The UK is currently set to leave the EU on October 31
A petition has been launched online in a bid to help protect musicians once Brexit happens.
It comes after the Government recently shared a guide to touring in Europe in the event of a no-deal Brexit. The guide offers information for both people and objects, animals and equipment, breaking down the key things to consider before embarking on a tour.
The UK is currently set to leave the EU on October 31, however a withdrawal agreement has not yet passed through parliament and it could be delayed following the passing of the Letwin amendment in the House of Commons at the weekend.
A no-deal Brexit has led many to believe that UK acts, particularly DIY artists will have great difficulty touring the continent.
Now, a petition entitled “Ensure any Brexit deal protects the Touring Industry for Musicians and Crew” has been launched which states: “Requirements for multiple work visas, driving permits, customs checks on equipment and merch etc. may make touring Europe financially unviable for smaller artists. It may also affect European artists decision to include the UK on their tours.”
It adds: “We’d like to see any Brexit Deal contain mutual, temporary exceptions on work permits, driving permits and customs allowances, covering the duration of tours in order to guarantee the survival of the touring industry, protecting both jobs and the UK’s reputation for exporting talent.”
The petition currently has nearly 11,000 signatures. It needs 100,000 before it can be considered for debate in parliament.
You can sign up to the petition here.
“The ending of free movement with no waiver for musicians will put our fast-growing live music sector, that generates around £1 billion a year for the UK economy, at serious risk,” Michael Dugher wrote in an open letter. “The costly bureaucracy will make touring simply unviable for very many artists who need to earn a living and it delivers a hammer blow to development of future, world-leading British talent.”
This article originally was published on NME