I can't say I've toured but I've certainly given several recitals where I've been nowhere near home and having to do the hotel thing. My attitude would probably be different if I was doing it day in, day out. It's cool if you are staying with a fellow musician, like after a joint recital, or with a friend, but the contrast from being the sole focus of attention and then going an hour later back to an anonymous solitary room can be unnerving.
For all of those who honestly and sincerely weigh-in on any post, I proffer the following, which I have related before:1) This is an "Open Post," however that does not connote or denote a "Whatever" post.2) Per the OP, does anyone seriously believe that those who commonly post here would ever broach this detailed so-called "Professional" post on Concert Pianist epistemology.3) Consequently, when I "called him on it" (Poker terminology), he "folded."4) The point is that: If you and yours continually allow us to be treated like "Morons," by the rest of Piano Academy, then the causal logic is not linear. It is circular (what goes, comes back around).
I have colleagues who tour; they live out of a suitcase and spend most of their time in a hotel room working on the instrument provided. Occasionally they get to leave and 'see the sights'.The problem is they literally play the same pieces over and over for months before returning to normal life. There is always off-season; Did you make enough money to tide you over to the next 'tour', or where ever your agency sends you? More often than not, you are on a cruise ship or doing private functions. Occasionally you get a concerto/solo gig, but they are far and few between.The names that were dropped are the 1% of concert pianists. Why compare yourself to them.The rest have to supplement income with teaching, composing, writing and/or examining.If you are lucky enough to win a competition and get a record deal, your album sales will help supplement your income when you are not booked for gigs.It's not all 'Feux Follets', flowers and applause.
From what I've heard...Lots of traveling. Sounds like that gets old fast. Maybe you're the one driving or controlling things, and that wears on you too. Ideally, it's someone else... Planning everything and telling you where to go. All the new -- places, people, buildings -- that wears on you too.Finding a decent place to practice is a concern. I think some have that in their contract. Also having a person available 24/7 who is local to the area and will drive you wherever or fetch whatever you need to too.I remember a few "outside" people who have showed up who pretty much holed themselves up in a practice room all day. So you could physically be in a famous place but have zero contact with it really. You're just there. Do the performance, move on to the next place.Traveling at night right after a performance vs. waiting until the next day to travel.If you're actually earning enough of your income where you're surviving somewhat by performing, there's still the business aspect, that "job." It takes up time and attention. Unless you have someone doing that all for you. I've heard the admin side of performance is equal to a part-time job, maybe 20 hours/week devoted to that.Having guaranteed times, a place, and a decent instrument sounds wise. And having that person who will go do whatever you want, who knows the area, sounds like a plus too. The more you don't have to devote energy to, the better.Pay-wise, I remember hearing about a world class pro who got paid half up front, half after the performance. Then he was off traveling that night. I've heard of college/university profs doing small tours. If it's an option, maybe do a single show travel, then multiple stops, then more. Build up that way. I have a feeling having a contract is wise and would help relieve stress. If someone's supposed to pick you up at an airport, then it's on them. If they fail at that, it's not your fault, but do you still get paid?And then piano has the accompaniment element to it. If the pianist isn't the soloist, they "tag along" as the accompanist. A lot of decisions are already made and it might be more of making sure no one forgets or overlooks something you really need.Always try the piano you'll perform on ahead of time too. Glancing over some posts...Do you, can you, keep your teaching schedule?Any masterclasses or students lined up so you can walk in and teach some lessons for extra money?Ditto on being locked into the same material and not really having a chance to grow things until after the tour.Ditto on the lull in income.If you are doing everything yourself, along with the idea of starting small and building up, you can also repeat the 'tour circuit.' When it's repeated you'll know what to do and what to expect more. Fewer surprises. Less energy drained.