Early in my career I treated getting paid as a lovely surprise that sometimes happened after a gig. It took too long to realise the problem was not the venues, it was that I agreed to nothing in writing and then acted shocked.
The terms I now insist on
A fee in writing, a date it will be paid by, and how, before I confirm the booking. Not a handshake, not a hopeful message, an actual line in an email the promoter has agreed to. Half the late payments in my life came from there being nothing to point at when the money did not arrive. Put the number and the date in writing and most of the problem simply evaporates.
The deposit that changed everything
For anything involving travel or a hold on my diary, I now ask for a deposit on confirmation. It filters out the promoters who were never really going to pay, because the ones who argue hardest about a small deposit are, reliably, the ones who vanish on the balance. It felt cheeky the first time and it is now non-negotiable.
When it still goes wrong
If a payment is late, I send one firm, dated reminder noting that statutory interest can apply to late commercial payments under the government rules, the same way any other freelancer would. No drama, just the facts. More on the money side of the job in my market commentary.
Written by Joe Rooney. General information for performers, not financial advice; figures current for 2026.…
