Sample Contract - 9
ARTIST TOUR, CONCERT AND ORGANIZATION AGREEMENT
ARTICLE 1 - PARTIES
1.1. Company / Sponsor / Project Owner
Title: ………………………………………………..
Address: ………………………………………………..
Tax Office / Tax Number: ………………………………………………..
Authorized Person: ………………………………………………..
Hereinafter “THE COMPANY” .
1.2. Manager / Representative
Name Surname / Title: ………………………………………………..
Address: ………………………………………………..
Turkish Republic Identity Number / Tax Number: ………………………………………………..
Authorized Person: ………………………………………………..
Hereinafter “MANAGER” .
1.3. Company
Name: ………………………………………………..
Address: ………………………………………………..
Tax Office / Tax Number: ………………………………………………..
Authorized Person: ………………………………………………..
Hereinafter “ORGANIZATION” .
1.4. Artist's
Name and Surname / Stage Name:
The artist represented by the MANAGER "ARTIST" .
The COMPANY, MANAGER, and ORGANIZATION will be referred to collectively “Parties,” and individually “Party .
ARTICLE 2 - DEFINITIONS
In this agreement;
- Tour: This agreement covers a total of ….. live concert events to be held in different cities or venues.
- Concert: Each event where the ARTIST performs live,
- Technical Rider: An additional document detailing sound, lighting, stage, backline, dressing room, and technical requirements.
- Hospitality Rider: An additional document detailing transportation, accommodation, food and beverage, security, backstage, and hospitality requirements.
- Promotional Materials: This refers to posters, billboards, digital visuals, teasers, videos, press releases, social media content, and all printed or digital advertising materials
ARTICLE 3 - SUBJECT OF THE AGREEMENT
The subject of this agreement is the ARTIST's participation in a tour consisting of ….. concerts at specified dates and venues, coordinated by the MANAGER, with project/sponsorship support from the COMPANY and staging, technical, logistical and operational services from the ORGANIZATION; and the arrangement of fees, promotion, technical preparation, security, transportation, accommodation, ticketing, responsibilities and other related matters. This structure is an expanded version of the core model based on the number of concerts, technical preparation, security, promotion, ticket revenue and payment structure in the example you uploaded.
ARTICLE 4 - TOUR PLAN
4.1. The tour will take place between …../…../20…. and …../…../20….
4.2. Concert dates, cities, venues, and approximate performance times will be shown in Appendix 1 Tour Schedule
4.3. The COMPANY and ORGANIZATION may propose changes to the tour schedule for commercial, technical, administrative, or security reasons. The MANAGER's written approval is required for these changes to be valid.
4.4. The parties shall also confirm in writing the door opening time, soundcheck time, stage time, estimated performance duration, and evacuation time for each concert.
4.5. Unless otherwise agreed in writing, the ARTIST shall remain on stage for at least ….. minutes for each concert and shall perform a minimum of ….. works/songs from their repertoire.
ARTICLE 5 - RIGHTS AND OBLIGATIONS OF THE AGENT
MANAGER;
5.1. To ensure that the ARTIST performs on the dates and at the locations specified in the contract,
5.2. To establish the necessary coordination to ensure that the ARTIST fulfills their rehearsal, soundcheck, stage entrance, and performance obligations on time
5.3. To ensure that the ARTIST refrains from activities that would jeopardize their health, safety, and working conditions
5.4. To manage communication and coordination between the ARTIST and the Parties throughout the tour,
5.5. To submit the technical rider and hospitality rider certificates to the ORGANIZATION on time
5.6. The ARTIST shall immediately notify the Parties of any circumstances that may harm their stage performance, reputation, or safety
5.7. To prevent the establishment of any other sponsorship or tour relationship that directly competes with the tour in question and creates a conflict of commercial interest during the tour dates, without the written consent of the COMPANY
5.8. If further agreed upon by the parties, to ensure the ARTIST's participation in ….. promotional/special participation/free events in addition to the concerts covered by this contract,
He/She accepts and undertakes.
ARTICLE 6 - RIGHTS AND OBLIGATIONS OF THE ORGANIZATION
ORGANIZATION;
6.1. To manage the venue, operation, stage setup, audience management, and field coordination for all concerts included in the tour
6.2. To prepare sound, lighting, LED screen, stage, generator, backline, technical personnel, safety barriers, backstage area and technical equipment in accordance with Technical Rider requirements
6.3. Ensuring that venues meet capacity, safety, evacuation, fire department, municipal and other administrative requirements
6.4. To fully comply with all necessary official permits, licenses, copyright, security, municipal, law enforcement and other regulatory requirements for each concert
6.5. To provide transportation, accommodation, and hospitality for the ARTIST team and the organization team in a manner suitable for Hospitality Rider,
6.6. To ensure security at venues, hotels, airports, and concert areas throughout the tour
6.7. To ensure sufficient security personnel to provide audience safety, stage safety, equipment safety and backstage safety,
6.8. To start promotional and poster campaigns in the relevant city at least ….. days before each concert date,
6.9. To establish the ticket sales infrastructure, report sales, and ensure integration with the ticketing company when necessary
6.10. To ensure the stage, backstage area, and technical preparations are ready for the performance before the doors open for each concert
6.11. To ensure the protection of the ARTIST's personal equipment and group equipment before, during and after the concert
He/She accepts and undertakes.
The framework outlined in the text you uploaded, which includes the organization providing the technical system, obtaining legal permits, city-based promotion, transportation and accommodation, and leaving security to the organization, has been expanded upon in these clauses.
ARTICLE 7 - RIGHTS AND OBLIGATIONS OF THE COMPANY
COMPANY;
7.1. The player agrees to pay the MANAGER the service fee specified in this agreement on time
7.2. To manage the tour's corporate promotion, sponsorship arrangements, press conferences, advertising campaigns, and brand communication
7.3. To the extent specified in the contract, the ARTIST's name, stage name, photograph, video, and promotional materials related to the tour may be used solely for the purpose of promoting this tour
7.4. To be responsible for the legality of advertising and campaign content and for not infringing on the rights of third parties,
7.5. To undertake budget and creative management for billboard, digital campaign, press work and sponsorship visibility,
7.6. To assume responsibility, to the extent of fault, for any claims that may arise against third parties due to the content of the corporate emblem, logo, brand, and advertising materials used during the tour
He/She accepts and undertakes.
The structure outlined in the uploaded example, which includes the use of the artist's name/image in promotional materials, cocktail/press conferences, billboards, and advertising responsibility remaining with the company, has been preserved and enhanced in these clauses.
ARTICLE 8 - TICKETING AND REVENUE DISTRIBUTION
8.1. The sale, distribution, online platform integration, entry control, and revenue tracking of concert tickets are handled by the ORGANIZATION.
8.2. Ticket prices are determined by mutual agreement between the COMPANY, MANAGER, and ORGANIZATION.
8.3. The parties choose one of the following models:
Option A: All ticket sales revenue is given to the ORGANIZATION.
Option B: Ticket sales revenue is shared according to the following distribution ratio:
- ORGANIZATION: %.....
- COMPANY: %…..
- MANAGER / ARTIST: %.....
8.4. The ORGANIZING party shall provide the Parties with a ticket sales report, invitation list, refund/cancellation list, and net revenue statement no later than ….. business days after each concert.
8.5. The parties shall determine the quotas for sponsored/corporate bulk sales, protocol invitations, and free entry in writing in advance.
ARTICLE 9 - FEES AND PAYMENT METHOD
9.1. The COMPANY will pay a total of ……………… TL + VAT / ……………… USD + VAT .
9.2. The payment schedule is as follows:
- Advance payment on the date of signature: ……………………
- Before the first concert: ……………………
- Halfway through the tour: ……………………
- Closing payment after the last concert: ……………………
9.3. Payments will be made against an invoice/self-employment receipt/legal document issued by the MANAGER.
9.4. If the payment date falls on a holiday, payment will be made on the first business day.
9.5. In case of delay, the COMPANY agrees to pay a late payment fee / legal commercial default interest at a rate of %….. per month from the date of default.
9.6. The parties may also agree on additional revenue models such as fees per performance, bonuses, audience number bonuses, or sponsorship bonuses.
ARTICLE 10 - PROMOTION, ADVERTISING AND USE OF IMAGES
10.1. The COMPANY may use the ARTIST's name, stage name, image, biography, past performance footage, and photographs/videos taken during this tour for tour promotion purposes.
10.2. This use is limited solely to tour promotion, sponsorship communications, press and social media announcements. Unless otherwise agreed upon in writing, it may not be used for permanent brand campaigns, commercials, or advertising of other products/services.
10.3. If the ORGANIZING party intends to create brand visibility other than the COMPANY's in the concert area, it must obtain the prior written approval of both the MANAGER and the COMPANY.
10.4. Live broadcasting, recorded broadcasting, uploading to digital platforms, or licensing of concert recordings to third parties is also subject to written agreement.
ARTICLE 11 - TECHNICAL RIDER, BACKSTAGE AND HOSPITALITY
11.1. Technical Rider and Hospitality Rider shall be integral parts of this agreement.
11.2. In the event of non-compliance with the Rider terms, the MANAGER may request that the deficiency be remedied by giving a reasonable period of time.
11.3. In the event of a serious technical or security deficiency, the ARTIST may postpone performing until the deficiency is rectified.
11.4. Backstage area will only be open to authorized personnel. A list of those allowed to enter the backstage area will be created in advance.
11.5. Any requests the ARTIST may have for private security, private vehicle, private room or private backstage area will be determined by an additional protocol.
ARTICLE 12 - TRANSPORTATION, ACCOMMODATION AND SECURITY
12.1. The artist, manager, and stage crew's intercity and intracity transportation during the tour is provided by the ORGANIZING company.
12.2. Unless otherwise agreed in writing, accommodation will be in a hotel with at least ….. stars, with single/twin/suite room arrangements.
12.3. For safety and comfort reasons, the artist team and the organization's technical team are transported in separate vehicles.
12.4. Airport transfers, hotel check-in and check-out, concert venue check-out, and post-concert security arrangements are the responsibility of the ORGANIZING SERVICE.
12.5. A sufficient personnel and security plan will be prepared to address potential risks such as stampedes, audience disturbances, security lapses, stage interference, and similar incidents that may occur in the concert area.
This section clarifies the separate vehicle, luxury transportation, hotel, and security details in the text you uploaded.
ARTICLE 13 - HEALTH, POSTPONEMENT AND CANCELLATION
13.1. If the ARTIST experiences a health problem and this is documented with an official medical report, the relevant concert may be postponed.
13.2. In the event of an accident, natural disaster, epidemic, transportation closure, serious security threat, official ban, fire, power outage, venue becoming unusable, or similar circumstances, the concert may be cancelled or postponed.
13.3. In case of postponement, the Parties shall first endeavor to determine a suitable new date in the same city.
13.4. If the cancellation is due to fault originating from the ORGANIZATION, the direct damages of the COMPANY and the MANAGER shall be borne by the ORGANIZATION.
13.5. If the cancellation is due to fault of the ARTIST or MANAGER, the ORGANIZATION may also claim direct damages based on documentation.
13.6. If the cancellation occurs due to the COMPANY's serious breach of its advertising/sponsorship obligations, the COMPANY shall be liable depending on the degree of fault.
ARTICLE 14 - INSURANCE
14.1. The ORGANIZING party is responsible for obtaining insurance covering the venue, third-party liability, audience safety, stage equipment, general event risk, and cancellation insurance, if applicable.
14.2. If equipment insurance is to be taken out for the ARTIST's personal equipment and instruments, its cost and scope will be determined by an additional protocol.
14.3. The parties shall provide each other with their respective insurance policies upon request.
ARTICLE 15 - EXCELLENCE AND NON-COMPETITION
15.1. It is essential that the ARTIST does not participate in any similar campaign or advertising that directly competes with this tour and diminishes the COMPANY's sponsorship value during the tour period and for ….. days starting from the date of the last concert.
15.2. This provision does not absolutely prohibit the artist's general stage activities; it applies only with respect to competing brands, competing events, or conflicting sponsorship relationships as defined in the contract.
15.3. Which brands or organizations will be considered "direct competitors" may be indicated separately in a written list by the parties.
ARTICLE 16 - LIABILITY AND COMPENSATION
16.1. Each Party shall be liable for direct damages arising from its own fault.
16.2. The ORGANIZING ENTITY is primarily responsible for damages arising from deficiencies in venue security, audience safety, technical setup, stage infrastructure, equipment security, and official permits.
16.3. The COMPANY is responsible for third-party claims arising from advertising, promotion, logo and brand usage, sponsorship campaigns, and its own corporate communication activities.
16.4. The MANAGER is responsible for ensuring the ARTIST performs in accordance with the contract, adheres to the schedule, and addresses any coordination deficiencies within their area of responsibility.
16.5. General provisions regarding damages arising from the ARTIST's personal fault are reserved.
16.6. Claims for indirect damages, loss of reputation, loss of profits, and hypothetical damages can only be made if expressly agreed upon.
ARTICLE 17 - PENALTY CLAUSE
17.1. If either party breaches any of its essential obligations under this agreement without justifiable cause, the breaching party agrees to pay the other party a penalty of ……………… TL / ……………… USD equivalent in Turkish Lira
17.2. For the penalty clause to arise, it is essential that the breach is notified in writing and that, if reasonable depending on the nature of the breach, an opportunity for redress is given. However, in cases of irreparable breaches, such as the concert not taking place at all on the scheduled date, there is no need to grant an additional period of time.
17.3. Payment of the penalty clause does not preclude claiming damages exceeding the penalty if the actual damages are greater.
The logic behind the penalty clause equal to the contract price, as stated in the text you uploaded, has been retained, but made more defensible in practice.
ARTICLE 18 - CONFIDENTIALITY
18.1. The parties shall keep confidential all fees, sponsorship costs, rider content, tour schedule, backstage lists, transportation information, safety plans, and commercial terms.
18.2. Press releases and public announcements shall only contain content agreed upon by the parties.
ARTICLE 19 - PROHIBITION OF TRANSFER
The parties may not transfer their rights and obligations arising from this agreement to third parties without the prior written consent of the other parties. However, the ORGANIZATION may use technical subcontractors; this does not relieve it of its ultimate responsibility.
ARTICLE 20 - FORCE MAJEURE
20.1. Natural disasters, war, epidemics, administrative bans, serious security threats, civil unrest, disruption of transportation, rendering a place unusable, and similar events beyond the control of the parties are considered force majeure.
20.2. The party affected by a force majeure event shall immediately notify the other parties of the situation and attempt to document it.
20.3. In the event of force majeure, the concert may be postponed; if the parties cannot determine a new date within a reasonable time, the contract provisions regarding the concert will be reviewed.
ARTICLE 21 - NOTIFICATION
21.1. The addresses of the parties written in this agreement shall be their addresses for official notifications.
21.2. Unless a change of address is notified in writing, notifications sent to the old address shall be considered valid.
21.3. Notifications made via KEP (Registered Electronic Mail), notary public, courier, registered mail with return receipt, and written delivery receipt are valid.
ARTICLE 22 - EVIDENCE AGREEMENT
The parties' business books and records, bank records, ticket sales reports, camera recordings, email and messaging records, concert reports, delivery receipts, and insurance/police records may be used as evidence in disputes.
ARTICLE 23 - RESOLUTION OF DISPUTES
The parties shall first attempt to resolve the dispute amicably. If a solution cannot be reached , the ……………… Courts and Enforcement Offices shall have jurisdiction.
ARTICLE 24 - ENTRY INTO FORCE
This agreement consists of 24 articles and was signed in ….. copies on …/…/20…. and entered into force.
COMPANY
Title / Authorized Person / Signature
MANAGER
Full Name / Title / Signature
ORGANIZATION
Title / Authorized Person / Signature
ARTIST
Full Name / Stage Name / Signature
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