“Busting” Since the Beatlemania era, new British artists have had America in their crosshairs, but this ideal is steadily vanishing. Executives in the music industry have criticised government officials for failing to prevent a proposed 250% increase in immigration fees, which could affect hundreds of up-and-coming musicians.
U.S. immigration authorities are proposing a number of changes, including an increase in the cost of a visitor visa from $460 (£385) to $1,615 (£1,352), which, according to musicians and their agents, would make it virtually impossible for all but the biggest names to perform in the United States.
According to the Music Managers Forum (MMF) and the Featured Artists Coalition, the cost of travel has increased by forty percent, adding insult to injury for artists already grappling with Brexit red tape and the effects of epidemic lockdowns (Fac).
Let the Music Move (#LetTheMusicMove), a campaign launched by the MMF and FAC in 2021 to combat the effects of post-Brexit trade agreements that continue to hinder artists, has been revived. Companies that drive around with musical instruments must register as EU businesses, and their workers can’t stay in the EU for more than 90 days per year. During the epidemic, numerous businesses abandoned the industry.
Annabella Coldrick, the CEO of MMF, did a survey last week and found that 84% of her members are getting ready to tour the United States. Seventy percent said they would be unable to complete the task if the fees were increased, while twenty percent said they would put it off.
This will have a significant impact on the talent pool, which has had a terrible time over the past three years, according to David Martin, the chief executive officer of the FAC. This is just one more thing that makes it harder for us to train young and mid-career professionals who show promise.
Martin says that the United Kingdom’s share of the global recorded music market has dropped from 17% in 2015 to just 10% today because South American music and K-pop are becoming more popular. After Brexit, the government gave £23 million to the fishing industry. However, the recording industry in the UK is 12 to 13 times bigger.
Coldrick voiced her displeasure at the lack of intervention by a minister or ambassador, stating, “The initial response was something like, ‘Oh, it’s America, we have no influence.'” It has always been this way with them.
In response to a question from Labour MP Kevin Brennan, the Minister of Culture, Julia Lopez, said last week that the government “cannot interfere with the procedures of another country and must respect their methods.”
Many up-and-coming British artists tour the U.S. and Europe at a loss so they can get known and make fans in the two biggest markets for British music.
Michael Lambert, whose management company works with bands like Fatherson and Idlewild, said that when people hear musicians on Radio 6 Music or Radio 1, they assume they are well-known and successful. According to the author, they may be losing money on their excursions.
Thirteen Scottish artists, ranging from bagpipers and traditional vocalists to Mercury Prize–nominated jazz guitarist Fergus McCreadie, will perform at the South by Southwest (SXSW) festival in Austin, Texas, next month. Officially, Lambert is the leader of the Scottish delegation. However, he is concerned about the repercussions for future creators.
Warmduscher, a post-punk band from London that has released four albums, has also been invited to perform at SXSW. It would be their first performance in the United States, but they must first raise £6,000 to cover expenses such as flights, permits, and accommodations.
After informing their supporters, “being immersed in the land of the stars and stripes has been our objective since the beginning of this absurd voyage,” they eventually arrived. Since this is a marketing trip, the prices we are charging won’t cover all of our costs.
Simone Marie Butler, the bassist for Primal Scream, once said, “You can establish a career in the United Kingdom, but you really need to travel Europe and America.” The probabilities are initially lower for ensembles that cannot perform live.
“All those young bands went out and performed America when costs were nothing like this, and in my opinion American culture has benefited tremendously — the hundreds of thousands of people who loved those bands coming over and playing,” says Brian Message, manager of Nick Cave and PJ Harvey.
A government representative said, “We know there are problems with British musicians coming to the U.S., and we will work with the right people to solve those problems.”
