Artist booking
Dates that build a career, not dates that fill a calendar.
We treat the diary as an artistic decision: which venue, in which territory and at which point in the year. Every confirmation has to leave something behind — new audience, standing or margin — not just a box ticked.
Where a diary gets stuck
Playing a lot is not the same as growing. Many projects take whatever date comes up and end the year with a full diary, zero margin and no recognisable position on the circuit.
Closed doors
With no direct line to programmers, the press kit disappears into an unanswered email and the season closes without you.
Fees that do not cover the job
Negotiating without market references means whatever comes in evaporates into travel, per diems and crew.
Incoherent routing
One-off dates with no territorial logic and no continuity: plenty of kilometres, very little new audience.
How we work a season
We treat booking as a season strategy, not as a list of emails sent.
Project and market analysis
We define which venues, festivals, series and programmers fit your proposal, and when in the year it makes sense to present it.
Press kit and outreach
We build a professional press kit and take your project to Spanish and international promoters we already work with.
Negotiating terms
Fees benchmarked against the real market, contracts, technical riders, hospitality, exclusivity clauses and calendar.
Season planning
Coherent routing that keeps travel and costs down, coordinated with our tour management service.
Follow-up and reporting
Regular updates on confirmed dates, dates under negotiation and expected closings, so you always know where you stand.
How we sell dates
We do not sell dates: we build a stage career.
Every confirmation is decided on what it brings to your project — audience, territory, standing or profitability — not on filling a gap. We are artists, managers and producers working together, so we negotiate understanding both sides of the table: what a programmer needs in order to say yes, and what a project needs in order to hold up.
Start with the artists we represent or with the jazz line.
What you will not find at an agency
A collective, not an agency
No sales rep who has never heard your music. The people representing you come from the stage and from management.
A real network, not a database
Active relationships with venues, festivals and international markets across Spain, Europe and Latin America.
Nothing subcontracted
Booking, touring, production and communication under one team: one point of contact and one set of criteria.
What a season looks like
Before we start
We analyse the project, set the season objectives and decide which circuit to approach and with what materials.
Closing months
Outreach, negotiation and signing. You see the real state of every conversation — confirmed, open or dropped — and why.
Once the tour is running
Coordination with tour management, date-by-date follow-up and a year-end review to shape the next season.
Tell us about your next season
Tell us which project you are running and where the season stands. We work from La Rioja, Spain, for the Spanish, European and Latin American circuits.