Touring: Impact of EU Exit

The report provides important new evidence on the economic and practical impacts of EU exit on UK artists touring in the EU for both the UK and the EU. We remain committed to our manifesto pledge and will use the report to strengthen the case that practical solutions will deliver benefits to both the UK and the EU alike. We are sharing the findings of European partners and the Cultural Exchange Coalition to allow them to be used in engagement with European counterparts.

My Lords, I give all credit to the Government for commissioning what is a devastating report, if predictably so. Will the Government use the detail of this report to inform the next UK-EU summit, including especially the significant effect of Brexit on the creative economies of EU member states? Clearly, we need to stress the mutual benefits of sorting out what, frankly, should have been sorted out years ago.

The report does indeed provide evidence of an issue many noble Lords have raised with me, and the sector has raised with the Government: the impact of the post-Brexit restrictions on artists. The report provides new evidence of the impact on UK artists and on the EU itself—significant amounts of income are lost as a result. We will ensure that its findings inform our engagement with European partners as we continue to pursue practical improvements for touring artists. As the noble Earl will understand, the agenda for the UK-EU summit has not yet been finalised and it would not be appropriate to pre-empt discussions between the UK and the EU on its contents.

Has my noble friend had time to reflect on the merits and demerits of EU membership, and the decision in particular of the people of Iceland over the weekend? Does she agree that a particular significance of that, which might be of relevance to this country, is that it was a decision made by the people of Iceland by over 80% of the electorate voting? There were also marked differences between the views of people in the capital and the views of people in the wider countryside.

The referendum in Iceland is a matter for the people of Iceland and Iceland’s Government; it is not necessarily appropriate or useful to comment on other countries’ decisions in this regard. As my noble friend will be aware, this Government do not intend to rejoin the single market or the customs union, and that policy stands.

My Lords, I declare my interest as the co-chair of the APPG for dance. Bringing it back to matters cultural, this report highlights that dance companies lost £4.5 million in international revenue between 2022 and 2024. The report comes on the back of the ACE report on touring in the UK, which highlights that touring itself is in crisis. Will the Government commit to supporting the measures identified in this DCMS report that would mitigate and remove barriers, particularly for small and medium-scale companies, and help the dance sector across the UK to tour again?

It remains a government priority to support UK artists and to make it easier for them tour across Europe. The report makes it clear that there is a mutual economic and cultural benefit to the UK and the EU. The research also reflects what we have heard from industry, and we are now reflecting on the topics that emerged. We have shared this with sector partners, and I am absolutely confident that it will be a really useful tool in demonstrating, with evidence, what people have been telling us anecdotally. It is always useful to have this report, but I will take the noble Baroness’s comments back to the department as well.

My Lords, this report confirms the damage being done by the many barriers to touring introduced by the botched Brexit deal. As predicted, it has cost the UK dearly in GVA and in jobs in music, theatre, fashion and dance. We are losing a generation of creative talent to Uber and Deliveroo. When will the Government start treating this problem with the urgency it needs?

I would like to think that the Government’s commissioning research on this issue, which we have now published, demonstrates to noble Lords across the House that we take it really seriously. One of the key findings from the report is that reducing the current touring barriers through policy or regulatory changes could generate a range of economic and cultural gains for both sides—it would be mutually advantageous. The loss of GVA to the EU is significantly greater than the loss to the UK, according to this report. I hope that this can form the basis of taking matters forward with the urgency the noble Lord describes, a view which we share.

My Lords, a very precious object that is on tour arrived in the UK recently from an EU country. Will the Minister join me in celebrating the launch very shortly of the Bayeux Tapestry exhibition as an example of cultural diplomacy and the benefits of this—not least in inspiring a new generation of children to take an interest in history?

I would like to start by thanking the noble Lord for his considerable efforts in making sure that the Bayeux Tapestry is in the British Museum for the next few months. It is a really good example of how, by working closely with European partners—in this case, our colleagues in France—we have been able to facilitate an historic exhibition. We are hoping that as many people as possible will be able to see it, particularly children and young people. This is a really important moment for this country and our relationship with France.

My Lords, as a member of the European Affairs Committee, I went on a cultural exchange coalition delegation, with the noble Baroness, Lady Bull. I also played in a band with the new Prime Minister. Has she had a chance to talk to the new Prime Minister about making this a higher priority? I welcome the report because, as the noble Earl, Lord Clancarty, says, it is action that we need now, and that has been lacking so far. Can the Minister give the House the guarantee we are looking for: that this will be a priority and will be on the agenda at the next UK-EU summit?

As I said previously, it is not appropriate for me to pre-empt the agenda for the UK-EU summit. We do not yet have a finalised date, and I should not pre-empt discussions between the UK and EU on the content of the agenda. Regarding our new Prime Minister, I am not sure we have ever had a Prime Minister who is as enthusiastic and passionate about music and the music industry, including performing himself. I think we should take that as an indication of his commitment to the music sector and to touring artists.

My Lords, as the Minister says, other countries lose out when the UK’s brilliant musicians and other artists are unable to tour. Will she make that point, and the point made in this report, to the Government of the United States, who introduced higher artist visa charges in 2024, so that our artists are able to travel not just to the countries closest to us in Europe but all over the world?

It is really useful research, and I hope we use it in our dialogue with countries across the world. I will feed that point back to Minister Ian Murray. It is really important that we use what information we can to demonstrate the huge benefit to people; it is a mutual benefit and similar issues apply.

My Lords, I too very much welcome the commissioning of this report. At every meeting of the PPA so far, Members of this House have been making the point about mutual loss. Every time, EU Ministers have come back and claimed that there is no financial loss—but here we see there is. Does the Minister acknowledge that the artistic, audience and skills development that comes from cultural exchange over centuries has been important in shaping our cultural landscape and that, in losing touring, we are losing both important revenue and that cultural gain? That really matters.

It absolutely matters. From the Dispatch Box, I have regularly spoken about the importance of soft power. All these things matter. Cultural exchange is central to our future as a European country, and we are keen to do whatever we can to make sure that that is as strong as possible.