In my early days as a musician, Hamburg was a crucial proving ground. Back in 1966, I was the keyboardist for Bluesology, and we landed a residency at the Top Ten Club, the same venue where The Beatles honed their skills. Playing five hours a night on the Reeperbahn, amidst the vibrant chaos of brothels and sex shows, to audiences who weren’t necessarily there for us, was intense. Yet, it was invaluable. The sheer volume of performances forced us to evolve and improve as a band. This baptism by fire was certainly more welcoming than my later solo continental debut supporting Sergio Mendes in Paris. There, during my set, one disgruntled bossa nova fan made his feelings about my interruption clear by throwing a hotdog at me during “Your Song.” Clearly, things could only get better, and through relentless touring across Europe, I gradually cultivated a devoted audience. These early experiences on Elton John Tour, though humble beginnings, were fundamental to my growth as an artist.
Looking back, the landscape for young musicians has drastically changed. If I were starting out today, it’s unlikely I’d have the same opportunities to cut my teeth in places like Hamburg or even risk a hotdog barrage in Paris. Brexit has erected significant barriers for British artists aiming to perform in Europe. Now, visas, work permits, and equipment carnets are mandatory for each country, transforming European tours into administrative nightmares and substantially increasing costs.
While these bureaucratic hurdles don’t directly impact established artists like myself, who are fortunate enough to play large venues and have extensive support systems to absorb such costs and manage the complexities, I am deeply concerned about the future. I don’t want to see a music industry where only seasoned, platinum-selling artists can afford to tour internationally.
My passion for new music has always been a driving force. Even during those early elton john tour days in Hamburg, I’d spend every spare moment exploring record shops. Fifty years on, I still dedicate hours each week to discovering new releases, buying albums, and streaming emerging artists. As an established artist, a key part of my purpose is to champion younger musicians and advocate for their success. My privileged position should be used to uplift those starting their journey. It’s not about charity; it’s about the exhilarating energy and raw excitement that only new artists bring to live performance. It’s incredibly inspiring and a vital element of the music ecosystem.
Touring Europe is absolutely essential for emerging artists. Exposing your music to diverse audiences, engaging with different cultures, even overcoming language barriers, is transformative. As I learned in the 60s, intensive rehearsal can only take you so far. Half an hour trying to connect with a new audience live on stage teaches you more about performance than months in a practice room. That direct human connection is irreplaceable.
European tours are crucibles of artistic development. They allow artists to absorb varied influences, understand different audience dynamics, and connect with fellow musicians across borders. This immersion deepens their artistry, leading to both improved performance and richer songwriting. The Covid-19 pandemic showcased alternative ways to share music globally through social media, livestreams, and online events. While some of these innovations were creative, none replicate the vital experience of live gigs, and none have the same profound impact on an artist’s development as touring.
The current situation is untenable. Music is a cornerstone of British culture and a significant export, contributing £5.8 billion to the UK economy in 2019. Yet, the music industry was overlooked in Brexit trade negotiations, unlike other sectors. While some professions retain business travel exemptions, musicians do not. Whether through neglect, oversight, or inadequate preparation, the Brexit negotiators failed musicians. The British government must rectify this by renegotiating terms to ensure artist mobility.
However, renegotiating freedom of movement is a lengthy process. Emerging artists with fresh albums and building momentum cannot afford to wait years to tour. They need to capitalize on their current energy and reach as many audiences as possible now.
A short-term solution is urgently needed. We should establish a support organization, funded in part by the music industry, to provide emerging artists lacking robust infrastructure with access to legal and accounting expertise. This would help them navigate the complex touring challenges created by Brexit. With live music currently paused due to the pandemic, now is the opportune moment to build this support system.
Let me reiterate: this isn’t about elton john tour or my personal situation. It’s about ensuring that new artists have the space to cultivate their talent, expand their audiences, and sustain their careers. We need a constant influx of new talent, especially as my generation of artists inevitably steps back. This issue transcends pop music, affecting folk, jazz, classical musicians, orchestras, opera companies, and even niche, experimental artists.
Even if you dislike my music and think that Parisian hotdog thrower had a point, you should advocate for musicians’ ability to tour. Because if Brexit stifles touring for new musicians, the live music scene will become dominated by established, mainstream artists like myself. And believe me, that’s a prospect I find as unappealing as you might.
- Elton John is an entertainer, humanitarian and singer/songwriter
