Browse 14,236 musical acts available for hire, rated 5 out of 5 based on 27,036 reviews from real clients. From live bands and DJs to solo instrumentalists and vocal groups, you will find acts for every style of wedding, party or corporate event.
Categories range from rock and pop cover bands to jazz ensembles, classical string quartets, soul singers and specialist tribute acts. Whether you need a ceremony harpist, a high-energy party band, or background music from a solo pianist, you can compare profiles, listen to samples and read client reviews. Prices start from $110, with an average rate of $450. Use the filters below to narrow results by location, price and reviews.
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Live music sets the tone for any event. The right act transforms a reception, dinner or party from ordinary to memorable, giving guests something to talk about long after the night ends. With 14,236 musicians, bands, DJs and singers listed across dozens of specialist categories, finding the right fit starts with knowing what kind of sound you are after.
For weddings and private parties, wedding bands, cover bands and party bands remain the most popular choices, performing crowd-pleasing setlists that keep dance floors full. If you want something more specific, categories like jazz bands, soul bands and funk bands each bring a distinct energy. Rock fans can explore indie bands or rock bands, while country bands suit rustic and outdoor events. Those planning themed evenings might look at swing bands or decade-specific acts from the 1920s right through to the modern era.
Solo performers offer flexibility and are often ideal for ceremonies, drinks receptions and more intimate settings. Guitarists, pianists, harpists and saxophone players are among the most in-demand solo acts. Singing guitarists combine vocals with acoustic accompaniment for a full sound without a full band. Wedding singers and wedding musicians specialise in ceremony and reception performances, while string quartets and classical ensembles provide an elegant backdrop. Violinists and cellists also work well as featured performers during the meal or reception.
A skilled DJ can read a room and adapt on the fly. Wedding DJs and event DJs handle everything from background music to late-night sets, often providing their own sound and lighting equipment. For something different, the sax and DJ format pairs a live instrumentalist with a DJ for a modern, high-energy combination. Vocal groups are another strong option: a cappella groups, gospel groups and choirs bring a rich, layered sound that works particularly well for ceremonies and corporate events.
Tribute acts give your event a ready-made theme. Tribute bands cover everything from ABBA and Queen to Elvis and the Beatles, with acts that recreate the look and sound of the originals. For cultural events, the world music categories include Indian and Bollywood entertainment, Latin, salsa and mariachi, Irish and Scottish entertainment, Spanish and flamenco, and many more regional styles.
Rates vary widely depending on the type of act, group size and event requirements. Solo musicians and DJs generally sit at the lower end of the price range, starting from $110. Full bands, large ensembles and specialist tribute acts typically cost more. The average rate across all musical act categories is $450, with prices reaching $1,700+ for premium acts or extended performance packages. Request quotes from several acts to compare options for your budget.
The average price is $450 (USD), with most priced from $110 to $1,700+. Contact the supplier you like for an accurate quote.
Uptown Coverband
"When we first contacted Yukio to ask if the uptown cover band could play at our company party in The Hague, we clicked immediately. All our wishes were discussed and accommodated. The evening itself was fantastic! Great music from this seven-piece band. It was a fantastic performance. Very dynamic with stunning lighting effects. The audience was very enthusiastic. I look forward to the next party!"
Double Je
"I had a very good time at the Double Je concert at pierres blanches (44). The covers were magnificent, in varied styles. The musicians performed them with accuracy and energy while bringing their sensitivity and heart to them. Thank you for this wonderful evening."
Sara Longo, jazz singer, jazz band.
"I call Sara Longo as soon as I can. She has all an artistic director desires:
- a very various repertoire she embodies perfectly: french songs, jazz, bossanova, italian songs.... I like to chose themes for my concerts and Sara always has a great idea she bring to stage with enthusiasm.
- a unique stage presence!
- a unique voice!"
Kavita Sahay Geet Sangeet
"We had the absolute pleasure of having Kavita Sahay and her wonderful team perform at the Garba/Navratri Night organized by us at The Guelph Estate Convention Centre & Banquet Hall, and what an incredible experience it was!
Kavita is an exceptionally talented, energetic, and professional performer. Her amazing voice, enthusiasm, and ability to engage the audience made the entire evening truly memorable. From beginning to end, she and her team created an electrifying atmosphere filled with music, dance, joy, and festive spirit.
Her entire team was equally outstanding! Their coordination, talent, professionalism, and dedication were truly impressive. They kept the crowd entertained and dancing throughout the night, making our Navratri celebration a tremendous success.
As event organizers and banquet hall owners, we understand how important great entertainment is to the success of an event, and Kavita Sahay and her team exceeded our expectations!
We received wonderful feedback from our guests, and we couldn't have been happier with their performance.
We highly recommend Kavita Sahay and her entire team to anyone looking for exceptional Garba, Navratri, or live entertainment. We would absolutely love to work with them again!
Thank you, Kavita, and your amazing team, for making our event such a spectacular and unforgettable celebration!
— Zaki Agha
The Guelph Estate Convention Centre & Banquet Hall"
Ottawa Pocket Jazz Band
"Great performance, sensed the room well, and professional, thank you!"
Bel Greco
"Interview with Christiana Theofanous for Kalithea Press, in cooperation with Kalithea Radio and Galaxias FM 92.1 Fokida
1. Mr Yannis Apostolidis, for many years you lived and worked professionally in England. What led you to choose life abroad, and how did this long journey shape your life and your artistic path?
My decision to leave for England in 1995 came from my need to develop musically and to discover new horizons. I had already gained significant experience in Greece. From September 1989, when I settled in the country, I began working as a bassist in music venues, while at the same time searching for different ways to express myself artistically.
In 1994 and 1995 I took part as lead singer in a musical theatre production at Mylos Club in Thessaloniki. In 1994, I also recorded an album with English lyrics, with a rock band, at the Papazoglou studio.
When my work with Mylos Club ended, I felt that I had to take the next step. I wanted to test my abilities in a different environment, to come into contact with other musical cultures and to broaden my possibilities.
So, in 1995, I left for London, where I lived until 2002. Those years were a decisive chapter of my life. I worked as a singer, played saxophone and flute, and got to know a multicultural musical environment at first hand.
My path was not always easy, but it taught me to persevere, to adapt and not to rest on my laurels. I believe that an artist must remain in constant search. Music is not a road you learn once and then it is finished; it is a continuous process of discovery.
2. We know that you also passed through the world of street music, where you managed to create a complete musical sound, essentially building a whole music band by yourself, with the help of the right equipment. At the same time, you perform songs in many languages. How did this experience begin, and what did direct contact with the public teach you?
Street music was a wish I had had for many years. When I lived in London, I was not given the opportunity to try it, since from the very first moment I worked as a singer in bars and restaurants. At the same time, I played saxophone and flute and took part in jam sessions in the pubs of my neighbourhood, where I had the chance to develop through live music and collaboration with other musicians.
In the end, I fulfilled this wish two summers ago, here in Chalkidiki. It was a special experience for me, because I managed to try something I had been thinking about for years.
With the help of the right equipment, I can create a complete musical sound, giving the impression of a whole band while I am alone. This requires technical knowledge, preparation and constant concentration.
Street music, however, has another dimension. You come into direct contact with people who may not know you at all. There is not necessarily the presentation of an organised stage or the expectation of a particular show. People stop, listen and react spontaneously.
What interests me most is communication. By performing songs in different languages, I can reach people with different cultural references. Music has this magical quality: even when we do not understand all the words, we can feel the emotion.
3. England is a country with a multicultural environment and diverse musical influences. What was your experience there as a Greek singer? What difficulties did you encounter, and what opportunities were given to you to develop artistically?
London was a great school for me. From the very first moment I worked as a singer in bars and restaurants, while at the same time playing saxophone and flute. I often took part in jam sessions in the pubs of my neighbourhood, where I came into contact with musicians of different influences and developed both my vocal abilities and my skills as an instrumentalist.
My everyday life, however, had a difficult side. In the mornings I worked part-time in a sandwich shop in the City of London. I washed food containers and prepared sandwiches, while in the evenings the stage awaited me. It was a reality that demanded hard work and discipline.
In 1998 I started postgraduate studies in music teaching at Middlesex University. Unfortunately, I did not manage to complete them, as my professional commitments forced me to work in the evenings. It is something I still think about with regret, but at the time I had to meet the needs of my life and my work.
That same year I took part as a flautist on the album Kingsize by Boo Radleys, playing flute on two songs. My name, Yannis Apostolidis, is printed on the album cover. It was an important experience for me, and I wished for this collaboration to continue.
England taught me that talent is important, but that it is not enough on its own. It requires perseverance, consistency, professionalism and the willingness to make the most of every opportunity. Above all, I learned not to give up on music, even when the circumstances of life demand great personal sacrifices.
4. During your time abroad, you also found yourself in Saint Petersburg, where you performed concerts and professional collaborations. Would you like to share with us a little of the atmosphere of those performances? How did the audience welcome you, and what do you keep from this experience that stands out?
Saint Petersburg is an important chapter of my musical journey. From 2007 to 2010 I travelled there during the winter season together with my friend and collaborator, the keyboardist Giorgos Apazidis, performing concerts and professional collaborations.
It was a different experience from that of England, as we came into contact with another cultural environment and with people who had different musical references. For a musician, such experiences are valuable, because they make you remain open, observe and adapt.
What I keep from that period is the value of collaboration and of live musical communication. When you go on stage, it is not enough to perform a song correctly. You need to create a connection with the audience and convey the emotion of the interpretation.
Music gave me the opportunity to work in different countries and to meet people I might never otherwise have met. This ability to communicate beyond borders is one of the things I value most in my artistic path.
5. When a Greek artist performs far from their homeland, music often takes on a special emotional character. Did you notice this at your concerts abroad? How does the audience's relationship with Greek song express itself, especially when they are far from Greece?
I believe that Greek song carries a special emotional weight. For Greeks who live far from their homeland, a familiar melody can awaken memories, recall family moments and bring them mentally closer to their place.
Music works like a bridge between the present and our memories. It can remind us of people, places and moments that have left their mark on our lives.
At the same time, I believe that the power of song is not limited by language. A person who does not speak Greek can be moved by an interpretation, feel the melody and grasp the emotion conveyed by the singer.
As a musician, this is something that interests me particularly. I want to be able to communicate with different people and use my voice to convey emotions that are common to all of us.
Greek song has a rich tradition, intense melodic quality and a particular expressive power. I believe it deserves to travel even further, while preserving its authenticity and its identity.
6. Apart from live performances, your artistic path includes collaborations, professional contacts and many different activities. Which do you consider the most important moments of your journey in England and Saint Petersburg? Were there people or collaborations that substantially influenced your path?
If I had to single out certain milestones, I would first mention my experience in London, where I had the opportunity to develop as a singer and instrumentalist through daily work and my participation in musical gatherings.
The album Kingsize by Boo Radleys holds a special place, where I played flute on two songs in 1998. The fact that my name, Yannis Apostolidis, is printed on the cover is a specific and important memory from that period.
Another milestone was 2002, shortly before I returned to Greece, when I created my personal album Vacant Alleyways. It includes six of my own songs, produced by me. I had the feeling that a major cycle of my life was closing, and I wanted to leave behind a work that expressed me personally.
After my return, I worked for about ten years with my friend and keyboardist Giorgos Apazidis, with whom we worked in hotels in Chalkidiki. The pace was demanding, as we worked seven days a week. At the same time, we travelled together to Saint Petersburg during the winters of the 2007–2010 period.
Every collaboration has its own value. When you share the stage with other musicians, you learn to listen, to collaborate and to respect each person's different approach. These experiences are just as important as personal achievements, because they shape you both as an artist and as a person.
7. After so many years abroad, do you believe that the way an artist perceives music, the audience and themselves changes? What did this long experience teach you?
Undoubtedly, life in different countries affects the way you see music and the world. When you come into contact with different cultures, sounds and people, you understand that there are many paths to express yourself artistically.
My own path included different roles. I started as a bassist, took up singing, played saxophone and flute, took part in groups and collaborations, and created my own songs. Each experience offered me something different.
I also learned that music requires continuous work. Knowledge or talent alone is not enough. You need to remain active, try new ideas and accept that there is always something more to learn.
As a person, life abroad made me rely more on my own strengths and face difficulties with greater composure. At the same time, it helped me understand how important the balance is between professional ambitions and our personal responsibilities.
Today, as a music teacher at the Child Creative Occupation Centre in Nea Moudania, I see music from a different side: as a means of education, creativity and personal development.
I believe that an artist truly evolves when they do not stop learning, but also when they find ways to pass on what they have gained through their path.
8. Life far from the homeland has its beautiful moments, but also difficulties that are not always visible to others. How did you experience this distance? Were there moments when you missed Greece particularly, or when you felt that music helped you keep your connection with it alive?
Life abroad has many sides. On the one hand, it gives you the opportunity to meet new people, to work in different environments and to discover possibilities that"