Explore how Brexit impacts UK musicians’ opportunities in Europe, with increased red tape making it harder for grassroots artists to perform at festivals.

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Tens of thousands of music lovers will gather on the outskirts of Paris this week for the Rock en Seine festival.

They will be treated to a stellar lineup featuring British headliners like Loyle Carner, Fred Again, and Olivia Dean.

However, behind the star power lies a troubling reality for the UK’s grassroots music scene: the number of emerging British musicians performing at European festivals is rapidly dwindling.

The Brexit Barrier: How Red Tape is Holding Back UK Musicians

For many up-and-coming UK artists, the dream of playing on a European stage is becoming increasingly elusive, and the culprit is clear—Brexit.

Since the UK departed from the European Union, British musicians have faced a growing mountain of complex and costly paperwork to perform across the Channel.

According to research from the Best for Britain think tank, British representation at significant festivals like Rock en Seine has increased by 24% compared to pre-Brexit levels.

However, this headline hides a more concerning trend: fewer opportunities for lesser-known UK musicians to break into the European festival circuit.

“Festivals typically book from headliners down,” explains Jamie Wade, a music agent at X-Ray Touring, whose roster includes artists like Blur and Robbie Williams.

“What we see now is more domestic [European] artists being booked for the lower-end slots. They are cheaper, a safer bet, and do not come with the risk of border delays.”

The New Reality: Paperwork and Permits Stifling Spontaneity

For musicians like Oli Dewdney, bassist of the indie rock band Sports Team, the days of spontaneously jumping in a van to play a last-minute gig in Europe are a distant memory.

Now, the reality of touring post-Brexit means dealing with carnets—essentially passports for musical instruments—along with additional costs and the ever-present threat of border delays.

“It is wild how meticulous that carnet list has to be,” Dewdney shares.

“It is not just listing a guitar—it is every snare, every cymbal, every drum stand. Moreover, it cannot be amended if you want to add anything.”

Dewdney recalls a particularly frustrating experience at the Spanish border after opening for The Libertines in Manchester.

The band flew to Barcelona for an afternoon gig, but they were stopped by armed guards who demanded to see their carnet.

Despite following what they believed was proper protocol, the guards presented Spanish regulations that conflicted with UK government guidance.

After hours of tense negotiations and a mysterious payment of €161.67, the band was finally allowed to proceed—leaving Dewdney questioning whether the whole ordeal was legitimate or a subtle form of bribery.

Financial Frustrations: Getting Paid Has Never Been Harder

Even when UK musicians successfully navigate the logistical hurdles, getting paid for their performances in Europe presents another challenge.

A survey by the Independent Society of Musicians (ISM) found that 73% of musicians have lost work or faced payment issues due to delays in receiving A1 certificates, which are required to prove compliance with tax rules and avoid local taxes.

Jack Merrett, the band’s Famous lead singer, describes the process as “slightly bonkers.”

During a short run of dates in France—known for its strict enforcement of A1 requirements—one band member did not receive their certificate in time.

As a result, the band could only get paid once the form arrived almost a year later, after months of back-and-forth with UK tax authorities.

“When you are starting, you either lose money or just about break even,” Merrett says, highlighting the financial strain these delays place on emerging artists.

Bending the Rules: Musicians Take Risks to Keep Touring

Faced with ever-changing rules and lengthy procedures, some musicians are bending—or outright breaking—the law to keep their tours on track.

Ploys include smuggling merchandise in vans or using multiple passports to overstay the 90-day limit allowed in the Schengen area.

“We have had experiences of intensely toeing the line and completely breaking the law,” admits Patrick Fitzgerald, bassist of Deathcrash.

While the band tries to follow the rules, Fitzgerald suspects that many musicians push the limits, such as stretching the exemption on carnet forms for gear that a person can carry.

Others, like London-based saxophonist and DJ Poppy Richler, have had to rely on VIP contacts to get past border hold-ups caused by last-minute rule changes.

A Broken System: Confusion and Inconsistency Reign

The inconsistent enforcement of these new regulations only adds to the frustration.

“We have only been stopped when we try to follow protocol,” Fitzgerald recalls, recounting a time when his band spent hours at customs before a festival in Brussels. “It honestly was not worth it,” he concludes.

Music managers are feeling the pressure, too.

Claire Kilcourse of Big Life Management, an agency representing artists like Kate Nash, notes that the complex rules have added anxiety to European tours.

Tour managers now often arrive at destinations ahead of the artists to ensure everything is in order, further driving up costs.

Freelance tour manager Chiara Michieletto highlights the need for more reliable information about these rule changes, forcing artists and their teams to rely on word-of-mouth and online forums.

“Everyone is unsure about what is going on, including those who are supposed to be advising or penalizing musicians,” Michieletto says.

Fighting for Change: Will the Government Listen?

Deborah Annetts, chief executive of the Independent Society of Musicians, has been a vocal advocate for raising the UK government’s awareness of the challenges facing British musicians.

She supports a visa waiver agreement between the EU and the UK, a proposal that the previous Tory government rejected over fears it could be seen as an immigration issue.

“It is farcical,” Annetts says.

“It is now easier for European musicians to tour in the UK than for UK musicians to tour in Europe.”

She also backs a “cultural exemption” on carnet requirements when transporting musical equipment across the Channel.

The UK Labour government should address these issues.

The party’s manifesto promises to tackle visa and customs issues for performers traveling to Europe, and Prime Minister Keir Starmer’s passion for music—he played the flute and piano and attended a prestigious music school—could mean a sympathetic ear in No. 10 Downing Street.