Booking email template for musicians
Most booking emails go to the wrong person and say too much. This writes the one that works, from your own words: a short pitch to the promoter with one link, the dates you can do and one ask. If you can't find who books a room, it also writes a short note to the venue.
- Add the dates you can do. A promoter books dates, not artists.
Hi, I'm [Your name]. I'd love a support slot on one of your nights. Thanks, [Your name]
Hi, I'm [Your name]. I've looked through your recent posts and the acts who've played lately, but couldn't find who runs your nights for new acts. Could you tell me who books them? Thanks, [Your name]
Built from your words only: nothing is written for you, nothing is stored or sent. Send it from your own email, one promoter at a time.
How to use it
- 1Find the rooms. Read the last six months of posts from one artist your size near you. Write down the venues and the promoter on each poster.
- 2Find the promoter yourself. Look at the venue's own and tagged posts, then the acts who played there recently: most tag the promoter or the night. Only if that comes up empty, send the venue the short fallback note.
- 3Write to the promoter. Your name and sound, your one-line story, one link, the dates you can do, and one ask: a support slot on a night that fits.
- 4Send one at a time. From your own email, to one promoter, then the next. A group email reads like a group email.
- 5Two weeks, then move on. No reply in two weeks is a no. Don't chase twice. Write to the next promoter on your list.
Why the promoter, not the venue
Venues rent rooms; promoters book nights. Write to a venue asking to play and the answer is often a hire price, which is the venue doing its job. So find who promotes the nights yourself: the venue's tagged posts and the acts who played recently usually name them. Then the promoter gets a message that's about their night, not your career, with the one thing they need to decide: whether you fit on a bill they're building.
What happens after they say yes
Agree the details in writing before the night: set time and length, load-in, the fee or door split and how it's counted, who promotes what, merch, and whether the desk is recorded. Then make the night count: a way for people in the room to join your list, and a message to them within two days. Our guide to getting gigs has the whole route from finding the first rooms to the morning after.
Questions
Should I email the venue or the promoter?
The promoter. Venues usually host nights that promoters book. Find out who that is from the venue's tagged posts and recent acts before you ask anyone. Ask a venue whether you can play and you're likely to get a hire quote.
What should a booking email say?
Who you are and what you sound like in one line, the one-line story from your bio, one link that plays, the dates you can do, and one ask. If your last show had numbers worth saying, add them in one sentence.
How long should it be?
Short enough to read on a phone between soundchecks. We aim for under 80 words in the body. If it needs scrolling, cut it.
Should I attach an EPK?
Not for the first rooms. One link that plays does more than a press kit nobody opens. An EPK matters when promoters start asking for one.
How long should I wait for a reply?
Two weeks. Silence is a no, and it isn't personal: promoters get far more emails than slots. Don't chase twice. Move to the next promoter.
Should I ask about the fee in the first email?
Not in the first email. Ask for the slot. When they say yes, agree the fee or door split, set time, load-in, merch and what's recorded, in writing, before the night.
Do you keep what I type?
No. The emails are built in your browser. Nothing is sent to us or saved anywhere, and nothing is sent to anyone else: you send them yourself.
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