editor
hiraethified
Geldof can be an arse but he's bang on about this. I can remember touring Europe when we had to fuck about with carnets at border checks and it was a right pain in the arse.
‘Cultural jail’: Brexit could bring booming industry to its knees
On Wednesday, the prime minister pledged to abolish article 45 of the EU charter of fundamental rights, which grants freedom of movement to EU citizens, and “bring in a new immigration system that ends freedom of movement once and for all”. The letter describes this as “a serious madness”.
Geldof said that everyone he had asked to add their support to the campaign said yes. “I am completely committed to having a democratic public vote to prevent the whole Brexit thing screwing us for the future,” he said.
The fallout for the industry and its stars, from its major touring pop behemoths to culture-innovating club promoters, is stark – and expensive. Last month, Lily Allen joked that had she won the Mercury music prize, the £25,000 prize money would have been spent on “visa applications after Brexit”.
Alex Sushon, a producer and DJ better known as Bok Bok, told the Observer: “I am definitely living in fear of having to secure weekly visas to European destinations in order to keep working. It is a daunting prospect.” Sushon, who runs Night Slugs – one of the UK’s most influential music labels and clubnights – said that curbs to freedom of movement within Europe would be “pretty devastating” for him, and for many more DJs and producers: “Probably 50% of my income depends on it.”
Speaking to the Observer, Al Doyle, a member of Hot Chip and LCD Soundsystem, felt that there was little chance of his bands having the same success if they were starting out now. “With Hot Chip, we didn’t wait to get big in the UK and then match that in Europe – we were always going out there and the margins of touring are so slim that even if you added a tiny element of bureaucratic cost – in visas, touring carnets for gear etc – it wouldn’t be feasible. It is completely plain and unarguable that British music will suffer – it just depends on how much you care about that.”
For small venue owners and record labels, the problems are manifold. Stephen Bass, co-owner of Moshi Moshi Records, the independent that first signed Bloc Party, Kate Nash and Florence + the Machine, predicted that “any change to travel rules” would have “a dramatic effect on the fortunes of the [bands] I look after and the crew of people involved in live shows”.
“Countries like America make it increasingly difficult to tour, and effectively cut themselves off from being a territory in which Moshi Moshi acts can perform and generate income. To have our near neighbours isolating us in a similar way would be a disaster for us and even worse for bands starting out in their careers,” he said.
‘Cultural jail’: Brexit could bring booming industry to its knees