Band in Tour is a live music calendar made of a list and a geolocated map, where artists, venues and promoters post real gigs in real time. No editorial picks, no sponsored suggestions: the order you see is earned, not bought. It is a living picture of independent music on the move, and a working tool for the people who actually put those shows together.

No. Band in Tour is open to anyone who wants to know what live music is happening around them: the map, the list, city search, the full detail of every event, the whole blog and the city pages are there for everybody, with no sign-up and no payment. Accounts are for the people who make live music happen. There are three kinds — bands and solo artists, venues and live clubs, promoters and crews — and they exist to post events, be found, and work with each other. If you are none of the three, the platform already works for you exactly as it is.

Browsing is free and open to everyone, and creating a profile is free in exactly the same way for all three roles — bands and solo artists, venues and live clubs, promoters and crews. On the free plan you post and manage your events, you are found in search, you appear on the map and you can activate a Boost, without paying anything: every approved event is on the map regardless of plan. There is no trial period, and none is needed, because the free plan is not a time-limited demo — it is the plan. Member is an optional professional tier on top of all this: what you pay for, if you choose to, are working tools, not presence.

The platform is in English, so that a band from Naples and a club in Berlin read the same thing. You can write your event description in the language of your own scene; blog articles are published in English, to reach as many people as possible.

No, you don't, and it is not a stripped-down version: the map and the list are complete. Search any city in the world, choose your radius, use "Near me", switch between map and list, and open the full detail of any event — date, venue, artists, entry, linked profiles — and share it, generating its social card. You can read the whole blog: scene articles, guides and reviews, filterable by country and by role. And you can browse the city pages, which for each city collect the upcoming events and the artists, venues and promoters based there. You can also report anything that looks wrong.

The time window open to everyone is seven days ahead; a free account takes it to 45 days and adds the filter bar; Member reaches four months on the map and agenda and a full year in Live Music Club search. An account is what you want when you move from watching to doing: posting your own events, using the filters, giving Support, activating a Boost. The full summary is in the two tables above.

Use "Near me" to centre the map on where you are and pick a radius, or just type the name of any city; switch to the list whenever you would rather scroll a feed than read distances. On location we are blunt: when you use "Near me" it is your browser that passes the coordinates to that one search, and only to that one. We do not store them, we never attach them to a profile, and we do not use them for anything else. And if you would rather not give location access at all, typing a city gets you exactly the same result.

Searching by city and radius, within the seven-day window, is open to everyone and covers the most common question — what is on near me, and when.

[Registered] A free account adds the real filter bar: event type, date, city and radius combined, with custom date ranges of up to 31 days.

[Member] Member adds genre, repertoire, role, "On Tour" status, availability by date, and date ranges with no limit.

Seven: Live, DJ Set, Jam Session, Clinic, Festival, Open Mic and Music Lab. Everything on the platform belongs to one of them.

Every event has its own shareable page and generates a social card in several formats. It is free for everyone: no Member level required.

The blog is a continuous editorial layer on top of the platform: articles about the scene, tagged by city, country and profile, so that a piece about a venue sits next to that venue's real events. You will also find guides and reviews of records from the independent scene, filterable by country and by role. The city pages are the other half: every active city has a page collecting the events scheduled there and the artists, venues and promoters based in it, grouped by role. They are for people looking for a scene rather than for a date, and they appear on their own as a city fills up.

It is a public vote of confidence: tapping Support says "I want this to happen". It costs nothing, it pushes the event higher in the ranking, and it has a cap built in on purpose, so that a hundred genuine supporters count and an army of bots does not.

Support comes from account holders: one per person per event, and once given it stays. That is deliberate. Accounts on Band in Tour belong to the people who make live music happen — bands, venues, promoters — so Support is a signal that comes from the scene itself and carries the weight of a name behind it, not an anonymous click. Everything else on the platform stays open to everyone, with no account at all.

Choose your role — band/artist, venue/club, or promoter/crew — enter your name, alias, city, the details specific to your role and at least one social profile, then confirm your email. It takes a couple of minutes and it is free.

It is your permanent username on the platform: lowercase letters, numbers and underscores, from 2 to 30 characters. It is how people link your profile to an event, and it is the basis of your profile address, so choose carefully: you cannot change it yourself after registration — it has to be requested from support. (The full list of what you can and cannot change on your own is in "What can I change on my profile?".)

Yes, and it counts for more than it looks: the confirmation link is valid for 48 hours, and until your email is verified your events stay in the review queue even if you would already qualify for instant publishing.

Registration asks for role, name, alias, email, password, city and — if you are an artist — your repertoire. It also asks for at least one public social profile: that is a requirement, not a suggestion, because it is the only channel through which people can answer you (see the question about contacts). It works the same way for bands, venues and promoters: the only difference between the three roles is repertoire, which is mandatory for artists only.

Everything else is optional, and it is what makes the difference between a profile people open and one people scroll past: an avatar, a biography, a trailer link with your music or a video of the venue, your other socials. It is what people look at before deciding whether to click on your dates, and it is also what makes a profile eligible for a dedicated article on our blog — an avatar, a bio and at least one social are the minimum to receive one.

No to both. One account is one profile with one role: someone who runs a venue and also plays in a band needs two separate accounts. And the role cannot be changed after registration, because it shapes the entire profile. If you picked the wrong one when signing up, write to us and we will look at your case together.

Use the reset link on the login screen: you will get an email with a link valid for 24 hours. A normal session lasts two hours; tick "remember me" at login and it lasts much longer, so you are not signing in every time you open the map.

Yes, from your account settings, confirming with your password. It is a real deletion, not a deactivation: profile, supports, availability, notifications, interests and uploaded avatar are all removed, and your events leave the map at the same moment. What stays online are the blog articles that mention you: if you want those removed too, write to us.

Open the Add panel, choose the event type, set the date, city and venue, and publish. If you also link the profiles of the other people involved — the venue, the promoter, the artists — the event ranks noticeably higher: it takes thirty seconds and it is worth it. How the linking works in detail is in "The event involves a band, a venue and a promoter: who posts it?".

Your first two events are checked by a person before they appear; after two approved events, and with your email verified, everything you post goes live immediately. It is a one-off cost that guarantees everyone a clean map and the good faith of every account: it is how we keep spam out, and it works the same way for bands, venues and promoters. On timing, our commitment is the first working day, and in any case no later than two days. You can have up to three events waiting for review at the same time.

Bands and venues can post up to 3 events every 24 hours, and have to leave at least four hours between two of their own events. The four-hour rule is not arbitrary: an artist cannot physically be in two places at once, and a venue cannot run two headline shows on top of each other. It is one of the cheapest anti-nonsense rules we have.

Promoters have different numbers, and it is the only difference in limits between the three roles: up to 20 events every 24 hours, and no minimum gap between one event and the next, because running several stages on the same night is their job, not an anomaly to block. On top of that, a Member creating a tour or a festival posts several dates in one go, so in practice has far more room. If you are hitting the limit for legitimate reasons, tell us.

You can edit an event up to 10 times, with a few minutes between one edit and the next, and editing closes two hours before the start. Changing a critical field — date, city, venue — sends the event back for a quick re-check before it is visible again: that is intentional, an event that changes date after approval deserves a second look. Event type and flier, on the other hand, are set at creation only and cannot be changed today: if they are wrong, the event has to be deleted and posted again, or write to support.

From your event list: it disappears from map and search immediately, and every notification about it is removed. It is not destroyed straight away, though: if you deleted it by mistake, write to us quickly and we can usually put it back. If instead you recreate it from scratch, do it only AFTER deleting the old one, or the four-hour rule will block the new one.

A single event can carry a full lineup, and the rule is identical whoever posts it — band, venue or promoter: up to twenty artists in total, added one at a time, each with their own supporting musicians, up to five each.

The names on an event have three different roles, and it is worth telling them apart. The headliner is the act the night is built around, and there is one per event. The Special Guest is a special appearance inside somebody else's bill. A supporting musician is a session player or a guest attached to one specific artist in the lineup, credited but not billed as an act of their own.

These are presentation roles: they describe how the night is put together, they do not change the score. What counts for the ranking is the size of the lineup — every extra artist adds points, whatever role you give them — while supporting musicians are credited but do not count as additional lineup entries.

One of you posts it, and links the others. An event should be entered only once: whoever creates it — band, venue or promoter, the rule is identical — writes the other people involved into the form, and from that moment the event counts for all of them, appears on every linked profile and earns the linked-profile ranking bonus. It does not matter which of the two or three of you posts it: it only matters that one of you does. That is why re-posting an event someone else has already put online is a bad idea: you would create a duplicate, and the four-hour check might block you anyway. Ask to be linked instead — it can also be done afterwards, by editing the event.

And if the profile you want to name is not on Band in Tour yet, post anyway and write the name out in full: an event publishes perfectly well with a band, a venue or a promoter as plain text. If that profile registers later, the system notices the match and proposes the link — but it never switches it on by itself. A person on our side reviews the proposal and approves or rejects it before the event is actually attached to the profile. It works the same way for all three roles, bands, venues and promoters alike, and the human check is the whole point: two different acts can share a name, and a historical event must never end up credited to a namesake by accident. A link that already exists is never touched.

To say how people get in: free entry, paid, contribution, members only, or membership plus contribution. It is one of the first things an audience looks for: be precise.

[Member] Always, on any event.

[Registered] Also on the free plan, if the event has four or more artists in the lineup: a bill that big deserves a poster. Maximum 3 MB, JPEG, PNG or WebP. That same threshold of four artists is also what turns an event into a "Festival" on the map — see "Why do I see events labelled Festival from non-Member accounts?".

A single event is one date in one place, and any registered account can create it. A tour is a lineup travelling across several cities: you create from 2 to 20 stops in one pass and they stay grouped, with the headliner common to every date and up to 9 supporting artists chosen date by date. A festival is a single location over one or more days, up to 10, with 2 to 20 artists per day. [Member] Tours and festivals are created as a block and are reserved for Members: anyone else sees single event creation only.

Because they are two different things sharing one name. The Festival in the previous answer is a multi-day creation tool, reserved for Members. The "Festival" label you see on the map and in the list is automatic instead: any single event with four or more artists in the lineup is shown as a festival, because at that point it effectively is one. That one is free and applies to anyone — and it is the same threshold that unlocks the flier on the free plan.

Three things, in order of impact. Post your real gigs: playing regularly is a ranking factor over a rolling 12-month window, and the ranking section explains exactly how the score is built. Link the venue's and the promoter's profiles to every event you post — they can do it too, if they are the ones posting. And if you want venues to come looking for you, [Member] publish your available dates: it is the only way to show up when somebody is searching for whoever can fill one precise date.

It is your declaration of whether you play originals, covers, or both. It is mandatory for artists because it is one of the filters venues and promoters use most: a club looking for a covers night and a festival looking for original projects are looking for different things.

They are two distinct things with the same name, and it is worth separating them.

[Registered] The "On Tour" / "World Tour" badge you see next to an event or a band profile is automatic and geographic: it appears when a band plays outside its home city (On Tour) or outside its home country (World Tour). You do not have to do anything to get it and you do not need to be a Member: you just have to play out of town.

[Member] The "On Tour" filter inside search is a different thing, a professional tool, and it serves whoever is searching: it isolates the artists who are moving through the area you are looking at right now. And if, again as a Member, you mark your available dates as open to travel — nationally or internationally — you also enter the date searches of people with a stage to fill in another country.

[Registered] Search the Live Music Club by city, radius and name.

[Member] As a Member you go further: filter by genre and repertoire, by who is genuinely available on the dates you need to cover, and by touring artists passing through; and use Scout Mode to review candidates one at a time instead of scrolling a list, ending up with a short list of names actually worth contacting.

It is not compulsory, but it is the thing that changes the most. A venue with a living calendar is found far more often than one with an empty profile, and for a promoter the events posted are the portfolio: the profile becomes the record of what you have actually staged. In both cases every event feeds your visibility over time, because activity over the last twelve months is a ranking factor.

Two pieces of advice apply to both: post the events you really host or organise — as a promoter you are often the only one with the full picture, while the band and the venue each promote their own part — and link the profiles of everyone involved, because a fully linked event weighs more than a bare one and also shows up on the other people's profiles. And there is a shortcut worth knowing: you do not have to be the one posting. If you are registered, a band or a promoter can link your profile to their event, and that event counts for both of you. One of you posting is enough.

Running a venue? Your address is public on purpose — see "Are my email and my location public?".

By a formula, not by us. Points come from how complete and real the event is — artist, venue and promoter profiles linked, the size of the lineup, the artist's activity over the last 12 months, the support collected from the community — and from how close the date is, all of it relative to the radius of the search. Nothing in the ordering is editorial, and the full formula is published openly in the ranking table further up this page.

Because a calendar that shows you a gig eleven months away before one happening tomorrow is no use to anyone. The formula gives priority to what is about to happen: the closer a date is, the higher it climbs. You are not losing anything and your event is not being penalised — it is the same event, and it will rise on its own as the date approaches. Posting early is still the right thing to do, because in the meantime you collect the support and the links that pay off when it counts.

One distinction worth making: this is about ranking, not about visibility. A distant event is there, it just sits low; the time windows in the tables above are a different thing — beyond the window an event does not appear at all.

Partly yes, and it is only honest to say so — but neither of them is a shortcut. Boost is bought and it is worth real points, yet it is one term in the formula, not a pass that jumps the queue. Being a Member gives a small push: every linked profile that is a Member adds a small bonus to the event, and Member profiles appear higher in profile search results. The bulk of the score always comes from somewhere else: a well-built event — a real lineup, artist, venue and promoter profiles linked, community support — genuinely beats an empty event with maximum Boost. There is no price for first place.

It is an amplifier for a single event: it adds direct points to that event's score and stays active from the moment you switch it on until the day of the event. It does not touch your profile or your other events. There are three tiers — Spark, Boost and Top — worth progressively more. You do not need to be a Member: Boost is available to any registered account, band, venue or promoter alike. It only applies to approved, future events: you cannot boost an event that has already happened, nor one that is still in review.

On buying it, as things stand today: online payments are not live yet, so Boost cannot be purchased on your own — you can select it while posting and you will see a "coming soon" indication. In the meantime, the rest of your event's score stays entirely in your hands.

Every gig you have been part of in the last 12 months adds to your score, up to a ceiling, and it works the same for all three roles. Older gigs stop counting. Nobody is excluded: the ranking simply reflects who is working right now.

They are recognition for the people who actively supported the platform from the very beginning. They apply a small percentage multiplier — from 2% to 12% — to that profile's contribution, across seven levels. It is not a Boost and it does not change the rules: on balance it is a minimal push, and above all it is the platform's way of saying thank you.

The free plan already gives you a public profile, event posting, search, the map and Boost — the full list is in "Is everything free?". Member turns all of that into a booking tool: publishing your availability calendar and seeing other people's, Scout Mode, the advanced filters (genre, repertoire, "On Tour" status, unlimited date ranges), creating tours and festivals in a single pass, extended visibility up to a year in Live Music Club search and four months on the map and agenda, priority in profile search results, the flier on any event, and automatic notifications to nearby Members when you publish new dates.

You can choose between several durations: the longer the commitment, the lower the cost per month, and the annual plan works out like getting three months free. Current durations and prices are in the table further up this page and on the Pricing page. Online payments are not live yet: plans and prices are final, and registered accounts will be notified as soon as subscriptions open. In the meantime the free plan remains fully available and, in this early phase, we can activate Member periods by invitation, at the platform's discretion. And no, there is no trial period — the free plan is not a demo, it is the plan.

Yes. The subscription renews automatically at the end of the duration you chose, and you can stop it whenever you want: cancelling carries no penalty and takes nothing away immediately — you stay a Member until the end of the period you have already paid for, and the next renewal simply does not start. While online payments are not live there is nothing to renew yet: to stop or change a Member period granted during this phase, write to us and we will do it for you.

Because it is the difference between being on the map and being in the conversation. A venue with a free Saturday three weeks out is not scrolling profiles: it is looking for somebody who is free on that exact Saturday. As a Member you mark on your calendar the dates you are free, optionally with an area and a radius. From that moment you exist in date searches — the ones where somebody actually has a stage to fill.

Members searching in the Live Music Club Agenda. They are a professional signal, not a public diary: they carry no personal contact details, only the public links you chose to put on your profile (see the question about contacts). Notifications inside the portal let you know that you have been viewed, so the first move can come from either side, through the socials listed on the two profiles.

It is a swipe-based matching tool, reserved for Members. You set the criteria — role, area (a radius, your country, or the whole world), genre, repertoire, dates — and Scout builds a pool, showing you one profile at a time, best fit first. Swipe to select, undo the last one, and pick up an interrupted session exactly where you left it; if the pool is too small, widen the area without starting over. At the end you notify everyone you picked in a single action: they know about it, and that is the point — it is an opening, not a burst of spam, which is why the slots per session are limited.

Your profile stays public and your events stay where they are: nothing is deleted. What switches off are the Member tools — and with them your availability dates, which stop appearing in searches, in Scout Mode and on your profile's public calendar. The dates themselves are not deleted, though: they are still yours, you keep seeing them, and the moment you reactivate the subscription they become visible again on their own, with nothing to re-enter.

[Registered] We let you know when a profile matching your interests joins the platform: you are the one who says what interests you — cities, genres, types of profile — and you can change or clear your interests whenever you want. A dismissed suggestion disappears and may come back a few months later, because a band you passed on in January may be interesting in March.

[Member] On top of that, you are notified when somebody compatible publishes new available dates near you, with priority given to artists passing through: an act crossing your area for two nights is more urgent information than one that is on your doorstep all year.

By email we send service messages only — account confirmation, password reset, event approval; everything else is opt-in, with one-click unsubscribe. Push notifications on your phone are a separate matter: see the mobile question.

It is a Ghost Profile: an unclaimed profile we created so that the scene already had something on the map before every act, venue and agency had registered. It is marked UNCLAIMED for transparency, it is built only from information you had already made public online, and it is yours the moment you want to take it over.

Only from what you had already published yourself, for exactly the same purpose — to be found and booked: your public page, your events and the lineups listed publicly. Name, city, a short descriptive bio and, where available, a small low-resolution indicative image. No private information, no contact details, nothing from third parties.

Yes, and it is explained in full in our Privacy Policy, not buried. The legal basis is the legitimate interest in the findability of people who are already publicly promoting the same activity, under the public-disclosure provision of Art. 14(5)(b). You can claim the profile and take full control of it, or ask us to remove it at any time and without giving a reason, by writing to privacy@bandintour.com. All we need is reasonable certainty that the person asking is you: normally a direct message from a social account already listed on the profile.

Every unclaimed profile shows a "Claim this profile" banner. You need a one-time invite code in XXXX-XXXX format: you enter it, set an email and a password, and the profile is yours straight away — bio, image and events included. The code is not public and is not shown on the profile: we hand it over personally, through a direct and verified contact channel — typically a private message to the social account already linked to that profile. If you have landed here and never received a code, write to us from a contact that shows the profile is yours, and we will issue one.

No: claiming is always free, and it gives you a full account. In this launch phase there is also a reason to move early — whoever claims now automatically receives free Member level until the end of the day on 31 January 2027, calculated in their own local time zone, with nothing to do and no payment method to enter. Claiming today therefore gets you more months than waiting until December. It is a promotion tied to the platform's first months: the right to claim your Ghost Profile will always be there, this free Member period will not.

The profile stops being a Ghost and becomes a normal account that belongs to you: you are connected immediately and can edit everything, starting with the bio and the image, which were placeholders put there on your behalf. If something is wrong, claiming and fixing it yourself is the fastest route, and it also means the correction comes from the source. If you would rather not claim it, tell us what is wrong and we will correct it or remove it.

Write to privacy@bandintour.com and we will remove it. You do not have to claim it first, and you do not have to explain why.

Through the social and web links you publish on your profile. Band in Tour puts you in front of the right people — that is what the search, the map, the availability notifications and Scout Mode are for — and then the real contact happens on the channel you chose yourself: the one you already use and already watch, with no extra inbox to check. That is why at least one social link is required on a profile: without it, nobody would have a way to answer you. (The full requirements are in "What does a complete profile need?".)

Your email never is: it does not appear on your profile, it is not shown to other users and it is not given to anybody. Location depends on the role, and the difference is deliberate. Venues and clubs are anchored to their real geolocated address, and that is exactly the point: people have to be able to find the door. If you run a venue, make sure your coordinates are exact — that is the piece of data that puts you on the map. Artists and promoters are placed at city level only, never at a home address. The "Near me" coordinates are a different thing entirely and have nothing to do with your profile (see "How do I find events near me?"). Beyond that, public means only what you chose to publish: bio, genres, links and socials.

You can change your city, bio, trailer link, genres, repertoire, social links and avatar whenever you want. Three things are handled by hand: the profile name, the @alias and — for venues — the address; write to us and we will update them. One thing does not change at all after registration: your role, because it shapes the entire profile.

We do not sell, rent or share personal data for commercial or marketing purposes. Cookies and analytics are switched on only with your consent, for anything beyond the essential running of the site: the detail, with the legal bases, is in the Cookie and Privacy policies. There is no advertising today; if it is ever introduced, Member accounts will not see it.

Every event goes through human approval before it appears for the first time, and accounts that have proved reliable publish directly after that. Around it there are several layers, none of them spectacular: limits on how many events can be posted each day and how many can sit in the review queue; a mandatory minimum gap between two events by the same artist or the same venue; a cap on the number of edits, with a return to review whenever a critical field changes; and rate-limited registration that requires a confirmed email. The rules in detail are in the answers in the posting section.

Said honestly: we are not in the room when the show happens. But the incentives point the right way — a profile posting fake gigs damages the only thing it has here, its own reputation, and risks a ban.

If it is your own profile or your own event, fix it directly: that is always the fastest way. If it concerns somebody else, use the Report button in the portal or the contacts page — pick a category, tell us what is wrong in a couple of sentences, and we will take care of it. You do not need an account to report.

The most delicate case is when somebody posts an event involving you without your consent: your band in the lineup, your venue as the location, your name as the promoter. Report it: a lineup or a location pointing at a real profile is exactly the kind of thing we check, and an event that misrepresents who plays it or who hosts it gets removed. One warning, though: untruthful reports can lead to a ban, including a permanent one.

It gets suspended, and the events of a suspended account disappear from map and search immediately. If the abuse is repeated, it ends in a ban.

Yes, and it is built mobile-first. There is no separate app in the stores and at the moment there does not need to be: open the site in your phone's browser and choose "Add to Home Screen" — it installs as a standalone icon and opens full screen, with no browser bar. The whole interface, map included, switches between dark and light mode. There are no push notifications on your phone yet: for now notifications live inside the portal and by email. A proper app in the stores, and push along with it, are on the roadmap.

Any up-to-date browser: Chrome, Safari, Firefox and Edge are all fine, on desktop and on mobile. If something looks broken or out of date after an update, a hard refresh usually fixes it; if it does not, write to us from the contacts page or the Report button, telling us what you were doing and what happened.