HOW WE WORK We’ll start with a reckoning: what is and isn’t working, including the parts you’ve been carefully not looking at.

Then we’ll create a vision. Not a vision board — actual numbers. What you want to be paid a night. The record you want to make and who’s paying for it. How much of the year you want to be on the road.

Then I’ll support you to actualize it. Our work will be tactical and tangible. You share. I listen. We make a plan, and then I hold you to it.

Start Here WHY ME I’ve spent my working life on both sides of this. I’m a musician. Records, tours, grants, the van, the rooms that were half empty and the ones that sold out.

I’m also a booking agent and manager. I represent Rising Appalachia, Amanda Pascali, Summer Camargo, Lily Henley, among others. So when we talk about what a venue actually wants, or what your fee should be, or why a talent buyer never wrote back, I’m not speculating. I’m reading those emails this week. A WORD ABOUT LEGIBILITY By which I mean: how clearly a stranger can tell who you are and what you do.

Because I’m the one reading those pitches, I can tell you exactly what happens. Within a few seconds I either understand an artist or I don’t. When I don’t, it's almost never because they aren’t good. It's that nothing in front of me tells me who they are and what they do. A talent buyer with two hundred emails in the inbox makes that call faster than I do. A journalist faster still.

Most of what shows up as a booking problem, or a press problem, or a why-isn’t-this-working problem, is a legibility problem underneath. It’s also the most fixable thing there is. IN OUR 1-ON-1 SESSIONS, I CAN HELP YOU

• Book yourself without an agent
• Pitch venues and festivals so somebody writes back
• Route a tour that doesn’t lose money
• Make sense of deals, holds, fees and riders
• Position yourself for better gigs
• Find your niche and say it in a sentence a stranger can repeat
• Write the bio, the pitch, the one-sheet
• Plan an album release
• Launch a crowdfunding campaign
• Build a real contact list
• Network without feeling like a salesman
• Grow an audience that’s actually yours
• Tap new income streams
• Move through creative blocks

WHAT YOU GET

• Two one-hour coaching sessions each month
• A shared Notion workspace where the plan lives between calls: your to-do lists, my templates, contacts, resources and notes
• Somebody who remembers what you said you’d do, and asks

WHAT IT COSTS

$300 a month. Month to month — stay as long as it’s useful. I work with a small number of artists at a time, so that everyone gets my actual attention. I'm Ready

IS THIS FOR YOU? This works best if you have something to build on. A body of work, a following, a run of shows. It can be modest. It can’t be imaginary.

It works if you’ll do the work between sessions, not just talk about it on the call. And if you’d rather hear the truth than something comfortable.

It isn’t a fit if you’re hoping someone will hand you their contacts or promise you an agent.

I work with people at every stage: musicians putting out a first real record, musicians fifteen years in who’ve hit a ceiling, musicians rebuilding after a band ended or a label went quiet or life happened. The stage matters less than whether you’re at a hinge point. Let's Go