Foreign artists are canceling their tours in the US because visas are too time-consuming, difficult, and expensive.

American audiences may not realize that before a musician from another country takes the stage in the United States, someone must complete a package of documents on their behalf with federal authorities. And this isn't just a formality: it involves a multi-hundred-page petition with a selection of press releases, award confirmations, letters of recommendation from other artists, contracts with venues, a detailed tour itinerary, and proof of professionalism, writes NPR.

According to creative industry representatives, the country was already difficult to access due to a complex and expensive visa process. Now the situation has noticeably worsened.

Visa processing times have increased significantly. Scheduling interviews at US embassies has become more difficult due to queues. Application fees have skyrocketed. An additional factor of uncertainty has emerged: even if the documents are perfectly prepared and the fees are paid, an artist may still be denied entry at the border.

On the subject: To obtain a US visa, applicants are now required to demonstrate that they do not fear persecution in their home country.

For the American public, this means that international cultural exchange is dead.

How does the visa process work for artists?

To illustrate how the nonimmigrant visa system works, consider the example of the Swedish folk a cappella group Kongero, which completed its second tour of the United States last fall.

The first step is filing a petition

The band's agent arranged a tour schedule and collected documents for submission to the United States Citizenship and Immigration Services (USCIS) to confirm eligibility for a P-3 visa, which is intended for those with unique cultural traditions.

Once the petition is approved, each participant must still wait for a separate interview at the U.S. consulate in their country of residence.

According to artists and lawyers, processing such visas previously took between two and four months. The timeframes initially increased due to backlogs accumulated during the pandemic, then further extended following the tightening of immigration policies under the Donald Trump administration.

Visas can be remanded for further review at any time if federal authorities announce changes to immigration policy. According to Zelo Safi, senior staff attorney at the Artistic Freedom Initiative, this could include introducing travel restrictions or revising application review procedures. Several such changes have occurred during the Trump administration.

Currently, the average processing time for P visa applications, like the one Kongero received, is almost a year. O-1 visas for artists with "extraordinary ability" have already taken over a year to process. Applications for these visas cannot be submitted more than a year in advance of travel, even though they are temporary work visas for individuals with exceptional achievements.

The manager of a Spanish dance company describes the process as one that completely ignores how the show business operates. Like many interviewees contacted by National Public Radio (NPR), he asked not to be identified to avoid problems with future visas. Others declined to be interviewed for the same reason.

The US Citizenship and Immigration Services explained the new procedures by "increased threats to public safety and national security."

"Verification of the identity and background of applicants from different countries requires a rigorous approach—the safety of American citizens remains a priority," the agency said in a response.

The second stage is expenses

If waiting a year isn't feasible, and for most artists it is, you have to pay. Expedited processing costs $2,965 per petition. Immigration lawyers say it's virtually impossible to meet the tour deadline without this service.

The Kongero group paid, but even that didn't help avoid problems. Instead of the year they requested, they were granted entry permits for only two months, forcing them to cancel their summer, fall, and winter 2026 performances.

Matthew Covey, executive director of the nonprofit Tamizdat, which helps artists obtain visas, says the number of his clients has declined since expedited processing became de facto mandatory. Many are simply abandoning trips to the US, as the overall costs have become too high.

"Now a tour that was on the verge of breaking even five years ago is now guaranteed to be unprofitable," he concluded.

The third stage is an interview

Once the petition is approved, each artist must undergo a separate interview at the U.S. Consulate. The State Department issues the visa if all requirements are met. Due to long waiting lists, the appointment can take months, and missing an appointment is not permitted.

Band member Emma Björling missed the first week of the two-month tour because the Trump administration introduced mandatory in-person interviews in September.

When the new rules were introduced, she was on tour in Canada with another group. She had to first return to Sweden, undergo an interview, and then fly back to North America.

The tour ultimately lost approximately $8,000. Kongero will not be traveling to the US in 2026.

"Given all the extra costs, hassles and stress, it just doesn't make sense – financially or in terms of workload," Björling noted.

The State Department stated: "Under President Trump, the United States has consistently pursued an 'America First' visa policy. We welcome foreign artists who comply with procedures and meet the requirements of U.S. law."

But even if your documents are approved, your interview is completed, and your fees are paid, this does not mean you will be allowed into the country.

The fourth stage is crossing the border

Once you receive your visa, the last hurdle remains – entry control.

The final decision is made by U.S. Customs and Border Protection (CBP) officers. Cultural organizations say the process has become much more unpredictable.

Comedian and theater director Alaa Shehada has already visited the United States twice with his one-man show, "The Horse of Jenin." In November, he had a valid O-1B visa when he arrived at Kennedy Airport in New York for another performance. However, this time, upon seeing his Palestinian Authority passport, he was immediately taken in for additional questioning.

Shehada said that after several hours of interrogation, he was handcuffed and taken to an immigration detention center in New Jersey, where he spent the night with other detainees in a cramped room on a concrete floor.

The next day, the comedian was put on a flight to Amsterdam—the day before his scheduled performance in Massachusetts. Neither he nor his producer received a clear explanation for the denial. CBP stated that he was denied entry for "incomplete information" during his interview.

"If a person attempts to enter the United States without a valid visa or fails to provide complete information during screening, they may be detained and denied entry, as this may violate the law or the terms of their visa. A visa is a privilege, not a right, and only those who comply with the laws and procedures are admitted," the statement reads.

About a month later, the Trump administration imposed sweeping restrictions, suspending visas to people with documents issued or endorsed by the Palestinian Authority.

"It's scary to find yourself in front of people who have the power to destroy all your plans in an instant," Shehada noted. "It feels unfair and humiliating."

CBP emphasized that admission decisions are made on a case-by-case basis, taking into account law enforcement, national security, and immigration information, and that officers have the right to ask questions and conduct background checks as permitted by law.

According to Jennifer Rowe, executive director of Folk Alliance International, this leaves zero room for error: "Many artists are afraid to go to the US. They hear stories of people being asked unexpected questions and sent back because of one wrong answer."

Chain reaction

The organizers involved in Shehada's tour had already launched a promotional campaign and were selling tickets. The New York Theatre Workshop built an entire festival around the play. Portland's Boom Arts rented a venue for the performance. Some organizers were able to replace the live performance with a recording, but according to producer Jenny Tibbels, the losses amounted to tens of thousands of dollars.

The comedian's performance at the University of Massachusetts Amherst Center for the Arts was nearly a year in the making, but was canceled at the last minute. The center's executive director, Jamilla Deria, says it was important for the local community to hear the Palestinian author's story.

Tracey Francis of Boom Arts notes that travel restrictions and changes in immigration policy force careful consideration of which international artists can be invited. She has already planned the next season's program, taking into account which countries are most likely to be admitted to the United States.

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"For the first time, I'm focusing on European artists—they have a higher chance of getting a visa. And I'm trying to invite those who are going on a major tour to share the costs," she explained.

Shehada himself admits that the experience was traumatic for him.

"It was difficult and very painful. Coming back after that is incredibly difficult," he admitted. "I want to perform, meet American audiences; I have friends there. That's my job as an artist—to find an audience. But after this experience, I have no desire to go back."

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