Mates Rates

On 26th August 2024 RD was booked to perform as "Gay Sax" for DP 2024. KLJ Jones booked him 8 months in advance and the fee was £50 +travel expenses, which is RD's "mates rate" considering that the minimum usually charged for commercial clients is £220 within 50 miles of Stroud, GL5 or London, SW1A.
RD was allocated to a separate stage from the main stage, as per the formula last year. However, due to the venue which was slightly different- a field called 'The Rectory' instead of the Chantry centre- RD's smaller marquee for performance was positioned incorrectly. It was placed at a right angle to the main stage (truck) rather than being at the opposite end of the field.
Sadly, it rained on 25th August so they weren't able to erect the marquee until the 26th. KLJ arrived at 7am to find that the marquee (its poles at least) was erected in this location, but she alleged that it was too late. I personally would have asked them to dismantle and move it there and then.
This meant that the saxophone performances as 'RD' had to be timed so as not to conflict with the activities on the main stage.
The other issue is that the schedule was not sent round, and due to the organiser (TW) delegating KLJ to book the music, but then booking bands of her own without notifying KLJ, there was some miscommunication. Also, several of the acts cancelled at the last minute. This threw KLJ and her perception of control over the proceedings into disarray and left her flustered and stressed, such that her son, Michael, who was the lead drag queen "Neon", ended up taking the reins and doing the compering and calling the shots. Obviously, being the lead drag queen, he was prioritising those performances over the RD sax act that his mother KLJ had booked.
As a result, there was some confusion and disagreements over when RD should play. KLJ repeatedly told RD to play whenever he wishes, but then she kept receiving instructions from elsewhere, from the drag queens, and other MainStage acts, that RD was too loud and either needed to turn down or stop playing completely. RD's prepared sax sets were interrupted and paused multiple times without warning. This happened between 3-5x.
For most of the afternoon, RD was booked (between 1-6) but unable to perform. This meant cutting most of set 2, and the entirety of set 3 out of the 3 'Gay sax' sets prepared.
At one point, during set 2, a woman from the "Some Voices" choir unexpectedly came into RD's marquee and instructed him to stop playing. She said that the choir are very quiet and won't be heard. RD asked her 'what time will the choir be performing until approximately, just so I know what to expect?' All other times he had been stopped, he had at least been advised of how long the MainStage sets were expected to last whether 15 minutes, 30 or 45, or how many acts were due on before the next break when he could resume performing.
This woman walked away without answering his question. The girl who was playing flute with RD asked the woman loudly if she could tell RD what time the choir finish approximately. The woman slightly flustered turned around and said 'who knows. You've had your run now.' The woman wasn't even in charge of the festival or one of the organisers, I believe she was with the choir.
RD responded 'that wasn't necessary. I have been booked for this event. If you have an issue, take it up with the organiser.' As soon as the woman walked away, RD and the girl playing flute exchanged words of shock, and KLJ walked back in. The girl explained to KLJ what had happened and how RD responded. KLJ advocated for RD's response and said he handled it well; she would have told the cow to f*ck off. She said she can't stand people like that. RD smoothed things over and reassured her he's used to philistines and ignorant people. RD could see KLJ was visibly stressed throughout the day. So although he was stressed and fed up as well, he could see KLJ was doing her best to help him feel informed and being apologetic. So while he had no issue with KLJ (she was lovely), he did encourage her that they booked her to organise the music and it was well within her rights for her to direct and take a lead, and not succumb to peer pressure from other organisers.
Some of the entertainment was quite tasteless and dumbed down. For example, the "Some Voices" choir were singing Padam Padam by Kylie which has suggestive lyrics, while kids were present. There were drag queens leading a mass crowd rendition of 'YMCA'. Generally, the entertainment was very commercialised and banal.
RD did get to play at the end. However, he had given up trying to appease the audience because they didn't seem to be paying him the slightest bit of attention, despite the possibility that he was the only paid musical act, booked by KLJ and the Jones family who appreciated his music. So instead of playing the rest of his Pride medley (who would notice anyway?) he used the 5-6pm slot to rehearse his set for the Long Table, a jazz gig due to happen on the 31st. Most people had gone home by then anyway and people were packing up, so the Brazilian and Bossa Nova vibes created a nice chilled atmosphere.
RD is open to performing at the 2025 festival (should he be asked), despite his parents advising him not to, but RD is not too fussed either way, especially because he doesn't buy into the gender ideology that seems to dominate pride festivals, which don't seem to be about being gay anymore. However, if asked, he would remind KLJ or whoever is booking him the importance of planning the music so that the venue works and that the timings and logistics are better organised. KLJ said a few times that she probably won't do it next year due to the stress, but we don't know if she was just saying that out of frustration.
Also, the lead organiser had 20 epileptic fits due to stress and had to be carted off in A&E, RD thinks that this is possibly because she takes too much testosterone. The whole thing was a bit of a shambles, but there was a good turnout and people seemed to enjoy it, even if they didn't hear much of RD's music.

Title
Mates Rates

Description
If Dursley Pride approaches Rory to perform for the 2025 event, the following considerations should be addressed:
Mates Rate Fee Adjustment:
The mates rate for Rory’s performance has increased to £100, which reflects some circumstances Rory encountered in 2024. This is still half the standard rate for commercial bookings, which is £220 within 50 miles of Stroud, GL5 or London, SW1A.
Stage Positioning Consideration:
It is essential to inquire whether the stage positioning near the main stage has been re-evaluated. The 2024 experience, where Rory's stage was placed at a right angle to the main stage, resulted in significant disruptions to his performance. This caused frustration and, ultimately, a less-than-ideal performance. Clarifying this in advance will help ensure better logistics for 2025.

Notes Comments
The 2024 performance was marred by logistical issues, including poor stage positioning, lack of communication, and disruptions during the set. Although Rory is open to performing in 2025 if approached, these issues must be addressed to avoid a repeat of the challenges faced in 2024.

Implemented
Implemented Date: 27/11/2024
Implemented By (Individual): RD
Implemented By (Organisation): R

INDIVIDUALS

KLL, Client
To coordinate with other organizers, manage logistics, and ensure the stage positioning is suitable for performances. Additionally, Kate should be responsible for timely communication and ensuring that scheduling and timing are clear for all performers.

RD, Artist
To communicate the updated mates rate and ensure that the stage logistics are suitable for a smooth performance. Rory will also ensure that all contractual agreements are clear regarding stage position and any specific requests for the performance.

TW, Client
Oversee the overall event logistics, including the planning and coordination of all stages and performers. Ensuring that all relevant parties are informed about any changes in schedule or performance requirements will be critical.

ORGANISATIONS

DP
Organising future Pride events.

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This development was triggered by the following incidents...
Music Conflict and Disruptions