You’ve been offered a gig. Maybe it came through a Facebook message from a promoter you’ve never met, or a mate of a mate who “runs nights” at a local venue. Either way, you’re buzzing. But before you commit, it’s worth slowing down for five minutes and actually reading what’s on the table.
Not every offer is a good one, and some are designed to benefit everyone except the band. Let’s go through the biggest red flags and what a fair deal actually looks like so you can tell the difference.
Vague Payment Terms and Verbal Promises
The first thing to watch for is how payment gets discussed. If a promoter says something like “we’ll sort you out on the night” or “there’ll be something in it for you,” that’s not an agreement. That’s a hope. And hope doesn’t cover petrol money or new strings.
A proper gig offer will tell you exactly how you’ll be paid. That could be a flat fee, a percentage of door takings, or a guaranteed minimum plus a share of the door after costs. Whatever the model, it should be written down. Even a simple email confirming the terms counts. If the promoter won’t put anything in writing, ask yourself why.
Verbal agreements aren’t just vague. They’re impossible to enforce. If the night goes badly and the promoter ghosts you, you’ve got nothing to fall back on.
Mandatory Ticket Minimums
This one catches a lot of newer bands. The promoter tells you that you’ll need to sell a set number of tickets in advance, say 30 or 50, and if you don’t hit the target, you’ll either lose your slot or have to pay for the unsold ones out of your own pocket.
On the surface it sounds reasonable, because obviously more people through the door is better for everyone. But the problem is that it shifts all the financial risk onto the band. The promoter has nothing to lose. If the tickets sell, they take their cut. If they don’t, you’re the one covering the shortfall.
A promoter who’s genuinely invested in the night will share the burden of getting people through the door. They’ll promote the event on their own channels, reach out to local press, and build an audience over time. If their entire marketing plan is “the bands will bring their mates,” that tells you everything you need to know.
“Showcase” Nights That Cost You Money
Showcase events are a grey area, and some are run well. But plenty of them are essentially pay-to-play setups disguised as opportunities. The pitch usually goes like this: “Industry people will be in the room,” or “A&R scouts attend regularly.” In return, you either pay a fee upfront or agree to sell a block of tickets at your own risk.
The reality is that most of these nights have no meaningful industry presence. You’re paying to play a 15-minute set in a half-empty room alongside five other bands who were all told the same thing. If the event can’t tell you specifically who’ll be attending from the industry, or if the “opportunity” comes with a price tag, walk away.
What a Fair Arrangement Looks Like
So what should you actually expect from a decent booking? For starters, written confirmation of the date, set time, payment structure, and what’s expected from both sides in terms of promotion. A good co-promotion model means the venue or promoter handles their own marketing, flyers, social posts, local listings, and the band does the same through their own channels. Both sides pull their weight.
Door splits should be transparent. You’ll want to know the ticket price, how many tickets need to sell before costs are covered, and what percentage goes to the band after that. A common split at grassroots level is 70/30 or 80/20 in favour of the acts, after agreed costs like sound engineer fees.
The Musicians’ Union runs a database of Fair Play venues across the UK that have committed to treating musicians fairly, and their Fair Play Guide covers what a reasonable deal should include. It’s a solid reference point, especially if you’re booking your first proper headline or support slot.
Trust Your Gut, Then Check the Paperwork
Getting gigs is exciting, and it’s easy to say yes to everything when you’re trying to build momentum. But a bad deal can leave you out of pocket and put you off gigging altogether.
The bands who do well long-term are the ones who learn early that saying no to a dodgy offer is just as important as saying yes to a good one. Read the terms, ask questions, and don’t let anyone make you feel awkward for doing so.