s live music industry is completely reliant on low-friction barriers to entry and movement, allowing tours to move through countries seamlessly and quickly. However, as the world slowly begins to unlock from the restrictions that coronavirus has placed on us all, I fear that our creative sector will continue to pay the price for this ignorance and inaction.