It’s no good complaining that you sent your rider on Friday when the equipment list got agreed weeks before and got shipped to the site on Tuesday. ![]() There can be many layers of communication between the artist, the festival organizers, and the audio supplier so the process can be slow, and setting the equipment up can take days. This is true of festivals in particular because they might be juggling the needs of dozens of acts over several days and stages. Organisers make budget decisions and might need to hire extra equipment depending on your requirements, so you have to give them enough time to sort that out and negotiate who will pay for any extras. Your rider must be sent in plenty of time before the show. If you only send one document to the promoter, it should be your audio rider, not a list of food and drink. Your audio rider should, at the bare minimum, list the instruments you’re bringing, how many people are in the band, and which members sing. The audio rider is probably the most important part of that because without it the promoter doesn’t know what equipment and personnel they’ll need for the gig to happen. It covers fees, security, food, drink, technical information, and anything else that is required on the day. That is indeed part of the rider, but the term refers to the entire contract for a gig. When people hear the word “rider” they tend to think of a rock and roll list of demands for lots of alcohol and no brown M&Ms in the dressing rooms. Is my favourite beer really that important? ![]() If you already know everything in this post, share it with your musician friends who don’t have an engineer yet so they can make great riders too. Much of this might seem obvious, but even people on arena tours make some of these mistakes. There can be a lot of confusion over what it should entail and how best to present the information, so here is how to make a clear, concise rider and the pitfalls to avoid. An audio rider is essential to every gig.
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