A technical rider is the document you send to every venue, festival or promoter before a performance. It covers everything you need to be able to perform: sound equipment, lighting, stage space, dressing rooms, catering… A good rider saves hours of misunderstandings and signals that you know what you’re doing.

Two types of rider

A technical rider describes equipment and infrastructure needs. A hospitality rider describes logistical needs (food, drinks, transport, accommodation). Many artists combine them into one document; others keep them separate. What matters is that it’s clear and readable.

Technical rider structure

Cover page and technical contact. Artist or company name, document date (riders get updated), name and phone number of your technical manager. The venue needs to know who to call.

Show description. A brief paragraph: how many people perform, type of sound (acoustic, amplified, DJ, orchestra), show duration, whether there are multiple sets, whether there is special staging.

Stage plot. A simple drawing (even hand-sketched) showing where each musician or element is placed, where the monitors go, where the drummer sits, where the pedalboard is. Tools like StageButt or simply PowerPoint work well. This plot eliminates 80% of misunderstandings.

Input list. A table with every sound channel you need: channel number, source (vocals, electric guitar, kick drum, snare…), connector type (XLR, Jack, DI) and notes (if you want compression, effects, etc.). Include whether you bring your own effects or pedals.

Alternatives and order of preference. For each important piece of equipment — amplifiers, mixing desk, processors — list your first choice and one or two acceptable alternatives. The standard format is: “Guitar amplifier: Fender Twin Reverb (preferred) / Marshall JCM800 / any valve combo minimum 40W”. This lets the venue’s technician find a solution within their means without having to call you on show day. If an item is absolutely non-negotiable (you bring your own, no substitute accepted), mark it explicitly as [OWN GEAR - NOT SUBSTITUTABLE].

Monitors. How many floor wedges, what mix each person needs (the singer wants to hear more vocals and guitar; the drummer wants everything). If you use in-ears, specify whether you bring your own or need the venue’s.

Lighting. If your show has specific lighting requirements: colours, spotlights, special effects. If you leave lighting to the venue, say so explicitly: “lighting design left to the venue technician’s discretion”.

Schedule. What time you arrive, how long you need for load-in, how long the soundcheck takes, how much free time you need between soundcheck and show.

Common mistakes

Requesting equipment no small venue can provide

A rider inspired by a major band on a festival tour can block bookings with smaller venues. Create an "ideal" version and a "minimum acceptable" version. Make it clear which items are essential and which are optional.

Not updating it

If you change line-up, add a member, switch instrument or sound system, update the rider immediately. Sending an outdated rider creates confusion on show day.

Forgetting the hospitality rider

Per diems, drinks, dietary requirements, parking, accommodation for touring... Everything you need off stage must be in writing. It's not a demand — it's professionalism.

Poor formatting

The venue's sound tech will read your rider 10 minutes before you arrive. Clean PDF, readable font, tidy tables. No Word documents with cramped margins or light grey text on white.

Rider and contract

The rider is an annex to the contract. Without the contract, the rider is a wishlist. Make sure the contract explicitly references the rider and both parties sign it. Many financial disagreements (who pays for backline? who covers accommodation?) are resolved by reading both documents together.

The rider as a communication tool

A well-written rider says a lot about you as a professional. When a festival receives a clear, up-to-date and realistic rider, they know working with you will be easy. When they receive one with unrealistic demands or a sloppy document, that’s already a negative first impression.

The rider is part of your professional identity — just like your press kit.

Basic Contracts Every Musician Should Know — the rider is an annex to the contract; read them together
Pricing Your Work as an Artist — the rider is part of the economic negotiation
Taxes for Freelance Creatives — VAT, income tax and self-employed contributions for the cultural sector
Finding Representation: Agent, Booker or Manager — a good representative manages riders and negotiations on your behalf