A family in Faridabad books a Punjabi singer for their son’s sangeet. The deal is made on a phone call and confirmed on WhatsApp with a photo of the advance transfer. On the evening, the singer’s team arrives two hours late, says the sound system is not what they were promised, plays forty minutes instead of the ninety the family expected, and refuses to go on until the balance is paid in cash. Nobody is sure who was right, because nothing about the set length, the sound, the timing or the balance was ever written down. An artist agreement is where those things are decided before anyone is standing in front of a crowd. This page explains how to write one — for weddings, corporate shows, concerts, recordings, films, voice-overs and more — from both sides of the stage.
Most performance deals in India are made quickly: a call to a manager, a quote on WhatsApp, an advance by UPI. That works until the night of the show, when both sides discover they imagined different things. The organiser thought ninety minutes; the artist quoted for one set of forty-five. The artist expected a line-array sound system and monitors; the venue arranged two speakers and a mixer. The family thought the balance would be paid the next morning; the artist’s manager wants it before the first song.
An artist agreement settles those questions in advance. It protects the artist, who has turned down other bookings to hold the date and travelled to perform, and it protects the organiser, who has invited guests, sold tickets or promised a client a show. It also deals with rights that people often forget until later: whether the show can be streamed, whether clips can go on the company’s page, and whether the artist’s photograph can be used on the invitation or the poster.
The agreement does not need to be long. A booking for a single wedding performance can fit on three pages with a rider attached. A multi-city tour, a film role or a recording contract needs much more. What matters is that the points which cause disputes are covered in words both sides understand.
The same basic structure serves very different engagements, but the emphasis changes.
| Engagement | Who usually engages | What matters most |
|---|---|---|
| Wedding, sangeet, private party | A family or wedding planner | Timing, set length, sound, balance payment, guests filming |
| Corporate show, annual day, launch | A company or event agency | Content limits, brand association, invoices, TDS, recording for internal use |
| Ticketed concert or festival | A promoter | Fee or revenue share, radius clause, streaming, insurance, licences |
| Club or restaurant residency | A venue | Number of nights, cancellation per night, noise limits, exclusivity |
| Recording session | A label, producer or brand | Buy-out or royalty, credit, performer’s rights in the recording |
| Film, series or advertisement | A producer | Shoot days, dubbing, image use, exclusivity, royalty entitlement |
| Anchoring, emcee, stand-up | An organiser or company | Script approval, content, language, recording |
If the engagement is mainly about promoting a brand on the artist’s own social media rather than performing, the influencer agreement guide is the better starting point, because disclosure and advertising rules come to the front. If a whole event is being outsourced to an agency that will book several artists, the organiser also needs an event management agreement with the agency, as our event management guide explains.
The Copyright Act, 1957 treats performance as something that deserves protection of its own. A “performer” includes an actor, singer, musician, dancer, acrobat, juggler, conjurer, snake charmer, a person delivering a lecture, and anyone else who makes a performance. Section 38 gives a performer a special right, called the performer’s right, in a performance, lasting fifty years from the beginning of the calendar year following the performance.
Section 38A lists what that right controls. Without the performer’s consent, nobody may make a sound or visual recording of the performance, reproduce such a recording, issue copies to the public, communicate the performance to the public, sell or give on commercial rental a copy of the recording, or broadcast it. Once a performer has consented to the incorporation of the performance in a cinematograph film, those rights generally cannot be objected to afterwards for that film, unless the contract says otherwise. The proviso, added in 2012, preserves the performer’s entitlement to royalties in case of making of the performances for commercial use.
Section 38B gives performers moral rights: to be identified as the performer, unless omission is dictated by the manner of use, and to restrain or claim damages for any distortion, mutilation or other modification of the performance that would be prejudicial to their reputation. Editing for time, or for technical reasons, is not treated as prejudicial.
Section 39 allows certain acts without infringing performers’ rights — for example, recording for private use, and reporting of current events and bona fide review within the limits of fair dealing. A performance is often also a performance of someone else’s copyrighted song, script or choreography; those are separate rights, discussed in our guide on music rights.
The agreement should be with the person who can actually deliver the performance and receive the money. For a solo artist, that may be the artist personally or the artist’s company. For a band, it may be one member signing for all, a partnership, or a company; the agreement should name the members expected to perform, and say what happens if one is replaced. For well-known artists, the booking is often made through a manager or agency, which may sign as agent for the artist.
The organiser should check that the manager has authority, by asking for a letter from the artist or seeing the artist sign too. If money is paid to an agency, the agreement should say that payment to the agency discharges the organiser’s obligation to the artist, so that the organiser is not asked to pay twice if the agency and artist fall out.
On the other side, the artist should know who is really engaging it: the family, the wedding planner, the event agency or the company whose event it is. The person signing should be the person who will pay, or the agreement should make the planner or agency liable for payment.
“A live performance by the artist” is not a description. The agreement should state:
Overtime should be priced in advance — a fixed amount for each extra thirty minutes, at the artist’s option — so that nobody has to negotiate at midnight.
The date and venue must be exact, with the full address and a contact at the venue. The agreement should give the time the artist arrives, the sound-check slot, the time the performance starts, and the latest time it can start. Late starts caused by the organiser — speeches running over, dinner delayed, a baraat that arrives late — are common at Indian events, and the agreement should say what happens: the artist waits for a stated period, after which the performance may be shortened or overtime charged.
Sound check deserves special mention. Without it, sound quality is left to chance, and disputes about sound are the most common complaint on both sides. The agreement should give a sound-check time, usually a few hours before the event, and say that the organiser will make the stage and equipment ready for it.
Local rules on noise and time limits for amplified music apply to most events, and venues often have their own. The organiser is best placed to know them, and the agreement should say that the performance will end by the permitted time and that shortening for legal reasons is not a breach by the artist.
The fee should be stated as a figure, with what it includes and excludes. Common questions are whether it covers the band and crew, whether travel and stay are extra or included, whether GST is extra, and whether sound and lights are the artist’s responsibility or the organiser’s. A fee that is “all inclusive” should list what that means.
For corporate and ticketed events, some artists quote a fee plus a share of ticket revenue, or a guarantee against a percentage. Those deals need a definition of revenue, a statement from the ticketing platform, and a time for settlement, as discussed under ticketed shows below.
Where the artist will also promote the event on social media, that is a separate deliverable and should be priced and described separately, with the disclosure requirements explained in our influencer guide.
Many artists work through a manager or a booking agency that finds shows, negotiates fees, handles travel and collects payment, in return for a commission — commonly a percentage of the fee. That relationship needs its own agreement, separate from each booking. It should say whether the manager is exclusive, for which kinds of work and territory, the commission rate and whether it is calculated on the gross fee or after travel and band costs, whether commission continues on bookings made during the term but performed after it ends, and how quickly the manager must pass on money received.
Artists should insist on a right to see the booking agreements and payment receipts for their shows, and on money being paid into an account they can check. Managers should secure a clear term, notice to end it, and commission on deals they negotiated. Where a manager also signs bookings on the artist’s behalf, a written authority protects both of them and reassures organisers.
Some engagements are not a single show but a process. A sangeet choreographer teaches family members over several weeks and then performs or directs on the night; a theatre group rehearses a play for a corporate event; a band learns a set of requested songs. The agreement should list the number and length of rehearsals, where they take place, who pays for the space, what happens if participants miss sessions, and whether extra rehearsals are charged.
Where the artist creates something new — a choreographed routine, an arrangement of a song, a short script for an anchor — the agreement should say whether the family or company may reuse it, and whether the artist may use the routine or the recording of the rehearsal for its own portfolio. Choreography can be protected as a dramatic work, and arrangements of songs involve the rights of the original composer, so a quick check avoids surprises when the video is posted.
The advance holds the date. The agreement should say how much it is, when it is paid, and that the booking is confirmed only on receipt. The balance is usually due before the performance — often a day before, or before the artist goes on stage — and the agreement should say how it is paid (bank transfer or UPI to a named account, not cash to whoever asks) and that the artist may decline to start until it is received, after giving the organiser a stated time to pay.
Payments should go to the artist’s or agency’s bank account, with an invoice. Cash payments create tax problems for both sides and disputes about how much was paid. For businesses, the tax deducted at source should be shown on the invoice and certificate so that the artist can claim credit.
An artist registered as a micro or small enterprise and supplying services to a business may have the protections of the MSMED Act on delayed payment, including interest and the Facilitation Council, described in our freelance guide.
The technical rider is the list of what the performance needs to work. For a band it typically covers:
Riders sent by artists are often long and ambitious. The organiser should read them before signing, cross out what it will not provide and agree alternatives in writing. The agreed rider then becomes part of the contract. If the organiser fails to provide an essential item, the artist should not be in breach for a performance that is affected by it.
For out-of-town performances, the agreement should say who books and pays for travel (class of air or rail travel, number of tickets), local transport between airport, hotel and venue, hotel category and number of rooms, meals, and any daily allowance. It should say who pays for changes caused by a change of date, and for excess baggage for instruments.
The hospitality rider may also cover the green room: a private space near the stage, water, simple food, towels, and security. These things are minor in cost and major in goodwill. Organisers who have agreed them should make sure the venue knows.
Many problems on the night come from information the artist never had. A short event brief, attached to the agreement or sent a week before, should give the running order of the evening, the name and number of the person in charge on the day, the stage manager or sound vendor’s contact, parking and entry arrangements for the crew, the dress code if any, the languages and age range of the audience, and any sensitivities — a recent bereavement in the family, senior guests who dislike very loud music, a company rule against alcohol references.
For corporate events, the brief should also mention the client’s name and any speeches or awards the artist must wait for or announce, and whether a senior executive will join on stage. Artists, in turn, should send their set list, the names of accompanying members for passes, and any medical or dietary needs of the team. Exchanging this information in writing makes the agreement work in practice.
Cancellations happen: a wedding is postponed, a company cancels its annual day, a promoter sells too few tickets. The artist has held the date and may have refused other offers. A sliding scale is the usual answer.
| When the organiser cancels | A common arrangement |
|---|---|
| More than 60 days before the event | Advance adjusted against a new date within a year, or partly refunded |
| 30 to 60 days before | Advance retained |
| 7 to 30 days before | Advance retained plus a further part of the fee |
| Less than 7 days before | Full fee payable, plus travel costs already incurred |
| Change of date instead of cancellation | Advance carried over once, subject to the artist’s availability |
These are commercial choices, not legal rules. Under the Contract Act, a stated sum payable on breach is treated as the maximum compensation, and a court awards reasonable compensation up to that sum. A schedule that reflects the artist’s real loss of opportunity is more likely to be accepted than one that simply demands everything.
If the artist cancels without a good reason, the organiser should receive a full refund of everything paid, promptly. The agreement may add a further amount as compensation for the organiser’s wasted costs, but artists usually resist that, and it should be proportionate.
Illness and emergencies need a separate clause. The artist should give notice as soon as possible and a medical certificate if asked, and may offer a replacement of similar standing or a new date. If the organiser does not accept either, the amounts paid are refunded. Missing a flight because of the artist’s own lateness is not an emergency; a flight cancelled by the airline may be, if the artist had booked sensibly and tried alternatives.
Where a named artist is the reason for the booking — the singer whose name is on the invitation — the agreement should say that no substitute is acceptable without the organiser’s written consent.
Outdoor events in India face rain, heat, dust storms and, sometimes, sudden restrictions: an election code of conduct, a law and order situation, a period of state mourning, a local ban on loudspeakers after a certain hour, or a public health order. A force majeure clause says what happens when the performance cannot take place for reasons neither side controls.
A fair clause separates three situations. If the event is cancelled by an authority or by a genuine force majeure event, the artist keeps a part of the advance to cover costs already incurred and the rest is carried over to a new date or refunded. If the event goes ahead but the performance has to be shortened — rain stops play after thirty minutes — the artist is treated as having performed if it was ready and willing. If the artist cannot travel because of an event beyond its control, the same principles apply in reverse.
“Force majeure” should be defined by listing events, not left to a single phrase, and should exclude things that are simply inconvenient, such as low ticket sales or a change of mind by the host.
Because Section 38A requires the performer’s consent to record, broadcast or communicate a performance, the organiser needs that consent in writing for anything more than private viewing. The agreement should deal separately with:
Artists often allow short clips freely because they help publicity, but want control over full-length videos, which compete with their own releases. The agreement should also say that the artist may use clips of the performance on its own channels, with the organiser’s consent for private events where guests are identifiable. The organiser’s own photographer is covered by a photography and videography contract, explained in our photography contract guide.
Recording work is different from live work because the result is a permanent asset. A session singer, a musician playing on a track, a voice artist recording an advertisement or an audiobook narrator should know what happens to the recording.
The usual structure is a fee per session, per hour or per finished minute, with a clear statement of the uses allowed: one television commercial for one year in India, a radio campaign, a digital campaign, an in-store announcement, a corporate film. Wider or longer use is paid for as a renewal. A “buy-out” for all uses for ever should be priced as such. Performers’ entitlement to royalties for commercial use, preserved by the proviso to Section 38A, should be considered before signing a document that purports to waive everything.
Voice artists face a newer risk: synthetic voices. A recording made for one campaign can be used to train a model that reproduces the voice. The agreement should say that the recordings may not be used to create or train a synthetic voice without separate written consent and payment. Credits, re-takes, the number of revisions included, and the delivery format should also be fixed. Deals where music is the main subject are better handled through our music and film rights service; our music and film rights guide explains recording and publishing deals.
Actors in films, series, advertisements and corporate videos sign agreements that look more like employment contracts for the duration of the shoot. Key terms include the character or role, the number of shoot days and the dates, overtime and additional days, dubbing and re-shoots, the fee and its instalments, credit, costume and make-up, travel and stay, and restrictions such as not changing appearance during the shoot.
Rights in the performance go with the film once the actor consents to its incorporation, but the agreement should still say how the actor’s name and likeness may be used in promotion, stills and merchandise, and for how long. Nudity, intimate scenes and stunts should be described in advance, with consent recorded and the right to a body double or intimacy coordinator where appropriate. For advertisements, exclusivity against competing brands for a period is common and should be paid for.
Organisers want to use the artist’s name and photograph on posters, invitations, ticket pages and social media, and the artist usually wants that too. The agreement should say which name and photographs may be used (preferably ones supplied or approved by the artist), for how long before and after the event, and that the use is only to promote the event.
Using an artist’s image to suggest that the artist endorses a product — a sponsor’s drink, a real estate project, a jewellery brand at the event — is a different matter, and needs separate consent and usually a separate fee. Indian courts have protected well-known artists against unauthorised commercial use of their name, image and voice, as explained in our guide on name, face and voice. Sponsor branding on the stage backdrop should be disclosed to the artist in advance.
Promoters of ticketed shows often ask the artist not to perform in the same city, or within a radius, for a period before and after the show, so that tickets are not undercut. Brands sponsoring a show may ask the artist not to perform for competing brands. Families rarely need such clauses.
Section 27 of the Contract Act makes agreements in restraint of a lawful profession void, subject to narrow exceptions. Courts have generally accepted restrictions that operate during the term of the engagement and protect a legitimate interest, but are reluctant to enforce restraints that continue after the agreement ends. A radius clause should therefore be as narrow as possible — public ticketed shows only, in a named city, for a limited number of days — and should exclude private events and the artist’s own releases. The same principle is discussed for creators in our influencer guide.
What is said and performed on stage is the performer’s responsibility, but the organiser shares the consequences when a comedian’s joke or a song’s lyrics cause offence. Criminal law, now in the Bharatiya Nyaya Sanhita, 2023, covers obscene acts and songs in public places and deliberate acts intended to outrage religious feelings, and defamation remains both a civil wrong and an offence.
The agreement should record the audience and any limits the organiser wants — no political content at a corporate event, no explicit lyrics at a family function — and the artist’s promise to respect them. Stand-up comedians and anchors may be asked to share an outline or script for approval. Artists should keep creative control within the agreed limits and not accept an obligation to change material at the last minute. If a complaint does follow, a clear record of what was agreed helps both sides; our defamation guide explains how such complaints are usually handled.
A band playing popular film songs at a public event is performing copyrighted musical and literary works owned by composers, lyricists and music publishers, and a DJ is also playing sound recordings owned by labels. Public performance of such works generally needs a licence from the owners or from a copyright society authorised to license on their behalf, and the organiser usually obtains it.
Section 52 exempts certain performances — for example, in the course of a bona fide religious ceremony, including a marriage procession and other social festivities associated with a marriage — from infringement of copyright in literary, dramatic or musical works and sound recordings. That exemption is narrower than people think and does not cover every private party or commercial venue. Corporate events, clubs, hotels and ticketed shows should check what licences they need. The agreement should say who is responsible, and the artist should not be liable for the organiser’s failure to obtain licences for the venue.
Children perform in films, serials, advertisements, reality shows and at events. The Child Labour (Prohibition and Regulation) Act, as amended in 2016, prohibits employment of children but allows a child to work as an artist in an audio-visual entertainment industry, including advertisements, films, television serials and similar entertainment or sports activities, subject to safety conditions set out in the rules. Those conditions include permission from the district authority for the production, limits on hours of work each day with rest intervals, no disruption of schooling, and a portion of the earnings being kept for the child.
An agreement engaging a child must be signed by a parent or guardian, should record the permission obtained, the hours and rest, the presence of a parent on set, arrangements for schooling, and where the child’s share of the fee will be deposited. Guidelines issued by child rights bodies for the entertainment industry should also be followed. Content involving children should be reviewed with particular care, and clips should not be used in ways that expose the child to harm.
Stages collapse, wiring fails, crowds surge, and pyrotechnics go wrong. The organiser controls the venue and should be responsible for a safe stage and structure, electrical safety, crowd control, security for the artist and crew, and the permissions the event needs. The artist should follow the venue’s safety instructions and be responsible for its own equipment and the conduct of its team.
Large events should carry public liability insurance, and the agreement can require the organiser to have it. Artists touring with expensive instruments may insure their own equipment. The agreement should also cover the conduct of both sides: the artist’s team is expected to behave professionally, and the organiser must ensure that guests do not harass or endanger the performers. A clause allowing the artist to stop the performance if safety is at risk, without being in breach, is reasonable.
A film set, a studio, a rehearsal space and an event venue are workplaces for those who work there, and the Sexual Harassment of Women at Workplace (Prevention, Prohibition and Redressal) Act, 2013 applies to them. Production houses and event companies with ten or more workers must have an Internal Committee; smaller engagements fall to the Local Committee of the district. Our POSH guide explains what counts as a workplace and how complaints are handled.
The agreement should say that the engaging party has a policy, name the person to contact, and allow a performer to leave a situation that is unsafe without penalty. For dancers, models and young performers, the presence of a chaperone and clear rules about changing rooms and travel are practical protections.
A promoter who sells tickets may offer the artist a fixed fee, a share of revenue, or a guarantee plus a share above a threshold. Revenue deals need precise definitions: gross ticket sales, less the ticketing platform’s fee, GST, refunds and any entertainment tax, and whether sponsorship income and food and beverage sales are included.
The artist should receive access to the ticketing platform’s report, a settlement statement after the show, and payment within a fixed number of days. Complimentary tickets should be capped. The agreement should also say who decides ticket prices and marketing, and whether the artist must promote the show on its channels. The accounting principles are the same as in our revenue-sharing guide.
A tour or a series of shows is best documented as a master agreement with a schedule of dates. The master sets the common terms — fee per show, rider, travel standard, cancellation, recording and image — and each show is added by a short confirmation. The agreement should say whether cancellation of one show affects the others, whether the artist is paid for travel days, how the crew is managed, and who handles local permissions in each city.
Where a promoter commits to a number of shows, a minimum number of dates may be guaranteed, with a payment if fewer are held. Residencies at clubs and restaurants work similarly, with notice to end the arrangement and a rule about nights cancelled at short notice.
GST on artists has a specific exemption. Services by an artist by way of a performance in folk or classical art forms of music, dance or theatre are exempt where the consideration charged does not exceed ₹1.5 lakh per performance, but the exemption does not apply to services provided as a brand ambassador. Other performances, such as Bollywood music shows, stand-up comedy or DJ sets, are generally taxable if the artist is registered or required to register. Artists with turnover below the registration threshold need not register, but should check the rules for inter-state supply.
For income tax, businesses paying fees to resident artists generally deduct tax at source. Fees to film artists such as actors, singers, music directors, dance directors and lyricists are usually treated as fees for professional services under Section 194J, while other contracts may fall under a different section depending on their nature. Families hiring for a wedding are usually not required to deduct. Rates and thresholds change, so confirm them with an accountant before the first payment.
| Situation | GST, in outline | TDS, in outline |
|---|---|---|
| Classical or folk performance, fee up to ₹1.5 lakh | Exempt (not as brand ambassador) | Depends on who pays and the nature of the contract |
| Bollywood show at a corporate event | Taxable if the artist is registered | Deducted by the company, usually |
| Singer for a family wedding | Taxable if the artist is registered | Usually not deducted by an individual |
| Actor or singer for a film | Taxable | Section 194J commonly applies |
| Foreign artist in India | Depends on place of supply | Section 195 withholding |
Bringing a foreign artist to India raises three practical issues. The artist must hold the correct visa for a paid performance; the organiser should check the category applicable at the time and allow enough time. Tax must be deducted under Section 195 on the fee, subject to any treaty relief the artist qualifies for, and the remittance handled through the bank with the required forms. And the artist’s standard contract and rider, often prepared for another country, should be adapted to Indian conditions: cancellation, force majeure, music licences, local permissions and dispute resolution.
Indian artists performing abroad face the mirror image: the host country’s work permit or visa, local withholding tax, and a contract under foreign law. The agreement should say who arranges and pays for the visa, that the fee is net of or gross of foreign tax, and that the artist will receive a certificate of tax withheld to claim credit in India.
An artist agreement is generally stamped as an agreement under the stamp law of the state where it is executed, and the duty is usually modest. Stamping at the time of signing avoids problems if the document is later produced in evidence; e-stamp paper can be bought online, as our e-stamp page describes. Signatures can be physical or electronic under the Information Technology Act.
Both sides should keep the signed agreement and rider, payment receipts, invoices, messages about timing and changes, and photographs of the stage and equipment on the day. If a message or photo has to be proved in court, the Bharatiya Sakshya Adhiniyam, 2023 asks for a certificate for electronic records, and that is far easier to give when the records were saved properly at the time.
The Specific Relief Act does not allow specific enforcement of a contract for personal service, so a court will not order an artist to perform. The organiser’s remedies are a refund, compensation for loss that was foreseeable when the contract was made, and in suitable cases an injunction to stop the artist performing for a competitor in breach of a negative promise during the contract term. The artist’s remedies against an organiser who cancels or does not pay are the fee or cancellation charge under the agreement, with interest.
Most disputes are resolved with a legal notice setting out the agreement and the amount claimed. If that fails, the dispute can go to a civil court, a commercial court for larger business disputes after pre-institution mediation, or arbitration if the agreement provides for it. Court or arbitration work is for your advocate, whose fee is engaged and paid by you directly. You can find an advocate through our directory.
| If you are the artist | If you are engaging the artist |
|---|---|
| Advance before holding the date; balance before going on stage | Pay to a named bank account, against an invoice |
| Rider agreed in writing, with a sound-check slot | Read the rider and strike what you will not provide |
| Waiting time and overtime priced | Exact set length, sets and breaks |
| Cancellation schedule that reflects lost bookings | Full refund if the artist cancels; no substitute without consent |
| Control over full-length recordings; no synthetic voice | Written consent for photos, streaming and clips |
| No endorsement of sponsors without a fee | Approved photos for posters and invitations |
| Narrow radius clause, during the term only | Content limits suited to the audience |
| Right to stop if safety is at risk | Music licences, permissions and safe stage arranged |
Returning to the family in Faridabad: with an agreement, the booking would have looked different. The agreement names the singer and six accompanying musicians, the venue and date, arrival by 6 p.m., sound check from 6.30 to 7.30 p.m., and a performance of ninety minutes in two sets between 9 p.m. and 11.30 p.m., in Punjabi and Hindi, with ten songs chosen by the family from the singer’s list. Waiting beyond 10 p.m. is charged per half-hour, and so is any extension.
The fee includes the band and their local transport; the family provides sound and lights to the attached rider, which the sound vendor has confirmed. Half the fee was paid on booking; the balance is payable by bank transfer by 5 p.m. on the day, and the singer may wait to start until it is received. If the family postpones more than sixty days before, the advance moves to a new date within a year. The family’s photographer may film the performance for the wedding film and post three clips of up to a minute each; live-streaming to relatives abroad is allowed on a private link. The singer may post clips only with the family’s consent. The show ends by the time the venue’s noise permission allows.
A Mumbai advertising agency engages a session singer to record a thirty-second jingle for a regional snack brand. The agreement fixes a fee for a four-hour session including up to three revisions, and states the permitted uses: one television commercial and its digital cut-downs, and radio, in India, for twelve months from first airing. Renewal for another year, or use in other countries, is priced at an agreed percentage of the original fee.
The singer is credited in the agency’s campaign materials where credits appear. The recording may not be used to create or train a synthetic voice. The agency obtains the music composition and lyrics from its composer under a separate agreement, and the singer’s agreement confirms only the performer’s consent to record and communicate the performance for the licensed uses. Tax is deducted under the applicable section, and GST is charged because the singer is registered. When the brand later wants to use the jingle in a film at a cinema chain, the agency returns for a renewal rather than assuming the rights.
Our artist or performer agreement costs ₹3,999 and is ready in 2 – 4 days. The fee covers an agreement for a single engagement between two parties, including a rider schedule. For tours, residencies, films or recording contracts with royalties, we look at the details, settle what is needed and tell you the total before we start.
| Included | Why it helps |
|---|---|
| A call to understand the engagement | The agreement fits the actual show |
| Performance, schedule and sound-check terms | No argument about what was booked |
| Fee, advance, balance and tax clauses | Payment on time, in the right way |
| Rider and hospitality schedules | What each side provides, in writing |
| Cancellation, illness and force majeure | A fair answer when plans change |
| Recording, streaming, image and exclusivity | Rights settled before the cameras come out |
| Content, safety, child artist and licence terms | Fewer surprises on the night |
| One revision round, then the final draft | Signed and stamped before the date is locked |
Related documents — event management agreements, photography contracts, NDAs — are quoted separately. Court proceedings or arbitration are for your advocate, whose fee is engaged and paid by you directly; we do not quote, collect or share it.
Set length, sound, the balance, cancellation, recording and image — decide them on paper, not on the stage. Whether you are the artist or the one booking, tell us about the engagement and we will draft the agreement.
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