Nash described the music industry as having a broken core and argued for easier, more financially viable conditions and stronger protections against exploitative practices.

Spotify highlighted large payouts to artists, noting billions paid in 2025 and more than 70 billion all-time, with returns varying by contract; Live Nation UK was contacted for comment.

Her testimony framed a broader concern about the sustainability of live music in the UK and Europe and the risk that the wealth gap will widen for aspiring artists.

Nash stressed the need for a clear pathway to help new artists access UK and European markets, warning that the current system could drive away talent and culture.

She has long supported small artists and grassroots venues and has become a patron of the Music Venue Trust to back UK culture.

Testimony before the DCMS select committee highlighted ongoing vagueness in government measures promised to aid artists touring the EU as part of last May’s trade package.

The discussion sits within broader coverage of touring costs, including visas, accommodation, and taxes affecting artists touring the US and Europe.

She disclosed specific losses, including about £26,000 on a recent European tour and £13,000 on a UK tour, underscoring rising live-music expenses.

She challenged the notion that the industry is well-regulated, stressing that artists face real financial pressures and need greater support to sustain touring.

Nash revealed she funds touring partly by selling body pictures on OnlyFans, a tactic she began during a tour cycle to secure finances and draw attention to the issue.

She warned that if the situation isn’t addressed, only the wealthy will be able to tour, risking the UK’s cultural reputation and broader economy, and called for inclusive access to music.

Kate Nash told MPs that post-Brexit rules are driving up touring costs, causing financial losses on both European and UK tours and forcing her to lay off a crew member before Christmas.