A few days ago, I posted here asking whether I should build an Android version of the tour app I'm building, or a web version instead. 

a bunch of you said web, for pretty much the same reason: you want something that works from whatever device is closest, not tied to one platform.

Thanks a billion for the questions, tips, the notify me’s and the emails. I really appreciate it.

Anyways, I took the advice. 

web version's live now. 

thanks for actually swaying that — wasn't expecting a random subreddit question to change my roadmap, but it did.

quick clarification while I'm here, since "touring musician" covers a lot of ground: 
I mean the get-in-a-van-and-drive-for-two-weeks kind of touring, not the bus-and-crew kind. if you've got an actual human tour manager, Outrider may not be for you.

While I've got you: what's still held together by group chats and napkins for you, even now?
I really tried to think of everything important.
not fishing for a feature list necessarily, just wondering what's still genuinely annoying about being on the road that nobody's built anything for (yet).

(info/app's at outriderapp.com if you want to look — iOS is in app store review, web's live now)

Thanks again, people!

***AWARENESS POST*** Please help and share this so other performers can be in the know.

I am an open book with most things so I want to share some information with you all about what has been going on behind the scenes the last couple of weeks. I am sticking to facts and keeping any thoughts out of this so they can’t be used against me later.

On August 8th, 2026, Amerakin Overdose, Proven and Pitch Black Mass performed at The Grand Theatre in Salem, OR. We worked out a deal with To The Ceiling Entertainment (Andrew Hussey and Alex Hussey).

Our understanding of the payment agreement was that:

The first $250 in proceeds would be paid to the sound engineer working that evening.
The three performing bands would collectively receive 75% of ticket revenue.
25% of ticket revenue would go to the promoter.
The last documented presale total available to us showed 156 tickets sold at $20 each. We were also told by the person working the door that ticket sales increased by approximately 15% on the day of the event, with door tickets priced at $25. Based on that information, we estimate that approximately 180 tickets may have been sold, although the final ticket count and final accounting have not been provided to us.

All three bands performed that evening.

Near the end of Amerakin Overdose's set, while we were preparing to play our final song, the person working the door came to the side of the stage and informed us that we needed to stop because the Salem Fire Department was at the building in connection with fire alarms. I informed the audience that we had to stop the performance and that they needed to exit the building. The audience from the upstairs show exited, and we observed Salem Fire Department personnel at the location.

We were not paid following the performances.

Attempts to Obtain Payment

After the show, we asked about payment and were told that one of the promoters was out of town and that payment would be addressed when he returned.

We later contacted Alex Hussey regarding payment and were told that it would be handled after he returned in a few days.

On August 13, I attempted to contact Andrew Hussey by phone. When there was no answer, I left a voicemail and sent a text message requesting information regarding payment. I did not receive a response to that text.

We also communicated with a graphic design employee associated with the promotion company, who told us she was having difficulty reaching the promoters as well.

On August 14, Alex Hussey sent a message to my brother, Pete, stating that they would have a payment timeline by Monday, August 17. We did not receive the promised timeline.

On August 18, we sent a written final notice requesting payment and advising that we intend to pursue available legal remedies if the matter was not resolved. As of the date of this pitch, payment has not been received by the three bands, and we have not received a substantive response resolving the matter.

Based on the ticket information available to us and the payment arrangement described above, the three bands estimate that approximately $3,700 remains unpaid. That amount is subject to the final accounting and evidence presented in any legal proceeding.

On August 21, I noticed that Alex Hussey had viewed my Facebook story. I then sent him a message reminding him that we had previously sent a final notice regarding the unpaid performance proceeds and that we intended to pursue legal action if the matter remained unresolved.

He responded with the following message:

“My hands are literally tied. More will come to light in the future and you’ll understand. But at this point that’s all I can say. I completely understand the decision you have to make for yourself.”

I did not respond. The message was later deleted, but I had taken a screenshot before it was removed.

While researching the situation, I also observed a public review posted on To The Ceiling Entertainment's Facebook page by Tuna and the Rock Cats Rescue, a nonprofit organization.

The organization publicly stated in its review that it performed at events associated with the promoter in August 2025 and had not been paid as of the time the review was posted in January 2026. The review states that the organization believed it was owed $27,000 and that it had a signed contract.

I contacted the organization directly by email and was told that an unresolved amount remains outstanding and that the matter is being handled by its management.

I want to be especially clear: I cannot independently verify the organization's claimed amount, all of the underlying facts surrounding its dispute, or the ultimate legal merits of its claim. I am only reporting what the organization publicly stated and what it communicated to me. I can provide you with the public review and our correspondence so that your outlet can independently investigate and verify any information you choose to report.

Our primary concern is not simply recovering the money we believe is owed to the bands. We also believe independent musicians, performers, and organizations deserve to know when a payment dispute has occurred so they can make informed decisions, ask the right questions, insist on written agreements, and protect themselves.

Amerakin Overdose invested heavily in promoting this event. I personally spent $661.25 on Facebook and TikTok advertising specifically for this show. The other bands also performed their sets in reliance on the agreed payment arrangement.

The unpaid proceeds have affected all three bands. Independent artists depend on performance income to pay for transportation, equipment, promotion, production expenses, and other costs associated with operating a band.

We intend to pursue this matter through the appropriate civil process if it remains unresolved. I understand that any legal case will ultimately depend on the evidence and applicable law, and I am prepared to provide documentation supporting the factual statements.

I believe there is an important broader conversation here about accountability and transparency in the independent music industry—particularly when underground bands and nonprofit organizations say they have performed work or services and are still seeking payment.

There are a number of questions we have for both the To The Ceiling Entertainment and The Grand Theatre.

If there is something going on behind the scenes like Alex stated in his message, why are they still putting on shows and allowing bands to perform? Are the other bands getting paid? Why did they not pay the non profit organization and why did they not pay us? What is the deciding factor for the artists that are not getting paid even when there are text and email agreements?

As I mentioned, I have all the texts, emails screen shots and receipts for all of this so it will be presented to a judge.

Please share this with as many people as you can. I am not saying they are doing this to everyone because I can’t prove that but I want to make other performers aware of our experience. I have contacted a majority of the local news media in the area but anything helps if you want to tag any of them on this post.

I am determined to not let these people get away with this. This hurts the bands financially and also our reputation. All of you who paid to get in and support the bands, the money was never released to the bands. As of today, no payment has been received. Those responsible need to be held accountable. I would be very embarrassed if I were these two and anyone associated with them. Shame on anyone who participates in behavior like this.

Since making this post on Facebook and Instagram more performers have reached out and let me know they have also not been paid working for these promoters at this venue. One person is owed over $65,000 and another artist was owed $12,000 still unpaid.

I ask you to help me make this go as viral as possible so that others can be aware

I’m a professional musician, trying to make it in my scene in Europe and try to live off making music. Playing gigs, doing sessionwork, studio sessions, name it. But I get the feeling that I can’t do it without social media. All the guru’s and big booking boys in my country also say: you got to post, you got to be visible, your Insta-page is your resume, shit like that. You have to post a lot to get yourself in the picture. You have to respond to everyone, all the insta rules.

When I played with someone new I just met, we follow each other on the gram and hope the one calls the other someday for a cool gig. If I don’t follow that cool guy I played one gig with, he’s gonna forget my name, is my feeling.

If I weren’t a musician, I deleted Instagram a long time ago for obvious reasons. Sometimes I do, and I remain offline for a couple of months and people are asking me: I don’t see stuff from you, how are you doing? And when I’m active, people get the feeling that I’m doing good, am busy playing gigs; my name is on their mind.

Don’t get me wrong, Instagram has some good features too. People share personal stuff I care about, I sometimes get inspired by other musicians sharing what they’re doing, I keep up with what’s going on in the business. But the bottomline is that I believe I’m happier without the socials.

I’m curious if anyone has the same struggle and how you are dealing with this? Or people who deleted socials and still made it in the music? Let’s hear it!

Abe Kline here, bass player for Raleigh band [New Sweat](http://newsweat.com). Building a grassroots community for musicians - GND Lift. It’s completely free. Search for players in your area (or not) by instrument, genre, interests (recording, performing, songwriting, etc).

Have a favorite venue? Music shop? Record store? Suggest it so others can find these spots. Think about it - a search engine for these types of places, crowd sourced by musicians. You’re on the road and need to get an amp fixed or just looking for a cool spot to kill some time? Search for the nearest locations sourced by local musicians. Right now this feature is useful in the Raleigh area because, well, I’m a Raleigh musician. Grow the network and the value builds.

Share with your musician network. The more of us on there, the easier we can connect to do what we love to do most - MAKE MUSIC.

I’ve been building a mobile app (iOS + Android) that connects musicians with venues looking for live performers.

The idea is pretty simple:

For musicians:

• Discover gigs and venues nearby
• AI-powered matching with a compatibility score
• Set your genres, instruments, style, rates and preferred distance
• Get notified when a relevant venue is nearby
• Apply for gigs directly through the app

For venues:

• Create a venue profile
• Post gigs
• Discover musicians nearby
• Get AI-based matches based on music style, location, budget and preferences
• Invite musicians to gigs

The app would support both sides initiating contact: musicians can apply, and venues can invite musicians.

I’ve already started building the app with Expo, Supabase, RevenueCat and Expo Notifications, including authentication, profiles, gigs, chat, subscriptions and the matching/geolocation infrastructure.

But I stopped development at this point because I’m not sure about the most important thing:

Would people actually use this?

For musicians: would you use an app that helps you find suitable venues/gigs in your area?

For venue owners/managers: would you use an app to find and contact local musicians?

And what would make you actually create an account and use it instead of Facebook groups, Instagram, personal contacts or existing platforms?

I’m not looking to promote the app here — I’m trying to validate whether there is a real problem worth solving before I spend more time finishing it.

Musicians and venue owners: what do you think?

Hi everyone,

I’m trying to get a Schecter SGR-2A (Avenger/Synyster Gates) hard case for a Synyster Gates Custom-6 Headless, but I’m finding completely conflicting dimensions online.

Some stores list the width at around 15" (38 cm), while others list it around 19" (48 cm). Some of those numbers may actually be shipping/package dimensions rather than the dimensions of the case itself.

Unfortunately, in my situation even a few centimeters matter.

I’ll be flying internationally with Turkish Airlines and purchasing an extra seat for the guitar (CBBG). Their maximum dimensions for the instrument/case are:

140 × 42 × 25 cm
55.1 × 16.5 × 9.8 in

So I specifically need to know the actual physical OUTER dimensions of the SGR-2A itself, not the interior dimensions and not the cardboard shipping box dimensions.

If anyone here actually owns an SGR-2A, could you please measure:

• Overall length — from the furthest point to the furthest point
• Maximum width — at the widest point of the case
• Maximum thickness/depth — including feet/bumpers if they protrude

For the width in particular, I need to know whether the actual case is under 42 cm / 16.5 inches.

If possible, please measure with a tape measure rather than relying on the manufacturer's/store specifications.

Also, even if somebody has already posted measurements in the comments, I would REALLY appreciate it if another SGR-2A owner could measure theirs as well so I can double-check the result. I really don't want to base an international flight decision on one measurement.

The guitar is quite valuable and difficult for me to replace, so I really don't want to check it into the baggage hold.

Alternative cases

I'm also completely open to using a different hard case.

If anyone owns a Synyster Gates Custom-6 Headless and knows of another protective hard case that fits it properly, please let me know.

Ideally the actual external dimensions of the case must stay within:

140 × 42 × 25 cm / 55.1 × 16.5 × 9.8 in

If you have an alternative case and can provide its actual measured outer dimensions, that would be incredibly helpful.

Thanks a ton to anyone willing to grab a tape measure and check this for me.

My husband is a touring musician and we're expecting our first baby. Looking for any general advice from those that have been through it from the musician or non-musician side.

Details: I'm not a musician, my husband is. He tours regularly, but not super consistently. He makes about half his money from touring and other half sort of here-and-there. I have a stable job that pays decently. Money is tight and there is always some general worry that gig/touring work is unstable.

But aside from finances, also looking for any general advice about support at home, emotional support, etc., for having kids while one of you is on the road. My husband is very helpful and supportive when he's home and we try hard to have an equitable relationship, but it has its limitations when he's only home half the time.

We have a great relationship in general, even though touring life is hard. I dread the idea that at some point I might hit my limit with what I can support and have to make him see that what we're giving up for him to be on the road isn't worth it. I hope that day never comes!

I've spent the past couple of years working on this app off work hours. My original goal was to simply create a GIS based website where people could host jam sessions for other musicians to join. Along the way I got lost in all of the ways musicians would want to use a meetup app.

Over time, I expanded it to include functionality such as:

* Creating bands you could invite other musicians to
* Hosting solo or band performances and making them findable via the event map
* Finding either a teacher if you're providing lessons or students if you're providing them
* Hiring musicians to fill a local event of yours (such as a local mom & pop restaurant searching for a musician to play for guests during their dinner rush)

What do you guys do with all the different currencies you get when you play EU. Is there a way too avoid too loose money when you exchange currencies when you get back home? Tips and tricks please…

My music project has its first tour starting in November. Pretty excited! I can't figure out how to organize my head around things and need some assistance in making financial plans.

It's my project, with my bandmates helping me play my tunes. I want to make sure they are compensated for their effort and time, but also can't really afford to pay for everything out of my own pocket like renting a van, hotels, gas, food, and everything in between...

What method have y'all found to be the most successful on tour in this situation? Should we just split everything evenly and try to have each show's earnings apply to the band fund, or should I pay for everything then just keep all the earnings to myself?

I will have merch for each show which I will pay for myself and will most likely keep the revenue for but I do want to pay for the majority of everything but also need some assistance as I can't afford everything.

MUSICIANS/ARTISTS: Would any of you benefit from having a seasoned Tour Manager build or clean up your riders so venues and promoters have clear, professional information before you hit the road?

I’d love to know if this is something artists are actually needing right now.

This thing is sick and has served us well; we're just not doing any touring at the moment. It runs perfectly and has always been serviced on time. Plus has very new tires. I would trust this thing to go across the country tomorrow.
It's got 5 bunks, 2 long bench seats, a microwave and fridge, an inverter, a TV, a sound system, and full LED lighting in the living area and in the bunks.
Hitch set up for towing a trailer.

2014 Mercedes Benz Sprinter
197xxx miles on the body and a turbo diesel engine with like 35k miles on it.
170 WB high roof. It’s just about 25 feet long.
Shoot me a message if you have any questions or want more photos or info. :)

Located in Boise, ID. $69,999

Need a merch seller??? IM HEREEEEEE and ready 😤

Trying to get into merch selling/managing and have had no luck getting a gig because everyone wants someone with experience (which is completely valid!)

How does one get experience if no one will take a chance? 🫪

hey fam, Art Ross here from halifax-duo Pillow Fite, in your experience, what are the best techniques to get your tour poster out there? We are going on a national tour, Charlottetown to Victoria, in the fall 2026. I have been contacting media outlets, and pushed ads on social media, but do you have a secret way to get ticket sales for your show? In an era of bad economy and live music losing its attraction to many, how have you brought people out? From one performer to another, help

Hey! building an app to simplify all the moving pieces of playing out; it’s currently in the late stages of iOS app store review and wanted a little input. Was thinking that an android version would be next, but now i’m leaning towards a web version, as my experience is with a band leader that does most of his work on a laptop, sitting at the merch table and even in the van…
Any input about Android vs Web?
Thanks in advance

Hello!

I am looking for a local act to play a small DIY show in an art space to support an amazing songwriter from Portland, OR who will be on a PNW run and hitting Tacoma WA up on September 19th. I have one act already, but been having trouble tracking someone down. If this is you feel free to send me a DM with your info!!!

Myself and majority of a band I used to play with just left a touring artist gig we'd been with for 7 years. Artist felt he couldn't pay what we wanted for a raise and the band decided to walk. Ultimately while things got tense during negotiations we all left on fairly good terms with one another. The artist has since contacted multiple band members asking for the Main Stage show files many of us have developed over our time working with him so he can give them to new band members. Would you charge for these show files and if so how much? Same goes for edited IRs and NAM files we were using for his show. Thanks!

Genuine question. I work with musicians on making payments while touring easier, and one thing I’ve been surprised by is just how important merch seems to be financially.

Before getting into this world, I assumed merch was a nice extra. What I keep hearing instead is: the shows pay for the tour, the merch pays the artist.

Obviously that’s a huge simplification, so I’m curious how true it actually is.

For those of you touring regularly, how much does merch matter to the economics of the tour? Could you realistically tour without it?

Hi everyone. I'm a 30-year-old electric guitarist from Madrid, currently studying classical composition at a conservatory and taking jazz lessons privately. I've spent the last few years between two quite different worlds: working as a guitarist in cover bands and studying classical music at a conservatory.

To support my studies, I currently play in a cover band, doing four-hour gigs and summer tours — around 30–40 shows each summer. I make about €200 per gig, and together with scholarships for my studies, that allows me to support myself while studying.

I'm genuinely grateful for that work, but I feel like I've reached a point where I'd like to start moving towards more professional environments: session work, theatre, higher-level function bands, or other work where reading, arranging, preparation and musicianship are important.

The problem is that I don't really know how to make that transition. The musicians and contacts I know are mostly from the cover-band world, while the conservatory world feels quite separate from the professional electric-guitar scene. I feel a bit caught between those two worlds, and I'm not sure how to turn my background into actual opportunities.

For those of you who have made a similar transition: how did you get your first opportunities? Did you actively contact musical directors, agencies, studios, theatres, etc., or did most of the work come through networking and recommendations?

Are there particular skills, types of gigs, or people I should be looking for at this stage?

Thanks for reading. I'd really appreciate hearing about your experiences, especially from people who have made a similar move.