Prepare the artist’s live show, touring materials, technical needs, and foundational knowledge required to enter new territories.

Outcome. Get the show, the paperwork and the technical requirements into a state a promoter can work with.

The show itself comes first. Set length, running order, what happens between songs, and what the audience is meant to feel at the end. A room is booked again on the basis of what the crowd did, not on what you played.

The technical rider states your input list, backline, monitor requirements and stage plot. The hospitality rider states what you need in order to perform, not what you would enjoy. For an emerging act both are short and honest. A long rider you cannot justify makes a promoter think you are difficult; a missing rider makes the day chaotic.

Touring materials are the electronic press kit: performance video first, because a venue manager is deciding whether the room will fill and video answers that in thirty seconds, then the short biography, current photographs, working links and a contact that is monitored.

Export groundwork begins here rather than at the border. Know which documents exist in your name, who controls your recordings and compositions in each territory, and what a foreign promoter will ask you for.

What you will produce

Your technical and hospitality riders, a current EPK with performance video, and a set list built for the rooms you are targeting.