The operations platform for nightlife and live events

Whatever a provider printed on the ticket, the phone reads it. Every scan tells the door person what happened in plain words: in, already in, refunded, canceled, transferred, or not one of ours.

Type a name and find the guest. Point the camera and find the ticket. Same list, same capacity count, whichever phone is working the door.

A party of four can arrive two now and two later. Plus-ones get their own line, comps are marked per guest, and a mistaken check-in is undone in a tap without losing the record.

Signal dies at the door? The iPhone app keeps scanning and checking people in. When it reconnects, everything catches up on its own. Nothing to set up before doors.

Every deal starts with a date. Holds sit on a venue and a date at first, second, or third priority, so you always know who is ahead of you. Challenge a hold and the person holding it gets a deadline to confirm or release. Holds expire on their own instead of sitting in someone's inbox.

Send the offer by email with a link and an expiry date. The artist or agent accepts, declines, or asks for changes with a note, no account needed. Send a revised offer and only the latest one can be answered. The whole thing turns into a PDF when the agency wants paper.

Flat guarantee, straight percentage, versus, or guarantee plus a percentage over a threshold, against gross or net box office. Set the ticket scale by price level with allotment, comps, and holds. Add deductions as a flat amount, per ticket, or a percentage of gross, and choose which ones the artist sees. Internal costs never show up on their offer.

Confirm an accepted offer and the artist is on the event with the role, set time, and length carried over. The hold on the date becomes the booking at the same time. Contracts are next: an accepted offer will become a signed agreement without retyping a term.

Artists are grouped by stage with changeover time between them, so the schedule accounts for the swap as well as the set. Actual start and end times sit next to the planned ones, which is what you want at 2am when someone asks why the headliner went on late.

Each artist moves through not arrived, in venue, green room, soundcheck, ready, on stage, and set complete. Production, hospitality, and the stage manager all see the same status, so nobody has to get on the radio to find out whether the headliner is in the building.

Everyone on the event gets an alert when a set time changes, and another 15 minutes before a set starts. Move a set and the alerts move with it instead of going off at the old time.

Drag artists across stages on a timeline and it warns you as you drop. Two sets cannot quietly overlap on the same stage, and a changeover that no longer fits shows up while you are still moving things.

By day, by week, or the whole run up to the show, split by provider or as one total. If a provider's numbers are incomplete, the chart says so instead of guessing.

Guest list against paid, first-timers against people who keep coming back. A guest who bought on two providers and came twice is still one person.

Tickets and bar against what you committed and what you paid, with the margin and whether the night covered the artist fee. If a number is missing, you get told, not a made-up total.

Ask Eve, the in-app analyst, to compare events or rank your best nights.

Owner, manager, door, hospitality, stage manager, bar manager, talent buyer, and more. Each role is a starting point, and you can adjust what any one person sees.

Ticket revenue, artist fees, expenses, and bar sales are each their own permission. A talent buyer can see the artist fee without seeing ticket revenue. A bar manager sees the bar and nothing else.

Door, hospitality, stage, and bar staff can share a login with no personal email, for the people who work three nights a month.

iPhone and Android, with your events and the full door. Sign in with Apple, Google, or email.