Negotiation Tips for Booking Artists: Secure Great Talent at the Right Price

When you're booking artists, the fee is only the beginning. A quote that looks affordable can become an expensive show once you add travel, production, hospitality and the artist's share of ticket revenue. Pollstar's 2024 year-end review, for example, cited record average ticket prices. That report covers major tours, so it isn't a fee guide for your club night or local festival. Your own audience, room and costs should decide what you can afford.

The first thing you want to do is work out what the whole booking costs, what sales would cover it and how much you can lose if the night is quiet. This guide walks you through researching an artist's value, preparing an offer, negotiating terms and checking the agreement before you commit.

Understanding the artist's perspective

An artist's quote reflects the work needed to play your event and what else they could do with that date. Understanding those constraints helps you make a relevant counteroffer. You can ask for a lower price, but you'll have a better conversation if you can explain which part of the booking you can make easier.

Start with what affects the quote:

• The date and tour route, including travel from the previous show and onward to the next.

• Recent paid attendance and demand in your market, rather than global audience totals.

• The musicians, crew and equipment required for this performance.

• Technical and hospitality requirements, plus any extra services you ask the artist to provide.

Ask what the fee includes before comparing it with another artist's price. One quote might include travel and crew while another assumes you'll pay for them separately. Build the full estimate with your production lead, including:

• Sound, lighting, backline rentals and the crew needed for setup and changeovers.

• Flights, baggage, ground transport, accommodation and agreed meal allowances.

• Catering, dressing rooms, security and any additional backstage staffing.

• Insurance, permissions, tax advice, approved recording and a reserve for uncertain costs.

Then check the artist's recent local performances, the room size, ticket prices and paid attendance where you can verify it. A sold-out support slot doesn't tell you how many people would buy a headline ticket. Ask which information supports the quote rather than turning follower counts into a sales forecast.

Setting your budget and priorities

Decide what this booking needs to achieve for your business. A headliner might help introduce a new event, while a smaller act could make an established series more profitable. Either way, you need a show budget that works at a defensible level of sales. A full room should improve the result, rather than rescue a booking that was unaffordable from the start.

Before making an offer:

1. Confirm the usable ticket capacity after production holds, guest lists and seating restrictions.

2. Estimate revenue at cautious, expected and strong sales, using your planned ticket mix.

3. Price venue, marketing, staffing and other show costs before allocating the artist fee.

4. Check any proposed production savings with suppliers and the artist's team.

5. Set a maximum total booking cost and decide which artist or format you would choose instead.

Our guide to building an event budget explains how to bring the other show costs into that decision. Once tickets are on sale, you can use Loopyah's event software to see ticket sales and connected event activity. Use those records to update your budget; the artist fee, booking negotiation and contract calculations still need your own commercial review.

If the offer is too high, ask your production lead to price specific alternatives. Shared equipment might reduce rental costs, but extra changeover labor could cancel that saving. Compare written quotes and get artist approval before counting any saving in the budget. There isn't a reliable percentage you can assume every show will recover.

Preparing for negotiation

Make the first email useful enough for an agent to assess the date and the offer without chasing basic details. Keep the introduction short. Put the commercial terms and practical constraints where they can find them, and attach the supporting information rather than making them read a long pitch.

Have this information ready:

• Date, city, venue, usable capacity, age policy and curfew.

• Recent relevant events, paid attendance and the audience you can reach.

• Ticket price range, planned marketing activity and confirmed partners.

• Proposed fee structure, payment timing and the expenses you will cover.

• Production facilities, travel arrangements and the people handling the advance.

Explain why the artist fits your audience, then show the evidence. A recent comparable event with verified paid attendance is more useful than a claim that your city loves live music. If this is your first event, say so and explain who will handle production, how you're funding the show and what audience you can actually reach.

Decide which terms you can discuss:

• Flat fee, guarantee versus a defined percentage, or guarantee plus an agreed bonus.

• Approved equipment substitutions, travel arrangements and hospitality buyouts.

• Specific artist promotion or press commitments with dates and approval requirements.

• Recording permission, usage period, paid advertising and any sponsor involvement.

• Local exclusivity, announcement timing and the artist's other dates in the market.

Negotiation strategies for booking artists

Start with a specific offer

Name the date, venue, capacity and proposed fee. State whether travel and production are included, and say when you need a response. If your first offer depends on an unanswered rider question, flag that condition. An apparently firm number followed by a long list of new exceptions makes the discussion harder.

Should you make the first offer?

If you have recent local evidence and a credible alternative, propose a number you can defend. If you don't know the likely range, ask the agent for a quote and the inclusions first. Either way, prepare your ceiling privately. You don't have to disclose your entire budget to explain why a specific offer works for your room.

Offer a choice when priorities differ

You can present more than one package when money isn't the only issue. Negotiation researchers call this multiple equivalent simultaneous offers, or MESO. Equivalent means you would be comfortable accepting any of the packages after checking their cost and risk. A cheaper guarantee with an expensive bonus isn't automatically equivalent to a flat fee.

Possible packages to compare:

• A higher fixed fee with the artist arranging agreed travel.

• A lower fixed fee with you providing priced travel and accommodation.

• A lower guarantee versus a defined share of ticket revenue, with approved deductions.

Ask which package the artist prefers and why. Their answer may show that payment timing, travel or a simpler production day matters more than another fee increase. Harvard's Program on Negotiation overview explains the approach. Treat it as a way to learn priorities, with no promise that several offers will produce a discount.

Make each concession specific

If you raise your offer, say what you need in return. You might cover an additional hotel night if the artist accepts a nearby date that reduces your venue cost. Keep the exchange relevant and respectful. Don't keep increasing the number because you've already spent time on the conversation; check the whole budget after each counteroffer.

Choose a deal structure you can calculate

A fixed guarantee gives you a known artist fee. A guarantee versus a percentage usually means paying whichever is greater, under the agreed formula. A guarantee plus a percentage means adding the two. Those deals can produce very different payments, so ask the agent to confirm the formula with worked examples before agreeing to it.

Price the rider before closing the deal

Request the technical and hospitality riders while discussing the offer. Send them to the people who will deliver the show, price anything the venue doesn't provide and confirm substitutions with the artist's team. A verbal assumption that the venue has everything is a poor reason to promise an unpriced rider.

An illustrative offer comparison

Suppose you're considering a duo for a 1,800-capacity room. The following are invented offers to show how the comparison works, rather than a customer case study or a guide to market fees. You would still need recent local sales evidence and full production costs before using any of them.

Possible offers:

• Offer A is a $45,000 flat artist fee.

• Offer B is a $35,000 guarantee versus 85% of an agreed ticket-revenue balance after specified deductions.

• Offer C is a $30,000 guarantee plus an $18,000 bonus if the agreed paid-ticket threshold is reached.

Offer C has the lowest minimum artist fee before expenses, but its $18,000 bonus brings the payment to $48,000 at the agreed threshold. That is more than Offer A; Offer B's result depends on the agreed revenue balance. Compare deposit terms separately, because the minimum fee doesn't tell you how much is due upfront. Check each package at weak sales, expected sales and a full room. Don't describe a deal as protecting your downside until you know what you owe in all three cases.

Building relationships with agents and artists

A useful relationship comes from being clear about your offer and doing what you agreed. Pay on time, answer production questions and explain problems early. An agent may still need a higher fee or another date, but reliable communication removes reasons to hesitate about your event.

After each booking:

• Send an accurate settlement with the agreed calculations and supporting sales records.

• Share relevant market observations without disclosing another artist's confidential terms.

• Keep the next conversation specific to a suitable show, date or audience rather than sending vague check-ins.

Finding useful tradeoffs

When the guarantee won't move, discuss something the artist values that you can deliver at a sensible cost. An extra hotel night, a different performance time or a simpler travel plan might help. Avoid adding sponsor appearances, recordings or VIP access before checking whether the artist wants to provide them.

For paid extras, check the full cost and permission:

• Sponsor appearances need agreed artist approval, a defined commitment and a delivery budget.

• Meet-and-greets need capacity limits, staffing, timings and an artist-approved experience.

• Recordings need an agreed format, approval process and permission for each intended use.

Our guide to event sponsorship can help you define what a sponsor is buying. Keep the artist's approval separate from the sponsor sale. Selling a branded artist appearance first and asking permission afterwards can leave you owing something you can't deliver.

Documenting the agreement

Once you've agreed the offer, check that the written contract describes the same deal. Gather the fee terms, schedule, rider and permissions in one agreement, and make sure the people who have to deliver them know what you've promised. Get the agreement reviewed for the country and circumstances of your show.

Confirm these details in the booking agreement:

• The contracting parties, venue, date, performance length and agreed schedule.

• The artist fee formula, currency, deposit, balance and settlement deadline.

• Technical and hospitality riders, including approved substitutions and buyouts.

• Expenses each party covers, spending caps and how extra costs receive approval.

• Recording, broadcast and promotional permissions, including sponsor use.

• Merchandise arrangements, seller responsibilities and the agreed revenue calculation.

• Exclusivity area, dates, covered events and announcement restrictions.

• Insurance, liability, cancellation and what happens if the show is postponed.

• International travel, work permission, tax treatment and responsibility for the paperwork.

Check unclear clauses with a qualified local adviser before signing, especially when they affect cancellation, tax, exclusivity or recording rights. Ask for a specific answer about your responsibilities. A standard-looking contract can still include a term that changes the booking cost or leaves you unable to make the announcement you planned.

Check whether this artist can sell your show

A big name can make an offer feel urgent. Before getting pulled into the negotiation, ask how that artist fits the people who will buy tickets in your market. The fee needs a sales explanation, even when you love the act and know they'll put on a good performance.

There is a reason to take the lineup seriously. In Loopyah's Event Attendee Insights Report, 67% of the 500 US attendees surveyed through Pollfish on November 11, 2025 rated the lineup, performers or speakers as very important when deciding whether to attend. Price received that rating from 50.4%. The chart shows all the factors in that question, each rated separately.

Source: Loopyah Event Attendee Insights Survey, question 7, n=500, fielded November 11, 2025. These are respondents' ratings of individual factors, so the bars should not add up to 100%. They describe this survey sample, rather than the expected sales lift from booking a particular artist.

That last distinction matters. Fans saying the lineup is important doesn't prove that a more expensive headliner will sell enough additional tickets to pay for themselves. You need evidence about the artist and the event you're planning.

Start with paid attendance at a recent headline show in a comparable market. Check whether the room was actually sold out, how many tickets were paid and whether discounts or complimentary admissions contributed to the reported crowd. A festival audience is useful context, but it doesn't establish how many people bought specifically for this artist.

Then look at what has changed since that performance. A new release, another nearby appearance or a much shorter ticket-sales period can change the result. Ask the agent for relevant sales information they can share. If the evidence is limited, use a more cautious forecast or a smaller room rather than filling the gap with confidence.

Local followers, streaming listeners and email subscribers can help you identify audience fit. They aren't interchangeable with buyers. Someone who listens to an artist while working might have no intention of paying for a show, and someone who lives outside your catchment may never see the event. Use these signals to support a forecast based on actual purchasing behavior where possible.

For a festival or a multi-artist bill, check audience overlap. Two acts might reach many of the same people. Adding both can improve the programme without doubling the number of people likely to buy tickets. Ask what each booking contributes to the experience and which buyers you expect it to bring. That gives you a more useful explanation for the budget than allocating money according to poster position alone.

Work through a booking budget before increasing your offer

Here's an illustrative budget for a single-headliner show. Every amount in this example is invented to explain the calculation; it isn't a typical fee, cost benchmark or Loopyah customer result. The room has 1,800 usable places, including 100 allocated to complimentary tickets and holds, leaving 1,700 paid tickets available.

Suppose your planned ticket mix leaves $45 per paid ticket available to the event after the ticket-related costs you've included in the calculation. Use the amount your event actually retains, rather than the buyer's checkout total. If refunds, discount codes or different ticket tiers change that amount, update the forecast.

The cautious case is 900 paid tickets, producing $40,500. The expected case is 1,300, producing $58,500. The strong case is all 1,700 paid tickets, producing $76,500. Keep the complimentary places separate so the forecast doesn't count them as paid sales.

Assume venue, approved production, crew, security, marketing, insurance and other non-artist show costs total $25,000. This example also includes a $5,000 reserve for uncertain costs. You therefore need $30,000 before paying the artist. At 1,300 paid tickets, $58,500 minus $30,000 leaves $28,500 for the artist fee and any operating profit.

If you want $8,000 left after those budgeted amounts, the artist fee ceiling in the expected case is $20,500. That calculation doesn't establish what the artist should charge. It tells you what this particular event can offer under these assumptions. If the artist's minimum is higher, you need to change the event, negotiate a different package or choose another booking.

A $20,500 fixed artist fee brings total budgeted costs to $50,500. At $45 retained per paid ticket, you need 1,123 paid tickets to cover that amount, rounding up because you can't sell part of a ticket. At the cautious 900-ticket case, you're $10,000 short. At 1,300, you're $8,000 ahead. A strong result helps, but the quiet-night exposure still needs someone willing and able to fund it.

Now imagine the agent asks for another $3,000. At the same retained ticket amount, that adds about 67 paid tickets to the number required to cover the budget. You can assess that request against local evidence. Simply calling it a small increase hides the sales your team would need to generate.

Be careful when adding sponsor money to this example. A signed $5,000 sponsorship with $2,000 of delivery costs contributes $3,000, assuming you can collect it and fulfil the agreement. A promising conversation contributes nothing you can safely spend yet. Likewise, bar or merchandise revenue belongs in the show budget only to the extent your agreement actually gives your business a share.

Run the calculation again if you change the ticket mix. More early-bird tickets can lower the retained average price, and VIP tickets can bring extra staffing or hospitality costs. A higher advertised ticket price also doesn't prove buyers will accept it. A useful offer ceiling needs both the financial calculation and evidence that your audience will buy the proposed event.

Finally, have someone other than the person chasing the headliner review the assumptions. Ask them which revenue is confirmed, which costs are quoted and what sales result would require extra funding. That conversation is especially useful when you're excited about the booking and tempted to treat every uncertain assumption as favorable.

Understand guarantee versus percentage, and guarantee plus percentage

The wording of the artist fee can change your result even when the guarantee looks affordable. Don't accept a percentage term without a clear definition of the revenue it applies to, the permitted deductions and whether the guarantee is included in or added to the result. Booking terminology can vary between agreements. The signed formula is what you need to understand.

For the following illustrative calculations, assume eligible ticket revenue is $60,000 and agreed deductions are $20,000. That leaves a $40,000 balance to which the stated artist percentage applies. The figures are deliberately simple and don't represent a recommended commercial split.

With a $20,000 flat guarantee, the artist payment is $20,000, subject to any separate expenses or bonuses in the contract. Your artist fee doesn't rise because more tickets sell. You still carry the cost if sales are weak, and you still need to price the other obligations attached to the booking.

With a $20,000 guarantee versus 80% of that $40,000 balance, you compare the guarantee with $32,000. The artist receives the greater amount, which is $32,000. You don't add the guarantee again. If you previously paid a $10,000 deposit toward the fee, the remaining artist fee is $22,000 in this simplified example.

Now suppose the eligible revenue is only $35,000 with the same $20,000 of agreed deductions. The balance is $15,000 and 80% is $12,000. The $20,000 guarantee is greater, so that is the artist fee. A percentage deal with a guarantee hasn't removed your minimum commitment. It can leave you paying the guarantee even when the show loses money.

A guarantee plus percentage needs an equally explicit definition. If the deal is $20,000 plus 20% of a $40,000 balance calculated before the guarantee, the total artist fee is $28,000. If the contract instead deducts the guarantee before calculating that percentage, the calculation becomes $20,000 plus 20% of the remaining $20,000, or $24,000. Those are different agreements. Never assume the word "plus" tells you which deductions apply.

You also need to know whose percentage is stated. "80/20" might describe the artist's share first, but shorthand isn't enough. Write down which party receives each share. For a guarantee-versus arrangement, confirm whether any deposit is a payment toward the final artist fee, rather than a separate additional charge.

Agree the permitted deductions in advance. Include the items, treatment and any caps, rather than relying on "expenses" to mean the same thing to everyone. Advertising, venue costs, production, tax and ticketing charges may receive different treatment under different deals. An item in your internal budget is not automatically deductible from the artist's percentage calculation.

Ask the agent to work through a low-sales example and a sold-out example using the proposed wording. Then have the person preparing settlement repeat the calculation. If they arrive at different numbers, stop and resolve the ambiguity while you can still change the agreement. It's much easier to ask that question before signing than after the artist has performed.

Make bonuses measurable and compare the whole package

A ticket-sales bonus can be useful when you want to reward a result while limiting the fixed fee. It can also create an abrupt increase in cost. In the earlier illustrative Offer C, the artist fee jumps from $30,000 to $48,000 when the agreed bonus threshold is reached. That is higher than Offer A's $45,000 flat fee, before comparing any other differences.

Define the threshold in terms both sides can verify. "Ninety percent sold" leaves questions about complimentary tickets, refunds, artist holds and blocked seats. A clearer commercial term names the paid-ticket number, the ticket categories that count, the deadline and the treatment of cancelled or refunded orders. The appropriate wording needs to match your actual inventory and agreement.

Check what happens near the threshold. If selling the next ticket triggers the whole bonus, that extra sale may reduce your remaining profit for that particular result. You can still agree to the structure, but you should understand it. An alternative might be smaller bonus steps or a defined amount for eligible tickets above a threshold, if the artist accepts it.

Promotion bonuses need the same care. A commitment to "support the show" is difficult to price or verify. Ask for the agreed post format, account, timing, ticket link, approval process and what happens if the deliverable cannot be supplied. You aren't buying a guaranteed number of sales merely because the artist agrees to publish something.

Avoid attaching a bonus to activity that your team cannot confirm until after you need to pay it. If the artist's representative relies on a report, agree what the report includes and when both parties will receive it. That also helps you keep refunds and ticket adjustments consistent with the fee calculation.

For each offer, write down the fixed payment, possible variable payment, reimbursable expenses and any commitments that require your staff or suppliers. Compare them using the same sales assumptions. You might still prefer a package with a higher expected payment because its initial cash requirement is manageable, but make that a conscious choice rather than treating a low guarantee as the full price.

Manage holds, dates and announcements together

Availability is part of the negotiation. Ask the agent whether the date is available, whether another promoter has priority and what steps are required to confirm it. A hold is not something you should treat as a public booking, and hold procedures can differ between agents and venues. Ask for the actual deadline and confirmation requirements.

Keep the venue conversation aligned with the artist conversation. If the artist needs more time than the venue will allow, tell both sides before either commitment expires. Making a non-refundable venue payment just to keep a tentative artist date alive is a funding decision. Put that exposure in front of the person who can approve it.

Have a real alternative you can still deliver. That might be another suitable act, a different date or a smaller format. Check availability and cost, because an imaginary fallback won't help when the first artist declines. Be fair to the other agents involved and don't tell several artists that each is confirmed while deciding which offer to accept.

Once the booking is agreed, confirm when you can announce it, which artwork requires approval and how the artist wants their name displayed. A support-act announcement, sponsor campaign or ticket presale might have separate restrictions. Let your marketing team know the actual permissions, especially if they've already prepared material using the artist's image.

Local exclusivity also needs a precise conversation. Ask which territory, dates and types of performances the clause covers, and whether there are exceptions for an existing tour date or festival appearance. An unnecessarily broad restriction can make the artist decline or increase the quote. A restriction that's too vague may fail to protect the specific nearby show you're worried about. Get the wording checked for the relevant market rather than copying another event's clause.

Advance the production without undoing the negotiation

The advance is the planning conversation between your team and the artist's team before show day. Its purpose is to confirm how the agreed performance will happen. Assign a named production contact and make sure they have the signed deal, approved rider and latest venue information. Otherwise they may unknowingly agree to extras you removed during the fee negotiation.

Work through the stage plan, sound requirements, equipment, crew, access and schedule with the people responsible for them. The Independent Society of Musicians' guide to preparing a technical rider explains the information musicians use to communicate their requirements. Read the actual rider with your production lead and identify which items the venue supplies, which you need to hire and which require clarification.

Don't assume similar equipment is an acceptable substitution. Send the proposed make, model or arrangement and get the relevant artist representative's approval. If shared backline is possible, check ownership, access, setup time and responsibility if something fails. A cheap rental quote won't be useful if it creates a changeover your schedule cannot accommodate.

Separate savings from safety decisions. Fewer crew hours might reduce a quote but leave too little time for a safe load-in. The UK's Health and Safety Executive's event-management guidance emphasizes coordinating contractors, providing information and supervising work. Use the relevant local requirements for your event, and let the responsible safety and production people determine what the proposed setup needs.

Hospitality is worth checking with the same care, without turning ordinary comfort into a fight. Confirm the number of people travelling, room nights, dietary needs, ground transport and any agreed buyout. A buyout is a cash amount paid instead of providing a specified item or service. State which requirement it replaces so you don't end up paying both.

Set a process for changes. If the touring party adds a crew member or requests extra equipment, your production contact should price it and take it to whoever can authorize the spending. The artist's team also needs to approve any change to what you deliver. Keep a record of the decision and share the revised information with both teams.

Check deposits, international costs and cancellation exposure

The Independent Society of Musicians' performance-contract guidance identifies terms such as performance details, equipment, fees, publicity, permissions and cancellation. Use it to identify questions to discuss with your adviser, rather than assuming a template resolves the particular risks of your show.

Profitability and the ability to pay bills on time are different questions. A show can have a reasonable sales forecast but require artist and supplier deposits before you receive enough ticket money. Build a payment calendar using the actual deposit, balance and payout dates. Don't assume money visible in a sales dashboard is already available in your bank account.

Verify the contracting party and payment instructions through a contact you already know before making the first payment. If bank details change, confirm the change through that existing contact rather than relying on the new message alone. Record the currency and who pays transfer charges so the payment doesn't arrive short of the agreed amount.

For international bookings, confirm work permission and tax responsibilities early with qualified advisers. They depend on where the artist is performing and the circumstances of the engagement. The IRS guidance on payments to foreign artists and athletes explains US withholding obligations and possible exceptions. Agree whether the quoted fee is before withholding or whether the artist expects a particular amount after it, then have the adviser calculate the actual cost. Paying an agent instead of the performer does not settle the tax question by itself.

Cancellation terms should tell you what happens to money already paid and costs already committed. Discuss artist illness, promoter cancellation, venue problems and postponement separately. Ask whether a replacement date is required or optional, who approves it and how existing ticket buyers will be handled. You need that information before promising the audience a particular outcome.

Have your adviser review any force-majeure clause, which deals with specified events beyond the parties' control. Its effect depends on the agreement and applicable law. Don't assume a quiet presale falls within it, or that mentioning bad weather resolves every outdoor-event scenario.

Then ask your insurance adviser what the actual policy covers, including exclusions and conditions. An artist contract, venue contract, ticket-refund obligation and insurance policy can each deal with cancellation differently. Your financial exposure is the amount still left for your business to pay after those arrangements are applied, not the amount you hope someone else will reimburse.

Prepare settlement before the artist arrives

Settlement is the final calculation of what the artist is owed under the agreement. Prepare its layout before the show and confirm who will review it for each party. A percentage deal needs agreed sales categories, permitted deductions, evidence and payment timing. You don't want to discover at midnight that your finance contact and the tour manager use different definitions of ticket revenue.

Keep paid tickets, complimentary admissions, artist allocations, refunds and adjustments identifiable in your records. Agree how discounted tickets and any ticket bundles enter the calculation. If merchandise or sponsor revenue forms part of the artist deal, record it separately with the relevant costs and terms rather than adding it casually to the ticket total.

During the sales period, review your actual ticket mix as well as the sold count. A thousand tickets sold at different prices can produce a different fee calculation from a thousand at the original planned price. Loopyah's ticket-sales tools show ticket sales and sales sources, giving you current records to compare with your plan. The agreement still determines which amounts count toward the artist fee.

At settlement, start with the signed formula, enter the eligible revenue, apply only the agreed deductions and calculate the fee or bonus. Show any deposit already paid and the remaining balance. Attach the supporting records the parties agreed to use, then record approval and the payment status. Keep unresolved items identifiable so neither side mistakes a provisional calculation for the final accepted amount.

After the show, compare the booking estimate with what you actually spent and retained. Find out whether the largest difference came from ticket prices, attendance, the rider, extra travel or a contract term. Share the useful conclusions with the people preparing the next offer. That is how the next negotiation starts with better evidence rather than another guess about what an artist is worth.

Before you confirm the artist

Pull up the latest offer, the rider quote and your sales assumptions together. If the artist accepts today, can you pay the deposit, deliver the production and fund a quiet night? If the answer depends on an unconfirmed sponsor or a ticket price you haven't tested, resolve that first.

Your final checks:

• Check that the total booking cost fits the latest budget at defensible ticket sales.

• Calculate the artist payment under weak, expected and strong sales.

• Price the rider and confirm every proposed substitution.

• Match the announcement and sponsor promises to the permissions you've agreed.

• Confirm the deposit, cancellation terms and settlement responsibilities before signing.

Once the booking is confirmed, make the event page, ticket releases and sales records support the agreement you've made. Loopyah's event software feature set connects ticketing with event workflows, so you can follow actual sales as the date approaches. Keep using those figures to review the budget and prepare the settlement.