Mark Smith, who has severe health issues, says he was told three times he needed to do nothing in order to remain after Brexit
A seriously ill British man living in Sweden has been forced into hiding amid fears he will be deported as a result of what he says is a government Brexit residency error.
Mark Smith, 60, who has had heart attacks, strokes, severe headaches and chronically high blood pressure that has been difficult to treat, was told on the phone he should leave Sweden by 17 October as he was an “alien” without permission to stay.
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.
For more than three decades, Michael Gove has been a leading figure in British Conservatism. As a journalist, government minister and now editor of the Tory bible, the Spectator, he has helped shape the right even as it has moved further rightwards. In the latest episode of Radical Thinking, Gove joins Aditya Chakrabortty to discuss the future of the right, his record on Brexit and austerity, and the Spectator’s position on Islam
To read the fruits of Michael Gove’s dalliance with the Marxism Today gang, look up his essay in a 1998 collection called The Moderniser’s Dilemma: Radical Politics in the Age of Blair
For slalom ride through Michael Gove’s years in power, read The Demented Dalek by the historian Richard J Evans in the London Review of Books
To learn more on what’s become of the British right, there’s a column by me for the Guardian
Phil also writes a very good blog on British politics, which keeps a close eye on how each party is trying to marshall a coalition of voters. Here he is on Kemi Badenoch
Geoffrey Wheatcroft does an entertaining short narrative in Bloody Panico!:
For more on the economics of the Cameron years, this paper is acute on how the Tories failed to move the UK away from being a country of renters towards a country of makers. Two of its authors will join us for a podcast later in the series.
And if you want to read how Brexit may have cost the UK 8% of GDP, there’s this paper based on data from the Bank of England
Finally, on the Spectator read Nesrine Malik’s recent column in The Guardian
Andy Burnham's claim that Russia interfered with Brexit is risible for one very simple reason, says Ben Pile: EU policy on climate and energy is so suicidal that Putin could not have wanted Britain to leave.
As Andy Burnham talks up closer alignment with the EU and a poll suggests half in UK would rejoin, the B-word is back on the agenda
In February 2016, days after David Cameron announced the UK would hold a referendum on leaving the EU, he told workers in Slough not to imagine they could change their minds a few years down the line if they did not like how things panned out. Voting to stay in or leave was a once in a generation thing, he said. “This is a decision that lasts for life.”
Well times change, as the last prime minister but five could testify. A decade after Britain told Brussels where to go, Brexit is back on the political agenda. After years in which many politicians avoided any mention of the B-word, Andy Burnham broke the omertà in his party conference speech last month, saying he would look again at Britain’s relationship with Europe.
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