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EL TÍO ARTISTS · WEBSITE

A website that's yours, in every city where people listen to you.

Your followers are on one platform and your listeners on another. Your website on your own domain is in 8 languages and ranked on Google and in ChatGPT, Perplexity and Gemini, so the promoter and the fan in another market can find you.

I want my website Audit my projectThe Audit is only available in Spanish for now. If you'd rather talk in your language, message us on WhatsApp or at hola@eltio.net.

From USD 300. See packages

Buenos Aires Mexico City Santiago Bogotá Madrid Lima Barcelona Montevideo São Paulo Guadalajara Córdoba Medellín Rosario Quito Valencia Asunción La Plata Lisbon Tijuana Mendoza
Borrowed
Listeners and followers. Big, and they belong to the platform.
Owned
The people you can write to tomorrow without asking anyone's permission.

Sample drawing. The proportions are those of a project with no list of its own, which is the most common starting point.

00YOUR WEBSITE

Your bio, your dates and your booking contact, in your name.

From USD 300 and USD 39 a month. See packages

  1. Your own domain

    Your project's website with bio, music, dates, press and the booking contact.

  2. 8 languages

    Spanish, English, Portuguese, French, German, Italian, Chinese and Japanese, for the promoter in another market.

  3. Google and AI

    Ranked to show up when people search your name or your genre in a city, in ChatGPT, Perplexity and Gemini too.

I want my website

SIDE A · PLUS, FOR YOUR INDUSTRY

What decides whether the project is yours.

Four bonus tracks, for when you want to change the conversation with a promoter.

A1THE BORROWED AUDIENCE

A follower is not a contact, and that difference costs money.

A number that looks good in a screenshot and can't give you a single email address isn't an asset. It's someone else's metric.

A wooden crate packed with records, seen from above, with the sleeve spines forming a row of color
The catalog is yours.
An open wooden card file with the index cards packed tight and a few yellow tabs dividing them
So is the list, if there is one.
Close-up of a record's center label, in sulfur yellow, with the spindle hole and the grooves around it
The follower isn't.

A2THE MAP

Where the real people are, city by city.

A list of your own fans, with city, country and contact, and on top of that the map of where the real people are.

A folded paper map spread out on a table, with yellow stickers marking spots and a pencil line connecting them
The route gets drawn with what's there, not with what people think is there.

A list of your own with city, country and contact, and the map on top of it. The argument about whether to open a market stops: you look at where there are already people who said yes, and you build the route from that.

The artist provides the incentive: an unreleased track, a presale before anyone else, a private set, guestlist. Without an incentive you capture nothing, and we say so in the first meeting. This is a system set up on tools that already exist, not a platform of ours.

A3THE OWNED LIST

Four things, and none of them is a trick.

  1. The incentive

    Nobody leaves their email without getting something in return, and the artist chooses what to offer. You test one, measure how many it captured, and if it doesn't work you change the incentive, not the system.

  2. The permission

    Contacts are captured with explicit consent and it gets recorded. A list without permission isn't an asset, it's a problem.

  3. The city

    Every contact comes in with their city. Without geography, the list is good for sending an email and nothing else.

  4. What stays

    The list is yours, in your name and with your logins. If we stop working together tomorrow, you take it with you.

A4BOOKING WITH EVIDENCE

A project with 12,000 monthly listeners and about fifteen shows a year

WHAT WE'D LOOK AT
Where the listeners are from based on what the platforms already show, what unreleased material is available as an incentive, and what contacts of your own exist today, which is usually zero.
WHAT WE'D GO FOR
Turning a small part of that borrowed audience into a list of your own, and seeing whether the cities where people listen match the cities where you've been playing.
WHAT IT OPENS UP
If 120 of your own people show up in a city where you've never played, that's a conversation with a promoter that didn't exist before.

What we'd measure: how many owned contacts each campaign captures, and from which cities.

The booth of a small club by day, with two turntables, a mixer on a worn wooden bar and records leaning against the wall
Negotiating a new market with your own data on the table.
An open cardboard box on the floor with T-shirts folded in black, cream and yellow, and a stack of blank cards
What you can offer a list that's yours.

SIDE B

What holds it up.

Three tracks. Side B is the smaller side, and without it side A doesn't play.

B1THE CRATE

Eight pieces, and you flip through them like records.

What gets implemented. The first three are specific to the industry and the five after them are the foundation, which always goes in and holds up the other three.

  1. 01Fan Map

    The map of where the real people are, built on your own list.

  2. 02Booking Radar

    The Fan Map cross-checked with listening signals, territories, venues and promoters, to see which markets are worth working and with whom.

  3. 03Track Finder

    You put in a reference and get similar tracks back. A working tool for building sets and digging for music.

  4. 04CRM

    On top of the one you have. If there isn't one, it gets set up around how the project actually runs.

  5. 05Your list, organized

    One row per person and not per interaction, which is how it usually comes.

  6. 06Your own newsletter

    Your list to announce before anyone else, without paying a platform to reach your own people.

  7. 07Your own editable website

    The project's site, with the shows and the catalog, that updates itself.

  8. 08A chatbot that answers

    Answers the usual questions and hands off what it doesn't know with the whole conversation attached.

Hover over a spine to pull it out, or go through the crate with the arrow keys.

It relies on outside providers. It's not our own technology and we won't say it is.

B2THE AUDIT

Seven areas, with the industry on top.

The Audit doesn't look at a song: it looks at the project. A guided 15 to 25 minute questionnaire, free, and the roadmap comes out of that.

  • AUDIENCE

    How many people follow you and how many you can write to tomorrow without depending on anyone.

  • BOOKING

    How shows come in and what's known about each market and each promoter.

  • DATA

    Where your people really listen, and whether that matches where you play.

  • CONTENT

    What gets posted, who makes it and how much time it takes.

  • GUEST SERVICE

    Fans and promoters writing to the same place, with no separation.

  • TEAM

    What management could handle with tools that already exist.

  • TOOLS

    What you work with today and what gets done by hand for lack of a system.

THE AUDIT

48 h

Free: a 15 to 25 minute questionnaire and a map of your project, with the order in which it makes sense to tackle each thing.

Audit my project

Delivered within 24 to 48 business hours.

Whatever implementation costs comes in the map, with the scope of each item next to it. Nothing gets quoted before we measure.

The corner of a studio desk seen from above, with a blank sheet on a clipboard, headphones resting on top and a closed notebook
First, we measure.

B3WHAT PEOPLE ASK

What people usually ask.

I already have a lot of followers.

Yes, and they're not yours. The question is how many of them you can write to tomorrow without depending on anyone.

My community manager handles that.

Posting, sure. Capturing contacts with consent and reading geography is a different job.

What if the incentive doesn't work?

You test one and measure. If it doesn't capture anyone, you change the incentive, not the system.

Is the data mine?

Yes, and it stays yours even if you stop working with us. That's the only reason it's worth doing.