Live music is one of the most important income streams for artists - and a huge industry in its own right, employing promoters, agents, production crews, engineers and technicians. Whether you perform, run sound, or produce shows, understanding how concerts are made is essential.
The key players
- The artist - and their band, DJ setup or live show.
- The manager - oversees the artist's career, often commissioning around 15-20% of their income.
- The booking agent - books shows and negotiates deals with promoters, typically taking a commission of around 10-20% of the artist's live fee.
- The promoter - takes the financial risk of putting on a show: books the venue, markets the event, sells tickets and pays the artist.
- The venue - provides the room, staff, and often the in-house sound and lighting.
- The production crew - sound, lighting, stage, backline and tour management.
Deal types
How the artist is paid varies by the size of the show:
- Flat fee (guarantee) - a fixed fee regardless of ticket sales.
- Door deal - a percentage of ticket income, common for smaller shows.
- Guarantee versus percentage - the artist receives a guaranteed fee or a percentage of net income after costs, whichever is higher.
- Ticket splits and promoter profit - on larger shows, after costs, profits are split between artist and promoter.
At the end of the night, the promoter and tour manager settle - checking ticket sales and costs to calculate what the artist is owed.
Riders
A rider is part of the performance contract:
- Technical rider - the equipment and technical requirements: PA, monitors, microphones, backline, power, stage size.
- Hospitality rider - catering, drinks, dressing rooms, accommodation, guest list.
Keep riders realistic for the level of show - a modest rider gets met; an unrealistic one gets ignored.
Stage plot and input list
Every act should have:
- A stage plot - a diagram showing where each performer and instrument goes, with power and monitor positions.
- An input list - every channel the sound engineer needs: what it is, which microphone or DI, any inserts.
These let the venue prepare before you arrive and make soundcheck far quicker.
Production roles
- Front-of-house (FOH) engineer - mixes the sound the audience hears.
- Monitor engineer - mixes what performers hear on stage.
- Lighting designer and operator.
- Backline technicians - instruments and amps.
- Stage manager - runs the stage and changeovers.
- Tour manager - logistics, schedules, money and people.
- Production manager - oversees technical production on larger tours.
The day of a show
A typical schedule: load-in, line check and soundcheck (headliner first, support last), doors, support act, changeover, headliner, curfew, load-out, settlement.
Touring budgets
Touring costs include travel, accommodation, crew wages, equipment hire, insurance, per diems and commissions. Many early tours lose money and are treated as marketing. Merchandise is often what makes a tour viable.
Electronic and DJ performance
For producers who perform live, consider: a DJ set, a hybrid set with controllers and live elements, or a full live performance of your tracks. Each has different technical requirements - make sure your rider and input list reflect what you actually need.
Do this now
- Draw a stage plot and write an input list for your own live setup.
- Write a realistic technical and hospitality rider for a small club show.
- Budget a three-date mini tour: travel, accommodation, crew, equipment, income from fees and merch.