Erko is small, and the rooms are smaller. A back bar off the main street, an upstairs function space with a low ceiling, a terrace courtyard where the fence is two metres from where the act stands: that's the shape of most parties here, and it rules out more than people expect. A four-piece with a drum kit in a room like that isn't loud, it's unbearable.
The good news is the distance. Every act in the nearest ten sits a few kilometres away in central Sydney, which from here is a short run through Redfern, and all of them carry reviews from people who booked them. Duos and soloists lead the closest cards, which happens to be exactly what these rooms want.
Top picks are the nearby performers with the most visible reviews, then rating, then the closest; further afield the closest come first, and premium listings break remaining ties. Distances are straight-line from Erskineville. Ask each act whether they travel to your venue and what that costs.
Two players and a small rig is the honest answer, and a soloist is better still if the courtyard is the venue. The moment a drum kit arrives you're committed to a volume the room cannot go below, which the people either side of you will notice. Say it's residential in your first message and the act will bring the right gear.
None of the closest ten are, and the kilometres on each card show that clearly enough. They're pinned in central Sydney, which is a handful of minutes away, so there's no travel argument to have on a booking this close in. The inner west does house a lot of working musicians, and the wider list picks them up further down.
It's regular work for the duos and soloists on this page, and they'll know the constraints before you explain them. The two things to sort out with the venue first are whether they'll allow amplified music and what time it has to stop. Get both in writing and send them with the enquiry so the quote you get back is for the night you're actually running.
Length of the booking mostly, then whether they're supplying sound for the room and how many sets you want. Two forty-five minute spots in a courtyard is a very different job from four hours of background music through a dinner. The starting prices beside each card are live, and an enquiry with your hours in it gets you a real figure back.
Terrace houses and old pub rooms run on circuits that were never meant to carry a PA and a lighting rig at once. Tell the act how many separate outlets there are and let them scale to it, rather than tripping the board halfway through the night.
A duo sets up in a corner and still reaches the back wall of any room around here. Save the full band for a hall or a club with a proper floor in front of the stage, or ask whether the band runs a three-piece version.
Terraces here share walls and the streets are narrow enough that sound carries to the end of the block. Settle a stop time when you book, and build the last set around it instead of hoping nobody minds.