We do not replace distribution to streaming services. We run everything around the release: contacts, sends, listens, festival submissions and results. Below is the full scope, split honestly into what works today, what lands in time for the next single, and what is still a plan.
You bring the tracks, the bio, the press materials and the release date. The agent proposes recipients, copy and a schedule, then does the legwork: research, tidying contacts, drafting, preparing submissions. Nothing is ever sent without you approving it.
Recipients, order, copy and timing worked backwards from the release date. Close contacts first, media next, paid platforms last.
Not a template with the first name swapped in. The draft knows your history with that person, their desk, and what they actually cover now.
Every message and every submission waits for your click. The agent prepares, a human sends.
The value is not in how many addresses you have, it is in what already connects you. Your mail archive knows more about that than any list you could buy.
Contacts and correspondence imported from your mail, with context: who, which desk, which band it was about, when you last spoke. The history stays private to your account.
One of four calls for every person: rekindle, start fresh, skip, or wait. We do not reply inside a ten-year-old thread on autopilot and we do not fake a closeness that is not there.
Whether the address is still alive and whether the person still sits at that desk. A stale address is the most common reason a send is met with silence.
Whether the outlet is active now, whether it covers music like yours, and whether it is worth starting there. A send list ordered by sense, not by import order.
Festivals, showcases, competitions, radio shows and artist programmes all run on deadlines that do not wait. The radar watches them and hands you a submission that is already half written.
Festival details and submission deadlines gathered from the organisers' own public pages.
What fits you musically, what needs material you do not have yet, and what is a waste of an evening.
A reminder before the call closes and a form filled in up front, so all that is left is to check it and send.
Outlets, shows, stations and festivals: country, language, genre, how they want to be approached, where the information came from and when it was last checked. In time, journalists and organisers can claim their own entry and keep it current, because it is in their interest: fewer pitches that have nothing to do with them.
A send is effort, not a result. We measure interest and real outcomes so the next campaign is shorter and better aimed.
Plays, tracks finished, returns to the page, press kit downloads, replies. That is where the suggestions about who to follow up with come from.
Reviews, interviews, mentions, playlists and whatever airplay data is available, tied back to the campaign that caused them.
Spotify, YouTube and Bandcamp on one timeline with your promo work. How much data we can show depends on each platform's terms and the permissions you grant, so we treat this as a plan rather than a promise.
What was done, what came of it, and what to change next time. With a clear line between what we observed and what we can actually attribute.
How many hours the campaign took you. The first cost nobody counts.
How many people answered at all, not how many messages left the building.
Coverage, airplay, accepted submissions, offers of shows.
Radio needs the file and the metadata. A journalist needs the bio, the photos and the context. A festival needs live footage, a rider and your dates. Same materials, shown differently, instead of three separate PDFs drifting apart.
Bio in two languages, facts, line-up, credits, photos, contact. One link, always current.
Radio, press, festival. A different set of materials from the same source, with nothing copied by hand.
Earlier bands, old contacts and past events in one place. Every release starts from a better position than the last, not from zero.
We say this plainly, because tools in this category usually say nothing at all. How you behave here decides whether an editor opens your next message.
Practice collected since 1999 across several bands: how a release unfolds, what an editor expects, when to write to a festival. Shared across accounts and maintained by us.
Your history, correspondence, contacts and campaign results. Separated from other accounts, with access under your control.
You can let aggregated results from your campaigns improve the suggestions other bands get. A separate, voluntary consent you can withdraw. Without it the tool works exactly the same.
A subscription with a set budget for model work, a view of what you have used and a guard against surprises on the bill. Advanced users will be able to connect their own provider key.
Leave your address. We answer in person and set the listening pages up on your own domain in time for the first send. The rest arrives in the order on this page, and you tell us which parts you actually need.