On scanning this quickly growing thread it seems to me that there is only one sort of musician about...rhe fully skilled ,esperienced 9semi) pro. Not the case. I'msure we can all remember our early days when even doinf a floor spot at the local club was more effective than a laxative. We then neededa graduated range of types of performance space, from local open mics and singarounds, to local festivals or pub night s where a solo spot was offered and a pintof beer would have ben gladly accepted, until growing skill and confidence made you feel able to charge a fee. Some, for various reasoons of time or ability, never got beyond the odd pintwill be fine threshold. When one is working regularly, one often performs for charity do's, especilaay in the barn dance world. We never reduced our fee for what were other people's charities, raising funds was their concern. We did , however put by a few gigs a year where qe would play for localcharities that we supported ourselves. When people are trying to make a profit, then 'an opportunity for exposure' is not sufficient inducement to go and work for someone else. It IS really difficylt for small venues to make a profit, es[ecially when they're being screwed by the pub company. I've come to think that a percentage deal can be fair to both sides.