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Musicians and Brexit THIRD REPORT / July 2018
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Musicians and Brexit: Third report / July 2018 ism_music ISMusicians ISM_music
company/incorporated-society-of-musicians
ism_music
Musicians and Brexit
Contents Executive summary
Background
2
Key findings
3
Warnings from the rest of the world… 4 What musicians need from the deal… 4
Appendix The results in detail
6
About the ISM
12
About FreeMoveCreate
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In the latest of the Incorporated Society of Musicians’ (ISM) surveys of the musician community, four in ten identified an impact on their work predominantly as a result of uncertainties around the right to remain and free movement; this is up from 19% in 2016. The 2016 referendum on membership of the European Union (EU) saw the UK vote by a margin of 51.89% to 48.11% to leave the EU. Less than a year later, on Wednesday 29 March 2017 the [then new] Prime Minister, Theresa May invoked Article 50 and formally began the process of the UK leaving the EU. Both these seismic events raised numerous questions for musicians and for the whole of the creative industries workforce about future work opportunities. The ISM’s team of in house lawyers have been working to ensure our members have the best legal advice available and the right services to support them in their work on the continent. Between October 2016 and May 2018 we conducted three substantial surveys of the music workforce, asking them
about the impact of Brexit on their work and about the nature of their work in the EU and beyond. In total, we received 1,625 responses from working musicians – performers, composers, singers, songwriters, directors and academics. Responses covered every genre, from electronic and neo-soul to early jazz, classical and rock and pop. These surveys have been quoted in official reports, shared with civil servants across Government and with Members of Parliament seeking to understand the impact of Brexit on the music sector. As a reminder, the UK’s music industry – contributing some £4.4 billion a year to the UK economy – is globally dominant and forms a central part of our creative industries which, valued at £92 billion a year to the UK economy, are worth more than the automotive, aerospace, life sciences, oil and gas industries combined. Uniquely, around 90% of musicians work in a self-employed or portfolio career capacity. We sell services, not stuff, and people need to be able to travel to deliver these services. The Customs Union alone will therefore not resolve any concerns voiced by musicians in relation to free movement and access to the single market.
The impact of Brexit:
During my extensive performing career I have always had 6-10 concert bookings annually in Germany and and am now well known in that country with a large fan base. This year I only have 1 concert in Germany.
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Musicians and Brexit: Third report / July 2018
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Many musicians have moved away or decide not to work with the UK, thus thwarting collaboration opportunities.
Some EU clients are reluctant to commit to bookings until there is clarity into my status.
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Key findings The survey shows just how dependent our music workforce is on free movement and access to the EU27 currently for work. 39% of respondents travelled to the EU more than five times a year and the figure was marginally higher for performers at 41%. 12% of these musicians travelled to the EU more than 20 times a year. There was an even spread of length of travel, showing the variety of work carried out from musicians from standing in for another musicians (depping) often at short notice and sometimes with just 24 hours’ notice, to longer tours lasting more than three months. And 41% of musicians, in total during the course of the year, spend more than 30 days in the EU for work.
15% of performers responding to the survey had less than seven days’ notice between being offered work and taking it.
Warnings from the rest of the world…
Touring habits:
Tours can be anywhere between 1 day to 2 weeks, very occasionally more. I give concerts in major EU venues. I work abroad almost every week, most of the time in ten EU states.
I have concerts abroad regularly, tour in the EU and go and give talks in the EU mainly.
The vast majority of my work is with EU ensembles touring the EU. I also work frequently with UK groups – all of whom work in the EU for the majority of our tours.
And the lessons to learn from the rest of the world are laid bare by the difficulties experienced by musicians when travelling outside of the EU. 54% of respondents said that they worked outside the EU as musicians.
More than a third of musicians had experienced difficulties with visas when travelling outside the EU. In fact, of those experiencing difficulties at all, 79% of those identified visas as the source of those difficulties. The purely financial cost is significant, and whilst employers and engagers often covered the visa costs, 33% still spent more than £300 a year on securing visas to work (5% of musicians spent more than £1,000 a year). But this is not just about the obvious financial costs: 15% of UK musicians have lost a job opportunity because of problems with visas. Drawing on the comments above about the impact musicians are already experiencing on their work as a result of the uncertainty around free movement, this is a significant area of concern.
Problems when travelling:
I have recently been offered employment by an American ensemble which then was withdrawn as the American ensemble couldn’t afford the visa. Visas are a complete bane of our lives. Whenever one has to apply for one your life is put on hold. You can’t travel whilst your passport is at an embassy. You have to attend visa appointments (which often make working the rest of the day impossible as you can’t take an instrument to the embassy). Perhaps the majority of visits are for 2-3 days, but a few are for anything from 1 to 4 weeks.
Only time outside of EU, gear was searched. Items were not returned due to apparent suspicions (two guitar pedals and about 30 guitar picks that were in small plastic bags). We were also held in the airport security for around 4 hours, meaning we (me and the band I was touring with) were late to work commitments.
Unsurprisingly, the biggest markets accessed by musicians were ordered broadly by size of the economy of the countries concerned, with Germany (51%) and France (45%) topping the rankings, followed by Italy, Spain, The Netherlands, Ireland and Belgium.
What musicians need from the deal…
Perhaps the most significant finding of this report is that more than a third of musicians reported that they received half or more than half of their income from working in the EU. This shows just how dependent on this relationship our predominantly freelance music profession is.
Since the referendum, the ISM has conducted three surveys of the music workforce, and held numerous round tables not just with colleagues from the music sector, but also with partners from the wider creative industries, many of whom represent sectors with similarly high levels of self-employment, and with civil servants.
We also take this opportunity to urge colleagues across the creative sector to support FreeMoveCreate and work towards securing free movement for creative professionals post-Brexit. If individual sectors secure niche arrangements for individual professions serious harm could still hit our creative economy.
What has become clear from this is that free movement must be protected for professionals working in our cultural industries. A single touring visa would not resolve this issue given the frequency of travel and short notice of many professional engagements, and of the problems experienced by professionals around the world.
This report does not draw on our wider concerns in relation to the protection of copyright and musicians’ intellectual property, which can be seen in evidence the ISM submitted to Parliament’s Digital, Culture, Media and Sport Select Committee. Nor does it focus on the funding opportunities that must ideally remain open to UK artists at least in partnership with EU colleagues.
A creative professionals electronic visa, vouched for by an agent or professional body, valid for two years and enabling multiple entry across the EU27 (the remaining members of the EU) is needed if the UK’s profession is to continue to be able to access the significant EU market.
For musicians, Europe is our concert hall, it is where we earn a living, and we urge the Government to protect free movement beyond Brexit for our creative professions so that we can continue to lead the world in what the UK is best at: music.
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Musicians and Brexit: Third report / July 2018
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Comments from musicians
Appendix: The results in detail Reduced number of contracts and in some instances questions about future work permits etc.
The detailed results
Contractors have already been looking for alternatives rather than book me.
Are musicians employed or self-employed:
The percentage of respondents identifying as self-employed (87%) matches estimates of the music profession and numerous ISM studies. This suggests our survey data continues to be representative of the music workforce and its figures can be trusted.
100 80 60
Employed
40
Self-employed
20
During my extensive performing career I have always had 6-10 concert bookings annually in Germany and and am now well known in that country with a large fan base. This year I only have 1 concert in Germany. I think concert organisers are feeling nervous about the possibility of having to pay for artist visas and possibly higher foreign performer taxes.
Many musicians have moved away or decide not to work with the UK, thus thwarting collaboration opportunities. I also feel less confident saying I live in the UK as I feel that people will feel that there are less collaboration possibilities than previously.
German record label decided to not take on my band due to border changes etc.
Venues no longer booking tours in advance.
Imported parts and materials are 20% expensive. Some EU clients Is Brexit having anmore impact are reluctanton your work? to commit to Reluctance of festivals to bookings until Yes book UK No people Total beyond there is clarity 2018 40.14% 59.86% 100.00% 2019 until they know into my status. 2017 25.72% 74.28% 100.00% more about the travel 2016 19.61% 80.39% 100.00% agreement after Brexit.
0
Travelling within the EU The biggest single variation between this latest survey and previous ISM surveys was found in those musicians who had already identified an impact on their work resulting from the referendum and ongoing negotiations relating to the UK’s withdrawal from the EU. Of those offering an opinion, more than 40% of the music workforce had identified an impact on their work, up from 19% in 2016, and 26% in 2017.
Employed Not employed 34 222 13.28% 86.72% Is Brexit having an impact on your work?
100 80 60 40 20
Yes No
0
oyed or self-employed?
loyed 4
2016
Are musicians employed or self-employed?
Musicians and Brexit: Third report / July 2018
100
How many times a year do you visit the EU for work? All Performers 1 to 5 61.24% 59.05% 5 to 10 17.83% 18.10% 10 to 15 6.20% 7.62% 15 to 20 3.10% 2017 2.86% 2016 2018 20+ 11.63% 12.38%
2017
Well most of my work is outside of the UK and I am finding it much more difficult to negotiate work in the Is Brexit having an impact EU now. 80on your work?
100
Yes No 2018 40.14% 59.86% 60 I’m a professor at the 2017 RCM 25.72% 74.28% in London and 2016 19.61% 80.39% have noticed that it is becoming more 40 difficult to recruit students from the EU.
2018
Huge decline (over 90%) in applications to study from students outside the UK, leading to loss of revenue in the region of £21k this year.
Promotors less likely to confirm work abroad. Orchestras that employ me within the EU are uncertain how Brexit will impact on my work with them as a freelance musician.
Total 100.00% 100.00% 100.00% Possible reluctance to book for recitals beyond 2019, noticeable drop in responses from Germany could be due to uncertainty/ venues not wanting to take the risk.
More for the future, possible difficulties of touring small band to Europe, with possibility of Carnet being a requirement and concomitant fees (£500 suggested).
20
0
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0 2016
Are musicians employed or self-employed?
2017
2018
What percentage of your annual income is from the EU?
How many days do you spend in the EU27 per visit on an average trip?
None Some Half More than half
How many days per visit? 1 to 2 2 to 3 3 to 4 5+
31 65 13 41 150
20.67% 43.33% 8.67% 27.33% 100.00%
36.00%
All 26 25 34 45
All 20.00% 19.23% 26.15% 34.62%
Employed Not employed
50
60
40 30 20
Spain
Slovenia
Slovakia
Romania
Portugal
Poland
The Netherlands
Malta
Luxembourg
Lithuania
Latvia
Italy
Ireland
Hungary
Greece
Germany
France
Finland
Estonia
Denmark
Czech Republic
20
Cyprus
Croatia
0
40
Bulgaria
10 Belgium
How many times a year do you visit the EU for work? 5–10 timesAll Performers 1 to 5 61.24% 59.05% 5 to 10 17.83% 18.10% 10–15 times 10 to 15 6.20% 7.62% 15 to 20 3.10% 2.86% 20+ 11.63% 12.38% 15–20 times
Percentage (%)
1–5 times
80
2017
Austria
We asked people where in the EU their work was predominantly based. The results from our latest survey matched the previous findings of our 2017 survey. This again suggests a high level of consistency across the workforce. How many times a year do you visit the EU for work?
2018
Where do musicians travel for work?
60
100
86.72%
Percentage (%)
13.28%
Sweden
34 222 the EU – the stats Travelling to
0
20+ times
All
Performers
All
Finland
Performers
8.33%
Estonia
What percentage of your annual income is from the EU?
6.25%
How many days do you spend in the EU27 per visit on an average trip?
Sweden
12.50%
Denmark
Latvia
5.56%
7.64%
Ireland
22.92%
Lithuania
3.47%
The Netherlands
More than half 27.33%
None 20.67%
5+ days 34.62%
25.00%
1–2 days 20.0%
Belgium
Poland
21.53%
13.89%
Germany
Luxembourg
5.56%
50.69%
Czech Republic
11.11%
Half 8.67%
Some 43.33%
2–3 days 19.23%
Slovakia
3.47%
Austria
France
16.67%
45.14%
Slovenia
3–4 days 26.15%
Hungary
5.56%
4.86%
Romania
4.86%
Croatia
5.56%
Portugal
11.11%
Spain
Bulgaria
29.17%
2.78%
Italy
31.94%
6.25% is from thedays EU? do you spend in the EU27 per visit on an How many trip? days do you spend in the EU27 per visit on an average trip? e EU?What percentage of your annual income How many average Greece
None 31 20.67% How many days per visit? Some 65 43.33% 1 to 2 Half 13 8.67% 2 to 3 6 Musicians and Brexit: Third report / July 2018 More than half 41 27.33% 36.00%3 to 4 150 100.00% 5+
All 26 25 34 45
All 20.00% 19.23% 26.15% 34.62%
How many days per visit? 1 to 2 2 to 3 3 to 4 5+
All 26 25 34 45
All 20.00%9.03% 19.23% 26.15% 34.62% Malta
Cyprus
2.08%
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The rest of the world – the stats 08
100
80
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02
1 1 to 3 3 to 7 7+
0 All All
Performers All Performers 4 3.42% 4.35% 1 toDuring 3 4the course 4 of the year,3.42% how many 4.35% 1–3 days 4.35% in total? 6.52% 3 todays 7 do 7 you spend 6 in the EU275.98% 15.22% 7+84.78% days 7+ 102All 78Performers All 87.18% Performers
1 to 7 3–7 days 6.52%
Performers
7 to 14 14 to 30 30+
21 25 32 55
13 20 27 44
15.79% 18.80% 24.06% 41.35%
Comments from musicians
Musicians and Brexit: Third report / July 2018
Only time outside of EU, gear was searched. Items were not returned due to apparent suspicions (two guitar pedals and about 30 guitar picks that were in small plastic bags). We were also held in the airport security for around 4 hours, meaning we (me and the band I was touring with) were late to work commitments. %2
Applying for US work visa is a pain in the arse!
sre
US Visa getting very laborious and time wasting.
eh ?d t ed lro ist w uo eh kr %4 t f ow 9 ot %6 .4 5 se uoy 0.5 r e oD 4 ht 98 ni 37 seY oN
8
It’s sometimes a problem finding time to get visas, especially if your passport has to be given in. Usually the orchestra organises the trip to ensure we don’t have problems with visas or bringing in instruments.
UE
Performers Performers The USAAllis a nightmare 13 15.79% 12.50% for music: visas - costly 20 and not18.80% 19.23% guaranteed, in 27 the Middle 24.06% 25.96% East you need 44 41.35% 42.31% a contract and a sponsor to get a visa. Another challenge is the sheer cost of travel.
84.78% 12.50% 19.23% 25.96% 42.31%
?tr
urse of the year, how many pend in the EU27 in total?
Comments from musicians HowYes much do89 musicians 54.94% spend Noper year 73on visas? 45.06%
0 Yes No
Performers 4.35% 4.35% 6.52% 15.22% 84.78%
£100 – £300
89 73
54.94% Visas 45.06% 34.69%
44% of musicians reported experiencing problems when travelling to the rest of the world.
£300 – What £500are the biggest problems
experienced by musicians when travelling to the rest of the world?
£500 – £1,000
Visas Turned away at the border £1,000+ Difficulty with equipment Export problems No problems encountered
0
10
34 2 7 0 55
20
34.69% 2.04% 7.14% 0.00% 56.12%
30
40
50
60
70
80
Percentage (%) How much do musicians spend per year on visas?
What are the biggest problems are all All are a problem, Annual They costs of visas experienced by musicians when complicated especially as I have to £100 – £300 41 67.21% travelling to the rest of the world? and expensive. send my passport away. 12 19.67% I have recently been offered employment by an £300 – £500 £500 – £1000 5 8.20% China is probably the most Visas 34which 34.69% American ensemble then was withdrawn £1000+ 3 4.92% difficult 32.79% but it is a 2-year Turned away border ensemble 2 2.04% asat thethe American couldn’t afford the visa. 61 100.00% visa and I pay a company Difficulty with equipment 7 bane 7.14% Visas are a complete of our lives. Whenever to organise it for me. Export problems 0 one0.00% one has to apply for your life is put on hold. No problems 55 your 56.12% Youencountered can’t travel whilst passport is at an embassy. You have to attend visa appointments Recently I had to get a Japanese visa which was (which often make working the rest of the day very smooth. USA, China and Russia are hugely impossible as you can’t take an instrument to the complex and frustrating. I hear that Australia is embassy). There is always the fear that for some relatively straight forward but luckily I have an small technicality your visa will be turned down. Australian passport. eg g m ib e yb ht ht dec era t ot ne ah gn ire W ille pxe va rt wa sa s d ytl enr iV uc uT tro fifiD p p o xE N
Performers:
All
All 3.42% 3.42% 5.98% 87.18%
Do you work outside the EU in the rest of the world?
What is the timeframe between being offered work in the EU and having to start?
1 day 4.35% 1 4
Performers 4 4 6 78
at gnie so b mr t g ne o f 2.5 reP niv ew % 5 1 ah teb %5 3.4 dn em 3 % . aU a %2 llA %8 25. 4 E e rfem 4 7.4 6 %2 .3 sre ht 8 mr ni it eh %8 4.3 o kr t s fre %8 9. ow i t P 1.7 5 de ahW 8 4 re llA ffo 4 4 6 4 87 3 20 7 7 ot 1 1 ot 1 3 +7
What is the timeframe between being offered work in the EU and having to start?
Performers Performers
All 4 4 7 102
yn sre a mr ?la m w o to oh %0 fre t n ,r %3 5.2 P i 7 aey 1 2U %6 2.9 E e eht %9 ll %1 9.5 1 ht fo A 7 %0 .5 e 3.2 2 s 1 rem ni dn sruo 4 %6 8.8 ep c e rof %5 0.4 1 s u ht reP oy gn 3.1 2 31 od iru 4 llA sy D 02 ad 12 72 5 2 44 7 23 41 ot 1 55 03 ot ot 7 4 +0 1 3
20
Turned away at the border 2.04%
Do you work outside the EU in the rest of the world?
offered work in the EU and having to start?
l lA
30+ days
40
of re P
14–30 days
60
Difficulty with equipment 7.14%
mr
7–14 days
sre
Percentage (%)
04
1–7 days
All
What are the biggest problems experienced by musicians when travelling to the rest of the world? % of those identifying a problem:
More than half of the respondents worked outside the EU. Do you work outside the EU in the rest of the world?
06
During the course of the year, how many days do you spend in the EU27 in total?
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The Incorporated Society of Musicians is the UK’s professional body for musicians and a nationally-recognised subject association for music. We were set up in 1882 to promote the art of music and to protect the interests and honour of all musicians. Today we support almost 9,000 members with unrivalled services and expert advice, from study up until retirement and beyond. We are a wholly independent, non-profit-making organisation. Musicians who are members of the ISM have access to advice from experienced in-house employment lawyers by contacting the ISM legal team at legal@ism.org or by contacting our 24-hour advice line on 01275 376 038.
FreeMoveCreate is a campaign to protect freedom of movement for the UK’s creative industries post-Brexit. The campaign represents the coming together of more than 30,000 musicians and artists from across the memberships of a-n The Artists Information Company (the UK’s largest artists’ membership organisation) and the Incorporated Society of Musicians (ISM – the UK’s professional body for musicians). We are calling for any transitional and permanent relationship with between the UK and EU to ensure that musicians, directors, technicians, designers, artists, dancers, sound engineers, actors and all the creative industries professionals can continue to travel to the EU for work.
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