One place, first booking to final payout
Everything a night needs.
Nothing in a second tab.
Booking the lineup, chasing the riders, briefing the crew, selling the tickets, working the door, and settling up afterwards. It is one job, so it lives in one place.
The point is not the features. It is that you stop being the only thing holding the night together, so you can run more gigs without carrying more of them in your head.
The three months nobody sees
This is where a night is actually won or lost, and where the spreadsheets usually are.
Book the lineup
Search artist profiles, send a booking request, and let them accept or decline. Terms and any back-and-forth stay attached to the booking instead of scattered across a thread.
Set times and stages
Build performance slots across one stage or many. Two artists in one slot show as a back-to-back, because that is what happens on stage.
Riders and tech specs
Technical and hospitality riders live on the booking, with documents attached. When the engineer asks what the headliner needs, nobody forwards an email.
Travel and hospitality
Flights, hotels and ground transport per artist, with a timeline for who lands when. The second spreadsheet most promoters keep.
Crew and call times
Assign team members to the event by role and skill, with tasks against names and dates. Everyone can see the same run sheet.
Vendors and venue
Sound, lighting, security and the rest booked as services against the event, alongside the venue booking and its invoices.
The budget, while it still matters
Costs you have paid and costs you have agreed but not paid, counted against a projected breakeven that updates as you book.
The event page
A public page with your lineup, set times, venue and artwork. It changes when the lineup changes, so there is no corrected flyer at 6pm.
Tickets
Set up ticket types and sell from the same page as the lineup. A waitlist when you sell out, and resale when somebody's plans change.
The announce
Email your guest list from inside the event, and plan the posts against the same date rather than in a separate calendar.
Six hours you cannot pause
Planning has undo. The night does not. Everything here is set up in advance and used once, quickly, in the dark.
The run sheet everyone reads
One running order for the crew, the artists and the public page. Move a slot once and none of them disagree afterwards.
Check-in at the door
Guests are checked in from their ticket on a phone. The count rises as they come through, so you know the room instead of guessing it.
Walk-ups counted properly
Tickets sold on the night land in the same total as the advance ones, rather than in a cash tin reconciled on Monday.
Crew who already know
Call times and roles were set weeks ago, so load-in starts without anyone standing outside waiting for a phone to be answered.
One place to ask
Messages sit against the event and the booking they concern, so a question at 23:00 does not need three apps to answer.
The week most promoters lose
Settling up is where the last of the goodwill goes. It is also where you find out what to change next time.
Settle up
Invoices and payouts against the event, with accounting codes so the numbers can leave the building in a shape your bookkeeper accepts.
The real number
What the night actually cost and actually took, set against the breakeven you were working to. No reconstruction from receipts.
What the data says
Ticket sales over time, orders, and how the night performed — per event, and across the events you have run.
Then do it again, without starting from a blank page
Duplicate an event and its performance slots and tasks come with it. Artists, venues, vendors and crew are already records, so the second show is mostly confirming rather than assembling. That is the difference between running four gigs a year and running twelve.
One room or a whole field
A club night and a festival are the same job at different scale. The same event holds both.
Two acts at 23:00 in different rooms is a normal Saturday, not a workaround. The striped block is a back-to-back: one slot, two artists.
Many stages
Slots run per stage, so two things at 23:00 in different tents is a normal Saturday rather than a workaround.
Many artists
Every booking carries its own rider, travel and payout, however long the bill gets.
Many hands
Co-hosts and organisation members work on the same event, each with their own role.
Many vendors
Sound, lighting, security and staging booked as services against the event they belong to.
Everyone on the night, in the same place
People see what their job needs and nothing else.
Event organisers
Create events, book the bill, run the budget, sell the tickets and settle up.
Artists and DJs
One profile with bio, images, music and rider. Receive booking requests and answer them.
Team members
Crew with roles and skills, assigned to events with tasks and call times.
Vendors
Service providers who take bookings for sound, lighting and the rest.
Agencies and organisations
Manage several artists, or several people working across the same set of events.
Put one night in and see.
Start with the next gig you already have booked. Nothing to migrate.
Start your first eventFree for your first event. No credit card required.