The first time you book a band, it can be surprising to receive a rider - a document listing requirements for everything from loudspeakers to towels. A rider isn't an attempt to make the booking difficult. It's the band's way of telling you what needs to be in place for the evening to sound good and run smoothly.
This guide translates the rider into plain language. You'll get the difference between a technical rider and a hospitality rider, an explanation of the technical terms like backline, PA, monitor and get-in, and an overview of who typically provides what - so you know what you're agreeing to, and what you need to sort out yourself before the guests arrive.
In short: what a rider is
A rider is the document a musician or band sends when a booking is coming together. It describes the practical framework for the performance: what equipment is needed, how much space and power it takes, when the band needs access to the venue, and what food and drink should be ready. Think of it as a checklist you go through together, so no one is caught out on the day itself.
The word covers two things that often arrive in the same document but concern different areas. One part is technical and deals with sound, lighting, stage and power. The other is practical and human, covering catering, a changing area and access. The larger and longer the event, the more detailed the rider becomes, because more things have to work together. For a solo musician playing a couple of hours it's often half a page, while a large band at a marquee party may send several pages.
Technical rider and hospitality rider
The technical rider is the core. It sets out what sound equipment the performance requires, how large a stage or floor area is needed, how many sockets and how much power the band draws, and often an input list or channel list that shows the sound engineer how many microphones and channels are in play. For smaller engagements it's short, because the band brings most of it. For large setups it grows, because more things need to fit together.
The hospitality rider, sometimes just called hospitality, is about the people behind the music. It's typically a room for changing and breaks, food and drink around the playing time, parking near the entrance for loading gear, and for long distances perhaps an overnight stay. These are rarely big demands, but for a band playing several hours it makes a difference that they've been thought of. The points are there to be discussed. If something can't be done at your venue, say so, and find a solution together.
The technical terms a rider uses
A rider uses a handful of set terms, and once you know them the rest is readable. The PA, or PA system, is the sound system itself: the loudspeakers and the mixer that send the music out into the room. A monitor, in Danish medhør, is the speaker that points back towards the musicians so they can hear themselves and each other on stage. Without proper monitoring it's hard for a band to play tightly together.
Backline is the band's own instruments and amplifiers, for example drums, guitar amps and keyboards. The band almost always brings this itself. Stage is what the word says, and power covers the sockets and outlets that meet what the equipment requires. Lighting is the illumination of the stage, which smaller bands often handle themselves, while large setups can call for more.
Two terms are about time rather than gear. Get-in is the point when the band needs to come in and set up, before the guests arrive. The soundcheck (in Danish lydprøve) is when the sound is adjusted before the party starts. FOH stands for front of house and is the sound engineer's position out in the room, from where the sound is controlled. For larger events the rider often names a dedicated FOH engineer, while at smaller parties the band usually handles the sound itself from the stage.
Who supplies what
The main rule is simple: most party and cover bands for ordinary events bring their own complete sound and lighting, a PA sized for the room and their own backline. Your job as the organiser is to provide space and a stage or clear floor area, enough power to meet the rider, and access so the band can come in for the get-in and soundcheck at the agreed time, before the guests arrive.
The picture shifts with scale. The larger the band and the room, and especially outdoors at town festivals and festivals, the more often you need a bigger PA, a separate stage and a sound engineer at FOH, which the organiser arranges and pays for. The table below is a general guide, not a fixed rule. The specific split is always set out in the rider and in your agreement, so read it through and ask if anything is unclear.
| Event type | The band usually brings | You or the venue provides |
|---|---|---|
| Solo or duo, smaller room | Small own PA, backline, maybe simple lighting | Space, a socket nearby, time for a soundcheck |
| Trio or band, party venue | Complete PA, monitors, lighting and backline | Stage or clear floor, power per the rider, get-in access |
| Large band, marquee or town festival | Backline and sound requirements, own or hired PA | Stage, power to spec, often a FOH engineer and production |
| Outdoors or festival | Instruments and an input list of channels | Full stage, PA, monitors, sound engineer and power, the whole production |
The split is a general guide for 2026 and varies with the band, the venue and the size of the job. What applies to your evening is set out in the band's rider and in the agreement.
How to read and reply to a rider
When the rider lands in your inbox, read it as an agreement checklist and go through it point by point. You can say yes to most requirements right away. What you especially need to consider is whether the venue can deliver the power and space listed, whether there's a stage or a corner the band can play from, and whether the timing for get-in and soundcheck fits with when you have access to the room.
If something can't be done, for example the venue doesn't have the power named, the stage is smaller than requested, or you can only let the band in an hour later, write back straight away. A band would rather know in good time and find a solution than discover it on the day. Confirm the agreed times and requirements in writing, so you share the same picture of the evening. A quick review now saves you both from chaos when the guests are at the door.
A few things are worth confirming in writing even when the answer is yes. Write back when the band can come in, how much time is set aside for the soundcheck, and where the stage will stand, so you both plan around the same thing. If the band has attached an input list or a stage sketch, pass it on to the venue or to your engineer, if there is one. It takes a few minutes and removes most of the misunderstandings that otherwise only surface when the gear van is parked outside.
The rider, the agreement and the day's schedule
The rider rarely stands alone. It belongs with your agreement, where the fee, playing time, transport, breaks and cancellation terms are written down. The rider handles the tech and the practical side, the agreement the money and the terms. Together they describe the whole booking, and it's a good idea to have both in writing before the day arrives.
The schedule ties it all together. Get-in and soundcheck must fall before the guests arrive, and the band's total time at the venue counts here. The Danish Musicians' Union, for example, reckons on up to four hours of total attendance including soundcheck per tariff, so the sooner the band can come in and set up, the calmer the soundcheck. Agree get-in, soundcheck and playing time concretely, for example the common three 45-minute sets across the evening, so both you and the band know when things happen.