EM: Where do you see the most confusion for church staff when it comes to artist riders?
LG: Some clients try to ignore the technical requirements of the rider as if they’re only suggestions. That’s a very dangerous game to play because it can quickly lead to a breach of contract or just a bad event. This goes back to knowing what your budget is and if you can truly afford an artist.
A rider isn’t a list of demands, as many may think it is, but it informs the hiring entity what the artist requires to put on a successful performance. It contains the required sound system information, backline equipment, stage plot, stage dimensions needed, the number of musicians and singers and what instruments will be played.
The main areas of the rider consist of the artist and group information, backstage requirements and the stage plot. If your church is looking to bring in a professional artist or group and you’re having the event in your sanctuary, you must confirm that the in-house equipment and sound system is up to spec for the performance.
If you aren’t able to secure required equipment, you must communicate this with the artist or group. You cannot have the talent arriving to discover (at the last minute) what the need to do their job is not there. How would you feel if you went to work tomorrow and the employer removed everything you needed but still imposed a deadline for that very day? Can you say angry and frustrated? Would you contemplate walking off the job?
I’ve helped several churches, especially smaller ones, bring in a whole new sound system and backline equipment just for one performance. Don’t try to put on major performances with inferior equipment. If you know your system doesn’t work well for normal services, be prepared to rent a system for the event and hire a qualified company to set it up, operate it and tear it down. An added bonus is that your volunteers can shadow, assist and learn from these industry professionals.
EM: Any suggestions for promoting these events for the highest turnout?
LG: This is the most critical aspect of a paid event that many churches tend to whiff on. The first issue is that they haven’t determined an advertisement budget. You’re going to pay all this money fulfilling the technical rider, but you won’t allot a budget or formulate a strategy to filling the building? That just doesn’t make much sense.
If you want the highest turnout possible, you must secure your signed artist contract with enough time to implement a real marketing strategy for the event. You can’t get a signed contract one or two weeks out from the scheduled event and expect to be able to market the event properly. Plan events and secure signed contracts at least four to six months in advance, even better if it’s a year in advance.
