Stockholm based · working worldwide
Talent buying is a trade, not a directory. Winzilla tells you early what a name really costs, what it needs on stage, and whether it belongs in your room at all — then books it, contracts it and delivers it.
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.
Selected work
Three nights that show the range: an outdoor festival, a routed tour and a black-tie room.
Festival · two stages
Programmed both stages, booked the headliner eleven weeks out after the first choice pulled, and rebuilt the running order without moving the curfew.
Tour · nine cities
Routed nine dates across five countries, carried the carnet and the freight, and settled every venue inside the same week the tour ended.
Private · black tie
Orchestra, a headline vocalist and three speciality acts across one evening, under NDA, with a stage change that took four minutes.
Process
The same four steps whether it is one DJ or a three-day festival.
Date, room, capacity, audience and the number you can actually spend. Fifteen minutes on a call saves three weeks of quoting the wrong acts.
Three to five names with real fees and real availability, and a hold on the ones you like so nobody else takes the date while you decide.
Deal memo, rider, insurance and the advance schedule. Everything the artist needs is agreed in writing weeks before anyone loads in.
Our production manager is on site from truck call to strike, and the settlement lands in your inbox the same week.
Who we are
Winzilla was founded in 2008 by promoters and production managers, which is why our shortlists come with a technical note attached. We have loaded in at four in the morning often enough to know which riders are real and which are a wish list.
The team is intentionally under twenty people. Every client is handled by someone senior, because handing a booking to a junior is how dates get lost.
In their words
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 €3,000 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.
Enquiries
City, date, capacity and a budget range are enough to get real names and real fees back.
A person reads every message. If we are not the right agency for your night, we will say so and point you somewhere better.