Radiohead’s Colin Greenwood Voices Brexit Touring Concerns

Radiohead’s bassist Colin Greenwood has written an op-ed for The Guardian voicing his concerns that the European tours that helped establish Radiohead may not be possible for musicians emerging in the Brexit era.

In his piece, he recalls that Radiohead’s first ever club gig in Europe was in June 1993 at the Huset in Aarhus, Denmark, and that after previously performing in pubs and clubs in the UK up to that point, they were grateful for any chance to travel.

“Before the euro, we’d have our per diem expenses in different currencies, exchanged by the tour manager as we crossed borders. It became even easier after 1999 when the euro papered over the continent,” he said.

What Radiohead noticed was how well they were welcomed in European countries during that time in all types of venues.

“Like Hamburg to the Beatles, Europe was crucial to our growth as a band,” said Greenwood. “It allowed us to see ourselves untethered from our UK roots and to imagine a life in music that could reach audiences everywhere. We made enduring friendships, toured with musicians from Europe, and dived deep into its clubs, festivals, record stores and music labels.”

A particular memory that stands out to him is a time when he was asked to play three sold-out shows in Brussels with Belgian artist Tamino:

“I grabbed my bass in Oxford, jumped on the Eurostar and spent three nights playing with him and his band, staying in a small hotel across the road. No visas, no carnet, just the freedom of music.

“What will playing in Europe be like now, after Brexit? I spoke to several old friends who’ve had years of experience planning Radiohead tours. Adrian, our touring accountant, said it will be more clunky and expensive.

“Before Brexit, a carnet (a list of goods going in and out of the country) was just needed for Norway and Switzerland. Now it would be more like playing South America, where each country has its systems for dealing with ‘third countries’ like us. Adrian said a £10,000 guitar would need a carnet that would cost about £650 plus VAT. The costs of travel and accommodation are already high, and the extra paperwork and expenses would rise quickly for a touring orchestra.”

He pointed out what he calls “that ugly word”: cabotage – the rights for transport movement – with trucks carrying the gear from the UK only allowed two drop-offs in the EU before having to return to Britain, making a multi-city tour impossible with a UK tour bus or truck fleet.

“Another of our accountants, Steph, assured me that we would have people to sort it all out, and sent me an email for an online conference about what Brexit means for the music industry: an opportunity to charge artists and touring productions for dealing with the shiny new red tape,” he continued.

Titled ‘Brexit, what’s the deal?’, it says:

“It started with Brexit, for which there was a deal in the end. But the price tag for the European music community comes along with visa regulations, carnets, custom clearing and taxation issues … Brexit requires specialised expertise.”

Greenwood said that reading that as a musician who wants to jump on the Eurostar and go play, “my heart sinks at all the new costs and kerfuffle – and I’m lucky enough to afford it. I’m worried for all the brilliant crew who have carried us as a band for nearly 30 years. They are our family on tour, many from Europe themselves, and need to be able to travel freely and work with companies across the world.

“All the incredible staging, sound and lighting companies from the UK that drive lots of the European festivals might find it that much harder to compete with EU alternatives. And the Dutch, German and French technicians we’ve used for decades might find it’s not worth the candle to work here.

“What about the solo cellist who is going to play in Berlin for a couple of hundred euros, and sees her carnet will cost more than the fee?” he asked.

“Will the promoter in Berlin think twice about the costs and hassle of booking her rather than an artist from the EU? What about a young violinist from Vienna who dreams of studying at one of the prestigious UK music schools, and now feels discouraged to tangle with Brexit’s ‘specialised expertise’? This is a tragedy of deferred dreams.”

Greenwood concluded by asking the UK government to admit it didn’t do enough for the creative industries during the Brexit negotiations and look to renegotiate on the provision for touring in Europe.

“My country’s music is great because it scorns borders and boundaries; it is a great patriotic source, a force of confidence, joy and shared passions. I am proud of my country and all the music it has exchanged with the world, and I am sure that pride is felt across all ages and cultures in the UK. It is the antithesis of the culturally pinched nationalism that is Brexit, and its diminishment would deprive us all.”