HomeMy WebLinkAboutBig Bad Voodoo Daddy 2025-01-28 8161 Highway 100, Suite 109 Nashville, TN 37221 Phone: 615-649-6463
BIG BAD VOODOO DADDY | Sundays in the Park | Ukiah, CA | Sunday, July 27, 2025
THIS PERFORMANCE CONTRACT is dated Tuesday, January 28, 2025 by and between Big Bad Voodoo Daddy, LLC. ("COMPANY"), which shall furnish
the services of BIG BAD VOODOO DADDY ("ARTIST"), and City of Ukiah - Sundays in the Park ("PURCHASER") for the engagement listed below on the
terms and conditions set forth in this Agreement.
This Performance Contract between COMPANY and PURCHASER consists of this principal agreement together with the Additional Terms and Conditions,
ARTIST'S RIDER (if any) and any other exhibits and addenda which are attached hereto and incorporated herein by this reference (collectively, this
"Agreement").
For good and valuable consideration, the receipt and sufficiency of which is hereby acknowledged, PURCHASER and COMPANY hereby agree as follows:
1.ENGAGEMENT / VENUE:
VENUE:Sundays in the Park
ADDRESS:411 W. Clay St.
Ukiah, CA 95482
DATE OF SHOW(S):Sunday, July 27, 2025
DOORS:
SUPPORT:Local Support TBD, Artist to have final approval
ANNOUNCE: Thursday, May 01, 2025
ARTIST TIME:6:30 PM
CURFEW:9:00 PM
SET LENGTH:90 minutes AGES:All Ages
NO.OF SHOWS:1
2.COMPENSATION:
GUARANTEE: $15,000.00
Purchaser agrees to provide and pay for hotel accommodations and hospitality to meet with Artist’s rider specifications and approval.
Artist reserves the right to take a backline buyout for all contracts that require the buyer to provide backline, per advance with Artist
Tour Manager.
3.PAYMENT TERMS:
PURCHASER shall pay a deposit in the amount of Deposit 1: $7,500.00 to Artisan Agency no later than Friday, June 27, 2025.
All deposits shall be payable by Cashier's Check, Money Order or Bankwire to Artisan Agency, LLC.
Cashier's Check/Money Order to be mailed to:
Artisan Agency, LLC. 8161 Highway 100, Suite 109, Nashville, TN 37221
Bankwires:
Artisan Agency, LLC.
Legends Bank
20 Music Square West, Suite 100
Nashville, TN 37203
Routing number: 064108443
Account number: 10060341
Unless sent via ACH, a bankwire requires an additional $15.00 to be added to the amount due to cover the incurred
bank transaction fee. Purchaser to notify ARTISAN AGENCY when bankwire is sent with a receipt of the transaction so
we can be on alert for its arrival.
The balance of the Guarantee shall be paid to and in the name of BIG BAD VOODOO DADDY, LLC. by cash or cashier's check not later
than the day of the Engagement. If the percentage of gross ticket receipts exceed the Guarantee, the overage amount due shall be
paid in full to BIG BAD VOODOO DADDY, LLC. in cash or by cashier's check or bank wire (as designated by BIG BAD VOODOO DADDY,
LLC.) immediately following the Engagement.
4.PRODUCTION:
Purchaser agrees to provide and pay for sound, lights and backline (other than plexiglass sound shield) as required by Artist per
Artist’s rider specifications and approval.
5.BILLING:
Headline
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COU No. 2425-205
8161 Highway 100, Suite 109 Nashville, TN 37221 Phone: 615-649-6463
BIG BAD VOODOO DADDY | Sundays in the Park | Ukiah, CA | Sunday, July 27, 2025
6.TICKET SCALING AND PRICES:
DESCRIPTION QUANTITY COMP PRICE TOTAL
Ticket 1 6000 -
CAP: 6000 TOTALS: 6000 GROSS POTENTIAL:
SCALING
NOTES:
Free show - Summer Concert Series
7.DEDUCTIONS:
DEDUCTIONS PRICE TOTAL
Misc 1 $0.00 $0.00
Misc 2 $0.00 $0.00
DEDUCTIONS:$0.00
8.TAXES:
TAXES PRICE TOTAL
-- NA --
TAXES:$0.00
9.EXPENSES:
EXPENSE TOTAL
-- NA --
EXPENSES: $0.00
10.MERCHANDISE:
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8161 Highway 100, Suite 109 Nashville, TN 37221 Phone: 615-649-6463
BIG BAD VOODOO DADDY | Sundays in the Park | Ukiah, CA | Sunday, July 27, 2025
11. CONTACT DETAILS:
ARTIST:BIG BAD VOODOO DADDY
530 Wilshire Blvd. Ste 308
Santa Monica, CA 90401
805-207-8315
brian@zbuggroup.com
PROMOTER /
PURCHASER:
City of Ukiah - Sundays in the Park
411 W. Clay St.
Ukiah, CA 95482
Sage Sangiacomo c/o Carter Grissom
highestvibrationmusic@yahoo.com
707-391-8676
MARKETING
CONTACT:
Jake Burgess
707-391-3693
jburgess@cityofukiah.com
12.SPECIAL PROVISIONS:
The Artist reserves the right to issue and implement its Covid rider requirements at any
time, based on the current status of Covid-19 Coronavirus infection/outbreak in the locale
where the Engagement is scheduled to take place. Covid rider requirements may include,
but are not limited to, wearing face masks, limiting the number of people who have access
to Artist's personnel and backstage area, and screening of working staff and patrons.
This contract shall serve as the official invoice for all payments referred to herein. The
deposit is DUE per the contract terms REGARDLESS OF WHETHER THE CONTRACT HAS BEEN
FULL EXECUTED. No exceptions.
All promotional materials must be approved by Artist and created using only assets provided
by Artist. Refer to the Big Bad Voodoo Daddy Tour Marketing Guidelines and Requirements
document.
Purchaser to contact Artist's Social Media Manager, Katie Pang to discuss ALL social media
planning and promotion of this performance. katherinepang23@gmail.com; 818-321-2619.
Purchaser is expected to put a percentage of the marketing budget towards PAID
digital/social media advertising and boosting of posts that promote this performance -
Facebook, Instagram, etc. In today's social media landscape, Meta will limit the direct
engagement with your followers to less that 10%, unless you pay to boost your posts.
Purchaser to provide weekly automated ticket counts each Thursday to
ticketcounts@artisanagency.net .
Purchaser to provide detailed and documented show settlement sheet to the Tour Manager
night of the performance AND email a copy of the settlement to scott@artisanagency.net .
Any changes/amendments to the Artist Rider must be submitted and agreed to by an Artist
representative a minimum of thirty (30) days prior to the performance, NO exceptions.
Artist to have final approval of all support acts.
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13. ATTACHMENTS:
PURCHASER shall fully comply with and abide by all of the terms and conditions set forth in ARTIST'S RIDER, attached hereto and
incorporated herein by this reference, at PURCHASER's sole cost.
The ADDITIONAL TERMS attached hereto form a part of this Agreement and are incorporated herein by this reference.
PURCHASER COMPANY
City of Ukiah - Sundays in the Park
411 W. Clay St.
Ukiah, CA 95482
Federal Tax ID:
Signature:
Print Name:
Title/Position:
Big Bad Voodoo Daddy, LLC.
530 Wilshire Blvd. Ste 308
Santa Monica, CA 90401
Federal Tax ID: 95-4675667
By:Brian Stanley - Manager
Signature:
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Sage Sangiacomo
City Manager
94-6000446
8161 Highway 100, Suite 109 Nashville, TN 37221 Phone: 615-649-6463
BIG BAD VOODOO DADDY | Sundays in the Park | Ukiah, CA | Sunday, July 27, 2025
DEPOSIT INFORMATION
All deposits shall be payable by Cashier's Check, Money Order or Bankwire to Artisan Agency, LLC.
Cashier's Check/Money Order to be mailed to:
Artisan Agency, LLC. 8161 Highway 100, Suite 109, Nashville, TN 37221
Bankwires:
Artisan Agency, LLC.
Legends Bank
20 Music Square West, Suite 100
Nashville, TN 37203
Routing number: 064108443
Account number: 10060341
Unless sent via ACH, a bankwire requires an additional $15.00 to be added to the amount due to cover the incurred bank
transaction fee. Purchaser to notify ARTISAN AGENCY when bankwire is sent with a receipt of the transaction so we can be on
alert for its arrival.
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8161 Highway 100, Suite 109 Nashville, TN 37221 Phone: 615-649-6463
BIG BAD VOODOO DADDY | Sundays in the Park | Ukiah, CA | Sunday, July 27, 2025
Additional Terms and Conditions
1. Venue:
Under no circumstances may the Purchaser change the Venue for the Date of Engagement without Agent’s or Company’s prior written
consent, which may be withheld in Agent’s or Company’s sole discretion, as applicable. Notwithstanding anything to the contrary contained
herein, a change of Venue by the Purchaser in the absence of such consent shall constitute a material breach of this Agreement and Purchaser
shall be liable for the full amount of Compensation due hereunder regardless of the date on which such change takes place.
2. Right to Likeness:
ARTIST’s name, likeness, image, and/or biographical data shall not be used by PURCHASER or any other party under the control of
PURCHASER, to endorse, promote or otherwise advertise PURCHASER, any commercial tie-in, any sponsor, any political endorsement, or any
other product or service, unless otherwise agreed between ARTIST and PURCHASER, in writing, prior to ARTIST’s arrival at the performance
venue. Without limiting the foregoing, there shall be no sponsorship branding on the stage on which the Performance takes place without
ARTIST’s prior written approval, which may be withheld in ARTIST’s sole discretion.
3. Termination:
ARTIST MAY TERMINATE THIS AGREEMENT AT ANY TIME IF:
A. Purchaser refuses or neglects to provide any of the material items or to perform any of its material obligations per the Agreement and
this Exhibit A, and/or fails to timely make any of the payments as provided herein, then Artist shall have the right, in addition to any other
remedies which may be available to Artist at law and in equity, to refuse to perform in accordance with the terms of the Agreement, to retain
any amounts theretofore paid to Artist (or Artist’s designee) by Purchaser (or Purchaser’s designee), and, Purchaser shall remain liable to Artist
for the immediate payment of the full amount of the Artist Guarantee set forth in the Agreement. In addition, if on or before the date of any
scheduled performance, Purchaser has failed, neglected or refused to perform any contract with any other performer for any other
engagement, or if the financial standing or credit of Purchaser worsens after Purchaser and Artist’s representative agree to the performance
which is the subject hereof, then Artist shall have the right to cancel this engagement without penalty by notice to Purchaser to that effect,
and Artist shall have the right to retain any and all deposit monies paid to Artist by Purchaser, and Purchaser shall remain liable to Artist for
the immediate payment of the full amount of the Artist Guarantee herein set forth.
B. PURCHASER fails to sign and return the Agreement within ten (10) days of PURCHASER’s receipt thereof.
C. PURCHASER fails to make any required payments, including deposits, as listed in “Section 3 - Payment Terms” on the face of this
agreement.
4. Sickness / Accident / Force Majeure:
In the event of Artist illness or serious injury, or if a performance is prevented, rendered impossible or infeasible by an Act of God, any act or
regulation of any public authority or bureau, civil tumult, strike, epidemic, interruption or delay of transportation services, war conditions,
emergencies, or any other similar or dissimilar cause beyond the control of either Artist or Purchaser (each a “Force Majeure Occurrence”), it is
understood and agreed by the parties that there shall be no claim for damages by either party against the other and each party’s obligations
hereunder shall be deemed waived and any deposit monies paid to Artist by Purchaser shall be refunded to Purchaser. Notwithstanding the
foregoing, if Artist’s performance is prevented by a Force Majeure Occurrence, but Artist is present, ready, willing and able to render its
services in accordance with the terms hereof, then Purchaser shall pay Artist the full amount of the Artist Guarantee.
5. Controlling Authority:
Artist shall have the sole and exclusive control over the production, presentation and performance of the engagement hereunder including, but
not limited to the details, means and methods of the performance of the performing artists hereunder, and Artist shall have the sole right to
make changes to the performing personnel.
6. Cancellation:
Unless stipulated by the parties to the contrary, in writing, Purchaser agrees that Artist may cancel the engagement hereunder without liability
by giving Purchaser written notice thereof as least thirty (30) days prior to the date of performance. Artist shall have the right to terminate this
Agreement without liability to Purchaser if Purchaser fails to sign and return the Agreement within ten (10) days of Purchaser’s receipt thereof.
7. Independent Contractor:
It is agreed that Artist and Purchaser each signs this Agreement as an independent contractor and not as employee of the other. This contact
shall not in any way be construed so as to create a partnership, employer/employee relationship or joint venture between the parties, nor shall
Artist for any reason by its signature hereof be held liable in whole or in part for any obligation of Purchaser or which may be incurred by
Purchaser in its carrying out any of the provisions hereof or otherwise.
8. Authority for Inconsistencies:
In the event of any inconsistency(ies) between the provision of the Agreement (including Exhibit A) and the provision(s) of any rider,
addendum, exhibit or any other attachments hereto, the parties agree that the provisions of this Agreement shall control.
9. Conflict of Laws:
Nothing in this Agreement shall require the commission of any act contrary to law or to any rules or regulations of any union, guild or similar
body having jurisdiction over the services and personnel to be furnished by the Purchaser to Artist hereunder. If there is a conflict between any
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provision of this Agreement and any law, rule or regulation, such law, rule or regulation shall prevail and this Agreement shall be curtailed,
modified and/or limited only to the extent necessary to eliminate such conflict. Artist agrees to comply with all regulations and requirements of
any union(s) that may have jurisdiction over any of the said materials, facilities, and personnel to be furnished by Purchaser, of which Artist is
advised by Purchaser, in writing, prior to arrival at the performance venue.
10. Artisan Agency, LLC., as Agent:
It is agreed that Artisan Agency, LLC. (“Agent”) is not a party to the contract and acts herein only as the agent for Artist. As such, Agent is not
responsible for any act of commission or omission on the part of either Purchaser or Artist. In furtherance thereof and for the benefit of Agent,
it is agreed that neither Artist or Purchaser will name or join Agent as a party in any civil action or suit arising out of, in connection with, or
related to any act(s) of commission or omission of Purchaser or Artist hereunder. If at any time there shall be a controversy between Purchaser
and Artist with respect to the monies for the performance(s) covered hereunder which are held by Agent in its trust account (“Trust Funds”),
Agent may upon notice to Purchaser and Artist either: (i) hold the Trust Funds until otherwise directed by a written instrument signed by
Purchaser and Artist or by an order, decree or judgment by a court of competent jurisdiction which, by lapse or otherwise, shall no longer be or
shall not be subject to appeal or review, or, (ii) deposit the Trust Funds in any court of competent jurisdiction pending the final determination
of any dispute among the parties hereto. Upon delivery of the Trust Funds in accordance herewith, the obligations of the Agent shall cease
with respect thereto and it shall not be required to perform any further acts whatsoever pursuant to this Agreement.
11. Assignment / Transfer:
This Agreement: (a) shall not be assigned or transferred without the written consent of both parties; (b) contains the sole and complete
understanding of the parties hereto with respect to the subject matter hereof, and, (c) may not be amended, supplemented, varied or
discharged, except by a written instrument, signed by both parties. The person executing this Agreement on Purchaser’s behalf warrants
his/her authority to do so. The terms, “Purchaser” and “Artist” as used herein shall include and apply to the singular, the plural and all
genders.
11. Counterparts:
This Agreement may be executed in any number of counterparts, all of which taken together shall constitute one single agreement between
the parties. The parties agree that transmission to the other party of this Agreement with its facsimile signatures shall suffice to bind the party
transmitting the same to this Agreement in the same manner as if an original signature had been delivered. Without limitation of the
foregoing, each party who transmits this Agreement with its facsimile signature covenants to deliver the original thereof to the other party as
soon as practicable thereafter.
12. Waiver:
No delay or omission by either party to exercise any right or power it has under this Agreement shall impair or be construed as a waiver of
such right or power. A waiver by either party of any breach or covenant shall not be construed to be a waiver of any succeeding breach or any
other covenant. All waivers must be in writing and signed by the party waiving its rights.
13. Confidentiality:
The terms of this Agreement, as well as correspondence and documentation related to this Agreement, are confidential to the parties and may
not be disclosed to any third parties without the prior written consent of the parties hereto, except as disclosure may be required to
professional advisors or by law or court order, or for carrying out the purposes of this Agreement. Further, the parties shall treat as confidential
all information, data and documents acquired by each other relating to the business affairs of the other, except as such information may
already be in the public domain. Notwithstanding anything to the contrary contained herein, if Artist is subject to a recording contract which
mandates disclosure of show- and touring-related information and documentation to the record label as part of that contract, then any
disclosures made by Artist (or Artist’s agent or representative) in compliance therewith (including, without limitation, this Agreement and
documentation ancillary hereto), shall be permitted and shall not be deemed a breach of the confidentiality provision(s) hereof by Artist (or
Artist’s agent or representative).
14. Licenses:
Purchaser shall be responsible for acquiring all licenses, permits and authorizations required to be obtained from all union(s), guild(s),
performing rights societies, and public authorities having jurisdiction over the presentation of the performance, and all such licenses, permits
and authorizations shall be valid and current as of the performance date and during the Term of this Agreement.
15. Default, notice and cure:
Except as otherwise expressly set forth herein, neither party to this Agreement shall be deemed to be in breach of any of its obligations
hereunder unless the party not in breach serves specific written notice of such alleged breach upon the party in breach and the party in breach
shall have failed to cure such breach, if any, within five (5) business days following receipt of such written notice (but in no event later than
5:00 p.m. EST on the date that is three (3) business days prior to the Date of Engagement hereunder).
All notices to be given to either party hereto shall be in writing and shall be delivered to the addressee at the respective addresses
hereinabove set forth, or such other address or addresses as may be designated by either party, by (i) mail (registered, or certified, return
receipt requested, postage pre-paid); (ii) overnight courier with proof of receipt; (iii) telefax (with a copy by express courier service); or (iv) e-
mail (provided recipient has responded by email or otherwise in writing to confirm receipt). Notices shall conclusively be deemed to have been
given seventy-two (72) hours after the date of mailing or twenty-four hours (24) after the date of transmission by telefax or e-mail. The
addresses of the parties, until further notice to the contrary, are as first written above.
In the event of default by Purchaser hereunder, in addition to any other amounts due to Agent and Company hereunder, Purchaser shall be
liable to Agent or Company, as applicable, for any costs and fees incurred by Agent or Company (including, without limitation, all attorney’s
fees, costs of debt collection or in respect of any legal action taken by Agent and/or Company) in connection with amounts due hereunder.
Without limiting the foregoing, interest at the highest rate permissible under the laws of the state of Artist’s business registration and
organization, shall accrue on any amount due to Company hereunder from and after the date upon which such payment is due.
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2025 RIDER
IN REGARDS TO THE PROPOSED BIG BAD VOODOO DADDY ENGAGEMENT IN:______________________________________,
AT_____________________________________, ON________________________, THIS RIDER SETS FORTH ADDITIONAL
TERMS AND CONDITIONS REGARDING SAID ENGAGEMENT (HEREINAFTER REFERRED TO AS THE “ENGAGEMENT”) AND
IS HEREBY MADE PART OF THE ARTISAN AGENCY CONTRACT DATED____________________________, BETWEEN BIG BAD
VOODOO DADDY, LLC (HEREINAFTER REFERRED TO AS “ARTIST”) AND ______________________________________,
HEREINAFTER REFERRED TO AS “PURCHASER”).
In this fabulous document, you will find all of the info you could possibly need to have Big Bad Voodoo Daddy provide a most
marvelous show for you and your audience. Our core little team has been together for over 30 years! We know what it takes
to make this show go off without a hitch. We’ve been there and done that. You’ll think you might have some unusually odd
this or that which will cause us some problems, but, not to worry, it probably won’t. Please read this rider in its entirety – and
call someone immediately – usually me, the ARTIST’s Manager – if you foresee some problem or issue that we need to be
aware of, or work out. We are very accommodating, and SUPER easy to work with. Please remember – this rider is not like a
buffet line. You don’t get to pick the parts you like, and black magic-marker out the parts you don’t like. All deletions are
subject to the verbal advance between the ARTIST’s tour manager and the PURCHASER, or his agent(s). Very well then, on
with the show!
I. CONTACTS
A. MANAGEMENT (ARTIST MANAGER, TOUR & PRODUCTION MANAGER):
ZBUG GROUP, INC. BRIAN STANLEY 805-207-8315
Brian’s Email brian@zbuggroup.com
B.BOOKING AGENT:
ARTISAN AGENCY SCOTT GALLOWAY 615-649-6463
Scott’s Email scott@artisanagency.net
II.SOCIAL MEDIA/ADVERTISING
In order to ensure the best possible exposure for this ENGAGEMENT, BEFORE any advertisement of this performance,
please contact management@bbvd.com to address all tour marketing, social media promotion, asset approval and asset
requests for ARTIST.
For all other media requests, please see Section IV.
BBVD 2025 RIDER REVISED 01/03/2025
PAGE OF INITIALED BY PURCHASER__________1 19
Ukiah, CA
Sundays in the Park July 27, 2025
January 28, 2025
City of Ukiah
Sage Sangiacomo
BIG BAD VOODOO DADDY RIDER 2025
III.PAYMENTS
A.ALL FINAL PAYMENTS ARE DUE PRIOR TO ARTIST’S PERFORMANCE.
B.ALL FINAL PAYMENTS ARE TO BE MADE PAYABLE TO:
BIG BAD VOODOO DADDY, LLC.”, 530 Wilshire Blvd., Ste 308, SANTA MONICA, CA, 90401.
Federal Taxpayer ID # 95-4675667. This includes the balance of the contract guarantee, percentage/overage payments, as
well as any production, hotel, and transportation buyouts.
C.PLEASE NOTE: DO NOT MAKE FINAL PAYMENTS PAYABLE TO ARTISAN AGENCY!
D.ACH PAYMENTS/WIRE TRANSFERS can be made to:
Big Bad Voodoo Daddy LLC, Acct.# 123334116, at: City National Bank, 400 N. Roxbury Drive, Beverly Hills, CA 90210,
ABA# 122016066. If PURCHASER chooses ACH/WIRE for the final payment of contract guarantee, as well as any
production, hotel, and transportation buyouts, PURCHASER must initiate the ACH/WIRE payment PRIOR to beginning of
performance, and must provide proof thereof. ACH/WIRE payment of any percentage/overage payments are due on the
first business day after the date of the performance.
E.TAX WITHHOLDING: If PURCHASER is required to withhold tax payments from ARTIST’s final payment, all applicable
State and/or Federal tax forms and documentation will be provided no later than day of show, at show settlement.
IV.INTERVIEWS & MEDIA
A.ALL INTERVIEWS MUST BE ARRANGED/SCHEDULED WITH ARTIST’s MANAGEMENT. ARTIST reserves the right of
approval, in writing, of all internet/social media, radio, television, newspaper, and magazine interviews, made in conjunction
with this performance. Interviews must be scheduled in advance, and will take place only as time and travel permit.
V.PARKING
A.Parking is to be provided (AT NO CHARGE TO THE ARTIST), as close to the stage door and/or loading dock as possible,
commencing (1) hour prior to load-in and ending (3) hours after the conclusion of the performance, for the following
vehicles:
1.( 1) 45 foot tour bus with trailer (when distance permits, PURCHASER to provide an electrical outlet/shore power
for the tour busses’ land line).
2.Or, possibly, we may just have 3 mini-vans and a small box truck. Or, we may have some combination of both of
these. Call us, and we’ll let you know.
VI. AIR TRAVEL
A. PURCHASER, when required, will provide 14 round-trip coach airline tickets, either in the form of an “airfare buy-out”, or by
working directly with ARTIST’s travel agent. This means, in a nutshell, that we always make our own travel arrangements,
one way or the other. Well, not necessarily one-way, as we will want to get home too, eventually. Anyway, it’s just easier,
mainly for us, especially when our plans change at the last second. But that never happens. Very often.
VII. GROUND
A.PURCHASER shall supply and pay for all Internal Ground Transportation (unless otherwise notified) between the airport,
hotel and venue. Transportation shall be for the exclusive use of the ARTIST, and will not consist of airport shuttles or taxis.
ARTIST’s Tour Manager will advise of pick-up and drop-off times when advancing the ENGAGEMENT. Transportation will
be in the form of A) (2) 15 passenger vans with the rear-most seat removed from each van, OR (1) mini-bus with a luggage
compartment, AND, B) (1) cargo van (for luggage, equipment, etc.). Usually we only will need the cargo van if you have to
pick us up or drop us off at the airport. And it REALLY needs to be a cargo van. Not your friend’s brother’s dad’s pick-up
truck. Not a 15-passenger van with all the seats in it. A cargo van. That’s a van with NO seats. When we fly in, we have
lots of cases and such with us – and they are large and unwieldy. If we don’t get a cargo van, we will call you immediately,
and have you come down to the airport and explain to us how we shall put our large upright bass, and other cumbersome
and heavy road cases in the back of your car, or, the van we have that is full of seats, because we still can’t figure out how
to put all of our gear into a vehicle it won’t fit into. It’s just not as easy as all of those cute clowns coming out of the little VW
Bug. We sure wish it were. Maybe we just need some clowns? If you arrange our transportation through a car service, it is
your personal responsibility to make sure that they understand this cargo van concept. We always call the buyer when
there is a problem, even when we are standing at the curb at 11pm on a Tuesday night, or 4am on Wednesday morning. I
think that about covers this point – I can’t wait for my piano player to come up to me the next time we get picked-up and ask
me AGAIN why people can’t just make sure we get a cargo van.
BBVD 2025 RIDER REVISED 01/03/2025
PAGE OF INITIALED BY PURCHASER_________2 19 Sage Sangiacomo
BIG BAD VOODOO DADDY RIDER 2025
VIII.ACCOMMODATIONS
A.NO HOTEL ROOMS SHALL BE BOOKED/CONFIRMED WITHOUT PRIOR CONSENT OF ARTIST. PURCHASER shall
provide and pay for 14 single hotel rooms (including Room, Tax, Resort Fees & Parking), in a First Class hotel, subject to
ARTIST’s approval, for a minimum of one night on the day of performance, and, if required by travel itinerary, one night prior
to the day of the performance. The Tour Manager will advance the hotel, check-in/check-out times, and provide a current
updated rooming list. We will need you to send us the hotel contact’s name, telephone number, and email address ASAP.
ARTIST reserves the right to receive a “buy out” of the hotel budget, and provide its own accommodations. Please note
that all hotels must be able to provide parking, at no charge to the ARTIST, for the above aforementioned vehicles. Busses
with trailers are quite long – about 85’ish feet. And they are super difficult to parallel park. And they don’t go around sharp
tight corners like a lithe German sports car. Please, please, please make sure the hotel knows this, and that they have
adequate space set-aside for us.
IX. GUEST PASSES
A.ARTIST to receive a minimum of 30 complimentary tickets, for admission of industry and personal guests, for each
performance. We will give our guest list to you about 30 minutes following the completion of the band’s sound check on the
day of show. We will not have it ready before then. I know, I know, you really want to sell those unused comp tickets, but
we still won’t have the list ready before sound check is complete. This is the time that the band is trained to have their list
of names ready. How else will they spend the early afternoon in your town if they can’t go out, meet new friends, and then
invite them to the show?
X. OPENING ACTS
A.The ARTIST will approve all opening acts, those acts stage space, set length, and set times. Opening Acts should not be of
the “Swing Music” genre without the prior consent of the ARTIST. But, that won’t happen, since you are going to tell us all
about the opening act before you confirm them, right? As a side note, we generally NEVER share backline gear with the
opening act(s). So, please make sure they bring their own.
XI. SMOKING POLICY
A.ARTIST requires that the venue be presented as NON-SMOKING. In addition, THERE IS TO BE ABSOLUTELY NO
SMOKING ON-STAGE, IN THE STAGE WINGS, OR BACKSTAGE, AT ANY TIME, BETWEEN ARTIST’S SCHEDULED
LOAD-IN TIME, AND THE COMPLETION OF THE ARTIST’S LOAD-OUT. THIS INCLUDES ALL OUTDOOR VENUES.
XII. ARTIST MEET & GREET’S
A.Following most public performances, ARTIST will do a public meet & greet and signing in the lobby, or other appropriate
area (close to merchandising is ideal). To facilitate this after-show signing, please provide tables and chairs for 9 band
members. We will also need appropriate venue personnel to direct concertgoers through a reasonably controlled line, so
they can quickly meet the band, and have the band autograph items that they may have with them. The concertgoers, not
the band. It would be kind of silly for the band to sit around and sign things that they had brought with them, wouldn’t it?
Except for the merchandise that they brought to sell. That would make sense. Anyway, if you could set-up stanchions and
ropes, like a bank or an airport, that would be ideal. Maybe we can have the meet & greet at the airport, while we are
waiting to check-in for our next flight. Hmmm, that’s actually a good idea. I’ll have to ponder that. ARTIST will need at
least 1 venue representative to take them out to the designated signing area, about 7 minutes following the completion of
the show. A large security-type person is ideal for this task.
B.PURCHASER requested Meet & Greets should take place PRIOR to the ARTIST’s performance. This will allow the ARTIST
to do their post-performance public meet & greet and signing. All pre-performance Meet & Greets need to be completed AT
LEAST 20 minutes prior to ARTIST’s scheduled performance time.
XIII. SECURITY
A.PURCHASER to provide and pay for an adequate number of sober, able-bodied, and clearly identifiable professional
security personnel, appropriate for the scale of the Event, at all times, to insure the safety of the ARTIST, support personnel,
instruments, equipment, vehicles, and personal property, before, during, and after the performance(s). Security must be
provided in the areas of the dressing rooms, stage, and all entrances and exits to the venue. Any loss by the ARTIST,
including personal property, from the dressing rooms, backstage areas, or the stage, will be paid for by the PURCHASER.
XIV.PRODUCTION OFFICE
A.PURCHASER to provide a production office that is secure and lockable, with a phone, high speed internet access, and full
size desk, for use by ARTIST’s tour and production managers (who are actually just one person doing the job of 2, well, 2
and ½, if you include being the audio engineer too).
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XV. MERCHANDISE
A.ARTIST and/or his representatives shall have the right to the sale of any and all Big Bad Voodoo Daddy merchandising,
including, but not limited to: shirts, posters, hats, CD’s, DVD’s, souvenir booklets, or anything else we can find to slap our
name on and sell to the masses. There will be no sale or distribution of any other souvenir material at this ENGAGEMENT
without the express written consent of the ARTIST. ARTIST’s name and or likeness will not be used on any event souvenirs
without the EXPRESS WRITTEN CONSENT of ARTIST’s management.
B.SELLER – ARTIST requires the PURCHASER to provide a merchandise seller.
C.PURCHASER agrees to provide adequate space, at least (2) 6-foot tables, (2) chairs, and an electrical outlet that works, for
the merchandiser. The selling space should be in the lobby, or, at outdoor events, near the stage. We would like to sell a
lot of merchandise, so, having the selling location where people can find it is most ideal. If the audience has to hunt high
and low to find where the goods are being sold, they will skip it. This means we will make less money. So let us maximize
our money making potential, and put the merchandise where people can find it!
XVI.RECORDING
A.No portion of the ENGAGEMENT, including performance or sound check, may be broadcast (including TV, radio, or
internet), photographed, recorded, filmed, taped or embodied in any form for any purpose of reproducing such performance,
including archival usage, by PURCHASER, or any third party, without ARTIST’s prior written consent. In the event that
ARTIST approves PURCHASER’s request for audio or video recording, or photography, PURCHASER agrees to provide
ARTIST a copy of ALL content captured by PURCHASER, and/or his agents, at no charge to ARTIST, within 10 business
days of the performance, for ARTIST’s use in ARTIST’s Social Media, on ARTIST’s Website, and for live performance
marketing.
B.PURCHASER hereby acknowledges and agrees that COMPANY and/or anyone engaged, authorized, employed or
supervised by COMPANY, may photograph, video tape, and/or otherwise record, reproduce and distribute such recordings
of the Engagement including the Performance hereunder ("Recordings"), in whole or in part, in any manner or media, and
any such Recordings from the inception of recording thereof, and all copies manufactured therefrom, together with the
images and/or performances embodied thereon, shall be the sole property of COMPANY or COMPANY’s designee, as
applicable ("Copyright Holder"), throughout the world, free from any claims whatsoever by PURCHASER or any third party
including, without limitation, PURCHASER’s affiliates, partners, investors and the Venue owner) (“Third Party”), and
Copyright Holder shall have the exclusive right to copyright such Recordings in its name as the sole and exclusive owner
and author thereof and to secure any and all renewals and extensions of such copyright. Neither COMPANY, ARTIST nor
COMPANY’s or ARTIST’s designee shall have any obligation to obtain permission from or provide credit to PURCHASER,
except as otherwise required by law. For the avoidance of doubt, COMPANY shall be solely responsible for the following in
connection therewith: (a) any and all costs and expenses, including without limitation, additional labor costs that COMPANY
may incur in connection with the Recordings (all of such costs and expenses being specifically excluded from show costs
and expenses); (b) any and all liabilities; and (c) any and all appropriate third party clearances, authorizations and
approvals.
C.PURCHASER will deny entrance to any persons carrying full size cameras, video recorders, and audio recording systems.
ARTIST acknowledges that it is impossible to regulate the use of cell phone and smart phone cameras, but, PURCHASER
will, upon ARTIST’s request, ask any person using a cell phone or smart phone recorder, to cease use of such device, if
they are distracting the ARTIST during the performance. Without limiting in any way the generality of the foregoing
prohibition, it is understood to include the PURCHASER and/or his agents, local crew, and members of the audience.
XVII.INCLEMENT WEATHER
A.In the event that the ARTIST’s performance(s) is/are to take place outdoors, in exposed or partly exposed conditions, in a
Rain or Shine” type of event, it shall be the absolute obligation of the PURCHASER to ensure that every proper provision is
made to ensure that the ARTIST is able to perform in conditions that are, in the sole opinion of the ARTIST, satisfactory to
the ARTIST. ARTIST shall have the sole right, in its discretion, to determine in good faith whether any such weather
conditions (such as, without limitation, rain, snow, sleet, lightning, excessive wind, or temperatures below 60 degrees) shall
render the performance(s) impossible, dangerous, hazardous or unsafe.
B.Inclement weather rendering performance impossible, infeasible or unsafe shall not be deemed a Force Majeure
Occurrence and payment of the full amount of the ARTIST Guarantee shall be made by PURCHASER to ARTIST
notwithstanding. If ARTIST is present, ready, willing and able to render its services as contracted hereunder, irrespective of
weather, the full amount of the ARTIST Guarantee shall be paid by PURCHASER to ARTIST.
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XVIII.INTERNATIONAL DATES
A.For ENGAGEMENT(s) outside of the United States, PURCHASER shall arrange and pay for all necessary bonding,
permits, visas, immigration clearances, customs clearances, union dues, etc., required or desirable for entry into, travel
through, and exit from the country(ies) where said ENGAGEMENT(s) are to be played or the country(ies) through which
ARTIST and/or the ARTIST’S personnel and equipment must pass to arrive at said ENGAGEMENT(s). PURCHASER shall
cause the foregoing to be provided to the ARTIST in a timely manner. To the extent the PURCHASER requests any
information or documents from ARTIST in connection therewith, such request shall be in writing, and shall be made in a
timely manner.
XIX.CANCELLATIONS
A.In the event of ARTIST illness, injury, death, disability, or incapacity of a member of the ARTIST or ARTIST’s
entourage, close friend or family member, failure of means of transportation, inclement weather, pandemic, governmental
restrictions, regulations or controls, terrorism, acts of God, riot, strikes or labor disputes, civil commotion or unrest, war,
fires, floods, accident, earthquakes, inclement weather, electrical outages, national or international emergency, or any other
similar or dissimilar cause beyond the control of either ARTIST or PURCHASER (each a “Force Majeure Occurrence”), it is
understood and agreed by the parties that there shall be no claim for damages by either party against the other and each
party’s obligations hereunder shall be deemed waived and any deposit monies paid to ARTIST by PURCHASER shall be
refunded to PURCHASER. Notwithstanding the foregoing, if ARTIST’s performance is prevented by a Force Majeure
Occurrence, but ARTIST is present, ready, willing and able to render its services in accordance with the terms hereof, then
PURCHASER shall pay ARTIST the full amount of the ARTIST Guarantee.
B.In the event the performance is canceled by PURCHASER for any other reason than a Force Majeure Occurrence, as
described in Section XIX, Paragraph A, ARTIST is to be paid the contract fee in full. In the event of such cancellation,
ARTIST shall not be required to perform at a later date or time.
XX.ARTIST MAY TERMINATE THIS AGREEMENT AT ANY TIME IF:
A.In ARTIST’S sole judgment, performance of the ENGAGEMENT may directly or indirectly expose ARTIST, any employee of
ARTIST or of PURCHASER, or any portion of the audience to the danger of death or injury as a result of conditions
or circumstance within control of PURCHASER, or which PURCHASER had prior knowledge but failed to bring to the
attention of ARTIST before the day of the ENGAGEMENT, including threatened violence, riots, terrorist threats, or civil
strife.
B.Performance of any of ARTIST’S obligation shall expose ARTIST or member of ARTIST’s group or employees, agents or
independent contractors to civil or criminal proceeding, or threat thereof, of any kind.
C.ARTIST would be required to perform before any audience which is segregated on the basis of their status as protected
veterans or individuals with disabilities, race, color, religion, sex, sexual orientation, gender identity or national origin, or
where physical violence or injury to ARTIST or any other member of ARTIST’S touring party is likely to occur, nor
where strikes or labor disputes, civil commotion or unrest, war, riots, terrorism, or the threat thereof exists.
D.If this Agreement shall be terminated for any reasons referred to in subparagraphs A, B, or C above, ARTIST shall not have
any further liability to PURCHASER as a result of termination, but ARTIST shall not be required to refund to PURCHASER
any amount therefore paid to ARTIST pursuant to this Agreement.
E.PURCHASER agrees that ARTIST may cancel ENGAGEMENT hereunder by giving PURCHASER written notice mailed to
the address set forth in this Agreement at least thirty (30) days prior to the Commencement Date of the ENGAGEMENT
for television, film, motion picture scoring, studio recording, or international obligations.
XXI.INSURANCE
A.PURCHASER shall provide, at its sole cost, Commercial General Liability insurance covering any claims, liabilities or losses
directly or indirectly resulting from injuries to any person and from any property damage and/or loss in connection directly or
indirectly, with the ENGAGEMENT. Such insurance shall be in the amount required by the Venue, but shall not be less than
One Million U.S. Dollars ($1,000,000) aggregate per occurrence and One Million U.S. Dollars ($1,000,000) per event,
placed with an insurance carrier acceptable to ARTIST. Said insurance shall be in full force and effect at all times. ARTIST,
ZBug Group, Inc., The Artisan Agency LLC, as well as the ARTIST’s respective employees, agents, contractors, officers,
directors, members, managers, and shareholders will be afforded coverage with the foregoing insurance policies.
B.PURCHASER shall provide, at its sole cost, a current policy of Worker’s Compensation insurance for PURCHASER’s
employees, with coverage and limits complying with the statutory requirements of the jurisdiction in which ENGAGEMENT
is being performed.
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C.PURCHASER shall provide to ARTIST at least fourteen (14) days prior to the start of the ENGAGEMENT, certificates of
insurance evidencing that such above policies are in full force and effect. ARTIST’S failure to request, review or comment
on such certifications shall not affect ARTIST’S rights or PURCHASER’S obligations hereunder. The failure of
PURCHASER to furnish any such certificate shall not diminish or otherwise affect its obligation to procure and maintain any
policies of insurance contemplated by this Section.
D.All such policies identified under this Section shall be issued by reputable and financially sound insurance companies
authorized to do business in the state where the Services are to be performed and with an A.M. Best Rating of A or better.
The obligation to insure imposed by this Section shall not relieve PURCHASER of any obligations imposed upon it by other
Sections of this Agreement. Neither the insurance required, nor the amount or type of insurance maintained by
PURCHASER shall limit or affect the extent of PURCHASER’S liability for injury, death or loss or damage.
E.ARTIST agrees to provide, at its sole cost, Commercial General Liability insurance covering any claims, liabilities or losses
directly resulting from ARTIST’s negligence, including injuries to any person and from any property damage and/or loss in
direct connection with the ENGAGEMENT. Such insurance shall not be less than One Million U.S. Dollars ($1,000,000)
aggregate per occurrence and One Million U.S. Dollars ($1,000,000) per event. Any costs to add Additional Insureds to
ARTIST’s liability insurance will be borne by the PURCHASER.
XXII.INDEMNIFICATION
A.PURCHASER shall indemnify, protect, defend and hold harmless COMPANY, ARTIST, the individual performing members
of ARTIST, and their respective agents and employees, and managers (collectively, the "ARTIST Indemnified Parties"), from
and against any claim, demand, action, loss, cost, damage, or expense (including, without limitation, reasonable outside
attorneys' fees), incurred or suffered by or threatened against the ARTIST Indemnified Parties, including, without limitation,
a claim for death, personal injury or property damage, brought by or on behalf of any third party person, firm or corporation
as a result of or in connection with: (i) PURCHASER's breach or alleged breach of this Agreement; or (ii) negligence or
willful misconduct related to the Engagement. For the sake of clarification, the foregoing indemnification by PURCHASER
shall not extend to any claim, demand, action, loss, cost, damage or expense, to the extent same arises out of any
negligence or willful misconduct of the ARTIST Indemnified Parties.
B.COMPANY shall indemnify, protect, defend and hold harmless PURCHASER and its affiliates (either wholly owned by or
under common ownership with PURCHASER) and their officers, employees, and agents (collectively, the "PURCHASER
Indemnified Parties") from and against any claim, demand, action, loss, cost, damage, or expense (including, without
limitation, reasonable outside attorneys' fees), incurred or suffered by or threatened against the PURCHASER Indemnified
Parties, including, without limitation, a claim for death, personal injury or property damage, brought by or on behalf of any
third party person, firm or corporation as a result of or in connection with: (i) COMPANY's breach or alleged breach of this
Agreement; or (ii) COMPANY’s or ARTIST’s negligence or willful misconduct related to the Engagement. For the sake of
clarification, the foregoing indemnification by COMPANY shall not extend to any claim, demand, action, loss, cost, damage
or expense, to the extent same arises out of any negligence or willful misconduct of the PURCHASER Indemnified parties.
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XXIII.MEALS / HOSPITALITY / DRESSING ROOMS
PLEASE BE AWARE THAT LINE ITEM DELETIONS WILL BE NEGOTIATED WITH THE TOUR MANAGER AT THE TIME
THE PERFORMANCE IS ADVANCED. MODIFICATIONS TO THE “MEALS AND HOSPITALITY” SECTION WILL NOT BE
APPROVED PRIOR TO THIS TIME.
PLEASE NOTE THAT ORGANIC PRODUCTS ARE PREFERRED WHENEVER POSSIBLE.
PLEASE NOTE #2 – THERE ARE FOUR (4) CASES OF BOTTLED WATER IN THIS RIDER, AND WE WILL NEED ALL OF
THEM! EACH CASE SHOULD CONTAIN A MINIMUM OF 24 – 16 OZ BOTTLES OF ROOM TEMP WATER. ROOM TEMP
MEANS NOT CHILLED, NOT IN ICE, NOT IN THE FRIDGE, JUST SITTING OUT IN THE ROOM, NOT UNPACKED, STILL
IN IT’S CARRYING CASE. IF YOU HAVE 8 OZ BOTTLES, WE NEED 8 CASES WITH 24 BOTTLES IN EACH CASE.
WE’RE REALLY THIRSTY, AND WE HATE TO HAGGLE ABOUT WATER!
AT ALL TIMES, CATERING AND ALL CATERING/FOOD AREAS MUST BE OF A FIRST-CLASS STANDARD IN
TERMS OF CLEANLINESS, HYGIENE, FRESHNESS, VARIETY AND QUALITY OF FOOD!
A.LOAD-IN (load-in food & drinks to accommodate 4 people, and to be ready in the green room or dressing room 45 minutes
prior to scheduled load-in time). The crew enjoys dining before it begins working.
1.Coffee & Tea Service (to remain set-up and available from load-in through load-out), to Include:
a.A nice high-quality Ground Coffee (No Decaf Needed!), that coffee snobs would like (Local Roaster preferred,
otherwise Starbucks Blonde Roast, Peet’s, etc. – please NO French Roast or Dark Roasts).
b.A Coffee Maker, with FILTERS for said coffee maker (don’t get me started).
c.An assortment of black, green and herbal teas.
d.1 PINT or Quart of real Half & Half Cream from a milk carton type of container (no artificial creamers, no
powders or those frustrating no-chill, not-from-a-cow creamers).
e.Sugar, artificial sweetener, spoons, honey, lemon wedges setup.
2.Fresh deli-style sandwiches, along with soup (lentil, bean, etc. - needs to be vegetarian, but, something the non-
vegetarians may want to eat too), or something else homemade, or local favorite take-out food, as advanced with
ARTIST’s tour manager. No pizza or fast food chains. Please NOTE that we have one Vegetarian for lunch.
3.( 1) bag of tortilla chips with salsa, or something of the sort.
4.( 1) case of bottled water (non-carbonated, room temperature) – Thirsty Crew!
5.Assorted soft drinks – Coke, diet Coke and Sprite (no more than 6 of each). Oh, and check the bottoms of the cans
and make sure they aren’t expired. Old expired flat soda is, well, most unpleasing to the palate. I just picked-up a can
the other day that expired 15 months prior to me picking it up. Let’s rotate that stock people!
B.DINNER (TIME TO BE DETERMINED BY ARTIST’s TOUR MANAGER)
PLEASE NOTE: A MEAL WILL NEED TO BE PROVIDED FOR EACH PERFORMANCE DAY THAT ARTIST IS
SCHEDULED TO PERFORM FOR THE PURCHASER.
We will need a dining area with table and chairs that is large enough to accommodate a touring party of 14 people.
1.HOT Buffet style or catered meal to feed about 14 people.
2.Minimum of (2) entrees (reminder – use of Organic ingredients is preferred):
a.1 vegetarian entrée – to feed 4 people. IDEAS:
a.a.Brown rice and beans (pinto or black) with sautéed veggies. No squash or eggplant please. And fresh
Avocado
a.b.Quinoa with sautéed veggies (same restrictions) and fresh avocado
a.c.Veggie burgers.
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a.d.Taco night. Refried or whole beans, rice, cheese, lettuce.
a.e.Cheese ravioli with marinara and salad.
a.f.Falafel, hummus, lettuce, tomato, with tahini, rice, avocado
a.g.Tofu dishes, Portobello Mushroom dishes, and Eggplant dishes are NOT enjoyed by our vegetarians - go
figure. NO VEGETARIAN LASAGNA! NO! NO! NO! Also, No items prepared with meat, chicken, or fish
i.e. no beans with bacon in them).
a.h.Sometimes the vegetarians will eat Fish. I know, I know. I don’t make the rules, I just write this stuff down.
Let me know if fish is on your bingo card, and I’ll see if I can get it approved.
b.1 meat eater’s entrée – to feed 10 people. Pork, Beef, Turkey & Chicken are usually safe bets. Fish is not always
a safe bet – but let me know what you are planning, and we may want fish when we visit with you.
c.Dinner should include the following along with the entrees: a fresh steamed or grilled vegetable (nothing from a
can or the freezer, please), a starch (brown rice, quinoa, new potatoes), a nice tossed salad (no iceberg) along
with 2 dressings – one must be vinaigrette, like balsamic; dinner rolls, butter, dessert. Please note: you cannot
prepare any of these items with MEAT. No green beans with ham, no baked beans with bacon, and no dessert
with meat – a meat pie? I don’t know what I’m thinking. Anyway, the vegetarians don’t like the meat. Their loss, I
suppose. Anyway, please don’t do it. Because then we have to resolve it while everyone is hungry, and sitting
down to dinner, and it just ruins the whole mood.
d.Crockery/Dinnerware to include plates, cups, and bowls. Silverware to include forks, knives, and spoons.
Napkins. Etc. I can’t believe I have to ask for this!
4.Take Away/To-Go containers – in case we love dinner so much that we want to have it again, after the show!
5.***** In certain instances, a CASH buy-out can be arranged in-lieu of dinner. If there’s not an acceptable restaurant
within walking distance of your venue, then this will not be one of those instances. Please note that all CASH buyouts
will need to be paid directly to the ARTIST’s tour manager at LOAD-IN, in CASH!
C.AFTER SHOW
1.( 2) large 16” pizzas (1 cheese, 1 pepperoni) or equivalent take-away food (to be arranged with ARTIST’s tour
manager). Yummy – carb’s, fat and grease, and then off to bed!
D.DRESSING ROOM/GREEN ROOM
DRESSING ROOMS, GREEN ROOM, PRODUCTION OFFICE, RESTROOMS AND ALL OTHER BACKSTAGE FACILITIES
NEED TO HAVE BEEN CLEANED AND BE READY TO GO AT LEAST 1 HOUR PRIOR TO ARTIST’S SCHEDULED
LOAD-IN TIME.
1.PURCHASER to provide a minimum of (2) large, clean, well-lit, private, lockable dressing rooms for ARTIST’s sole use.
CLEAN! CLEAN! CLEAN! Dressing rooms to be furnished with comfortable seating for 14 people, and must have
showers, private lavatory facilities, heating and air conditioning (that’s controllable from the room, by us, not “the man”),
and (2) 110-volt electrical outlets, that work. If we get RV’s, or something of the sort, at a festival type environment, we
will need that lovely little trailer beginning 3 HOURS prior to our performance, and up to 2 HOURS following our
performance.
2.( 1) Industrial rolling garment rack in each dressing room, or equivalent. There’s 9 guys, all wearing suits, and they will
need a place to hang them up. You’d like them to come dressed and ready from the hotel. But, alas, they just won’t
always do it.
3.( 1) Full length mirror, if there are no other mirrors in the dressing rooms.
4.( 1) box tissues – in case there is a tender moment.
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5.( 1) dishes bussing tub (to be filled with ice prior to ARTIST show time). This item allows the drummer to ice-down his
arms following the performance. You can drop this in the green room or dressing room right when the band goes on
stage to start the show. Please double-check with the tour manager on this – the drummer goes through phases of
needing the ice, and then not needing it, and then needing it again...
6.( 1) lined trash can & (1) recycling bin in each dressing room – it will go in a trash can, or on the floor – your choice.
GREEN ROOM FOOD – lot’s of yummy snacks to keep us happy while we are visiting with you. Remember, we like Organic
Products whenever possible. Oh, and we really don’t like Deli Trays that are filled with flat meat and sweaty cheese. So,
don’t feel obligated to bring us one.
PLEASE NOTE - NO ITEMS ARE TO BE REMOVED FROM GREEN ROOM PRIOR TO BAND AND CREW’S DEPARTURE
FROM THE VENUE, FOLLOWING THE COMPLETION OF THE PERFORMANCE!
1.Assorted whole, organic fruit with at least 6 bananas, as well as some fresh berries, grapes, etc.
2.(1) Jar of Organic Natural Peanut butter and (1) jar of jam or preserves (no jelly). And no grape. Only “the Kid” and
Karl like grape. They’ve been outvoted 10 to 2. Also, SKIPPY does not really make organic natural peanut butter –
even though you think the package is telling you otherwise. Natural peanut butter has one, and at the most two,
ingredients – peanuts, and maybe salt. That’s it! No extra oils, sugar, cornstarch, or other fun extras are required, or
desired, as least by us.
3.(1) loaf of organic whole wheat/whole grain bread.
4.(2) LARGE bags of organic mixed nuts – dry roasted when possible. Peanuts, almonds, and cashews.
NOTE: NO HAZELNUTS, DUE TO ALLERGIES!
5.(1) package of FRESH Guacamole - Trader Joe’s Avocado’s Number, Whole Foods, etc. - ¡Arriba!
6.(1) bag of tortilla chips and (1) jar of salsa.
7.(1) box of Trader Joe’s Peanut Butter Chewy Granola Bars or equivalent
8.A nice bit of Chocolate – both dark and milk. Please, no chocolate with gooey substances in the middle.
9.(2) boxes of healthy cereal, including at least 1 box of granola. (Nature’s Path, Barbara’s, Trader Joe’s, etc). Please
have at least one box of cereal with a lot of fiber, and minimal sugar. The healthy cereal helps offset the after show
pizzas.
10.(1) box of PLAIN (unflavored/unsweetened), instant oatmeal.
PLEASE NOTE (AGAIN!) - NO ITEMS TO BE REMOVED FROM GREEN ROOM PRIOR TO BAND AND CREW’S
DEPARTURE FROM THE VENUE FOLLOWING THE COMPLETION OF THE PERFORMANCE!
GREEN ROOM BEVERAGES (to be kept iced all day and night, except as noted)
1.(2) cases of bottled water (non-carbonated, room temperature) - Still Thirsty!
2.(2) six-packs of UNFLAVORED sparkling water - San Pellegrino, Perrier, etc.
3.(2) six-packs of local micro-brew beer.
4.(1) six-packs of lager beer - Kona Brewing Longboard Lager, Sapporo, Grolsh, Anchor Steam
5.(2) bottles of quality red wine (Robert Mondavi quality or better) – Cabernet, Pinot Noir, Merlot
6.ICED-TEA w/ LEMON WEDGES: We would prefer (2 Large or 4 Small) bottles of TEJAVA ORIGINAL BLACK TEA
NOTE - UNFLAVORED TEA ONLY! If you can’t get your hands on TEJAVA, we need (2) pitchers of freshly brewed
UNSWEETENED iced tea with NO ice added – which I guess means it’s not really Iced tea, but just brewed tea, that
we can add ice to when we are ready, so it won’t be all watered down. A separate bucket of clean ice should be
available for the not yet Iced tea. This is the first place I find out if you have been paying attention, since everyone
seems to forget that we need clean ice for the iced tea. It’s not like we are asking for a bowl of M&M’s with all the
brown ones picked out. Now, back to the tea - since we would like it to be freshly brewed, I should not have to tell you
that we won’t like instant, powdered or flavored tea, but I will. So, I think this whole paragraph on tea is pretty clear,
but, inevitably, someone will bring us a bunch of Snapple or Nestea – YUCK!
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7.(1) Half Gallon of UNSWEETENED organic almond milk (how do they squeeze the milk out of the almonds?).
8.(1) Half Gallon carton of organic whole milk.
MISCELLANEOUS - not food or drink - but still loved.
1.36 Permanent or Disposable Coffee Cups.
2.36 Solid Color (not clear) Large Solo Beverage Cups, or equivalent.
3.A bottle opener – for caps and corks. We haven’t mastered breaking the tops off the wine bottles without getting glass
in the bottle. But, we are working on it. Of course, if we have the proper corkscrew type of device, we won’t have to
work on it, which will probably be best for all.
4.A small box of sandwich size Ziploc or the store brand equivalent type of baggies.
5.10 lbs of clean ice for the dressing room drinks – in a nice clean serving bucket – not poured in with all of the dirty
bottles and cans you just picked up from the market.
6.40 lbs of clean ice for bus coolers (check to see if we are arriving on a bus!).
7.Bowls and spoons - for the cereal. It’s hard to eat cereal on a plate with a fork, at least when you want it with milk.
I’ve seen guys eat it with a fork out of a bowl, but you can’t really get any milk that way. So frustrating.
E.STAGE
These items to be given to ARTIST’s stage manager, who will hunt you down like a bird dog until he gets what he wants. It
would be really great for you to have all of these items in a neat little pile in the green room, or on the stage, when we arrive for
load-in, so he doesn’t have to hunt you down.
1.(18) clean, matching, PRE-WASHED, black or dark colored, hand towels – no bar or kitchen towels, not the towels you
used to dry your car last weekend, or the one’s you use to clean your house. Please wash them. Have you ever tried
to wipe-off your sweaty face with a brand new unwashed cotton towel? They don’t really absorb any moisture. And
they leave a LOT of lint. Which is most inconvenient, especially when you are on stage entertaining for the masses.
And, I just read that if you don’t use fabric softener on new towels, they absorb water and sweat and stuff better. Who
knew?
2.( 1) case of bottled water (non-carbonated). ROOM TEMPERATURE PLEASE! We’ll be really thirsty on stage!
3.( 6) 12 oz. or larger, hot and cold cups – well, they really need to handle HOT water, without scalding anyone’s hands.
4.( 1) small honey bear or squeezable bottle of honey (very important). Please, no teeny-tiny jars, no coffee cups full of
honey, no honey packets from Starbucks. Just the squeezable bottle. So the honey will go right where we want it to
go, which is into the cup, and not all over the guitar tech’s hands, and the guitar, and anything else he touches.
Thanks!
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XXIV.AUDIO REQUIREMENTS
THE FOLLOWING TECHNICAL REQUIREMENTS MUST BE MET WITHOUT EXCEPTION. ANY SUBSTITUTIONS OR
ALTERATIONS MUST BE DIRECTED TO AND APPROVED BY ARTIST’S PRODUCTION MANAGER. We’re pretty darn reasonable
call me immediately if you have issues with anything in the audio section. Tour Manager – Brian Stanley - (805) 207-8315 –
brian@zbuggroup.com
SOUND SYSTEM TO BE INSTALLED AND OPERATIONAL AT TIME OF ARTIST’S LOAD-IN! We want to work when we show up –
we don’t want to sit around and watch you work. Call me immediately if you foresee this being a problem. Upon receipt of this rider,
the PURCHASER shall provide Artist’s production manager with all pertinent contact info for the audio vendor.
PLEASE NOTE: all items listed below are for the exclusive use of the ARTIST’s engineer and will probably NOT be shared with any
other acts on the bill, except for Digital Consoles and the speaker system. Specific sound equipment requested by the ARTIST shall
be:
HOUSE SYSTEM: A first class discreet stereo sound system, in PERFECT WORKING ORDER,, including:
A.CONSOLE - If we are carrying gear, we will be carrying a Yamaha QL5 for FOH. If we are not carrying our FOH console,
we will need: Minimum 48 x 24 x 8 x 2 House DIGITAL Mixing Console – PREFERRED IS Yamaha Rivage Series or
Yamaha CL5 or Yamaha QL5. Second choice is Avid Venue Platform – S6L, Profile, OR SC48. PLEASE ENSURE THAT
ALL DIGITAL CONSOLES HAVE BEEN UPDATED TO THE MOST CURRENT FIRMWARE/SOFTWARE VERSION. If
you bring a Yamaha console, I need access to two of your Slot Card slots, in order to hook up my Waves SoundGrid server.
If you do not have one of these consoles, start looking for one, and call me now!
B.Speaker arrays should consist of very high quality ACTIVE three or four-way enclosures in sufficient quantities to cover the
entire venue and produce a minimum SPL of 105db “A” weighted at the most distant portion of venue seating. We don’t
want it to be 105dbA in the far back corners during the show, we just want to the PA to have LOTS of headroom. Preferred
speakers include: L’Acoustics, d&b, JBL VTX. Speaker system should be “flown” whenever possible. Please note that
ground-stacked line arrays are NOT accepted – never ever. Well, almost never. If you can stack them 10 feet off the
deck, and they are little boxes, we can talk about it. Otherwise, just bring something more “conventional”.
C.A MINIMUM of (4) Front/Center fills – more if needed. All along the front lip would be great! Front fills WILL be controlled
off of the console’s matrix section.
D.Speaker Drive System for Left/Right, Subs, Front Fills, and anything else you bring along. All crossovers and/or system
processors to be available to ARTIST’s engineer for necessary adjustments throughout the show, or, at the least, while
tuning the system.
E.Any additional delay/zone speakers needed. These zones WILL be run off of the console’s matrix section.
F.MIX PLATFORMS – THERE SHOULD BE NO MIX PLATFORMS OR RISERS! Let’s stand on the ground with the common
folks, so we can hear what they are hearing! This includes all CORPORATE PRODUCTIONS! I will make you move the
mix position onto the ground when I arrive if it is on a platform. Unless you like to set-up the FOH position twice, please
keep it on the ground. End of rant – on to next section.
G.Talkback mic to stage (monitor system) that can also be used to make FOH announcements. This needs to be in a real
channel on the desk. With EQ and everything. So I can make my voice big and god-like for the introduction. Please route
to the stage via the LAST Aux Send on the console – please, please, please! And thank you.
H.Front of House Mix Position should be located in the center of the venue, with the performance stage no closer than fifty
feet and no further than one-hundred feet. There must be no physical obstructions between the stage and the FOH
Console. In theaters, clubs, and performing arts centers, the house mix position will NOT, EVER, be located inside of any
mix “booths” (you know, the ones in the rear of the venue, behind a pane of glass). And, I’d really like to not be under the
balcony – yeah, right. Oh, and mixing side stage is NEVER an option. Don’t ask – unless you want me to have a good
laugh.
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MONITOR SYSTEM:
This is what needs to be provided to make the band REALLY happy on stage. I hate to tell them that they are not
going to be really happy, so, let’s do what we can to provide the following:
NOTE: Monitor Mix position WILL be located stage left. Unless it can’t, for a good reason that you can convince me of, then it
will go stage right. If you’re standing there, getting ready for the coin toss to decide where to put it, please put it Stage Left.
NOTE NOTE: ARTIST almost always carries the following: Yamaha QL5 Monitor Console, 9 Mixes of In-Ear monitor
systems, wireless microphone systems, microphones, and DI boxes. If this is a fly date, please be prepared to provide 7
wireless and 2 hardwired IEM systems, as “lost luggage” is a foreseeable hazard of flying with equipment. PLEASE
CONFIRM THIS INFO WITH ARTIST’S PRODUCTION MANAGER!
A.IF THIS IS NOT A FLY DATE, AND/OR WE ARE CARRYING GEAR, WE WILL NEED:
1.3 matching wedges with 2 mixes of bi-amped amplifier power with active professional crossovers. Preferred wedges
include: L-Acoustics, d&b, Meyer, JBL VTX M Series.
2.1 mix of amplifier power with a Neutrik Speakon NL-4 cable to drive our drum seat shaker - 200W @ 8 ohms (this is a
backup for the amp we carry with us).
3.1 - 6 foot long table for FOH console and outboard rack
B.IF THIS IS A FLY DATE, AND/OR WE ARE NOT CARRYING GEAR, WE WILL NEED:
1.Console – Yamaha QL5 or a Yamaha CL5 with Rio 3224 (both must be updated to current firmware) These are the
only consoles we have our show set-up on.
2.Minimum 32 channel snake with split and fan-out for the monitor console. If an ISO split is used, please route the
DIRECT to FOH, and the ISO to monitors.
3.7 (seven) mixes of wireless IEM systems (Shure PSM1000) and 2 (two) mixes of hardwired IEM systems.
4.3 matching wedges with 2 mixes of bi-amped amplifier power with active professional crossovers. Preferred wedges
include: L-Acoustics, d&b, Meyer, JBL VTX M Series.
5.1 (one) drum seat shaker with power amp.
C.ITEMS NEEDED WHETHER WE ARE CARRYING GEAR OR NOT:
1.All mic stands, mic cables, and sub-snake boxes (one 16 channel, and one 8 or 12 channel). We do NOT carry any
stands or cabling with us at any time!
2.A CAT5e direct cable run between the FOH and MON positions. Cable needs to be shielded and terminated to ground,
and have Ethercon connectors on both ends. No patching of this cable through any house network switches or routers
COMMON HOUSE AND MONITOR REQUIREMENTS
A.INTERCOM SYSTEM – 3 DROPS, hard-wired or GigaHertz Band Wireless com, between FOH house mix position, Lighting
operator’s position, and house stage manager, must be provided. That’s 3 total – all with a head/hand set, belt pack, and
wickedly bright beacon. That all work. How will we talk about the band during the show if we can’t talk to each other? IF
FOR ANY REASON THE COM SYSTEM WILL BE WIRELESS AND OPERATES IN THE UHF BAND, PLEASE ADVISE
ASAP SO WE CAN DO OUR WIRELESS FREQUENCY COORDINATION AROUND YOUR SYSTEM. YOU WILL NEED
TO KNOW WHAT FREQUENCIES YOUR SYSTEM TRANSMITS AND RECEIVES ON FOR US TO DO THIS.
B.Both mix positions must have sufficient lighting to see all controls with house lights down. This means you need to go out
and check all the bulbs for your consoles and racks. Come on – you know you have bulbs that have been burned out for
the last 3 or 4 years that need to be replaced. I’m getting old, and my eyes are not what they used to be.
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C.Two qualified technicians must be available from time of load-in until time of load-out to assist with house and monitor mix
positions. If the technicians are not qualified, they should at least know how the rig goes together, and how to hook it up,
and how to troubleshoot it when it stops working. Okay, I guess they really DO need to be qualified. Especially when I turn
to the system tech and say, “why do house left and house right sound different?” The appropriate responses here, by the
way, are not: “I don’t know,” “What do you want me to do about it?” or “I’m sorry, what did you say? I was balancing my
check book.” True stories.
D.Both mix positions must be sheltered from inclement weather, as per our satisfaction. Waterproof covered shelter MUST be
provided in all outdoor situations. We’ll be satisfied if we aren’t getting wet, or baked in the sun.
E.Both house and monitor mix positions must receive all inputs from stage.
XXV.POWER REQUIREMENTS
A.Sufficient power for Sound, Lighting and Backline. POWER FOR LIGHTING MUST BE INDEPENDENT OF POWER FOR
SOUND AND BACKLINE. The first time I “hear” a lighting change in the PA, there’s gonna be trouble.
B.GENERATORS – We realize that the use of generators will be necessary for many performances. Please note that the
generator(s) for these events MUST be located as far from the stage as possible, and DOWNWIND of the stage. THIS IS A
SHOW STOPPER! Please be aware that if we feel like we are sucking diesel exhaust fumes like when we are refueling at
a truck stop on Interstate 80, we WILL make you move said generator until we can breath again. THIS IS NON-
NEGOTIABLE. Please put the generator far-far away from the band and the stage.
C.BACKLINE & MONITOR SYSTEM REQUIREMENTS
1.( 6) 20 amp – 120 volt circuits. (4) for stage and (1) for Monitor Mix position and (1) for Guitar World.
2.(10) grounded Edison quad boxes (8 on stage, 1 in monitor world, 1 in guitar world - see stage plot for locations).
D.If you are in a country that does not run on 120V power, please provide us with a minimum of (3) transformers, so you can
convert your power to our power. And we’ll still need all those Edison quad boxes so we can plug our gear into those
transformers.
XXVI.LIGHTING REQUIREMENTS
A.Lighting system MUST be installed and ready to focus at the time of ARTIST’s load-in. We might go back to the hotel if the
lights aren’t up in the air when we arrive.
B.Lighting system shall consist of at least (2) lighting positions: Upstage and Downstage that run the length of the stage.
Upstage should consist of at least (12) wash and (6) spot fixtures capable of multiple colors and gobos and movement. Or,
a conventional rig able to wash the stage with at least 5 colors. Downstage should have at least a full stage wash of blue
amber and red. Or, a nice standard “theatre” system, with gobs of house electrics and instruments and such, if you are that
sort of a place.
C.(6) ETC Source Four 26 degree ERS instruments, on downstage truss, for fixed specials.
D.Console should be of professional quality and DMX-512 capable, to meet your LD’s needs for control along the lines of a
Whole Hog, GrandMA, Martin M6 or something that will allow for busking a show with chases and EFX.
E.Dimming should be of professional quality (CAE, Avolite, ETC) and be DMX-512 capable.
F.Minimum (2) Strong Xenon Super Trouper follow spots, with competent, sober follow spot operators. If Super Troupers are
not available, how about something that can actually cut through the downstage wash? That would be lovely.
G.Intercom system between Lighting Control, FOH audio position, follow spot operators, house lights, dimmer beach, and
stage entrance. Those really good spot op’s really do need direction from the LD. Otherwise they would be the LD.
H.NO HAZE, SMOG, SMOKE, CAR EXHAUST, ETC. We know it makes your moving lights look cool. But it makes the
singer’s throat hurt. And, he doesn’t want to hear about your vegetable-oil, water based, super-secret CIA-derived solution
that won’t hurt his throat. We gave up on that speech back in 2005.
I.One competent, sober, lighting technician, that can count to 4, to set-up, focus, and operate the show. I know that all 3 pre-
qualifications can be a challenge – do what you can.
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XXVII.STAGING
A.A safe and securely erected stage measuring a minimum of 32 feet wide and 24 feet deep, not including sound wings or
monitor mix position wings. Safe and secure would include no gaps, spongy spots, or places where one deck piece is an
inch or two higher or lower than the piece next to it. Our guys run all over the place when they are on stage – it’s takes all
the fun out of the show when they trip and fall. Well, for some people it does. If PA speakers are set-up on wings, the
wings must be physically detached from the stage. That means, like, not touching the stage.
B.(1) sturdy, carpeted drum riser, with black skirting, measuring at least 8 ft. x 8 ft. x 24 in. high. If you have those silly hotel
risers that are 8ft x 6ft, then build us a super-sized 12 ft x 8 ft x 24 in. high riser. We will also need steps for the drummer to
get up onto his throne, so that he can rule all that he can see.
C.(1) sturdy, carpeted horn riser, with black skirting, measuring 8 ft. x 8 ft. x 16 in. high or 12 in. high. Steps required on at
least one side.
D.(1) sturdy, carpeted double-bass riser, with black skirting, measuring 8 ft. x 8 ft. x 16 in. high or 12 in. high. Steps required
on at least one side.
E.Stairs must be provided for ARTIST’s entrance to, and exit from, the stage, on both stage left AND stage right. A ramp must
be provided for load-in and load-out of equipment on to and off of stage.
F.All outdoor stages MUST be sheltered. With a roof, or something else that keeps the sun and elements from landing on the
stage, and the band, and our gear. Remember, no waterproof roof = wet gear = no performance.
G.ARTIST’s entrance to and exit off of stage must be clearly marked and well lit with house and work lights off.
H.Two large, lined trash cans shall be placed in the stage wings (one stage left and one stage right) from the time of load-in.
Or, all of our trash will be scattered about the stage – your choice.
XXVIII.PERSONNEL
A.Four competent, sober loaders/stagehands for load-in/set-up and for tear-down/load-out. Hands must be capable of lifting
heavy loads. These stagehands are for the exclusive use of the Artist from the time that Artist’s load-in begins until all of
Artist’s vehicles are loaded after the performance.
B.One runner with car to be available to ARTIST’s staff for purchasing errands and personnel shuttling. A supreme
knowledge of the local area will be most helpful. If we aren’t in a bus, we probably won’t need the runner, unless we are
having a dire emergency. And then, you would surely give us a ride, right? Oh, and don’t forget about that Ground Trans
section in this rider, that’s back about 10 pages or so. It’s so not cool to make the band hitch from the hotel to the gig and
back.
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MIC/INPUT/PATCH LIST
PLEASE NOTE: Artist carries all microphones and DI’s, except as noted, but will need stands and cables to be provided. For fly
dates, please provide a “generic” microphone package, as close to Artist’s requirements as possible.
PATCH INDICATES SUB-BOX NUMBER/SUB-BOX CHANNEL PATCH - SEE STAGE PLOT)
CHNL PATCH INPUT MIC STAND
1 SB1/CH1 Kick Earthworks DM6 Short w/ boom
2 SB1/CH2 Snare - Top Earthworks DM20 Short w/ boom
3 SB1/CH3 Snare – Bottom Telefunken M81-SH Short w/ boom
4 SB1/CH4 Hat Earthworks SR30 Short w/ boom
5 SB1/CH5 Rack Tom Earthworks DM20
6 SB1/CH6 Floor Tom Earthworks DM20
7 SB1/CH7 Ride Beta 98 w/ windscreen
8 SB1/CH8 Overhead – S/R Earthworks SR25 Tall w/ boom
9 SB1/CH9 Overhead – S/L Earthworks SR25 Tall w/ boom
10 SB1/CH10 Bass Neve RNDI DI Box
11 SB2/CH1 Guitar Radial JDI Direct Box
12 DANTE Banjo Radial JDI Direct Box
13 DANTE Piano or Keys – Low/Left Earthworks PM40 or
Radial JDI Direct Box
14 DANTE Piano or Keys – High/Right Earthworks PM40 or
Radial JDI Direct Box
15 DANTE Trombone Shure Axient wireless w/ Neumann MCM
16 DANTE Baritone Sax Shure Axient wireless w/ Neumann MCM
17 DANTE Tenor Sax Shure Axient wireless w/ Neumann MCM
18 DANTE Trumpet 2 (Downstage)Shure Axient wireless w/ Neumann MCM
19 DANTE Lead Trumpet (Upstage)Shure Axient wireless w/ Neumann MCM
20 DANTE Clarinet Shure Axient wireless w/ Neumann MCM
21 SB2/CH2 Horn Vocal Telefunken M80 w/ windscreen Tall Tripod w/ boom
22 SB2/CH3 Lead Vocal Earthworks SR40V Straight/Round Base
23 SB1/CH11 Bass Vocal Telefunken M80 w/ windscreen Straight/Round Base
24 SB2/CH4 Downstage Shout SM58 w/ windscreen Straight/Round Base
25 SB1/CH12 Upstage Shout SM58 w/ windscreen Tall Tripod w/ boom
26 SB2/CH5 Spare SM58 w/ windscreen None
27 DANTE Wireless Announce Mic Shure ULX-D wireless w/ SM58 None
28 DANTE FOH Announce/TB SM58 w/ switch None
EXTRA SB1/CH16 DRUM SEAT SHAKER
RETURN FROM MONITOR CONSOLE
EXTRA SB1/CH14
15 DRUM IEM RETURN FROM MONITOR CONSOLE
EXTRA SB2/CH6 GUITAR PEDAL BOARD
RETURN
FROM WIRELESS RACK IN
MONITOR WORLD
NOTE UPSTAGE DRUM SUB-BOX
SHOULD BE 16 CHNLS
DOWNSTAGE SUB-BOX SHOULD
BE A MINIMUM OF 8 CHNLS
MIC STAND
COUNT:
NOTE
MONITOR WORLD
REQUIRES 2 TALL TRIPOD
MIC STANDS WITH BOOMS
FOR RF ANTENNAS
FOH REQUIRES ONE TALL TRIPOD
MIC STAND WITH BOOM & ONE
STRAIGHT ROUND BASE, FOR
REFERENCE MICS.
MUSICIANS NEED 4 STRAIGHT
ROUND BASE FOR IPAD HOLDERS
7 TALL TRIPOD W/
BOOM;
8 STRAIGHT
ROUND BASE;
4 SHORT W/ BOOM
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XXIX.BACKLINE
Following are items we need if we fly in or are not carrying our own backline. We won’t share most of this stuff with any other
artist on the bill, but you can ask, and we might surprise you. But, most likely, not the drum kit. If in doubt, please contact
Brian Stanley, Tour Manager – brian@zbuggroup.com - 805-207-8315.
PLEASE BE AWARE THAT ARTIST RESERVES THE RIGHT TO TAKE A BACKLINE BUYOUT FOR ALL CONTRACTS
THAT REQUIRE THE BUYER TO PROVIDE BACKLINE!
A. DRUMS
1.One beautifully mint condition DW drum kit with DW Hardware and NEW drumheads as listed. WE WILL MAKE YOU
GO OUT AND GET NEW DRUM HEADS IF THE DRUM KIT IS NOT SO EQUIPPED.
2.22” x 16” deep Kick Drum – With a Shiny New Remo PowerStroke III clear batter head. And a front resonant head
with a nice hole in it so we can put a microphone inside the drum. The microphone hole should be in the 3 o’clock
position. Only a DW Logo is allowed on the front head.
3.Kick Drum MUST have a DW Drum Dampening Pillow (please, no full size pillow or sheets of foam).
4.14” Diameter x 5” Deep wood snare drum – New Remo Coated Ambassador head on top, Like New Remo Clear
Ambassador head on bottom.
5.12” Diameter x 8” deep rack tom – with a heavy duty snare stand to put it on.
6.16” Diameter x 16” deep floor tom, with legs (not stand mounted – ever).
7.ALL TOMS MUST HAVE A NEW REMO COATED EMPEROR HEAD ON TOP, AND A LIKE NEW REMO CLEAR
AMBASSADOR HEAD ON THE BOTTOM. Please put the new heads on “loosely” – just enough to hold them onto
the drum. Over-torqued/stretched heads can NOT be tuned! This is NOT the time to use your handy screw gun.
8.DW 9000 or 5000 Kick Drum Pedal.
9.Cymbals as close as possible to: 1 - pair Zildjian quick beat 14” Hi-Hat cymbals, 1 - Zildjian 22” Constantanople ride
cymbal, 1 - Zildjian 16” “A” custom crash cymbal, 1 - Zildjian 18” “A” custom crash cymbal, 1 - Zildjian 12” splash
cymbal.
10.2 - Heavy duty snare stands (one for snare and one for rack tom)
11.5 - Heavy Duty cymbal stands
12.1 - Heavy Duty Three-Legged Hi-Hat stand
13.1 - Heavy Duty Drum Throne with Large adjustable round seat (NO Roc-n-Soc “bicycle style” seats).
14.1 - small trap/percussion table; No rack needed.
15.1 - DRUM RUG (VERY IMPORTANT)!
16.Clearsonic 4 foot or 5 1/2 foot high, plexiglass baffle/shield – should consist of 5 or 6 panels, each panel 2 feet wide,
preferably not so scratched up that the drummer can’t see through it. So we can see him – and make faces.
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B.PIANO/KEYBOARDS
1.GRAND PIANO - 9 FOOT OR 7 1/2 FOOT. Steinway or Yamaha. NOTE - the piano is needed EVEN IF the ARTIST is
carrying its own backline.
2.1 - Adjustable Height Piano Bench
3.PIANO TUNING
NOTE: THERE WILL BE NO PIANO TUNING BETWEEN THE TIME ARTIST LOAD-IN HAS COMMENCED, AND
THE COMPLETION OF ARTIST SOUND CHECK.
a.Piano is to be tuned at delivery, or prior to the beginning of ARTIST’s load-in.
b.Piano is to be touched-up/retuned at the completion of ARTIST’s sound check.
FOR SHOWS WHERE IT IS DEEMED IMPOSSIBLE TO PROVIDE A GRAND PIANO (AS PRE-ARRANGED WITH
ARTIST’s TOUR MANAGER):
1.1 - NORD 88 WEIGHTED KEY CONTROLLER: PIANO 5 or PIANO 3, STAGE 3 OR STAGE 2 EX;
2.1 - Black Piano Shell Enclosure to hold Nord Keyboard
3.1 - single tier double braced “X” keyboard stand (Ultimate Support or Quik Lok). He plays while seated – thus, we don’t
need one of those cool, 80’s hair band, Apex-type stands. NOTE: we will NOT accept the “On-Stage” brand keyboard
stands. The available height settings make the keyboard either too high or too low to use in a seated position.
4.1 – Quik Lok style padded keyboard bench – NO DRUM THRONES!
5.1 - sustain pedal; 2 – 6’ ¼” to ¼” patch cords;
C.BASS
1.FOR DATES OUTSIDE OF THE U.S. & CANADA OR ANY LOCATION WHERE WE CANNOT FLY WITH OUR BASS –
A ¾ SCALE DOUBLE-BASS WITH STEEL CORE STRINGS (HELICORE-HYBRIDS).
2.FOR FLY DATES ONLY - SWR Red Head 350 2 x 10 Combo Amp and 1 – SWR Goliath III 4x10 cabinet OR 1 – SWR
SM400 or SM900 Bass Head with 2 – SWR Goliath III 4x10 cabinets. Spare bass head recommended.
3.FOR FLY DATES ONLY - A/C cable for bass head, and 3 speaker cables – two to use, and one spare.
D.GUITAR
1.FOR FLY DATES ONLY - Fender Blackface Deluxe-Reverb Guitar Amp with appropriate Foot Switch
E.STANDS
1.2 - Manhasset music stands - with lights that are bright, and run on electricity, and have an on/off switch.
2.1 - Guitar Stand.
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XXX.STATE OF ACCORDANCE / GOVERNING LAW
A.This Agreement shall be governed and construed in accordance with the laws of the State of California applicable to the
agreements entered into and wholly performed therein, without regard to any conflict of laws and principles that would result
in the application of the laws of any other jurisdiction. The UN Convention on Contracts for the International Sale of Goods
shall not apply to this Agreement. The Parties hereby agree that any action arising out of this Agreement will be brought
solely in any state or federal court located in Ventura County, California. Both Parties hereby submit to the exclusive
jurisdiction and venue of any such court.
XXXI.AGREEMENT & ACCEPTANCE
IN WITNESS WHEREOF, the parties have executed this rider for the performance listed on Page 1.
AGREED TO AND ACCEPTED: AGREED TO AND ACCEPTED:
FOR PURCHASER FOR BIG BAD VOODOO DADDY, LLC
PRINTED NAME
DATE
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Sage Sangiacomo
Sage Sangiacomo
04/10/2025