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Backup band

A backup band, also known as a backing band, is a musical ensemble that accompanies a lead artist, providing instrumental support, backing vocals, and enhancing the performer's stage presence during live concerts or studio recordings.^[1]^[2] These groups emerged prominently in the mid-20th century alongside the rise of rock and roll, with early examples including Gene Vincent's Blue Caps in the 1950s, and have since become essential across genres like funk, punk, new wave, and reggae.^[3] Their role extends beyond mere accompaniment, often enabling artistic innovation—such as Bob Dylan's shift to electric rock in the 1960s with The Band—and contributing to cultural shifts through skilled musicianship and tight chemistry.^[3]^[4] Among the most influential backup bands are The E Street Band, long-time collaborators with Bruce Springsteen that defined his heartland rock sound and supported numerous hits; The Band, originally Dylan's touring group in the 1960s that later pioneered Americana with albums like Music from Big Pink; and The J.B.'s, James Brown's funk outfit responsible for groundbreaking tracks like "Sex Machine."^[3] Other notables include Crazy Horse for Neil Young's raw energy in the 1970s, The Attractions for Elvis Costello's new-wave era, and The Revolution for Prince's theatrical pop-funk fusion in the 1980s.^[3] Many such ensembles have achieved independent success or Hall of Fame recognition, underscoring their lasting impact on music history.^[3]^[5]

Definition and Role

Definition

A backup band, also known as a backing band, is a musical ensemble consisting of supporting musicians who provide instrumental and sometimes vocal accompaniment to a primary lead performer or artist, with the ensemble itself not serving as the focal point of the performance.^[1]^[4] This arrangement emphasizes the lead artist's prominence, as the backup band's contributions are designed to enhance rather than overshadow the main act.^[4] Key characteristics of a backup band include its temporary or semi-permanent nature, where members may form an established group that tours or records consistently with the lead artist or an ad hoc assembly put together for specific projects.^[1] These ensembles commonly appear in live tours, studio recordings, and television appearances, focusing on consistent musical support to amplify the lead's stage presence and overall sound.^[1]^[4] Unlike independent performing groups, backup bands prioritize enhancement of the artist's vision over developing their own distinct repertoire or spotlight.^[4] Backup bands often involve musicians who perform repeatedly with the same artist, fostering a cohesive and consistent sonic identity across multiple engagements, while session musicians are generally freelance hires for specific projects. However, there can be overlap, as session musicians may join tours or recordings on a temporary ongoing basis.^[6]^[7]^[8] This repeated collaboration allows backup bands to build a tailored sound that aligns closely with the lead artist's style, in contrast to the more isolated, project-specific role typical of session players.^[6]

Primary Functions

The primary functions of a backup band revolve around providing essential musical support to a lead artist, ensuring the overall performance or recording maintains cohesion and enhances the central focus. In musical accompaniment, backup bands deliver rhythm, harmony, and instrumental fills that complement the lead's vocals or solos, creating a seamless and polished sound. For instance, drummers establish and maintain the groove, while guitarists and keyboardists add harmonic layers and subtle embellishments to support the arrangement without dominating. This role requires versatility, as musicians must quickly learn parts from charts or instructions and adapt to the artist's style across genres like pop, rock, or jazz.^[7]^[9] During live performances, backup bands play a critical support role by keeping a steady tempo, responding to the lead artist's improvisations, and filling instrumental gaps during stage transitions, solos, or costume changes. This involves real-time collaboration, such as adjusting dynamics to match the energy of the crowd or providing transitional riffs to sustain momentum. Backup band members bring precision to the stage while allowing the lead to engage directly with the audience. Their ability to improvise ensures fluid execution, minimizing disruptions and amplifying the live experience.^[7]^[9] In studio recordings, backup bands contribute by layering instrumental tracks to build richer, more complex arrangements, often working efficiently to complete parts in single takes under producer direction. Hired as session players, they record backing elements like bass lines, percussion, or string sections that form the foundation for the lead's contributions, with credits typically appearing as "backing band" in album liner notes. This process emphasizes speed and adaptability, as musicians refine their performances based on feedback to achieve the desired sonic depth without extending session times.^[7]^[9] Backup bands may also incorporate vocal elements, where members provide harmonizing or echoing vocals to reinforce the lead without overshadowing it. These backing vocals add texture and emotional depth, such as singing harmonies in parallel intervals or repeating key phrases for emphasis, particularly in pop and R&B contexts. Performed in both studio and live settings, this function demands precise blending, sight-reading skills, and the ability to match the lead's phrasing and tone, often while multitasking with instrumentation or choreography.^[10]^[11]

Historical Development

Origins in Early Music

The concept of backup bands traces its roots to the accompanying ensembles in classical and folk music traditions of the 18th and 19th centuries. In Europe, orchestras provided essential harmonic, rhythmic, and dramatic support for opera singers, evolving into specialized pit ensembles that underscored vocal arias and recitatives. The Paris Opera orchestra, for instance, expanded in size and instrumentation during the 19th century to meet the demands of grand opéra, with sections of strings, winds, and brass coordinating closely with soloists to enhance theatrical narratives.^[12] In parallel, folk traditions featured small instrumental groups backing balladeers during communal gatherings, using fiddles, pipes, and simple percussion to accompany narrative songs in rural Europe and early American settlements. These ensembles preserved oral repertoires, adapting dynamically to singers' improvisations in settings like Irish ceili dances or Appalachian gatherings.^[13] In 19th-century America, similar supporting roles emerged in theater and music halls, particularly through vaudeville and its precursors, where pit bands accompanied solo performers in variety shows. These small groups, often comprising 5 to 15 musicians on strings, brass, and percussion, provided incidental music, overtures, and underscoring for singers, dancers, and comedians in venues like New York's music halls and New Orleans' Lyric Theatre. John Robichaux's orchestra, for example, functioned as the resident pit band at the Lyric for over a decade starting in the late 19th century, delivering ragtime-infused accompaniments tailored to diverse acts until the theater's destruction in 1927.^[14] Such bands marked an early shift toward flexible, performer-centered ensembles in popular entertainment, bridging classical formality with emerging vernacular styles.^[15] The transition to early 20th-century formats was influenced by jazz big bands, where sectional instrumentation supported lead vocalists and soloists, laying groundwork for modern backup structures. In the 1920s, ensembles like those backing classic blues singers—such as female vocalists recording with jazz groups—featured coordinated rhythm and horn sections to elevate individual performances, blending improvisation with arranged support.^[16] A pivotal milestone came with 1920s radio broadcasts, where house bands accompanied guest artists in live and recorded sessions; Jelly Roll Morton's Red Hot Peppers, for instance, rehearsed rigorously to back vocalists and instrumentalists on Victor recordings from 1926 to 1930, pioneering studio-based ensemble dynamics.^[17]

Evolution in the 20th Century

The emergence of rock 'n' roll in the 1950s marked a pivotal integration of backup bands into touring acts, driven by advancements in amplification technology that enabled smaller, electric ensembles to deliver powerful performances for increasingly large audiences. Electric guitars and amplified instruments, such as those developed by Fender and Gibson, allowed these compact groups to project sound effectively without relying on larger orchestral setups, fostering a more mobile and energetic touring model suited to the genre's raw, youth-oriented appeal.^[18] This shift emphasized rhythm sections and supportive instrumentation, transforming backup musicians from mere accompanists into essential contributors to the live spectacle.^[19] In the 1960s and 1970s, the burgeoning recording industry further evolved the role of backup bands by prioritizing dedicated touring ensembles to promote studio albums and bridge the gap between recorded complexity and live execution. As artists increasingly focused on innovative studio production, touring bands became specialized units tasked with replicating layered arrangements on stage, supporting the era's emphasis on album-oriented rock and solo ventures following group disbandments.^[20] This period saw a cultural and logistical adaptation, where backup groups not only provided musical continuity but also enhanced promotional efforts amid the industry's rapid commercialization.^[21] The 1980s and 1990s witnessed the globalization and genre expansion of backup bands, as they adapted to emerging styles like world music and hip-hop through the incorporation of synthesizers and drum machines, which broadened sonic palettes and facilitated cross-cultural fusions. These electronic tools enabled bands to integrate diverse influences, from African rhythms to urban beats, while maintaining portability for international tours and diverse audiences.^[22] In hip-hop contexts, for instance, drum machines like the Roland TR-808 allowed backup ensembles to layer programmed rhythms with live elements, supporting the genre's shift toward global dissemination via recordings and performances. By the late 20th century, the widespread adoption of multi-tracking in digital recording reduced the typical size of live backup bands, as pre-recorded tracks and electronic augmentation replicated intricate studio layers without requiring full ensembles on stage. This transition heightened demands for versatility among performers, who now handled hybrid roles combining traditional instruments with triggers and samplers to sustain dynamic tours.^[23] Despite smaller configurations, these adaptations preserved the energy of live music while aligning with the era's technological efficiencies.^[24]

Structure and Composition

Typical Instrumentation

Backup bands, particularly in rock and pop genres, typically feature a core lineup consisting of rhythm and lead guitars, bass guitar, drums, and keyboards to provide harmonic and rhythmic support for the lead performer.^[25]^[26] This standard configuration ensures a balanced sound, with guitars handling melodic fills and chords, bass providing low-end foundation, drums driving the tempo, and keyboards adding textural layers such as pads or organ sounds.^[25] In jazz and R&B contexts, backup bands often incorporate horn sections as key variations, including trumpets, saxophones, and trombones, alongside the rhythm section of bass, drums, and piano or guitar for improvisational and sectional dynamics.^[27]^[28] For folk and country music, adaptations emphasize acoustic strings like fiddles, banjos, mandolins, and pedal steel guitars, paired with acoustic bass and light percussion to evoke traditional rootsy textures.^[29]^[30] Electronic and dance music backing setups frequently integrate synthesizers, drum machines, samplers, and MIDI controllers, sometimes blending live elements like electric guitars or saxophones for hybrid performances.^[31]^[32] Essential equipment for backup bands includes amplifiers for guitars and bass to project sound in live settings, stage monitors for individual musician cueing, and MIDI interfaces for synchronizing electronic elements or pre-recorded tracks in studio and performance environments.^[26]^[33] Band sizes vary from minimal 3-piece setups (drums, bass, guitar) for intimate tours to larger ensembles exceeding 10 members, incorporating additional percussion, strings, or horns for fuller productions in arena-scale shows.^[34]^[35]

Personnel Dynamics

In backup bands, the hierarchy is structured around a musical director or lead musician who oversees coordination and ensures alignment with the primary artist's creative vision during performances and recordings.^[36] This leader handles key responsibilities such as arranging music, directing cues, hiring and leading touring musicians and backup singers, and resolving any interpersonal or technical issues within the group, while often performing alongside the ensemble.^[36] The selection of personnel for backup bands emphasizes auditions managed by the musical director or artist representatives, prioritizing compatibility with the group's dynamic, proficiency in subtle support roles, and reliability demonstrated through prior professional engagements.^[37] Compatibility is evaluated not only through technical demonstrations but also via assessments of communication and interpersonal fit, essential for the close-quarters environment of tours.^[37] Positions frequently involve long-term commitments to maintain ensemble stability, allowing for consistent sound and reduced turnover during extended engagements.^[37] Internally, roles are assigned based on strengths, with specific musicians designated for featured solos, harmonic fills, or transitional cues as directed by the musical director to complement the lead artist.^[36] Teamwork is paramount, with members focusing on synchronized support to elevate the performance while consciously avoiding any actions that could upstage the primary artist, ensuring the ensemble remains unobtrusive yet integral.^[38] Diversity in skill sets is often incorporated through the inclusion of multi-instrumentalists, who provide efficient coverage for various parts and enable the band to adapt to lineup changes or arrangement demands without expanding the group size.^[39] This approach enhances operational flexibility, particularly in touring contexts where logistical constraints favor versatile performers capable of handling multiple instrumental duties.^[40]

Notable Examples

In Rock and Pop

In rock and pop music, backup bands have often provided the sonic foundation that elevates lead artists to iconic status, blending seamless integration with distinctive energy to create memorable performances and recordings.^[5] Among the most influential are groups like the E Street Band, the Heartbreakers, and the Wrecking Crew, each contributing to the genre's evolution through long-term collaboration and innovative musicianship.^[41] The E Street Band, assembled by Bruce Springsteen in the early 1970s in New Jersey's Asbury Park scene, has served as his primary backing ensemble since 1972, featuring core members such as bassist Garry Tallent, drummer Max Weinberg, and guitarist Stevie Van Zandt.^[42] This long-term group is renowned for its dynamic live energy, delivering marathon performances that emphasize raw emotion and communal spirit, as seen in their 2002 tour with 10 consecutive nights at Giants Stadium and the 2016 world tour, which topped Billboard and Pollstar charts for global grosses.^[42] On albums, the band has co-created Springsteen's signature sound, contributing to landmark recordings like Born to Run (1975) and The River (1980), where their interplay of guitars, keyboards, and horns amplified themes of working-class resilience.^[43] Their reunion in 1999 after a decade apart solidified their role, with the ensemble's endurance—spanning over 50 years—enabling sold-out tours like the 2023 European leg that moved 1.6 million tickets.^[42]^[44] Similarly, Tom Petty and the Heartbreakers, formed in 1976 in Gainesville, Florida, exemplified tight songwriting integration and touring reliability throughout their four-decade run.^[45] Comprising Petty on vocals and rhythm guitar, lead guitarist Mike Campbell, keyboardist Benmont Tench, drummer Stan Lynch, and bassist Ron Blair, the band debuted with their self-titled album in 1976, featuring hits like "Breakdown" and "American Girl" that showcased their jangly, roots-rock style.^[46] Their contributions extended to collaborative projects, including backing Bob Dylan on his 1986 tour and co-founding the supergroup Traveling Wilburys with Petty, where their rhythmic precision supported Dylan's folk-rock explorations.^[45] The Heartbreakers' consistent lineup and onstage chemistry ensured reliable execution of Petty's heartland narratives, as evidenced by their induction into the Rock and Roll Hall of Fame in 2002 and final tours culminating in 2017.^[45] The Wrecking Crew, a loose collective of Los Angeles session musicians active from the mid-1960s to the 1970s, primarily operated in studios, playing on hundreds of pop hits that defined the era's sound.^[47] Key members like drummer Hal Blaine, bassist Carol Kaye, and guitarist Tommy Tedesco backed artists including the Beach Boys on Pet Sounds (1966), Sonny & Cher's "I Got You Babe" (1965), and the Monkees' early albums such as The Monkees (1966), providing polished arrangements that masked the prefabricated nature of many teen idols' outputs.^[48] Their innovative techniques, including Phil Spector's Wall of Sound production, contributed to over 150 top-10 singles, with Blaine alone claiming credits on 35 No. 1 hits.^[47] These bands profoundly shaped their artists' personas by establishing consistent sonic identities that reinforced thematic and stylistic coherence. The E Street Band's exuberant, ensemble-driven live shows cemented Springsteen's image as a blue-collar everyman, turning concerts into communal catharses that mirrored his lyrical tales of struggle and redemption.^[41] The Heartbreakers' crisp, Americana-infused backing defined Petty as a roots-rock troubadour, their reliable touring presence amplifying his everyman appeal in songs like "Refugee" (1979) and fostering a band-leader dynamic akin to classic rock archetypes.^[49] For the Wrecking Crew, their versatile, hit-making expertise crafted the glossy, youthful personas of 1960s pop stars like the Monkees, enabling manufactured groups to project authenticity through sophisticated yet accessible sounds that dominated AM radio.^[47] Collectively, such backup ensembles elevated solo or frontperson-led acts into enduring cultural forces, blending technical prowess with narrative synergy to influence rock and pop's emphasis on band-like unity.^[5]

In Other Genres

In jazz, Miles Davis's quintets of the 1950s and 1960s exemplified backup bands' role in fostering improvisational depth, offering rhythmic flexibility and harmonic interplay to complement Davis's trumpet lead. The First Great Quintet, featuring John Coltrane on saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums, supported extended solos on albums like Cookin' and Steamin', where the ensemble's subtle cues and dynamic shifts enabled collective exploration of modal structures. Similarly, the Second Great Quintet with Wayne Shorter on saxophone, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums pushed boundaries in live performances and recordings such as Miles in Tokyo, providing interactive propulsion that amplified Davis's melodic innovations through real-time adaptations.^[50] In country music, the Nashville Cats—a collective of elite session musicians in the 1960s—served as backup for artists like Patsy Cline, adapting the genre's twangy sound through prominent fiddle and pedal steel guitar to evoke emotional resonance in recordings. For Cline's hits such as "I Fall to Pieces" and "Crazy," players including pedal steel guitarist Ben Keith and pianist Hargus "Pig" Robbins contributed layered textures, with pedal steel's weeping bends underscoring her vocals during sessions at Owen Bradley's Quonset Hut studio.^[51]^[52]^[53] This ensemble's precision allowed for seamless integration of traditional country elements, enhancing Cline's interpretive delivery without overpowering it. In hip-hop and R&B, The Roots emerged as a pioneering backup band in live settings from the 2000s, notably supporting Jay-Z by merging organic instrumentation with electronic beats to elevate performances beyond standard playback. During Jay-Z's 2001 MTV Unplugged special, The Roots—led by Questlove on drums and Black Thought on vocals—reimagined tracks like "Izzo (H.O.V.A.)" with live drums, bass, and keyboards, creating a raw, improvisational energy that bridged hip-hop's rhythmic drive with jazz-inflected grooves. Their approach, honed through collaborations like Jay-Z's farewell concert at Madison Square Garden in 2003, demonstrated how live bands could revitalize rap's stage presence by adding tactile depth to sampled foundations.^[54] Globally, Salif Keita's West African ensemble illustrated backup bands' adaptation in world music, incorporating traditional percussion to ground his afro-pop vocals in Malian heritage. The seven-piece group, featuring three dedicated percussionists alongside guitarists and a camele n'goni player, drove songs like "Yambo" with intricate polyrhythms from instruments such as the djembe and balafon, providing a pulsating foundation that echoed griot traditions while supporting Keita's soaring range in live and studio contexts. This setup, evident in performances at venues like London's Barbican, highlighted percussion's role in sustaining cultural authenticity amid fusion elements.^[55]

Challenges and Professional Aspects

Rehearsal and Collaboration

Backup bands typically engage in structured rehearsal routines to ensure seamless integration with the lead artist's performance. These sessions, often held weekly leading up to a tour, emphasize full playthroughs of the setlist to replicate live conditions, focusing on transitions, instrumental cues, and artist-specific arrangements that highlight the lead's vocal or stylistic nuances.^[56] Musicians rely on repetition to internalize song structures, minimizing reliance on sheet music in favor of memory and ear training for dynamic elements like improvisational fills or tempo shifts.^[56] Collaboration within the band presents unique challenges, particularly in adapting to the lead artist's impromptu changes during a tour, such as altered song keys or extended solos, which require quick consensus to maintain cohesion. Band members address these through regular meetings to discuss adjustments and utilize technology like in-ear monitors equipped with talkback systems for real-time communication between performers, engineers, and the lead during shows.^[57] This setup allows for subtle cues, such as volume tweaks or timing signals, ensuring the backup ensemble supports without overpowering the main act. Tour logistics are critical for synchronization, involving daily soundchecks where the band tests mixes, balances instruments, and practices entrances to align with the lead's timing. Warm-ups, often conducted just before performances, focus on light run-throughs of key sections to build energy and confirm equipment functionality. Road managers play a pivotal role in orchestrating these elements, scheduling rehearsals, soundchecks, and travel to prevent overlaps and accommodate the demands of multi-city tours.^[58]^[59] Skill development in backup bands centers on honing the ability to read the lead artist's energy for real-time adjustments, such as intensifying rhythms during high-energy moments or pulling back for intimate sections. This intuitive responsiveness, cultivated through extensive rehearsal exposure to varied performances, enables the band to enhance the overall show dynamics while remaining unobtrusive.^[60]

Career Trajectories

Musicians typically enter the role of backup band members through local performances and gigs, where they build visibility and skills in supporting lead artists. Auditions for touring or recording positions often follow, facilitated by networking in recording studios, music agencies, or industry events. Joining professional organizations like the American Federation of Musicians (AFM) or the Musicians' Union (MU) provides access to job listings and approved contractors, enhancing opportunities for initial hires.^[7]^[61] Over time, backup musicians may pursue long-term prospects by leveraging their experience to transition into solo careers or form their own groups, as seen with Sheryl Crow, who began as a session player before achieving success as a solo artist. Others remain as seasoned session professionals, contributing to film scores, television bands, or ongoing tours, with advancement depending on reputation and relationships with producers. Steady work in major hubs like Los Angeles or Nashville supports sustained careers, though freelance instability requires diversification into teaching or production. Recent initiatives, such as the 2024-2025 MusiCares Wellness in Music surveys, highlight ongoing efforts to address mental health, with increased access to counseling for touring musicians.^[62]^[7]^[63] Compensation for backup band members varies by context, with session work often paid per project under union scales, such as $322.44 to $406.05 (as of May 2025) for a three-hour television or film single session including vacation pay and varying by number of musicians, with overtime provisions. Touring roles typically include salaries around $87,000 annually on average for established players (as of 2024), supplemented by per diems of $50 to $150 per day for expenses depending on tour scale, though royalties are uncommon without co-writing credits and limited to secondary uses like media licensing.^[64]^[65]^[66] The profession carries risks of financial and emotional instability due to unpredictable artist schedules and tour cancellations, contrasting with rewards like exposure to high-profile performances that can lead to breakthroughs. Burnout is prevalent from exhaustive travel and performance demands, with studies showing that 73% of independent musicians, including touring professionals, report experiencing depression or anxiety exacerbated by isolation and poor self-care conditions (as of 2025).^[67]^[68]^[69]

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Oct 2, 2017 · 20. The Blackhearts · 19. The Mothers of Invention · 18. Bluesbreakers · 17. The Dap-Kings · 16. The Spiders from Mars · 15. The Meters · 14. The Blue ...Missing: examples | Show results with:examples
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Miles Davis Musician - All About Jazz
Back in the sextet, Davis began to experiment with modalplaying, basing his improvisations on scales rather than chordchanges.
[52]
Nashville Cats - The Country Music Hall of Fame and Museum
The Country Music Hall of Fame and Museum's Nashville Cats series spotlights musicians and session singers who have played important roles in country music ...
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Hargus “Pig” Robbins | Country Music Hall of Fame
Among the musicians featured on this recording are Pig Robbins, piano; Pete Drake, pedal steel guitar; Weldon Myrick, pedal steel guitar, Pete Wade, guitar; ...
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'MTV Unplugged': The 15 Best Episodes - Rolling Stone
Jul 31, 2021 · ... Jay-Z staged an Unplugged special at MTV Studios in New York. Crucially, he invited the Roots to serve as his backing band for the entire show.
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Salif Keita | Music | The Guardian
Nov 21, 2005 · Salif Keita is an unpredictable genius. His soaring and powerful vocals first came to international attention 18 years ago, thanks to that ...
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Band Rehearsal: How the Pros Rehearse for a Show
Apr 26, 2019 · In this article, professional guitarist Leigh Fuge gives us a great insight into how the pros carry out a rehearsal and how you can apply ...
[57]
In-Ears Improve the Way you Work as a Team During Live Shows
Mar 26, 2020 · In-Ear Monitors connect artists, engineers, and backline professionals. By integrating a talkback system into your in-ear mix, you can improve communications ...
[58]
The Complete Guide to Becoming a Tour Manager - grammy go
Apr 23, 2024 · A tour manager orchestrates concert tours, handling logistics, finances, scheduling, and production to ensure seamless operations and successful performances ...
[59]
Tour Management and Logistics - House of Tours Global Ltd
Jan 27, 2025 · Scheduling and Itinerary Planning: Coordinating the day-to-day schedule of the tour, including travel, accommodation, soundchecks, meet-and- ...
[60]
How A Production Rehearsal Can Take Your Live Show To The ...
What To Work On · The transition from one song to another in the set · Any audio effects or volume rides · Lighting cues for mood and maximum dramatic effect ...
[61]
How to Become a Session Musician - Careers In Music
Sep 30, 2024 · The average annual salary for a Session Musician is approximately $54,600. The salary range for Session Musicians varies widely and can go up to ...Missing: entry | Show results with:entry
[62]
'Twenty Feet From Stardom': New Doc on Backup Singers - Billboard
Jun 5, 2013 · ... solo artists. Nearly all were American and the stories that didn't quite fit the mold–Rose Stone, Martha Walsh and Stevvi Alexander, for ...Missing: famous | Show results with:famous
[63]
[PDF] RECORDING MUSICIANS WAGE SCALES
Apr 28, 2022 · GUARANTEED CALL: Guaranteed call of up to 10 hours paid at straight time rates per hour. If engaged for a 10-hour call, musician must be ...
[64]
Studio Musician Career Salary - Work - Chron.com
Talented, dedicated session musicians can make more than $100,000 a year, although the median recording artist salary comes in around $26.96 per hour.<|separator|>
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Working as a Recording Session Musician
The MU supports session musicians and recording artists who record music for media projects such as films, TV, adverts, computer games and albums. See more.
[66]
Insomnia, anxiety, break-ups … musicians on the dark side of touring
Jun 25, 2015 · A recent study by charity Help Musicians UK found that over 60% of musicians have suffered from depression or other psychological issues, with touring an issue ...
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Road Weary: The Mental Health Challenges of Touring Artists
Sep 8, 2024 · Touring is mentally and physically exhausting, leading to high rates of depression, anxiety, and loneliness.