Reading Technical and Hospitality Riders Line by Line

What a rider is, and why it is part of the contract

A rider is the attachment to the artist's performance contract that lists everything the artist needs to perform and be cared for on the day. Because it is attached to the contract, it is generally binding unless you amend it in writing. "We'll sort it out in the advance" is how promoters end up paying for a lighting rig they did not budget for.

Riders usually come in two parts. The technical rider covers production: sound, lighting, staging, power, backline, and crew. The hospitality rider covers dressing rooms, catering, transport, accommodation, and guest list. Read both as soon as the contract arrives and price every line before you sign.

The technical rider

Stage plot

The stage plot is a diagram of where every performer, instrument, amplifier, monitor, and riser goes. Check:

• Stage dimensions: the minimum width, depth, and clearance height the artist needs. Compare against the venue's actual stage, not its listed one — wings, PA stacks, and side-fills eat space.
• Risers: drum and keyboard risers are usually listed with sizes (for example, 8 ft × 8 ft × 2 ft). Note whether they must be rolling and whether skirting is required.
• Power drops: where on stage each electrical outlet is needed.

Input list

The input list maps every sound source to a console channel. A typical line reads: channel number, source, microphone or DI, stand type, and any insert or phantom power notes. For example:

• Ch 1 — Kick in — specified dynamic kick mic — no stand
• Ch 2 — Kick out — specified kick mic — short boom
• Ch 9 — Bass DI — active DI — phantom power
• Ch 24 — Lead vocal — artist's own wireless

What to check: the total channel count against the house console, the number of wireless channels (each needs coordinated frequencies), and any microphones the venue does not stock. Approved substitutions are common; ask early.

Front of house and monitor requirements

• Console: riders often name preferred digital consoles and list acceptable alternatives. If the artist carries their own console, confirm FOH position space and the cable run (copper multicore or network) from stage.
• FOH position: many riders specify the mix position location relative to the stage — centered and at a certain distance. In seated venues, this can kill seats; that becomes a ticketing issue.
• Monitors: number of wedge mixes, in-ear monitor (IEM) mixes, side-fills, and drum fill. A separate monitor console and engineer position may be required.

PA specification

Riders typically ask for a professional line-array or equivalent system capable of even coverage and sufficient headroom for the room, often with a list of preferred manufacturers. The practical test is whether the house system covers the entire audience area evenly and whether the artist's engineer will accept it. Send the house specs to the artist's production manager during the advance; do not assume.

Lighting

Lighting riders range from "house rig acceptable" to a full plot with fixture counts, positions, a specified console, and haze. Check the rigging points and load ratings if the artist is flying anything, and confirm the work will be done by a qualified rigger (ETCP certification is the common North American benchmark). Haze and smoke may need venue and fire authority approval and could trigger detector isolation procedures.

Power

Power requirements are usually stated as a service size and phase, for example (illustrative) "one 200A three-phase service for audio, separate from lighting." Audio and lighting on separate services is a common requirement to avoid noise. Confirm the venue's available service and distance to stage; if insufficient, a generator and a licensed electrician are needed — a significant cost line.

Backline

Backline is the band's on-stage equipment: amplifiers, drum kits, keyboards. Touring acts often fly in and rent backline locally. Riders list exact models; agree acceptable alternatives in writing.

Crew and stagehands

The rider will specify local crew requirements: loaders, stagehands, riggers, a house electrician, spotlight operators. In union venues, minimum call lengths and crew counts apply regardless of what the rider says. Count these hours carefully — crew is often one of the largest production costs. See writing the production spec for building out the full production package.

The hospitality rider

Dressing rooms

Number of rooms, minimum size, private bathrooms, mirrors, clothing racks, lockable doors, and climate requirements. Count what the venue actually has; extra rooms may mean converting an office or renting a trailer.

Catering and buyouts

• Hot meals: often specified for a number of people at a set time, with dietary requirements.
• Buyouts: cash per person in lieu of a meal. Simple to budget, so many promoters prefer them.
• Dressing room rider: drinks, snacks, towels, and supplies. Long lists add up — price them.

Transport and accommodation

Ground transport from airport or hotel, runner vehicle availability, bus parking with shore power, and hotel rooms. Shore power for tour buses is often overlooked and may need a dedicated electrical connection.

Guest list and security

Riders usually specify a number of complimentary tickets for the artist's guests, and sometimes dedicated security for the dressing room, stage, and artist movements. Guest list tickets count against capacity. Artist-specific security posts should be added to the security plan — see concert security planning.

Costing the rider

Turn the rider into a costed list. For each line, mark one of four statuses:

1. Provided by venue at no extra cost
2. Provided at cost — with a dollar figure
3. Substitute proposed — with the alternative named
4. Cannot provide — with a reason

Illustrative example: a rider asks for a specific console model the venue does not own, hot meals for 14, two dressing rooms with showers, and backline. The venue has an acceptable alternative console (substitute proposed), meals cost $35 per person ($490), the second dressing room needs a rented trailer ($600), and backline rental is $1,200. That rider has added about $2,290 to the show before anyone has asked for anything unusual.

Riders that change during the tour

Riders are living documents. Tours update them as production grows, crew changes, or the band adds a player. Before the advance, confirm you are working from the current version and ask for the date or revision number. Watch especially for:

• Production upgrades: a new lighting or video package mid-tour can change power, rigging, and crew needs.
• Festival versus headline riders: many acts have a reduced rider for festivals and a full one for headline dates. Make sure you received the right one.
• Support act riders: support acts have their own requirements, usually simpler, but they still need stage space, inputs, and a dressing room.

Redlining and the rider response

Send your marked-up rider back to the agent or production manager in writing, ideally before the contract is fully executed. Keep the tone practical: state what you can provide, offer substitutions, and flag anything that requires their decision.

Rule: any change to the rider should be confirmed in writing by the artist's representative. An approved redline protects both sides on show day.

Putting it into practice

Build a rider costing template once and reuse it for every show, so nothing slips past the contract stage. When the house cannot cover a requirement, you can compare Avenue Mine venues or find sound, backline, and staffing vendors to fill the gap.