Set of requests or demands by a performer
In theater, dance, and live musical performances, a rider is a set of requests or demands that a performer sets as criteria for performance, which are typically fulfilled by the hosting venue. Types of riders include hospitality and technical.[1]
Since the 2010s, inclusion riders, which provide for certain levels of diversity in casting and production staff, are used in the film and television industry.[citation needed]
Hospitality rider
The hospitality rider is a list of requests for the comfort of the artist on the day of the show. Common requests are:[citation needed]
- Specific foods and beverages (typically water, but sometimes alcoholic beverages)
- Fresh towels
- Transportation and hotels
- A runner (a person or persons hired to act as a personal shopper/driver for band and crew needs)
- A number of complimentary ("comp") tickets or guest lists (free tickets for friends and family)
- Security personnel and/or locking rooms
- Access to a private bathroom and/or shower
- Ice
Technical rider
A document which specifies the types of equipment to be used, the staff to be provided, and other arrangements directly relating to the performance.
For live music performances, technical riders usually include:
- An input list, which will highlight every single stage connection that the engineer is going to be making, giving them an idea of how many channels are going to be required for the show.[2]
- A stage plot, a rough block diagram that shows where each band member will be on the stage.[2]
Typical requests are:
Piano
Sound
- Sound reinforcement system, generally described in terms such as 'a professional quality 3 or 4 way active system', frequency response (e.g., 45 Hz-20 kHz) and power (either in wattage or dB SPL) are also common[citation needed].
- Mixing consoles—it is normal for engineers to specify a list of preferred consoles and also minimum requirements (such as number of channels) from other consoles as a backup. Requests for recording equipment or feeds for recording are sometimes included here.
- Outboard gear—the number and quality of gates, compressors and effects units required.
- Channel/input list—a list of the instruments being used, including preferred microphones and inserts.
- Monitor requirements—often included alongside the channel list, detailing the number of monitor wedges and mixes required, a section similar to the front of house requirements detailing the need for monitor desk, graphic equalizers and other outboard equipment. If a monitor engineer is to be provided by the house it is generally requested here.
- If the artist brings large amounts of equipment (such as a PA system) then power requirements are likely to be stated here.
Lighting
- Depending on the size of the production this can vary between 'provide a front wash and x kW of back lighting' to specific lighting plots of equipment
- The number and type of follow spotlights to be used
- Number of lighting technicians
- Power requirements
- Truss weightings (when the lighting system is provided by the touring production.)
Backline
- Some bands will not transport the full backline due to the expense of transport (generally if performing only a few times in each country/area) and may have the venue provide some to all of it. Larger items like amps, cabs and drums are more likely to be requested than guitars which many musicians treat more personally.
- Risers—a riser is a raised area of stage, the size and positioning of risers for musicians (such as drummers, orchestra wind sections) are specified here.
Other
- Crew—productions typically specify the number of local crew the venue should provide as well as any technical staff.
Unreasonable requests
On occasion, an artist's rider may be seen as unreasonable or excessive for a given performance. It is often the case that such riders were devised for larger or more complex performances. In situations like these, the stage manager would talk with the band manager about alternatives.
Some requests or requirements are used to avoid certain conditions and small venues. Such clauses make it difficult to put on a show and/or limit production quality. An example could be a ballet choreographed for a 60 feet by 60 feet stage. Adapting to a smaller stage could require removal of vital parts of the performance. Another example is asking for an unnecessarily large power supply.
Some rider requirements are attempts to avoid specific problems from previous shows. Some venues cut corners to save expense, leaving the touring crew with inedible food, etc.
"Unreasonable requests" (if legal) can be contractual obligations. Failure to meet such terms can compel performance fees to be paid without a performance.