A residency is a standing slot — the same night, the same room, repeating. Venues like them because the calendar fills itself. Artists like them because the audience learns where to find you. But the pricing conversation is different from a one-off, and going in with a single-night number is the usual mistake.
For a one-off, you are selling a night. For a residency, you are selling reliability — the venue stops having to fill that slot. That has real worth to them, and it comes with real cost to you: you are holding a recurring date, which means turning down anything that clashes.
Price the commitment, not just the performance.
Before you can negotiate, you need a number you will not go below. Build it from what the night genuinely costs you:
That total is your floor. A residency that sits under it does not become worth doing because it repeats — it just loses you the same amount every week.
Plenty of residency terms are worth negotiating and cost the venue little:
Agree how the run ends before it starts. "We'll see how it goes" is fine until one side thinks it is over and the other has turned down work.
Dates, set length, fee, who provides what, and how much notice either side gives to stop. That is five lines in an email and it prevents nearly every residency argument.
If you are still working out which rooms in your area run this kind of night, browse venues near you and look at who already has a recurring slot — the listings will tell you a lot about which rooms programme that way.