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Saturday 8th October 2005 Dear Friend, I'm sitting here scratching my head. Can it really be October already? It does not seem possible, and yet here they are, the brownish leaves covering the grounds - AUTUMN! Looking back, September was awesome! It started off with so many requests for coaching, artist management and society information popping up and now, in October, I've got to say this has been one of the greatest weeks I've had recently in terms of growth! Over the past few days, I've been paying close attention to the development of the InnerRhythm Southampton Society! I'm really glad that the organisation is expanding and there are now going to be regular events in South England. If you're interested, please check them out at http://www.coachkavit.com/southampton I've got some more great news too... After a while out of training, I've finally rejoined the gym to keep my fitness levels high, and to be honest, I feel totally different! I get up even earlier, excited for the day, feeling totally fit! I'm creating the perfect environment around me, and I'm resonating well with it too. I hope you are too. This edition looks at performance contracts on the whole, and while we're on the topic of great news, I'd like to invite you to scroll to the bottom and check out some even more phenomenal news! If you enjoy this newsletter, please feel free to forward it on to your friends, colleagues and family. All the best, Kavit | Performance Contracts |
I recall when I started out performing, I had a tabla gig at a festival in London and the agent who had then found me the gig asked me to sign a contract saying that I'm going to perform and I'm going to be paid £150 for the 50 minute slot I had. I was invited to present an Indian Classical solo performance. At that time, I thought that the idea of the performance contract was useless. All I need to do is get on stage, perform, get off stage, get paid and that would be enough. However, I did sign it to keep on his terms and although I did get paid, I didn't realise at the time what the point of the contract was. As I slowly gathered more information, I found out the reason why that agent had a contract, and I feel its also important for me to share the same with you here, so read through carefully and see how you could implement it in your music life. I've also teamed up with famous music lawyer, Brett Trout, to give you two examples of performance contracts. When I came across Brett, he said, "The goal is to lay out the deal so everyone is on the same page. The more fair a contract is, the more likely everyone will agree to sign it."
Another important factor to note is that there isn't a perfect contract for all situations. All contracts will vary and its up to you to be able to note the differences and be sure to make any changes should they be required. With the two samples that you can see at the end, you'll begin to get an idea of what may be expected in a contract. First, lets look at the basics of what should be included in a contract: I hope this gives you a brief idea of what should be included. Please see examples here: | Album Launch! |
I'm entering a real exciting period. Another one of my clients, Janet Gabriel is launching her upcoming debut album "the fire within" in just three weeks time! Janet and her band NEOPHONICS play a real extravagant fusion of POP, jazz, R&B, funk, soul and hip hop. They will be releasing the album on Sunday 6th November 2005 at The Drum, Skimped Hill Lane, Bracknell, UK. If you're able to make it and support us, we'd really appreciate it. You can get in free if you get on the guest list. To do this, send an email to launchguest@janetgabriel.co.uk and you'll be added on the guest list for free, fast entry! Read more about her at http://www.JanetGabriel.co.uk |
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The contract is simply there to keep you on your terms and so that nobody takes advantage of what you may have decided prior to the event. Of course, being reasonable, it's obvious that the contract does not have to be used for all your performances. For example, if you're playing a house concert or a coffee shop gig, there's no real reason to have a contract as its only you and maybe a few others, and a "handshake" or verbal agreement is good enough. However when it comes to a festival gig, they have tens of performers lined up and things can get easily forgotten with all the payments that the festivals finance department have to deal with it and therefore its sensible to have a performance contract signed. Personally, I only tend to use the contract about an average of 4 times a year - so as you can see, its best to take it as it comes.