Services · Booking and touring
Shows chosen for the career, papered before the stage.
Fees, holds, offers, contracts and routing, with every date in one place and touring commissioned only on what it actually earns.
How we handle live
From enquiry to settlement
Choosing the shows
Not every offer is worth taking. We weigh each one against the plan: the room, the fee, the audience, the routing and what else it rules out. A good year of live work is designed, not accepted.
Fees and offers
We price shows from what the artist is actually worth in that market, and we negotiate guarantees, percentages, buyouts and riders in writing before anything is announced.
Holds and contracts
Every enquiry, hold, offer and confirmed date sits in one pipeline with its terms attached. Contracts are issued and signed before the show, not after it, and deposits are chased.
Advancing the show
Times, stage plans, backline, guest lists, parking and who to ask for on the day, sent to everyone who needs them so nobody arrives guessing.
Settlement
Somebody checks the numbers on the night and the invoice goes out the next morning. Fees are tracked until they land.
Touring that pays
The budget comes first
Before a tour is confirmed we build its budget: every fee on one side, and crew, travel, accommodation, production, insurance and agency on the other. If a run does not work on paper it will not work on the road, and we would rather change the routing or the band size than find out in the van.
That is also why we commission touring on the net. Our 20 per cent is taken from what the tour actually made after it paid for itself, so our incentive is the same as yours: shows that build the career and leave money in the account.
Net
Touring commissioned
after costs
One
Pipeline for every
hold and offer
UK + NL
Home markets, with
the European circuit
Tools that do the chasing
The platform
Every artist we manage runs their live business on The Desk, the booking software we built and use across the roster. Enquiries arrive in one list, quotes are priced from a rate card, contracts are signed online on the same link, and invoices carry the artist’s own bank details so fees are paid straight to them.
Nothing lives in a forwarded email. When a promoter asks whether a date is free, the answer is already on the screen.
Questions
About booking and touring
Do you book shows yourselves or use an agent?
Both. In the early years we often book an artist ourselves, because an agent is not yet worth the commission or will not take them on. Once there is demand in a market, a good agent opens doors we cannot, and we bring one in and manage the relationship.
How is touring commissioned?
On the net, not the gross. Our 20 per cent applies to what is left after the tour has paid for itself: crew, travel, accommodation, production and the agent’s fee. A sold-out tour that loses money earns us nothing, which is how it should be.
What is a hold and how does it become a confirmed show?
A hold is a provisional claim on a date at a venue while the details are agreed. Holds are ranked, so a first hold has priority over a second. A show is confirmed when the offer is accepted in writing and the contract and any deposit are in place. We track every hold and offer in one pipeline so dates are never promised twice.
Which countries do you book in?
Mostly the United Kingdom and the Netherlands, where our offices are, and the European circuit around them. For shows further afield we work with local agents and promoters.
Keep reading
For artists
Considering representation?
Tell us what you are working on and where you want to be in five years. We read every application properly and we reply to everyone, including when the answer is no.