FOR veteran Scots musician and composer Jim Sutherland, Brexit is going to be a logistical nightmare.
His group, La Banda Europa, are playing at Celtic Connections in Glasgow on January 29. They are a 36-piece ensemble with musicians from 15 different European countries.
“To do this gig in Glasgow we have to apply for a visa for three musicians from Serbia,” says Sutherland, wearily. “In the future we’ll be looking for work visas for many more people. That will increase our workload, increase our costs, increase the cost to the people who might promote us…”
For tax purposes every piece of equipment, instrument, amp, piece of merchandise taken in or out of a country, has to be registered and accounted for. It is a time-consuming, expensive, exercise that bands in Europe haven’t had to do in years.
But does the interminable struggle of being a musician on the road in a post-Brexit world make Sutherland feel like jacking it all in?
“No, not at all. Actually the opposite,” he tells The National. “I’m determined to make it happen. It’s at times like this we need to lead by example. We need to show that Scotland is part of Europe and that Europe is part of Scotland.
“Our history with Europe is massive… we are steeped in European history. For me there’s never been a more important time to say ‘we’re European’.”
This is the band’s first gig since 2011, brought together again, in part because of what was happening in the world, Sutherland says, mentioning the refugee crisis, and the rise of the right.
There was an appetite from the others to get the band back together. Of the original ensemble only three were unable to make it. The other 33 jumped at the chance. Each musician plays instruments from their own home turf, and the stage of Glasgow’s Royal Concert Hall will be festooned with hurdy-gurdys, nyckelharpas, duduks, fujara flutes, carnyx, and bagpipes from seven nations.
Celtic Connections starts tonight with the Mercury nominated and Brit award-winning singer songwriter Laura Marling making her festival debut, leading an orchestrated performance of her songs at Glasgow Royal Concert Hall.
Why are you making commenting on The National only available to subscribers?
We know there are thousands of National readers who want to debate, argue and go back and forth in the comments section of our stories. We’ve got the most informed readers in Scotland, asking each other the big questions about the future of our country.
Unfortunately, though, these important debates are being spoiled by a vocal minority of trolls who aren’t really interested in the issues, try to derail the conversations, register under fake names, and post vile abuse.
So that’s why we’ve decided to make the ability to comment only available to our paying subscribers. That way, all the trolls who post abuse on our website will have to pay if they want to join the debate – and risk a permanent ban from the account that they subscribe with.
The conversation will go back to what it should be about – people who care passionately about the issues, but disagree constructively on what we should do about them. Let’s get that debate started!
Callum Baird, Editor of The National
Comments: Our rules
We want our comments to be a lively and valuable part of our community - a place where readers can debate and engage with the most important local issues. The ability to comment on our stories is a privilege, not a right, however, and that privilege may be withdrawn if it is abused or misused.
Please report any comments that break our rules.
Read the rules here