The UK government has returned to an issue musicians have been discussing since Brexit: how to make working in Europe easier again.
Its new music strategy, Turn It Up: Our Plan for Music, refers to the first high-level meeting on culture between the UK and the European Commission, held back in March, and promises continued work to reduce the barriers faced by British artists touring the EU.
The timing is significant. The UK is preparing to rejoin Erasmus+ in 2027, while London and Brussels are pursuing a broader reset of post-Brexit relations.
Music offers an interesting test of that reset. The UK has left the European Union, but its musicians have not become any less European.
British performers still tour the continent, while European musicians continue to work in British orchestras. The musical ecosystem survived Brexit. Navigating it became considerably more difficult.
A UK government study estimates that additional barriers to EU touring between 2022 and 2024 cost Britain £208m in lost economic output and the equivalent of 2,490 full-time jobs.
A Musicians’ Union survey found that, among musicians who had previously worked in the EU, 75 percent reported fewer bookings and 72 percent lower EU income.
More than half said EU touring was no longer financially viable.
But music reveals something more interesting than another item on the list of Brexit consequences. Brexit drew a political border through a professional community that had operated internationally for centuries.
Musicians were ‘European’ before EU
European musical mobility did not begin with freedom of movement. In the early 19th century, theatre companies crossed linguistic and political borders. Imperial Russia accommodated French and German theatrical companies alongside Russian performers, while Italian opera was embedded in its musical life.
Individual musicians were equally mobile. John Field, the Irish pianist and composer at the centre of my own research, trained in London before spending most of his adult career in the Russian Empire. The German pianist Adolf Henselt settled there and became deeply involved in Russian musical education.
These were not exceptions: musical life itself was international. The EU did not invent that circulation. European integration merely made it administratively easier.
Brexit did not make British musicians unwelcome in Europe, or European musicians unwelcome in Britain. It changed the cost of maintaining those relationships.
For an international star with professional support, another permit can be an inconvenience. For a young ensemble deciding whether four European concerts are financially viable, it can determine whether the tour happens at all.
The border appears before the first tour
The consequences begin before professional life. A conservatoire is not simply somewhere a musician obtains a qualification. It is where professional relationships form. A student may meet a future ensemble partner, while an exchange can produce an opportunity years later.
The post-Brexit figures are striking. The number of new EU students entering UK higher education fell from 66,685 in 2020–21 to 28,375 in 2023–24 — a decline of around 57 percent, according to figures based on HESA data.
Britain’s Turing Scheme supported outward mobility, but did not reproduce Erasmus+’s reciprocal structure.
The UK’s return to Erasmus+ in 2027 therefore matters beyond universities. In music, today’s exchange student can become tomorrow’s professional collaborator.
Meanwhile, Brussels is actively spending money to encourage cultural mobility. Creative Europe has a €2.44bn budget for 2021–27. Its Pan-European Cultural Entities programme specifically supports orchestras working across borders to develop young musicians: around €11m was allocated to five projects in 2024, expected to involve more than 1,000 young musicians from at least 20 participating countries. The policy assumption is revealing: movement itself creates value.
Put musicians into the reset
At the 2025 UK-EU summit, London and Brussels explicitly recognised “the value of travel and cultural and artistic exchanges, including the activities of touring artists.”
The new high-level cultural dialogue provides a forum to turn that promise into policy. Cultural mobility should become a permanent part of the UK-EU reset.
London and Brussels should use the dialogue to identify touring requirements that can realistically be simplified and work with member states towards greater consistency for short-term cultural engagements.
Emerging artists should also be explicitly considered in the proposed Youth Experience Scheme. The commission’s original proposal envisaged a time-limited route for people aged 18 to 30 to live on the other side of the English Channel. Paid cultural work should be clearly accommodated in whatever agreement emerges.
A 24-year-old violinist should not discover that a programme intended to restore opportunities for young Europeans works perfectly until somebody pays her to perform.
None of this means recreating freedom of movement through the orchestra pit. Britain chose to leave the EU and cannot expect every privilege of membership.
The argument is more practical. British and European cultural industries remain intertwined, and unnecessary friction is most expensive for those least able to absorb it. Major institutions employ administrators. International stars have managers. A young quartet may have four instruments and a group chat.
Two centuries ago, Field travelled from Ireland through London and built a career in Russia. Henselt left Germany and became part of Russian musical education. They did so long before Eurostar, Erasmus+ or Creative Europe.
Two hundred years later, crossing the continent is faster. Building a European career need not become harder. The UK has left the EU. Its musicians have not left European musical life.
As London and Brussels shape their new relationship, cultural mobility should be treated as part of its infrastructure. Musicians will continue to cross the Channel. The question is how costly we choose to make it.