How to decide if a Gig is worth your time | A Guide for Musicians

Every gig is not a good opportunity.

Say it with me again!

Every gig is not a good opportunity.

And while that might seem like common knowledge, I see so many musicians not abiding by that principle. But I do not blame them. Musicians are taught to be grateful for anything they receive, especially when they first start out.

Because this is how you get experience, meet people, and build your résumé. Besides, if you do not take it, someone else will gladly take your spot.

Sounds sh*tty, right? Right.

I decided to stop actively gigging because I was not following the advice I already knew to be true. I was treating every gig like a good opportunity, but it left me empty. I decided to set some criteria for myself so I would only take gigs that fit within the guidelines I created for myself. A paycheck is not the only thing that determines whether a gig is worthy of your time. Here are the questions I ask myself moving forward.

How Much Does the Gig Pay?

Sometimes, before we even take the time to evaluate an offer, we are so excited to say yes because it feels like a once-in-a-lifetime opportunity. But that is not always the case.

You should always ask for all the details upfront. I need to know how and when I will be paid. Does the payment include rehearsals? Are there additional responsibilities such as soundcheck, setup, teardown, meetings, promotional appearances, or providing my own equipment? A gig that pays $300 may sound decent until you discover that it includes three rehearsals, a two-hour performance, setup, teardown, and a forty-mile drive each way. The number alone does not tell you what the job is worth.

What hours do I have to Put in?

Never, ever, EVER only count the hours in a performance. I see musicians do this all the time and all I can do is sit there and internally scream! You need to put the whole commitment into perspective-- because this is your time, and your labor. Somethings you might want to think about is the following:

• Learning and preparing the music

• Printing or organizing materials

• Rehearsals

• Meetings and soundchecks

• Travel

• Parking

• Setup and teardown

• Waiting around

• The performance itself

• Communication before the event

• Recovery afterward

  
  

A two-hour gig can easily consume an entire day and it just might not be worth it. An easy way to check is dividing the payment by the actual number of hours involved.

What Will It Cost Me?

Along side the actual hours you have to put in, you have to put a number. Everything has a cost. And if you sat down and spent some time to calculate the cost of everything, you might be surprised. You might be spending more than you are making to attend said gig.

You may include transportation costs, food, lodging, performance clothing, childcare, and even the 25 cents that it costs to print music-- there's are all things to consider. Subtract those expenses from the amount you are being paid. That is much closer to what you are actually earning.

What Is the Physical, Mental, & Emotional Cost?

Okay, so this might be specific to me, but I am including it anyway.

Neurotypicals can learn from this too though ;)

As an AuDHD individual, it takes a lot of hidden labor for me to carry out a performance, so my body and mind will always factor into the cost. I know for a fact that after a day of heavy socializing, I may need to take a day or two off. I need as much information as possible so I can comfortably agree to something and prepare for what it will require. This cost is hard to calculate because it varies from person to person. You may need to consider:

• Social energy

• Sensory tolerance

• Physical pain or fatigue

• Performance anxiety

• Schedule changes

• Recovery time

• Sleep

• The ability to function the following day

  
  

The fact that something is difficult to put into a spreadsheet does not mean it has no value.

Is the Information Clear?

I do not take ambiguous gigs. I need to know everything upfront before I agree.

I need to know everything from the date to the call time and all the other expectations that are too long to list.

If the organizer cannot answer basic questions, that tells me the gig is probably going to be a hot mess—and I do not want any part of it! Granted, I am reasonable and anticipate some changes because that is just life.

But poor communication? No thanks.

For larger or more complicated gigs, I also want the agreement in writing. Even an email confirming the payment, schedule, responsibilities, cancellation terms, travel arrangements, and recording or media use is better than relying entirely on a verbal conversation. A one-time performance and permanent use of my work or image are not the same thing.

This isn't me but this is me thinking about whether or not a gig is worth it.

Who Is Hiring Me?

I need to know who is hiring me because I need to make sure I am safe and not aligning myself with crusties. I do not want to be miserable in general, much less at a gig. I want to know some basics that I usually can find with a little internet sleuthing. A paycheck does not automatically make every environment worth entering.

Is it in alignment with my big picture?

When I was first starting out, I did not explore this aspect as much because I just wanted experience. But in the grand scheme of things, you want to check in with yourself and see whether the opportunity feeds into your goals. For me, I realized that the music that makes me smile really big and genuinely excites me as a performer includes music from film and media, more contemporary works, and music with interesting harmonies. That is my baseline for a lot of gigs now.

I want to make sure the gig offers me something beyond monetary value as well. Getting “exposure” is never worth my time. Exposure cannot pay for gas, food, repairs, or rent. Another question that helps me evaluate the nonmonetary value is: If no one saw me perform, would I still do it?

This helps me evaluate the value outside of money and define the actual appeal of the gig.

What Am I Giving Up to Say Yes?

Every yes requires a no somewhere else. And this is where the real way in comes because it is competing with time with family or friends, personal projects, a date night or whatever it maybe. I'm not willing to miss major milestones anymore especially for a last minute gig.

Does It Pay, Build, or Feed Me?

I tend to place gigs into three categories:

It Pays

The compensation reasonably covers the time, work, expenses, energy, and expectations involved. A professional organization requesting extensive rehearsals, difficult repertoire, travel, formal clothing, and last-minute availability should offer professional-level compensation. Do not give me hobby-level pay for professional-level labor.

It Builds

The gig offers a specific relationship, skill, credit, experience, or opportunity that genuinely supports one of my goals. It gives me something concrete beyond vague promises of exposure.

It Feeds Me

The music, people, mission, or experience brings me enough joy or meaning that I choose to participate. It hypes me up. The strongest gigs may do all three. A gig should ideally do at least one of them very well. If it does not pay me, build something meaningful, or feed me creatively, I have to ask why I am doing it.

Final thoughts

Before accepting a gig, I consider the pay, time, expenses, expectations, communication, safety, accessibility, and the amount of energy and recovery it will require. I also ask myself whether it supports one of my goals, genuinely excites me, and whether I would recommend the same conditions to another musician. A gig does not need to be perfect in every category. A meaningful performance may be worth accepting for less money, while a well-paying opportunity may justify a difficult weekend.

The point is to understand the trade-offs and make the decision intentionally.

Turning down a gig does not make you less of a musician. Not every open door leads somewhere you need to go. You are allowed to ask questions, negotiate, protect your capacity, and reserve your energy for the work that actually hypes you up.