FREQUENTLY ASKED QUESTIONS
HOW MUCH DOES IT COST?
Rates are scoped per event rather than off a flat card — date, program length, event type, and travel radius all move the number. For planning purposes, most corporate and club engagements land in the $1,500–$5,000 range. Send me the date, venue, and rough program flow and I'll have a quote back the same day, formatted to drop straight into your budget or your client's proposal.
WHAT DOES THE BOOKING PROCESS LOOK LIKE?
A short discovery call, or email if that's easier, to get scope: purpose of the event, audience, venue, program flow. From there you get a written quote. Once it's approved, we lock the date with a signed agreement. Closer in, I confirm load-in window, on-site point of contact, and where I sit in the run of show. Nothing left to figure out day-of.
WHAT HOLDS THE DATE?
Standard terms are 50% to hold, balance day-of. That said, a lot of my work comes through DMCs, agencies, and corporate AP, and I'm set up to run on your terms instead — PO and net terms, vendor portal, invoice after the fact. Flag it during the quote and we'll paper it your way. What I won't do is hold a date on a verbal, for your protection as much as mine.
WHEN IS THE BALANCE DUE?
Whatever your process requires. Day-of check, net-30, ACH after the event. The only thing I ask is that we settle it during the quote rather than after the event.
WHAT WOULD YOU NEED US TO PROVIDE?
For anything I can drive to, nothing. I'm self-contained — my own PA, mics, instruments, and cabling, so there's no AV coordination on your end. All I need is a standard edison drop and roughly a six-by-six footprint. If the venue has house sound and you'd rather I patch in, I can send a feed to FOH instead. Either way, one less line item on your production budget.
Fly dates work differently — sound is provided on your end. Details below.
WHAT DO YOU NEED ON A FLY DATE
I travel with guitar and pedalboard; the PA stays home. On any out-of-market booking, sound is provided on your end — house system, your AV vendor, or a local provider, whichever your venue already uses. The ask is modest: a house PA or two powered speakers with coverage for the room, two XLR inputs, one vocal mic on a boom stand, one monitor wedge or a feed I can run to my own in-ears, and the same power drop and footprint as a drive date. A one-page tech rider goes out with the contract, and I'll advance it directly with your AV team about ten days ahead so nothing is getting solved at load-in.
DO YOU TAKE SONG REQUESTS?
Yes, and we usually handle most of it before the event. Send must-plays, must-avoids, a walk-on song for your CEO, a milestone you want acknowledged from the mic. Client input always makes for a stronger program than a generic one. In the room, I take requests as they come — that's usually where the good moments are.
CAN YOU SUPPLY BACKGROUND MUSIC INBETWEEN SETS?
Continuous coverage is standard, not an add-on. If the venue doesn't already have ambient programming during transitions, I'll run it through my own system. Send me a playlist or a genre and I'll match it.
HOW LONG DO YOU NORMALLY PLAY FOR?
Anywhere from a 30-minute block to a four-hour engagement. Solo sets up to three hours run continuously — no breaks, no dead air. On longer programs I build in a break or two and cover the gaps so the room never goes quiet.
HOW DO YOU HANDLE A MIXED CORPORATE AUDIENCE?
The catalog runs Beatles to Bruno Mars, organized by era, which covers most demographic mixes you'll put in a ballroom. I open in the middle of the room's age range and adjust from there based on what's actually landing. Energy is a separate dial from era — cocktail hour and the last hour of a club event call for different things out of the same decade. No fixed set list. Reading the room is the job.
WHAT KIND OF EVENTS HAVE YOU PLAYED?
Pinehurst Resort, Bald Head Island Club, and the World Golf Hall of Fame, along with corporate programs for Blue Cross Blue Shield, Titleist, and Campbell's. Club member events and tournament weeks, corporate retreats, awards dinners, donor events, and private receptions.
HOW DO YOU WORK WITH DMCS AND ENTERTAINMENT AGENCIES?
I'm easy to program. I take direction from the run of show, hit my cues, dress to the event, and I don't need handling on site. On multi-day programs I can cover more than one touchpoint, which usually saves you a second vendor and a second load-in. And I don't go around the person who brought me the lead.
WHAT IF SOMETHING GOES WRONG?
Redundancy travels with me: backup power, cables, spare strings, and a second mic live in the vehicle permanently. I'm on site a minimum of two hours early on every event, which is also when I meet your team and get a read on the room. In the rare case I couldn't make a confirmed date, I'd source a comparable act through my agency network rather than leave you to solve it.
DO YOU TRAVEL?
Based in Raleigh–Durham, with regional coverage across North Carolina and the Southeast as the default — Pinehurst, Charlotte, Wilmington, Greensboro, and the coastal and mountain resort markets. Beyond that, travel terms are quoted up front: mileage, lodging, or air depending on distance. No surprises on the back end. For anything requiring a flight, see the fly-date and flight-date terms above — the short version is that sound is provided locally and I travel in the day before.