How to Get More Gigs: A Booking Guide for UK Musicians

If you want to get more gigs, accept that booking is part numbers game and part reputation game. Venues and promoters are busy people, and most of what lands in their inbox is a vague message with a link and no context. Send something clear and relevant that looks the part, and you’re already ahead of the pile.

This guide sticks to the booking side of things. It covers who to approach and what to send them, how to follow up, and how to become an act people want back. It’s written for UK acts of every kind, from solo artists and DJs to bands and function acts.

What do promoters and venues want to see before they book you?

They want proof. Can you play well and look the part? Will people come, and will you be easy to work with? That comes down to four things kept in one place:

• A short bio saying what you play and who you play for.
• Good photos that look like the act in the room. A blurry phone shot won’t cut it.
• Live footage of at least one full song, filmed so the booker can hear the sound and see the crowd.
• The nuts and bolts: your line-up, set length, kit needs and how to reach you.

Pull these together into an electronic press kit, which is a single page or PDF you can link to. Our guide to the electronic press kit explains what goes in one. For most venues, a well-chosen minute of live video wins them over faster than any amount of description, so it pays to get your live footage and press images done properly.

How do you find the right venues and promoters?

Start local. Start with rooms that already book acts like yours. Go through the listings for venues within an hour of home and note who plays there and on which nights, and how often. If a place only puts on covers and you write your own songs, it’s the wrong fit, however lovely the room.

Keep a simple list with four columns. The first two are the venue or promoter and the kind of act they book. The other two are who to contact and when you last got in touch. Add open mic hosts and small promoters to it, along with pub landlords and social clubs. Festivals and events companies belong there too. Keep it current, because this list turns into your booking pipeline.

Go and watch a few nights. Chat to the sound engineer and the other acts. Booking often runs on word of mouth, and if they already know your face, your message is far easier to say yes to.

What should you say when you contact a booker?

Keep the first message short enough to read on a phone. Write to a named person and say why you’re contacting them in particular. Describe what you do in one sentence, link your press kit and one video, and suggest a date or a type of slot. Don’t attach big files.

Say, for instance, that you’ve noticed they run Thursday acoustic nights, that you play original acoustic pop with a loyal local following, and that you can bring a small crowd on whatever date suits them. Be specific about what you’re asking for. Is it a support slot or a headline set? Maybe a weeknight try-out?

How do you follow up without being annoying?

Heard nothing? Wait a week or so, then send one polite reminder with something new in it, like a photo from a recent gig or a fresh clip. If there’s still no reply after a second go, leave it a few weeks and move on. Once the gig’s done, send the booker a thank-you with the photos attached, then tell them what went well. Venues remember the acts who stay professional once the gear is packed away.

How do you build a local draw?

A draw is the people who’ll turn up because it’s you playing. Nothing you can show a promoter is more persuasive, and you can build one in a small area before you try anywhere further afield.

1. Play regularly in one area. Repeat shows close to home beat scattered ones, because people hear your name more than once.
2. Collect contact details at every gig. A sign-up sheet or a QR code on stage lets you tell people about the next show. Under UK rules, people should opt in to marketing messages and be able to unsubscribe, as the ICO explains in its guidance on email marketing.
3. Invite people personally. A direct message to someone who came last time beats a general post.
4. Share the bill. Team up with acts at a similar level so you swap audiences.
5. Make it easy to share. Put the date and venue, plus a ticket or entry link, on a clear poster image people can post.

What if you want function and wedding gigs?

Function and wedding work runs differently. The person paying is often a couple, a venue manager or an agent instead of a promoter, and what they want is reassurance. Will you turn up on time and look right? Will you play the right songs and read the room?

For this market your materials need some extras. Include a clear song list or repertoire and video of you playing a real function. Set out the line-up options and set lengths you offer, and be honest about what’s included. Use photos taken somewhere smart to show off your look.

A lot of bookings come through venues’ recommended supplier lists and word of mouth. Introduce yourself to the wedding venues and event planners near you. Offer to play a short sample set, or invite them to watch you perform, and ask happy clients for a short written recommendation. Be upfront about prices, and get terms agreed in writing before the date.

How do you keep the gigs coming?

Getting rebooked is easier than finding new venues, so behave like an act worth having back. Arrive early and soundcheck quickly. Finish on time, be friendly to the staff and bring a crowd. Share the gig afterwards and tag the venue.

Look over your pipeline once a month. Which messages got replies? Which venues booked you again? Which gigs brought in new followers or sign-ups? Put your energy into the kinds of show that work.

Chasing bookings can wear you down, too. If you need career or wellbeing support, Help Musicians, a UK charity for professional musicians, offers career development support, mental health support through Music Minds Matter and financial and wellbeing services.

How we can help

We help musicians look and sound as professional online as they do on stage. That means press photos and live footage, music videos, websites and social media content that give bookers confidence in you. If better materials would help you get more gigs, take a look at our marketing for musicians service. We agree a clear brief, scope and fee with you before any work begins.

Sources

• ICO: Electronic mail marketing
• Help Musicians: Support for professional musicians