Clauses that cost artists money. Every time.
These appear in real contracts. The language sounds neutral. The effect is not. Share the anchor link for any of these when someone asks what to watch out for.
They stop working for you. The commission doesn't.
You fire your manager. Or they quit. Either way, everything you earned during their tenure — tours, sync deals, royalties — still pays them 20% for three years after they've gone. A UK number 1 album during their tenure means three years of post-termination commission on every stream.
Share this flag → #sunset-clauseYou wrote it. But you're paid 75% of the rate for writing it.
A "controlled composition" is any song you wrote or co-wrote. The label pays you 75% of the statutory mechanical rate, not 100%, because you're "controlled" — i.e. you wrote it. This is a US-origin clause that appears in UK deals. It reduces your publishing income on your own songs by 25% permanently.
Share this flag → #controlled-compositionAlbum 2's success pays Album 1's debt.
You receive a £40k advance for Album 1. It doesn't recoup. You make Album 2, which does recoup. Album 2's royalties go toward clearing Album 1's debt before you see a penny. Without this clause, each album is its own account. With it, a hit can still leave you with nothing if an earlier record underperformed.
Share this flag → #cross-collateralisationThey take a cut of everything. Including the things they didn't build.
The label takes a percentage — typically 15-25% — of your touring income, your merch, your brand deals, your acting work. In exchange they release your music. That's the deal. The question to ask is: what are they actually contributing to your touring income? Usually: nothing.
Share this flag → #360-dealThey can keep you under contract indefinitely.
You sign for one album. The label has an option on the next five. They exercise those options only if it's commercially advantageous to them — which means if you're not selling, they can drop you; if you are selling, they keep you. You have no equivalent right. California law limits this to 7 years. UK law has no equivalent protection.
Share this flag → #perpetual-optionA deduction invented for vinyl that still appears in streaming deals.
In the vinyl era, records broke in transit. Labels deducted 15% from royalties to account for this. Digital files don't break. There are no returns on a Spotify stream. The clause is a legacy artefact that some labels still insert because it reduces your royalty rate by 15% and artists don't challenge it.
Share this flag → #breakage-deductionVenue & Promoter Agreements — what most artists never check
If the promoter cancels, who keeps your deposit?
Force majeure clauses are written broadly and favour the venue. A promoter can cancel for almost any reason and call it "beyond their control." Always specify in writing that your deposit is non-refundable if they cancel, and that you receive full fee if they cancel within 14 days. If it's not in the contract, it doesn't exist.
Share this flag → #force-majeureWho pays if the venue can't deliver what was agreed?
"Endeavour" and "subject to availability" are escape hatches. You turn up, the PA is inadequate, and you have no recourse. Your technical rider must be an appendix to the contract, not a separate document. State explicitly that failure to provide agreed equipment constitutes a breach, entitling you to full fee regardless.
Share this flag → #technical-riderMost venues won't let you load in without public liability insurance.
This is standard and legitimate — but if you don't have PLI, you lose the gig the day before it happens. Musicians' Union membership includes PLI as standard. It also includes contract advice, legal support, and income protection. If you're not a member, the annual fee pays for itself the first time you use it.
Share this flag → #public-liability-clause"I have £47 in my account and rent is in 10 days."
The feast/famine cycle is real. This is what to do when the famine hits hard. In order. Not all of these will apply — but knowing the sequence before you need it is the point.
List everything due in 30 days
Rent, utilities, phone, subscriptions, debt minimums. Get the exact number. Vague dread is worse than a real number.
Cancel every non-essential subscription
Streaming services, plugins, software you're not actively using. This week's saving is next month's breathing room.
Contact your landlord or letting agency now
Before you're late. Most landlords would rather arrange a one-week delay than begin eviction proceedings. Being proactive changes the conversation.
Do not use a credit card to cover rent
The APR on a credit card advance is 20-40%. This is a short-term fix that extends the famine.
Sell unused gear
Reverb.com for instruments and production gear. Immediate cash, often within 24-48 hours for in-demand items. Be realistic on price — a fast sale beats a fair price.
Check PRS for unmatched royalties
Log into your PRS account. Go to "My Music." Look for unregistered works or unmatched recordings. Even small unregistered tracks can have accumulated royalties. Claim them.
Offer an emergency teaching slot
One production lesson, one session, one crash course in your area of expertise. Even £50-80 for two hours is material. Your existing followers are the audience — a single social post is enough.
Submit to sync libraries that pay fast
Musicbed, Artlist, and Soundstripe have faster payment cycles than most. A non-exclusive licence for existing tracks costs you nothing but time.
Request a council tax payment plan
Council tax can be spread across 12 months rather than 10. Call your council directly. They would rather arrange a plan than pursue enforcement. This frees up cash in the months you missed.
Ask for a venue advance on a booked gig
If you have a confirmed booking in the next 30 days, ask for a 50% deposit now. Frame it as standard practice, not desperation: "I invoice 50% on confirmation for all bookings." Many venues expect this.
PRS hardship fund
PRS Foundation has emergency funding for musicians facing financial hardship. The Help Musicians charity also has emergency grants. These take time to process but are worth applying for.
Don't cut your gig rate to fill the gap
Dropping your rate to get an emergency booking devalues every future booking. If you need cash fast, sell assets or skills — don't devalue your core work.
The actual words to use.
Copy, personalise the bracketed parts, and send. The hard part is knowing what to say — that's done for you.
The 50% Deposit Request
Frame it as standard practice, not a request. Most clients expect this. Those who push back on a 50% deposit are often the same clients who pay late.
Chasing a 60-Day Overdue Invoice
The Late Payment of Commercial Debts Act 1998 is real law. Citing it is not a threat — it's a legal right. Most clients pay immediately once it's mentioned.
Raising Your Rate with a Returning Client
Give at least 30 days notice. Frame it as a courtesy heads-up, not a negotiation. Don't apologise for the increase.
Chasing Unmatched PRS Works
Royalties can sit in PRS's "unmatched" pot for years. ISRCs help them identify recordings, but even without them a title search often finds income. Worth doing annually.
The boring thing that ends careers when it's missing.
Most artists think about insurance when something goes wrong. By then it's too late. Three types matter. None of them are optional if you're working professionally.
These people have your back. Use them.
These aren't competitors to NoBullNation — they're the infrastructure of the UK music industry. Knowing they exist is part of financial literacy.
Field manual done.
Now go deeper.
Ten lessons from the NoBullNation curriculum, sequenced for your reality. Free to start, email to unlock the rest.
See the 10 lessons →