Working with session musicians
Lesson time: (7min 50sec)
Sister Bliss explains how to set clear expectations with session musicians, from contracts, rehearsal and show rates and per diems to keeping morale healthy on tour.
Course preview
This lesson is part of the course Studio to Stage: How Faithless Created Their Live Sound
Watch a preview of the full course below.
Lesson transcript:
Working with Session Musicians: Setting Expectations
If you're working with session musicians, you have to make sure they know what's expected of them.
Contract Importance
- It's very useful to have a contract with musicians.
- Musicians should know:
- What they're getting paid for rehearsals
- Different rates for shows
- Rates for days off
- Per diems (a sum of money each day for lunch or extras)
- Whether food is included
- If you're working in a rehearsal studio with access to a cafe
- Who's paying for lunch (individually or by the band)
All these things need to be ironed out because they affect the mood of the people in the room during the rehearsal. If resentments build up during rehearsal, you can be absolutely sure that they're going to spill over into the tour.
The Tour Experience
When you're on tour, it is not like anything else you've ever done. You are living and breathing the same air 24 hours a day.
- There's no going to work and having the option to complain to your partner about being disgruntled with your boss.
- You are a unit, living, working, and playing together.
- Maintaining positive energy is crucial for harmony.
Of course, there are going to be tensions in a band, especially a large one. But if everybody shares common values and recognizes their own worth within the group, they will strive to deliver something extraordinary.
Handling Complaints
If you're not treating your musicians well or lack a clear avenue for complaints , a sort of HR department for grievances , it can lead to a cauldron of discontent. This can significantly affect the mood of the tour and might lead people to feel like they no longer want to be on the road together.
Session Musicians and Band Dynamics
In my experience, when we've worked with session musicians, they often took on more than just the role of musicians. They were involved in playing on the album, often without necessarily earning from the records, leading to a slightly different relationship.
- It's important for session musicians to come to auditions knowing the music and having a sense of who you are as a band.
- They should do their homework, just like they would for a job interview.
The Audition Process
I've run many auditions over the years; they can be quite tedious and exhausting. Choosing a musician isn't just about their playing ability but also about their personality and how well they can integrate into a close-knit tour environment.
Visual Aesthetic
- Bands have a visual aesthetic, whether it's a heavy metal band or a dance band.
- We sought musicians who not only played well but also looked like they fit within our band's vision.
- We aimed to eliminate the disconnect where the session band looked overly "sessiony," or mismatched in age or style to the singer.
Flexibility in Playing
We wanted musicians who could learn the songs before auditions but also be prepared to unlearn and deconstruct them. This requires flexibility in their playing and understanding what Faithless represents.
The Joy of Showmanship
Being in Faithless provided a great opportunity for showmanship within each instrumental department. For instance:
- The drums and percussion brought excitement.
- Guitarists could create unique parts specifically for the shows, enhancing the live experience.
Example: Drifting Away
An example of this collaboration is our old guitarist Dave Randall, who created an incredible ambient guitar piece for "Drifting Away," which did not appear on the record but captured the spirit of our music.
- We needed that balance between sticking to the record and diverging into live creativity.
- Our singers added backing vocals that weren't on the record, showcasing their talented voices.
Embracing Change
Over the years, our lineup included multiple drummers, percussionists, and bass players.
- Musicians often left for their own solo projects or different tours, making it essential for me to be adaptable.
- Each new musician brings something unique, ensuring that no two tours or performances are the same.
The Live Music Experience
This unpredictability is what keeps live music fresh and special , the feeling of "you had to be there." Ultimately, the uniqueness of each show is what makes the experience unforgettable.
About the instructor

'Sister Bliss never stopped writing music. She's an accomplished composer for film and TV, a club DJ, and an advocate for the creative industries'. Billboard One of the most successful British dance music artists of the past 25 years, Ayalah Bentovim AKA Sister Bliss is the musical force behind Faithless. Together with iconic front man Maxi Jazz and producer Rollo Armstrong, she formed Faithless: one of the most successful electronic acts of their generation, with a career spanning more than two decades that included 8 albums (3 at number 1) and six top 10 singles. To date, Faithless have sold in excess of 15 million records worldwide and have played live to millions across the world, headlining festivals, stadiums and arenas. The band have collaborated with artists such as Jazzie B, Boy George, Cat Power and Dido, never conforming and moving effortlessly across an eclectic range of genres. Over a 25-year career that took her from the underground UK club scene to sold-out arena shows and festival headline slots around the globe, Sister Bliss has become one of British dance music's longest-standing and most influential female electronic artists. She comes off the back of releasing Faithless' first studio album in ten years, the highly anticipated 'All Blessed' - Faithless' love letter to electronic music that presents them at their very best. The album reached number 6 in the charts and the singles, along with their premiere remixes, garnered extensive support across BBC Radio 1, Radio 2 and BBC 6 as well as Kiss FM and Capital. A classically trained multi-instrumentalist, she has also scored numerous TV, film and theatre productions. Credits include 2012's film Knife Fight starring Rob Lowe and directed by two-time Oscar winner Bill Guttentag, commissions for Sex & The City 2, Chasing Amy, Danny Boyle's The Beach, A Life Less Ordinary, acclaimed British film The Hide, Crossing The Line and the BAFTA-winning TV dramas Life Begins (ITV) and The Poison Tree (ITV). For theatre, Bliss has written music for The Black Album and The Emperor Jones at The National Theatre in London, as well as composing an original piece for the London Sinfonietta, which was performed at Fuse Festival, UK. She recently had a lead role in major prime time BBC1 show 'This is My Song', mentoring the contributors and producing their final recordings. She released a new collaborative album with Rollo and Dido in 2019 under the moniker 'R PLUS' - 'The Last Summer', following a jam-packed summer of festival headline DJ sets throughout the world including sets at Bestival, Exit Festival, Glastonbury, Creamfields, Ibiza and beyond. Her hugely successful weekly radio show and podcast 'Sister Bliss in Session' is syndicated to over 100 stations and 43 countries worldwide. She recently guest presented Gilles Peterson's acclaimed show on BBC 6 Music and regularly stands in for Ana Matronic on the Dance Devotion show on BBC Radio 2. She has also presented a 5-part series on Bauer Media's Scala Radio station joining the dots between classical and electronic music, which won the Bronze prize at the New York Festival Radio Awards, competing against 30 countries. She currently teaches at Tileyard Studios' Masters MA course, including modules on songwriting, production and writing to commercial brief, and mentors individual Masters students - the same hands-on knowledge she shares in Studio to Stage, breaking down exactly how Faithless turned their records into a stadium-filling live show. read more




