If you’ve ever heard the story about Van Halen demanding a bowl of M&Ms with all the brown ones removed, you already know what a rider is, even if you didn’t know it had a name. But here’s the thing: that request wasn’t rock star nonsense. It was a clever way to check whether a venue had actually read the contract. If the brown M&Ms were gone, the technical requirements probably were read all the way through. That’s the spirit of a good rider. Not entitlement. Insurance.
Whether you’re playing your first run of 300-capacity rooms or you’re stepping up to theatres and festivals, a well-written rider protects you, sets professional expectations, and makes your show actually happen the way you planned it. Here’s how to write one.
First Things First: What Actually Is a Rider?
A rider is a document attached to your performance contract that lists your technical and hospitality requirements. It tells the venue what you need to perform, from the PA system to the number of sandwiches backstage. There are typically two parts: the Technical Rider, which covers everything the sound and lighting crew need to know, and the Hospitality Rider, which covers food, drink, and backstage conditions. Both matter. Neither should be ignored.
Who Needs a Rider?
Everyone who plays live, honestly, but the level of detail scales with where you’re at in your career. If you’re just starting out, a one-page rider is fine and will immediately mark you out as a professional. If you’re mid-level and touring regularly, a detailed rider can be the difference between a great show and a disaster. The venues you’re playing at this stage are bigger, the production is more complex, and there are more ways things can go wrong.
The Technical Rider
This is the important one. Get this wrong and your show suffers. Get it right and your sound engineer will love you. Start with your Stage Plot, a simple diagram showing where everyone stands on stage, where the monitors go, and where the amps and backline sit. You can draw this by hand, use a free tool like Stage Plot Pro, or even do it in PowerPoint. It doesn’t need to be beautiful, it needs to be clear. Next comes your Input List, a numbered list of every channel going into the mixing desk. Channel 1: kick drum. Channel 2: snare. Channel 3: bass DI. And so on. Include what microphone or DI box you prefer for each source if you have preferences, but don’t be precious about it if you’re at the smaller end of the scale.
Your PA Requirements should describe the size and quality of system you need. For smaller artists this might just be “a professional front-of-house system capable of filling the room.” As you grow, you’ll get more specific about brands and configurations. On monitors, list how many separate mixes you need and where. A basic band might need three or four, with the drummer hearing more kick and less vocals, the singer hearing less guitar and more of themselves. Write it out clearly so there’s no guesswork on the day.
On backline, be upfront about whether you’re carrying your own gear or need the venue to provide it. If you need a drum kit, specify the sizes. If you need a guitar amp, name the brand you prefer. If you’re happy to use what’s there, say so, because venues genuinely appreciate flexibility from emerging artists. Finally, always include an advance contact: the name, phone number, and email of whoever the venue’s technical team should call with questions. Don’t make them chase your booking agent for this.
The Hospitality Rider
This is where riders get their reputation, fairly or not. Yes, some artists go completely overboard. But a reasonable hospitality rider is just basic human decency. You’re asking for what you need to do your job. On catering, if the venue is providing a meal, say when you need it, usually before soundcheck or after doors. List any dietary requirements clearly, especially allergies, and be specific rather than vague. “Vegetarian option” is not the same as “no meat, no fish, no gelatine.” The more clearly you write it, the less likely you are to arrive hungry to a plate of something you can’t eat.
For drinks, keep it reasonable and keep it practical. Water on stage is non-negotiable, so list how many bottles you need and where you want them. Backstage, a few soft drinks, some juice, tea and coffee, and a modest amount of alcohol if that’s your thing, is entirely reasonable. What isn’t reasonable, unless you’re selling out arenas, is demanding specific craft beers, branded spirits, or enough food to feed a small village. The venue reads your rider before they agree to have you. An absurd hospitality list is a red flag that you’re going to be difficult.
Dressing Room Requirements
Keep this section functional. How many people are in your party? You need enough space and seating for all of them. Do you need a private bathroom? Mirrors for getting ready? A working lock on the door? Say so. If you have a support act, think about whether you need separate rooms or whether you’re happy to share. These are practical questions, not luxury demands.
Guest List and Passes
This isn’t always part of the rider but it’s worth including. How many guests does each band member get? Who handles the guest list, the tour manager or the booking agent? How many AAA passes, stage passes, and photo passes are you issuing? Getting this in writing saves arguments at the door every single night of the tour and means nobody is standing in the rain at the guest list desk while you’re trying to get ready for your set.
The Golden Rules
Keep it proportionate to where you’re at. A three-piece indie band on their first UK tour does not need four pages of requirements. Update it regularly as your production changes, because sending a rider with the wrong input list is worse than sending none at all. Write it clearly, in plain language, so a venue technician reading it at 9am on show day can understand it without calling anyone. And always, always send it in advance. Dropping a rider on a venue the morning of the show is not professional behaviour.
One Last Thing
A rider is a living document. The best ones get refined after every tour, updated when something goes wrong, and tightened when something turns out not to matter. Talk to your sound engineer, your tour manager, and your bandmates. Ask other artists at your level what they include. And if you’re ever unsure whether a request is reasonable, ask yourself honestly whether the venue is likely to read it and nod, or read it and roll their eyes. That’s usually all the guidance you need.
