For decades, the UK’s live music scene hasn’t just been a domestic force to reckon with – it’s been an unstoppable export. We’ve seen artists go from sticky pub stages in Salford to sold-out stadiums in Seattle. But now, as political borders thicken and international tensions ramp up, the dream of breaking out across the Atlantic or even the Channel is starting to curdle. Touring has always been hard graft, but it used to feel possible. These days, it’s starting to feel more like a political obstacle course than a rite of passage.
From the layers of Brexit-induced bureaucracy to the casual criminalisation of UK musicians entering the US under Trump-era policies, it’s becoming clear that if you’re a UK artist with international ambitions, your government isn’t exactly batting for you. With musicians getting hauled off planes, grilled at customs, and sometimes falsely arrested just for carrying a guitar, it’s less about where we went wrong and more about whether there’s any way out of this touring hellscape.
The American (Border) Nightmare
If you thought clearing US customs was already a stressful endeavour, spare a thought for the UK musicians who’ve been arrested under false pretences since Trump resumed the presidency. It’s not just a case of awkward questions at passport control anymore – we’re seeing legitimate artists, who’ve followed the rules, getting thrown into detention over supposed “work visa” violations, even when they’re on promotional visits or have everything in order. The policy might not be written in neon, but the treatment suggests that British musicians are being viewed as threats, not guests.
Trump’s policies have always leaned towards heavy-handed nationalism, but the impact on the arts has often flown under the radar. That’s no longer possible. With reports mounting about musicians being wrongfully detained or sent back on the next flight out, there’s a worrying precedent forming – one where artistic exchange is being flattened under the weight of political paranoia. For emerging artists trying to make it in America, the cost isn’t just financial – it’s psychological. Who’s going to book a showcase gig in Brooklyn if there’s a chance they’ll be arrested before soundcheck?
Even with the correct documentation, British bands are facing a roulette wheel of subjective decisions made by under-trained and over-empowered border officials. It’s become a gamble where the stakes include missed shows, lost money, damaged reputations, and sometimes, the end of a tour before it begins.
Europe Isn’t Much Better
While America’s customs chaos is grabbing headlines, Europe’s post-Brexit touring terrain isn’t exactly welcoming either. Since we gleefully cut ourselves adrift from the EU, artists now face a labyrinth of red tape that can strangle even the most meticulously planned tour. Carnets are the new boogeymen – the bureaucratic bundles of joy that require artists to document every bit of gear they’re taking with them, right down to the last guitar pedal. Forget your socket adapters at your peril.
Once you’ve waded through the paperwork, you’ll still need to contend with snide border checks and ‘random’ searches that suddenly feel less than random when they keep happening at the same checkpoints. European promoters are equally frustrated, but it’s the bands bearing the brunt – forced to hire customs consultants, fork out for permits, and absorb the extra costs without passing it onto already cash-strapped fans.
There’s also the classic logistical mind melt of sending merch overseas. For small artists selling a few limited-edition vinyls to French or German fans, postage has become a joke. With customs charges slamming fans and delays rendering delivery dates meaningless, some bands are ditching EU fans altogether to save themselves the grief. Touring Europe used to be a way to break even, build an audience, and make memories. Now it’s an expensive endurance test.
Staying Home, Staying Sane
With all this considered, it’s little wonder that so many UK bands are choosing to stay on home turf. You might still break down on the M6 or lose your voice halfway through a set in Hull, but at least you won’t end up in a holding cell in New Jersey or get turned away from the Netherlands because someone misread your carnet.
The cost of living crisis hasn’t skipped past musicians either. When every litre of fuel feels like it’s been blessed by Midas and venue fees are climbing, why risk international chaos when you can play to a loyal UK crowd who’ll buy a pint, a t-shirt, and tell their mates? The problem is, that safe choice often means playing to the same audience over and over again, limiting growth and long-term sustainability.
For the artists who thrive on international stages – the ones who built their fanbases city by city in Europe or the States – this isolation is more than a logistical nuisance. It’s an artistic prison. Global exposure isn’t just about streaming numbers; it’s about building real communities in real places. When artists lose access to those stages, they lose a major part of their identity.
What Now? What Next?
So, where does this leave the UK music industry? In a bit of a mess, to put it bluntly. The question isn’t how we got here – that’s painfully obvious to anyone who’s been paying attention since 2016. The real question is whether there’s a way out.
There have been campaigns. There have been petitions. There have even been half-hearted murmurs from the government about making things easier for musicians. But so far, those murmurs haven’t translated into policy change. It feels like the government is far more interested in regulating protest songs than supporting the people who write them.
Some artists are adapting by taking fewer band members abroad, using session musicians overseas to cut complications, or turning to digital performances and livestreams. Others are forming alliances with European artists to navigate the mess together. A few are risking it all and touring regardless – sometimes without permits, sometimes with just enough documentation to squeak by. It’s not ideal. It’s not sustainable. But when has music ever been about playing it safe?
There are also grassroots collectives springing up to support touring musicians, offering guidance on paperwork, pooling transport and gear to cut costs, and sharing contacts to avoid dodgy agents or hostile promoters. These underground networks are doing the work that the government refuses to do, but even they can only go so far without structural change.
Conclusion: The Music Is Willing, the Borders Are Not
The UK has never had a problem producing talent. What it’s got now is a logistical nightmare that’s clipping the wings of its artists before they’ve even left the ground. Touring has always been a slog, but it used to come with the promise of growth. Now, it comes with spreadsheets, legal risks, and border interrogations.
We’re past the point of gentle frustration. This is an industry-shaking problem, one that punishes creativity and encourages insularity. And while fans will still show up, buy merch, and shout lyrics back to the stage, we’re all losing out when artists are
Article by Amelia Vandergast