Music Performance Contract (UK)
This Music Performance Contract (the “Agreement”) is entered into on [Effective Date] (the “Effective Date”) by and between:
[Promoter Name], [Promoter Type], with its principal address at [Promoter Address], [Promoter City], [Promoter County], [Promoter Postcode] (hereinafter referred to as the “Promoter”); and
[Artist Name], [Artist Type], with their principal address at [Artist Address], [Artist City], [Artist County], [Artist Postcode] (hereinafter referred to as the “Artist”).
The Promoter and the Artist are referred to collectively as the “Parties” and individually as a “Party”.
BACKGROUND
The Promoter wishes to engage the Artist to perform live music at the event described in clause 1, and the Artist agrees to provide such performance on the terms and conditions set out in this Agreement.
NOW, THEREFORE, in consideration of the mutual obligations herein and for good and valuable consideration, the Parties agree as follows:
1. EVENT DETAILS
1.1 Event: [Event Name]
1.2 Date of Performance: [Event Date]
1.3 Venue: [Event Venue]
1.4 Performance Description: [Performance Description]
1.5 Performance Time: [Performance Time]
1.6 Sound Check and Load-In: [Sound Check Time]
2. FEE AND PAYMENT
2.1 In consideration for the performance, the Promoter shall pay the Artist: [Performance Fee] (the “Performance Fee”).
2.2 Payment schedule: [Deposit Amount].
2.3 All payments shall be made in pounds sterling (GBP) by bank transfer to the Artist’s nominated bank account.
2.4 All sums payable are exclusive of VAT. If the Artist is VAT-registered, VAT shall be added at the applicable rate and a valid VAT invoice provided.
2.5 Interest on overdue payments shall accrue at the rate of 8% per annum above the Bank of England base rate, pursuant to the Late Payment of Commercial Debts (Interest) Act 1998.
2.6 The Performance Fee is payable in full regardless of the actual audience numbers, ticket sales, or bar revenue at the event.
3. LICENSING ACT 2003 COMPLIANCE
3.1 The live music performance under this Agreement constitutes a licensable activity under the Licensing Act 2003 (unless exempt by reason of audience size or other applicable exemption). The following Party shall be responsible for compliance with the Licensing Act 2003: [Licensing Responsibility].
3.2 Where the venue holds a premises licence authorising regulated entertainment (including live music), the Promoter warrants that the performance as described falls within the scope of that licence and that all licence conditions will be complied with.
3.3 The Artist shall comply with all licence conditions and venue rules communicated to them in advance of the performance.
4. PRS FOR MUSIC AND PPL LICENSING
4.1 The live performance of copyright musical works at the event may require a licence from PRS for Music (covering the performing right in musical compositions and lyrics) and from PPL (covering the communication of sound recordings to the public). The following Party shall be responsible for obtaining and maintaining any required licences: [Prs Ppl Responsibility].
4.2 The Artist undertakes to provide a set list to the Promoter within 24 hours of the performance, in a format compatible with PRS for Music’s reporting requirements, to enable accurate royalty distribution to the songwriters and publishers of performed works.
4.3 Each Party indemnifies the other against any claims, fines, or penalties arising from that Party’s failure to obtain any licence required under this clause.
5. PERFORMERS’ RIGHTS AND RECORDINGS
5.1 The Artist retains all performers’ rights in the performance under Part II of the Copyright, Designs and Patents Act 1988. No recording (audio or visual) of the performance may be made by the Promoter or any third party without the prior written consent of the Artist.
5.2 The Promoter shall not permit audience members or third parties to make professional recordings of the performance without the Artist’s prior written consent. The Artist acknowledges that audience members may take personal photographs and short video clips for personal, non-commercial use.
5.3 Any recording of the performance made with the Artist’s consent shall be subject to a separate written agreement between the Parties governing the ownership and exploitation of such recording.
6. CANCELLATION
6.1 The following cancellation policy shall apply: [Cancellation Policy].
6.2 Cancellation must be communicated in writing to the other Party. Any cancellation fee due under this clause shall be payable within 14 days of the cancellation notice.
6.3 If the performance is prevented by a force majeure event (including fire, flood, pandemic, government prohibition, or act of terrorism) affecting either Party, the affected Party shall notify the other as soon as reasonably practicable. The Parties shall negotiate in good faith to reschedule the performance where possible. If rescheduling is not agreed within 30 days, this Agreement shall terminate and the deposit shall be refunded less any reasonable costs incurred.
6.4 If the Artist is unable to perform due to illness or circumstances beyond their reasonable control, the Artist shall give as much notice as possible and shall, where reasonably practicable, seek to provide a suitably qualified substitute act acceptable to the Promoter.
7. PROMOTION, BILLING, AND IMAGE RIGHTS
7.1 The Promoter may use the Artist’s name, approved images, and biographical information provided by the Artist for the purposes of promoting the event.
7.2 The Artist’s name and likeness shall not be used in any other context, or in association with any third-party brand or sponsor, without the Artist’s prior written consent.
7.3 The Promoter shall not make any misrepresentation about the Artist’s billing, status, or performance history in promotional materials.
8. WARRANTIES AND LIMITATION OF LIABILITY
8.1 The Artist warrants that: (a) they have the right to enter into this Agreement and to give the performance described; (b) the performance will not infringe any third-party rights; and (c) they hold any required public liability insurance.
8.2 The Promoter warrants that: (a) it has the right to enter into this Agreement; (b) the venue holds appropriate licences under the Licensing Act 2003; and (c) the venue is safe and fit for the performance.
8.3 Neither Party shall be liable to the other for any indirect, consequential, or special loss (including loss of revenue or profit) arising from or in connection with this Agreement, except in cases of fraud or wilful misconduct.
9. GENERAL PROVISIONS
9.1 Entire Agreement. This Agreement constitutes the entire agreement between the Parties in relation to the performance described herein and supersedes all prior negotiations and agreements.
9.2 Amendment. No amendment shall be valid unless made in writing and signed by both Parties.
9.3 Severability. If any provision is found invalid or unenforceable, the remaining provisions shall continue in full force.
9.4 Third Party Rights. A person who is not a party to this Agreement shall have no rights under the Contracts (Rights of Third Parties) Act 1999.
9.5 Governing Law. This Agreement shall be governed by and construed in accordance with the laws of England and Wales. Each Party irrevocably submits to the exclusive jurisdiction of the courts of England and Wales.
IN WITNESS WHEREOF, the Parties have executed this Music Performance Contract as of the date first written above.
THE PROMOTER
Full name: [Promoter Name]
Address: [Promoter Address], [Promoter City], [Promoter County], [Promoter Postcode]
THE ARTIST
Full name: [Artist Name]
Address: [Artist Address], [Artist City], [Artist County], [Artist Postcode]
Promoter
________________
Signature
Date: ________________
Artist
________________
Signature
Date: ________________
What Is a Music Performance Contract (UK)?
A Music Performance Contract in the United Kingdom sets the services to be provided, the fees, the timetable, and each side's responsibilities for the engagement, with its requirements set by the Licensing Act 2003.
In England and Wales, live music performance contracts operate within a regulatory framework unique to the UK music industry. The Licensing Act 2003 governs the licensing of live music as a regulated entertainment activity, requiring venues and promoters to hold a premises licence or Temporary Event Notice (TEN) authorising live music in many circumstances (subject to deregulation introduced by the Live Music Act 2012 for smaller audiences). The Copyright, Designs and Patents Act 1988 (CDPA 1988) gives performing musicians statutory performers' rights in their live performances, protecting them from unauthorised recording and exploitation of their performances.
PRS for Music administers the performing right in musical compositions and lyrics, requiring venues and promoters to hold a PRS for Music licence for public performances of copyright music. PPL (Phonographic Performance Limited) administers the rights of record producers and performers in sound recordings, requiring licences for the public broadcast or communication of recorded music.
The United Kingdom Music Performance Contract (UK) Music Performance Contract template is designed for use in England and Wales. It is suitable for all types of live music engagements: concerts, festivals, corporate events, weddings, club nights, pub performances, theatre shows, and private functions. It covers all the key provisions required by English law and music industry practice.
The legal framework governing the Music Performance Contract (UK) in United Kingdom draws on several key statutes and regulatory bodies. Under the Companies Act 2006, Companies House maintains the register of UK companies. Section 386 of the Companies Act 2006 sets accounting record obligations. The Competition and Markets Authority (CMA) enforces the Consumer Rights Act 2015. The Financial Conduct Authority (FCA) regulates financial services under the Financial Services and Markets Act 2000. The High Court of Justice has jurisdiction under the Senior Courts Act 1981. Parties executing a Music Performance Contract (UK) in United Kingdom should confirm the document reflects current law, including any amendments enacted since the original drafting date. The Companies Act 2006 sets the foundational requirements.
When Do You Need a Music Performance Contract (UK)?
A written Music Performance Contract is required for any professional live music booking in England and Wales, regardless of the scale of the event. Both the promoter and the artist benefit from having a written contract that clearly records what has been agreed.
Common situations where a UK Music Performance Contract is essential include: a promoter booking a headline band for a ticketed concert at a venue; a wedding couple or event planner engaging a live act for a private function; a music festival engaging multiple acts over a multi-day event; a pub or club booking a local band for a regular residency; a theatre or arts centre engaging musicians for a concert or show; a corporate event organiser booking entertainment for a conference or awards dinner; and a hotel engaging a pianist or jazz trio for background music in a restaurant or bar.
A written Music Performance Contract is particularly important in the following circumstances: where a deposit is paid in advance (the contract establishes the conditions under which the deposit is retained if the event is cancelled); where the performer has a technical rider (the contract makes the rider legally binding on the promoter); where there is a dispute about recording or filming the performance (the contract confirms the performer's rights); and where the artist's name, image, or likeness will be used in promotional materials (the contract grants the necessary permission and defines its limits).
Without a written contract, both parties are exposed to significant risk. The promoter may book an artist who later claims a different fee or different technical requirements; the artist may agree to perform but find the promoter has cancelled without paying compensation. A well-drafted written contract eliminates these uncertainties.
Parties in United Kingdom should prepare a Music Performance Contract (UK) proactively rather than waiting for a dispute to arise. Courts interpret agreements based on the written terms rather than oral representations. Under the Companies Act 2006, Companies House maintains the register of UK companies. Section 386 of the Companies Act 2006 sets accounting record obligations. The Competition and Markets Authority (CMA) enforces the Consumer Rights Act 2015. The Financial Conduct Authority (FCA) regulates financial services under the Financial Services and Markets Act 2000. The High Court of Justice has jurisdiction under the Senior Courts Act 1981. Where the transaction involves regulated activities, prior approval from the relevant authority may be required before execution.
What to Include in Your Music Performance Contract (UK)
A well-drafted Music Performance Contract for use in England and Wales should contain several key provisions that protect both the promoter's commercial interests and the artist's professional rights.
The event details clause precisely identifies the event: the date, the venue (including full address and postcode), the performance times, the sound check time, and the expected audience capacity. These details are the core of the booking and any ambiguity can lead to serious disputes.
The fee and payment clause specifies the total performance fee in GBP, any deposit payable on signing, the balance payment date, and interest for late payment under the Late Payment of Commercial Debts (Interest) Act 1998. The clause should confirm that the fee is payable regardless of ticket sales or audience numbers.
The technical rider clause, where included, makes the promoter's obligation to provide specified equipment legally binding. It should also address what happens if the equipment is not provided on the day (typically, the artist may refuse to perform without forfeiting the fee).
The Licensing Act 2003 clause allocates responsibility for holding the necessary premises licence or TEN for the performance. This is a critical provision: performing live music without the necessary licence can result in prosecution of the venue operator.
The PRS for Music and PPL clause allocates responsibility for music licensing and requires the artist to provide a set list after the performance for royalty reporting purposes.
The performers' rights clause confirms the artist's statutory rights under Part II CDPA 1988 and prohibits the recording of the performance without consent. This protects the artist from unauthorised exploitation of their live performance.
The cancellation clause sets out a clear schedule of cancellation fees at different stages before the event, providing both parties with certainty about the financial consequences of cancellation.
The governing law clause specifies England and Wales.
Additional compliance elements for a Music Performance Contract (UK) used in United Kingdom include: Under the Companies Act 2006, Companies House maintains the register of UK companies. Section 386 of the Companies Act 2006 sets accounting record obligations. The Competition and Markets Authority (CMA) enforces the Consumer Rights Act 2015. The Financial Conduct Authority (FCA) regulates financial services under the Financial Services and Markets Act 2000. The High Court of Justice has jurisdiction under the Senior Courts Act 1981. Forms-legal.com provides this template as a starting point for United Kingdom-compliant documentation.
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Reference this free template in an article, syllabus, or research note:
Forms Legal. (2026). Music Performance Contract (UK) (United Kingdom) [Legal document template]. Forms Legal. https://forms-legal.com/uk/business/intellectual-property/music-performance-contract-uk
"Music Performance Contract (UK) (United Kingdom)." Forms Legal, 2026, https://forms-legal.com/uk/business/intellectual-property/music-performance-contract-uk.
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title = {Music Performance Contract (UK) (United Kingdom)},
year = {2026},
howpublished = {\url{https://forms-legal.com/uk/business/intellectual-property/music-performance-contract-uk}},
note = {Free legal document template. Based on Companies Act 2006}
}Also available for these jurisdictions:
Frequently Asked Questions
Live music in England and Wales is a regulated entertainment activity under the Licensing Act 2003. Historically, all public performances of live music required a premises licence or a Temporary Event Notice (TEN). However, the Live Music Act 2012 (which amended the Licensing Act 2003) introduced significant deregulation. Under the current framework, amplified live music between 08:00 and 23:00 is exempt from the Licensing Act 2003 licensing requirements at premises with an on-licence for alcohol with an audience of up to 500 people. Unamplified live music at any time is also exempt. For events that fall outside these exemptions — such as events with an audience exceeding 500 persons, events at premises without an alcohol licence, or events after 23:00 — a premises licence authorising regulated entertainment (specifically live music) or a Temporary Event Notice (TEN) is required. A TEN can be used for events of up to 499 people and may be obtained by submitting a TEN form to the relevant local authority at least 10 working days before the event (3 working days for a late TEN). The Music Performance Contract should clearly allocate responsibility for holding the required licence or TEN, as both the promoter and the artist may face liability if live music is performed without the necessary authorisation. Local authorities have the power to impose conditions on premises licences, including noise limits, curfews, and requirements relating to the conduct of performances.
PRS for Music is the UK's principal performing rights organisation, collecting and distributing royalties for the public performance of copyright musical compositions and lyrics. Almost all live music venues in the UK — including pubs, clubs, theatres, concert halls, festivals, and hotels — are required to hold a PRS for Music licence to perform copyright music publicly. The PRS for Music licence covers the performing right in the musical work (the underlying composition and lyrics), not the recorded sound. It is separate from the PPL licence, which covers the broadcast or public performance of sound recordings. For a live music event, the key licensing requirements are: a PRS for Music premises licence (held by the venue or promoter), which authorises the performance of copyright musical works; and a PPL SoundExchange licence (if recorded music is also played, such as between sets). The promoter of a live event is typically responsible for holding the PRS for Music licence for the venue. The licence fee is calculated based on the type of venue, its capacity, admission charges, and the number of performances per year. The Music Performance Contract should require the artist to provide a set list after the performance, in the format required by PRS for Music, so that the royalties collected can be accurately distributed to the songwriters and publishers of the performed works. Artists who are members of PRS for Music as songwriters will receive their performance royalties through PRS for Music's distribution system.
A technical rider is a document attached to (or incorporated into) a music performance contract that sets out the technical equipment and facilities that the promoter or venue must provide for the artist's performance. Technical riders typically cover the PA (public address) system requirements (power and configuration), stage monitoring requirements, lighting rigs, backline equipment (amplifiers, drum kits, keyboards), DI boxes, microphones and stands, stage dimensions, and the availability of a qualified sound engineer. In England and Wales, a technical rider incorporated by reference into a music performance contract has the same legal force as any other contractual term. If the promoter fails to provide the required equipment, the artist may be entitled to refuse to perform without forfeiting their fee, and the promoter may be liable for the artist's wasted expenses and the artist's lost performance fee as damages for breach of contract. The enforceability of a technical rider depends on how clearly it has been incorporated into the main contract and how precisely its requirements are stated. Vague or aspirational technical riders (such as 'professional quality sound system') are more difficult to enforce than specific, quantified requirements (such as 'PA system of minimum 2,000W RMS, with a minimum of 6 monitor mixes'). Promoters should review the technical rider carefully before signing, as they will be contractually obligated to provide what is specified.
Force majeure clauses in English law contract practice are construed narrowly. Unlike civil law systems, English law does not recognise a general doctrine of force majeure. A force majeure clause in a music performance contract is only effective to the extent that it has been expressly agreed and incorporated into the contract. If the contract does not contain a force majeure clause, the common law doctrine of frustration (under the Law Reform (Frustrated Contracts) Act 1943) may apply where performance becomes impossible or radically different from what was agreed due to an event outside the parties' control, such as a government-imposed prohibition on public events (as occurred during the COVID-19 pandemic), a fire or flood that destroys the venue, or a national emergency. Where the contract is frustrated, the Law Reform (Frustrated Contracts) Act 1943 applies to regulate the recovery of pre-paid sums and expenses. If the contract is not frustrated but a force majeure event occurs, the party relying on the clause must prove that the event falls within the clause's definition, that it was beyond their reasonable control, and that it has prevented or materially hindered their performance. Where rescheduling is not possible and the contract is terminated, the Act generally allows recovery of advance payments subject to deduction for expenses already incurred.
No. Under Part II of the Copyright, Designs and Patents Act 1988, a performer has performers' rights that prohibit the making of a recording of a live performance without the performer's consent. Specifically, section 182 CDPA 1988 provides that a performer's rights are infringed by a person who, without the performer's consent, makes a recording of the whole or a substantial part of a qualifying performance directly from a live performance. A venue operator or promoter who records a live music performance without the consent of the performer(s) commits an infringement of their performers' rights, regardless of any contractual term in the venue hire agreement. The performer may bring a civil claim for damages and an injunction. In some circumstances, particularly where recordings are made for commercial exploitation, criminal liability may also arise under sections 198–202 CDPA 1988 (which create offences related to the making and dealing in illicit recordings). A Music Performance Contract should expressly address recording rights: the standard position is that the artist retains all performers' rights and that no recording of the performance may be made by the promoter or any third party without the artist's prior written consent. Where the promoter wishes to record the performance (for example, for broadcast or for use in a promotional video), this right should be negotiated and the terms agreed in writing as part of, or alongside, the performance contract.
This template is provided for informational purposes only and does not constitute legal advice. Laws vary by jurisdiction and change over time. Consult a qualified attorney for advice specific to your situation.Full disclaimer
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