A handshake and a flurry of WhatsApp messages might feel friendly, but they will not help much when the venue double-books the function room or the client suddenly wants you to play until 1am. Whether you are a solo acoustic act, a wedding band or a jazz trio, a written booking contract is the single best way to protect your fee, your reputation and your relationship with the client. It does not need to be long or full of legal jargon — one or two clear pages will do. What matters is that both sides know exactly what has been agreed before the first note is played.

Why Bother With a Contract for a Local Gig?

Most bookings go smoothly, but the ones that go wrong tend to go wrong in predictable ways: a client changes the date, a venue closes at short notice, a singer loses their voice, or somebody forgets to mention that the stage has no power sockets. A contract does not create mistrust; it removes awkwardness. It gives you something calm and factual to point to when a conversation gets difficult, and it signals to clients that you are a professional outfit worth hiring.

It also works both ways. A well-written agreement tells the client what they can expect from you — arrival times, set lengths, volume, behaviour — and shows that you take their event as seriously as they do.

Nail Down the Basics: Who, Where and When

Start with the simple facts. Vague contracts are the ones that cause arguments.

• The full names, trading names and addresses of both the client and the act, plus a named contact who will be on site on the day.
• The exact date, venue address and which room, stage or marquee you are performing in.
• Arrival time, soundcheck window and performance times, for example "two sets of 45 minutes, first set no earlier than 8.30pm".
• Who is supplying what: PA system, backline, lighting, staging, power, parking, a private changing space, and food and drink for the band.
• Whether the booking is exclusive, or whether the client may also book a DJ or another act.

If the event is a wedding, a milestone birthday or a corporate awards dinner, note the audience and the atmosphere expected. It makes a real difference to repertoire and volume.

Deposits, Balance Payments and Expenses

Money is where clarity pays off most. A deposit of 25 to 50 per cent of the total fee is standard in the UK, and it should be described as non-refundable, because it secures the date and turns away other work. State when it is due — usually within seven days of signing — and how it should be paid, such as by bank transfer with the invoice number as the reference.

• The balance: say whether it is due on the night, on the day of the event, or within 14 days of invoice. Add a late payment clause if you regularly chase fees.
• Expenses: mileage at an agreed rate, parking, congestion charges, accommodation and ferry or toll costs where relevant.
• Extras: overtime charged per 30 minutes, additional sets, extra musicians, or a background music service between sets.
• Tax: whether the fee includes VAT if you are registered, and who is responsible for any agent commission.

Be specific about overtime rates and get agreement in writing before you play a single note past the scheduled finish.

Cancellation, Postponement and Force Majeure

A fair cancellation policy protects both parties. A common approach is tiered: if the client cancels more than 60 days out, the deposit is retained; between 30 and 60 days, 50 per cent of the fee is payable; under 30 days, the full fee is due. This is not greed — by that point you have almost certainly turned down other work.

On your side, agree what happens if illness or another genuine emergency strikes. Many acts offer a named substitute or a dep musician of equivalent standard. If that is impossible, the deposit and any advance payments are refunded. Public liability insurance and equipment cover are worth mentioning too.

Add a postponement clause: the deposit may transfer once to a new date, subject to availability and a small admin fee. For force majeure — extreme weather, venue closure, or government restrictions — both parties should agree to act reasonably, try to reschedule, and if that fails, settle any costs already incurred.

Set Times, Technical Requirements and Overtime

Practical detail saves the day. Note any curfew, sound limit or noise abatement condition imposed by the venue or the local council, and confirm the soundcheck slot so the room can be kept quiet and clear. List your power requirements, the distance to the nearest sockets, and whether a generator is needed for outdoor stages. For marquees and open-air performances, agree a wet-weather plan and a covered performance area.

It is also sensible to include a short line on dress code, on your right to pause or stop the performance if the crowd becomes unsafe, and on filming and recording — usually permitted for the client's personal use, but not for commercial release without permission.

Signatures, Changes and Keeping It Friendly

Finish with a signature block for both parties and the date, and keep a signed copy each. Digital signatures are perfectly acceptable. Add a clause that any changes must be confirmed in writing — an email is fine — so nobody relies on a half-remembered phone call.

Keep the tone warm throughout. A contract that reads like a friendly confirmation of a shared plan gets signed quickly; one that reads like a threat rarely does. Review your template once a year, update your rates and insurance details, and store it alongside your public liability certificate. Do that, and you can get on with the part that actually matters: playing a great show.