This post mostly deals with the cancellation clause. It’s a biggy and probably the one that most promoters go to first.

This post wades through the next clutch of clauses. Highlights are what happens with respect to tax for foreign artists and how national advertising contributions are dealt with.

In this post we continue our journey through our contract clauses, focussing on some key, yet somewhat obvious clauses.

The contract clauses are generally the same for all performances. They highlight specific conditions that apply to all or most show. By highlighting certain conditions and obligations they remove doubt from the contract. This makes it easier to identify a breach in contract which may result in cancellation and or loss of deposit.

When we make an agreement between the artists and the purchaser then both parties agree that a show will take place on a certain day in the future. If that show doesn’t happen, then a day is missed in the artists diary – this results in significant loss of potential earnings for the artist – and by extension the agency as well. A well considered Payment Schedule can reduce the likelihood of cancellation and assure payment where shows are cancelled.

English Folk Expo got in touch in touch and asked me to give a lecture entitled Growing A Live Career. Here is the video of the lecture. You can also watch it from inside the Folk Talk Academy portal. Where you can also download my slides.

The contract particulars are different for each show. They define the main points of the contract which apply to a specific performance in a specific place. They may seem self-explanatory, but that is not always the case; here we consider each in turn.

It’s really important we consider the two parties of a show contract and how that relates to who is responsible for delivering and paying for a show. In this post I unpick that and discuss the importance of getting the thing signed!

The language used in show contracts needs to be precise yet also readily understandable. Our clients are more likely to sign our contracts if this is the case. Also our contracts are living documents which need to be updated from time to time.

In this post I go into what we deliver to the purchaser when we confirm a show. I’ll touch on the contract, the invoice and the artists rider. Furthermore, I discuss why a deal-memo is a total waste of time and if anything, lays the agent open to mistakes.