At some point, every working musician has to answer a question they were never taught to answer: what do you charge?
It is uncomfortable. It feels like you are putting a number on something that should not have one. And if nobody has ever walked you through how to think about it, you will probably either undercharge or guess — and spend years wondering if you guessed right.
Here is a more grounded way to think about it.
Start with what the gig actually costs you
Before you name a number, know what you are actually spending to show up.
Factor in:
- –Travel — fuel, parking, public transport, or tolls
- –Time — load-in, soundcheck, performance, pack-down, travel time each way
- –Gear — wear and tear on instruments, strings, reeds, sticks, maintenance costs
- –Preparation — rehearsals, learning material, admin time
A three-hour wedding gig rarely takes three hours. Add two hours of travel, an hour of soundcheck, an hour of load-in and pack-down, and thirty minutes sending the invoice and chasing the deposit — and you have spent most of your day on it. Your rate needs to reflect that.
Know what others are charging
Your rate does not exist in a vacuum. There are rough market rates for most types of gigs in most markets, and knowing where you sit is useful — not to simply copy what everyone else charges, but to understand the range and position yourself within it deliberately.
Talk to other musicians in your scene. Ask what they charge for corporate gigs, weddings, functions, sessions. Most working musicians are fairly open about this.
Musicians unions often publish recommended minimum rates. These are worth knowing even if you work independently — they represent a floor, not a ceiling.
Understand that different gigs command different rates
Not all gigs are priced the same, and they should not be.
Private events like weddings, corporate, and private parties generally command the highest rates, because clients have real budgets and expect professional delivery. Do not undersell here.
Venue gigs like bars, restaurants, and clubs range enormously — from door deals to flat fees. Know what the venue can realistically offer and whether the exposure is actually worth anything to you.
Session and recording work often has established rates, particularly in professional studios. Research the going rate in your city.
Dep work means you are stepping in at sometimes short notice to save someone's gig. That has value. Do not discount it.
Factor in what you bring to the table
Two musicians can both play guitar and both show up on time — but they are not necessarily worth the same rate.
Your rate reflects not just your playing, but your reliability, your professionalism, your ability to handle an unusual request, your gear, your experience with a particular genre, and your reputation. As those things develop over time, your rate should too.
Do not be afraid to charge more than you charged two years ago. If you are better, more experienced, and more reliable — you are worth more.
How to handle the conversation
When a client asks what you charge, be direct. Give them a number, not a range.
My rate for a three-hour function is this amount is professional and easy to respond to. It depends, anywhere between this and that puts the burden back on the client and signals uncertainty.
If they push back on price, that is fine — you can have a conversation. But start with clarity. It signals that you value your work, which makes clients more likely to value it too.
There is no perfect number that works for every musician in every market. But there is a number that is right for you — one that covers your costs, reflects your experience, and feels honest. Starting there, and adjusting as you learn more about your market and your worth, is a better approach than guessing and hoping.
You are not just a musician. You are running a business. Price it like one.