Not long from now, the British nation will go to the polling station to decide whether the country remains a part of the European Union or like some of our Norther European counterparts, forge out it’s own destiny.

The debates on both sides of the campaign have divided government and by all accounts divided the nation. Politicians from different areas of the political spectrum have formed allegiances. For the Prime Minister, the referendum is high stakes and to lose would almost certainly cost him his job. On the international platform, we are warned by the US administration that Britain would go to the back of the trading queue, the rhetoric and warnings run deep ranging from being overrun by immigrants to the rise of Nazism.

Should Gospel artists remain inside a vacuum, immune, protected? Is it of any relevance to our industry? Should all this Brexit stuff be left to those who are outside the Gospel arena, blithering egotistical and selfish politicians?

Lurine Cato is cultivating a growing market in Italy, Leeds Gospel MOBO nominee Leroy Johnson has created a huge fan-base in Germany. Birmingham female trio Chos3n tour Portugal on a regular basis and Fiona Yorke is beginning to create an impact in Poland.

If we were to leave club Euro, would there be an immediate or gradual effect on newly discovered European Gospel markets that are experiencing the rise of British Black Gospel?

On the other hand, will a closed or restricted door lead to the opening up of others. Perhaps British Gospel along with the Best of British, could be introduced to China, the Caribbean, Far East and other previously closed or restricted markets across the globe.

This feature is by no means designed to influence or scaremonger readers into voting one way or the other.

For those of you involved in the European export of British Gospel music, it might be worth taking a second to ponder before you place a cross next to the Brexit box.