In the world of live music, the topic of booking agents is a bit like pineapple on pizza—some love ’em, some can’t stand ’em, and some just learn to work with what’s served.
I’ve been gigging for over 30 years, and during that time I’ve worked with several agents, all of whom approached me offering to help get me gigs in venues they had connections with. I’ve had a few positive experiences. I’ve had plenty of negative ones. And now, I do almost all of my booking myself.
This post isn’t about burning bridges or swinging axes. It’s about looking at both sides of the equation, and helping musicians, especially solo acts, understand what they’re getting into before handing over their calendar.
Why Musicians Use Agents
Let’s face it, most musicians didn’t get into this game to chase invoices and negotiate prices. Booking agents offer something valuable: time. They handle the admin, the scheduling, the negotiations, and they (ideally) bring you into venues you might not get into on your own.
Here are a few legit benefits of working with a booking agent:
Less admin stress: Someone else is doing the cold-calling and inboxing.
Access to new venues: Especially when you’re trying to break into a new region or scene.
More gigs (sometimes): Agents often have standing relationships with venues who trust their judgement.
In my experience, years ago I did get booked into a few new venues I may not have reached otherwise. I also saved some time on admin, especially during a time when I also worked a regular 9 to 5.
Where It Can Go Wrong
But that’s not the whole story.
Here’s the part that doesn’t get talked about enough: when the relationship becomes murky, mismanaged, or downright dodgy.
From my side of the fence, I’ve experienced:
Long waits for payment (sometimes over 4 weeks)
Being offered a 7-hour round trip gig for $350 while I was making $450 locally
Double bookings
Agents interfering in existing venue relationships
Miscommunication over rates, or agents telling venues one figure and telling me another
In one case, while being paid by a publican for the night, I mentioned my fee was an extra $50 because I had to pay the agent. The publican told me they were already paying the agent $50 commission per act (6 weeks worth in advance). That sort of “double dipping” isn’t just shady, it damages trust.
Another time, I gave available dates to an agent for a venue keen to book me. I received nothing back. When I followed up, I was told I charge too much. Turns out the venue was happy to pay my usual rate when I contacted them directly.
But Let’s Be Fair; What About the Agent’s Side?
It’s easy to bash agents, but they’re running a business too. Let’s consider the pressures they face:
Chasing venues for confirmations and payments
Handling dozens of artists, each with their own expectations and egos
Copping abuse from both ends when things go wrong
Trying to take a cut without looking like the bad guy
Good agents work hard to keep everyone happy: venues, musicians, punters. They juggle personalities, manage schedules, and often deal with late changes, cancellations, or unclear communication from both sides.
And to be blunt, some musicians are unreliable. They show up late, don’t promote the gig, etc. An agent staking their reputation on a performer needs to be able to trust they’ll deliver.
So while I’ve had agents overcharge, underpay, or prioritise their mates, I’ve also seen the other side of the coin. Some are doing the best they can in a chaotic industry.
My Approach Today
I book almost all my gigs directly now. It suits me. I like knowing exactly what’s going on, when, and with who. I keep everything in writing, emails, messages, whatever, because I’ve got the memory of a goldfish and I don’t trust verbal agreements. If someone calls me to make a booking I insist they also email or message the details to me, then I will confirm the booking with them.
That said, I still take the occasional gig through an agent, if:
The pay meets my standard rate
The venue is worth playing
The communication is clear and respectful
So, Should You Use an Agent?
That depends.
If you’re new to the scene, hate admin, or want to break into new venues, an agent can be a great help if you find a good one. But do your homework. Ask questions. Trust your gut.
Here’s what I recommend:
Always know your rate and don’t undersell yourself just to get a gig.
Ask what the venue is being charged if things feel fishy.
Get everything in writing; dates, pay, venue details.
Watch for red flags like vague pay details, constant changes, double bookings or interference with your own bookings.
If you’re in NSW, it’s worth knowing your legal rights. Under the Entertainment Industry Regulation 2014, agents are legally required to:
Receive payments into a trust account
Pay the performer within 14 days
Provide a breakdown of the full amount received, the commission taken, and the net amount paid to the performer
If they’re not doing that, you’re allowed to ask, and you should.
Final Word
Booking agents can be a useful tool or a painful liability. Like any business relationship, it comes down to trust, transparency, and knowing what you’re worth.
If you find a good one, great. If you don’t, learn to book yourself, keep your records tidy, and surround yourself with venues and people who value what you do.
At the end of the day, whether you go solo or let someone else steer the ship, just make sure the gigs are fair, the pay is right, and the music keeps flowing.