Talent buying
We buy for our own promotions, so we know what a fee should be before we ask. That is the difference between a quote and a negotiation.
- Real market fees, not list prices
- Holds and first refusals
- Counter-offer handling
Madrid based · working worldwide
Live entertainment, booked properly.
Talent buying is a trade, not a directory. Beewin tells you early what a name really costs, what it needs on stage, and whether it belongs in your room at all — then books it, contracts it and delivers it.
- Shows delivered
- 0+
- Countries
- 0+
- Artists represented
- 0+
- Avg. quote turnaround
- 0h
Services
Everything between the brief and the encore
Take the whole service or just the part you are missing. Both are normal here.
Festival programming
Line-ups built as a curve, not a list — headline weight where the money is, discovery where the room can take it, and a budget that still balances.
- Stage-by-stage curation
- Budget modelling per slot
- Clash and curfew planning
Show production
Technical delivery under one manager. Riders read line by line, suppliers tendered, and a schedule the crew can actually work to.
- Rider reconciliation
- Site and stage planning
- Crew and supplier management
Sponsor activation
Sponsorship that survives contact with the artist. Rights, usage and on-site presence agreed at contract stage, not on the day.
- Rights packages
- Artist approvals
- On-site brand delivery
International routing
Dates that make geographic and financial sense, with the visas, carnets and freight booked around them rather than after them.
- Route and cost modelling
- Immigration paperwork
- Freight and backline
Contracting & settlement
Deal memos, riders, insurance and the night's settlement, all in writing. No handshake deals, no surprises at the end of the show.
- Deal memos and contracts
- Insurance and permits
- Same-week settlement
Who we represent
A roster built for real rooms
We keep the list short enough to know every act personally. Names we have worked with, not directory entries bought from a database.
DJ & electronic
Festival headliners
Acts that can hold a field at midnight, with the production spec to match.
DJ & electronic
Club circuit & residents
Selectors for rooms between 200 and 2,000 capacity, booked as one-offs or a season.
Music
Show bands
Tight, rehearsed and set-list flexible — the safe answer when the night has to work.
Music
Emerging artists
Support and second-stage names on the way up, priced before the market catches on.
Hosts & speakers
Corporate specialists
Acts who read a business audience: no long intros, no awkward silences, clean language.
Stage & circus
Classical & crossover
Soloists, quartets and small ensembles for ceremonies, dinners and brand films.
Work
Nights we are happy to be judged on
References available for all three, including the finance people.
Corporate · conference
Closing night, 2,200 delegates
A closing act that a business audience actually stayed for, plus a host who kept an over-running agenda inside its slot without anyone noticing.
- 2,200Delegates
- 0Minutes over
- 4.7/5Delegate score
Festival · programming
Second stage, full curation
Given a stage and a budget with no line-up. Built the whole curve, from opener to closer, and came in under budget with a discovery slot that sold out the tent.
- 22Acts
- -8%Against budget
- 3Sold-out sets
Private · destination
Island wedding, three days
Three days of programming on an island with one ferry: string quartet, a band, a DJ, and every piece of backline on the right boat at the right hour.
- 3Days
- 6Acts
- 100%On time
Process
From brief to encore in four steps
The same four steps whether it is one DJ or a three-day festival.
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01
Brief & budget
Date, room, capacity, audience and the number you can actually spend. Fifteen minutes on a call saves three weeks of quoting the wrong acts.
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02
Shortlist & holds
Three to five names with real fees and real availability, and a hold on the ones you like so nobody else takes the date while you decide.
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03
Contract & advance
Deal memo, rider, insurance and the advance schedule. Everything the artist needs is agreed in writing weeks before anyone loads in.
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04
Show day
Our production manager is on site from truck call to strike, and the settlement lands in your inbox the same week.
About
Built by people who used to run the stage
Beewin started Madrid-side as two tour managers who were tired of agents promising things production could not deliver. That is still the test every booking here has to pass: can it actually be built, on this stage, on this budget, on this date.
We are deliberately small. The person who quotes you is the person who negotiates the contract and the person who answers the phone at eleven on show night.
- One named contact from first email to settlement
- Fees quoted at market, never marked up in secret
- We say no to bookings that will not work
References
What promoters say
Good to know
Answers to the awkward questions
Still unsure? Email [email protected] — we answer every enquiry, including the ones we cannot take.
Why use an agency at all?
Because a published fee is not a real fee, a rider is not a suggestion, and a cancellation at short notice needs somebody with relationships. If none of that worries you, book direct.
How do you pick the shortlist?
Room size, audience, budget and what the night has to achieve. We deliberately include one name you have not thought of — that is usually the one that gets booked.
What if we do not like any of them?
We go again, at no cost. Getting the first shortlist wrong is our problem, not yours.
Do you work with new artists?
Yes, and we price them honestly. Booking someone on the way up before the market notices is one of the few real bargains left in this business.
Who is on site on the day?
A named production manager from truck call to strike, plus the booker who sold you the show. Not a runner with a clipboard.
How do payments and settlement work?
Written schedule at contract stage, funds held where the deal requires it, and a full settlement sent within the same week as the show.
Contact
Tell us the date and the room
The more you can give us now — capacity, audience, budget range — the faster the shortlist comes back.
We answer every enquiry within one working day. If your date is inside two weeks, write “URGENT” in the message and we will call instead.