CHANGELOG
Built in the open, shipped continuously. Every change that reaches your account, in the order it landed.
Three plans for booking agencies — Roster 8, Roster 20 and Roster 40, sized by how many artists you represent. Start with a 14-day free trial. No card needed, cancel any time.
Setting up no longer means building press kits one by one. Paste your artists, one per line with a link to their music, and each one gets a draft press kit in your agency's style, ready to finish.
Your dashboard now shows how many times each published press kit was opened in the last 30 days, right on its card. On every plan, Free included.
Only real visits count. The page has to stay open and visible for a few seconds, so email scanners and link previews never pass for a promoter — and your own visits never count.
A bell in the header now tells you when a promoter sends a booking enquiry, asks for your press kit, opens a link you sent them by name, or downloads your tracks. Anonymous views are grouped into one line per press kit per day, so the noise stays out.
On Free, you still find out that someone opened one of your demo links. Who it was is a Pro detail.
Once you have four press kits or more — or run an agency — the dashboard can switch to a list: status, views in the last 30 days, who opened it last and when, and, for agencies, booking enquiries per artist. Sort by views, last opened, name or last edited.
The email you get for a booking enquiry is now laid out like an offer — date, city, venue, set time, line up, fee — with the artist, the date and the city in the subject line, and one button to the enquiry.
The promoter gets a copy of what they sent, so both sides are looking at the same numbers.
A promoter booking a night in Berlin shouldn't have to scroll through forty artists. Roster pages now filter by country and city — several at once — and the selection stays in the link when it gets passed around.
Agencies decide whether filters show at all, from the new Filters tab in the roster editor.
One booking, 169 days, around sixty emails — ten to agree the fee, fifty about paperwork, eight of those about a window seat. The manifesto is the long version of why MERITO now does bookings, written by a promoter who used to be the one agents had to chase.
Everything we built for artists now works for the people who book them: one live roster page for all your artists, enquiries that arrive complete, and a checklist for every booking — so the paperwork stops living in email threads.
Pricing now has two sides, one for artists and one for agencies, each with its own plans.
Everything after the yes — contract, deposit, balance, flights, hotel, riders, set times — is now twelve steps in four groups, attached to the booking it belongs to. Tick them off as they happen and see at a glance what's still missing, without digging through the thread. Shorthand like BF and POP is explained right in the label.
Each artist's travel preferences — seat, baggage, hotel, how far from the venue, hospitality notes — are saved once and ready in every booking. There is no field for passport or ID numbers, on purpose, and anything that looks like one is rejected.
Promoters can now send a booking enquiry from a roster page or from any artist's press kit, with what an agent actually needs: date, city, venue, set time, line up and fee. If the artist is on an agency's roster, it goes to the agency — and hitting reply goes straight back to the promoter.
Every enquiry lands in the agency inbox together with the tracked link it came from, so you know which email turned into an offer.
+++, BF, POP, advance, running order. The shorthand of booking, explained in plain English — on its own page, and inline wherever it shows up in MERITO.
Agencies can create a link to their roster for each promoter, with that promoter's name on it. You see when they opened it and which artists they clicked into — the closest thing to knowing who they're thinking of booking.
No password and no login on their side. It's your roster page, prepared for them.
An agency can now put its whole roster on one page — getmerito.com/your-agency — with every artist linking to their full press kit. One agency style runs through every artist, so moving between them feels like one site, not twelve.
Drag artists into the order you want. Drafts stay off the public page until they're ready.
Two different things were hiding behind one icon. Send puts a name on a link — a promoter, a venue, a label — and tells you when that person opens it. Share puts your public page out into the world, with nothing tracked.
Send now sits on every published press kit, because publishing is where it starts, not where it ends.
If you built a press kit before creating an account and then signed up with Google or Apple, you could land on an empty dashboard. Your draft now comes with you, and whatever you'd pressed — publish or save — happens as soon as you're back.
The editor also opens on the first section you haven't finished, instead of a row of closed groups.
Pro now costs €4.99 a month billed yearly, or €7.99 month to month. It's a launch price: what you pay when you subscribe stays yours for as long as you're subscribed.
Design stays free on every plan — every theme, font, background and menu style.
Four navigation styles for press kits with many sections: inline, grouped, dropdown and floating. Free on every plan, like every other design option.
Add a section and it now arrives filled in with a realistic example, so you're editing a press kit instead of writing one from scratch.
Anything you leave untouched is left out when you publish. You can't accidentally publish a quote or a number you didn't write.
A new press kit now starts with one question: what's your artist name? Your address appears as you type — getmerito.com/yourname, available — and you land on your own page, not on a form.
Then pick how far to go: Quick link (three sections, about two minutes), Booking-ready (what a promoter needs to say yes) or Full press kit (everything, for press and labels). Switch any time — nothing you've filled in ever disappears.
The mobile editor no longer sends you back and forth between a list and a preview. Tap any section of your press kit and edit it right there, on the page a promoter will see.
Add your technical rider as a section of your press kit: the gear you need, and the conditions around it — 'no MK7s', 'monitors never on the same surface as the decks' — each written next to the item it belongs to. The conditions are what make a promoter take a rider seriously.
Start from a preset — DJ vinyl + digital, DJ USB only, live act, band, headliner — or copy it from another of your press kits, and download it as a PDF.
You can now add photos while building a press kit before creating an account, and WebP images save correctly.
The named links you could already send to labels now work for your whole press kit. Send one to a promoter or a venue and you'll see when they opened it — and when it's opened from more than one place, that it's probably being passed around internally.
An open only counts after a few seconds on the page, so the scanners that pre-open every link in an inbox never pass for a person.
Pick any press kit in the examples gallery and start from it — style, structure and sections copied, ready for your name, your music and your photos. It won't publish under the example artist's name.
Every private demo link now tells you when it was opened or unlocked, which tracks were played, which were listened to all the way through, and whether the files were downloaded. It sits inside the link list you already use — open a link and the activity is there.
We only count real listens. Email clients and chat apps fetch your link to build a preview, and none of that is recorded. If it says a label opened it, a label opened it.
Until now, sending your unreleased tracks to five labels meant uploading them five times. Now you create one link per label — each with the label's name on it, its own private message, its own password, and its own download setting.
The label opens a page that was built for them. No file transfer that expires in seven days, no shared folder asking them to request access, no way for them to tell you sent the same thing to anyone else.
Rebuilt the homepage around the thing that actually matters: what a promoter or an A&R sees when they open your link. Plus six long-form guides on EPKs and demo submissions in the Journal.