One team, offer sheet to encore
Bigdreamwin matches artists to audiences and then makes the show happen. Availability and fees come back fast, contracts are ours to chase, and on the day our production team is in the building — not on the phone.
What we do
Booking is where it starts. Most clients hand us the date and the budget and take back a finished night.
Direct access to headliners, support acts and niche specialists. We handle offers, counter-offers, holds and contracts, and we tell you early when a name is out of reach.
Stage, sound, light, video and crew, specified against the rider rather than a catalogue. One production manager owns the build from truck call to strike.
Day-to-day representation for artists on our roster: routing, fee strategy, press, and the unglamorous admin that keeps a career moving.
Matching artists to brands without either side losing credibility. We negotiate usage, term and territory, and we say no to the ones that would not work.
Visas, carnets, freight, flights, ground and hotels. The paperwork that stops a tour is booked before it can.
Weddings, anniversaries, launches and after-parties, run with the same contracts and the same discretion as a festival main stage.
Who we represent
We keep the list short enough to know every act personally. Names we have worked with, not directory entries bought from a database.
Acts that can hold a field at midnight, with the production spec to match.
Selectors for rooms between 200 and 2,000 capacity, booked as one-offs or a season.
Tight, rehearsed and set-list flexible — the safe answer when the night has to work.
Support and second-stage names on the way up, priced before the market catches on.
Acts who read a business audience: no long intros, no awkward silences, clean language.
Soloists, quartets and small ensembles for ceremonies, dinners and brand films.
Work
References available for all three, including the finance people.
Corporate · conference
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.
Festival · programming
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.
Private · destination
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.
How it runs
You will know at every stage what is agreed, what is pending and what it costs.
We ask what the night has to achieve, not just who you want. Half the time the answer changes the shortlist entirely.
Names with fees, availability and an honest note on each — including the ones we would not book for this room and why.
Deal memo out within 48 hours of agreement. Riders reconciled against the venue before signature, not after.
Advance, load-in, show, strike, settlement. One named contact throughout, reachable on the day.
About
Bigdreamwin started Copenhagen-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.
Feedback
FAQ
Still unsure? Email [email protected] — we answer every enquiry, including the ones we cannot take.
Availability and an indicative fee normally come back within 48 hours on working days. If an artist's management is slow, we will tell you that rather than leave you waiting.
Both models exist in this industry. We tell you which one applies to your booking in the first written offer, so the fee you see is the fee you pay.
There is no fixed floor, but below roughly €5,000 the economics rarely work for a full-service booking. We will say so early rather than waste your time.
Yes. Plenty of clients arrive with a name and want the contracting, advance and production handled. We are happy to be the middle of the job rather than all of it.
Every contract we write carries a cancellation and replacement clause. In practice we start looking for a replacement the hour we hear, and we have never had to open a refund window.
Most of our work is outside it. We hold the visas, carnets and freight relationships to run dates internationally, and we travel to the shows we book.
Contact
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.