DIZKO
DIZKO
InfoHub / guides for organizers
What is actually on in eight cities, counted from our own index, and how to put something on yourself: pricing, venues, promotion, the door, and running it all on Dizko.
Where the city stands, and the four guides most organizers need before anything else.
11,935 scheduled events across 8 cities, counted the same way on the same dates. Weekend concentration, ticket prices, free programming, and how complete the listings are.
The first fifty tickets come from people who already know you. Here is how to work that list properly, and what to do on the days it stalls.
Tiers, anchors, door price, and what a number actually signals about your night. How to price against your city rather than against your costs.
Direct messages, your own list, Instagram, ticketing platform discovery, paid ads, flyers, press. What each channel is genuinely good for, and what it costs you.
Creating an organizer profile, publishing an event, what the flyer requirement is for, and how to import an event you have already listed elsewhere.
Every scheduled event in a city, counted from our own index: which nights are busy, what entry costs, which venues programme most, and what that means whether you are going out or putting something on.
11,935 scheduled events across 8 cities, counted the same way on the same dates. Weekend concentration, ticket prices, free programming, and how complete the listings are.
1,916 scheduled Berlin events analysed. The busiest and quietest nights, the median ticket price, the venues programming most, and what it means if you are going out or putting something on.
2,835 scheduled New York events analysed. The busiest and quietest nights, the median ticket price, the venues programming most, and what it means if you are going out or putting something on.
1,990 scheduled London events analysed. The busiest and quietest nights, the median ticket price, the venues programming most, and what it means if you are going out or putting something on.
1,954 scheduled Los Angeles events analysed. The busiest and quietest nights, the median ticket price, the venues programming most, and what it means if you are going out or putting something on.
808 scheduled São Paulo events analysed. The busiest and quietest nights, the median ticket price, the venues programming most, and what it means if you are going out or putting something on.
1,397 scheduled Tokyo events analysed. The busiest and quietest nights, the median ticket price, the venues programming most, and what it means if you are going out or putting something on.
556 scheduled Lisbon events analysed. The busiest and quietest nights, the median ticket price, the venues programming most, and what it means if you are going out or putting something on.
479 scheduled Paris events analysed. The busiest and quietest nights, the median ticket price, the venues programming most, and what it means if you are going out or putting something on.
Nobody sells 300 tickets on their first try. These are the guides for the first fifty people, the first budget, and the first time you charge money for a room.
The first fifty tickets come from people who already know you. Here is how to work that list properly, and what to do on the days it stalls.
Eight mistakes that turn a good idea into an empty room: the wrong size venue, announcing too early, no capture, and pricing that punishes the people who trusted you first.
Door splits, free rooms, borrowed sound, and the deals that let you put on a night without money up front. Plus the costs you should never try to skip.
Free RSVPs fill a room and then half of them do not show. Here is how to read your own no-show rate and make the move from free to paid without losing the crowd.
How to divide roles in a collective, the four jobs that always need an owner, and how to agree a money split before there is any money to argue about.
Why the first edition in a new city behaves like a first event again, what actually transfers, how to find a local partner, and the numbers to check before you commit to a room.
Where the tickets actually come from, when to start, what to post, and why paid ads work for some nights and burn money on others.
Direct messages, your own list, Instagram, ticketing platform discovery, paid ads, flyers, press. What each channel is genuinely good for, and what it costs you.
A week-by-week promotion timeline for small, mid-size and large events, including what to hold back and why the middle always goes quiet.
What actually travels, why video beats flyers on reach, how to use the profile link properly, and how to turn views into a list you own.
When paid ads make sense for an event, how to structure the campaign, what to target, and the retargeting audience that outperforms everything else.
How to give the people who already bring their friends a reason and a mechanism, what to pay them, and how to stop the whole thing turning into cheap tickets.
The highest-attention window you will ever have, and what to do in it: photos, thank-yous, the next date, the numbers you should write down, and the questions worth asking your audience.
The four questions every event page has to answer in the first two lines, how to write for search without sounding like it, and the details people actually scroll for.
What makes a recurring event recognisable, which parts must stay fixed, how to keep visual identity cheap and consistent, and when a name has become worth protecting.
Nine reasons a good night ends up half full, from a date nobody checked to a price that says the wrong thing, and what to do about each one.
Ticket pricing, a real budget you can fill in, bar splits, sponsorship, and every line of revenue that is not a ticket.
Tiers, anchors, door price, and what a number actually signals about your night. How to price against your city rather than against your costs.
Every line an event budget needs, how to find your break-even headcount, and the costs first-time organizers forget until the week of the show.
The four deal shapes venues offer, what each one really costs you, the maths on a bar minimum, and the terms worth negotiating before you sign.
Who actually sponsors small events, what they want in return, how to price a package, and the pitch structure that gets a reply.
What to publish before you sell, how to handle a postponement without losing the room, and why a transfer solves most refund requests better than a refund does.
Bar share, merchandise, cloakroom, memberships, recordings and brand deals. Which extra revenue lines are worth the effort at small scale, and which are not.
How to get a venue to say yes, what the deal terms mean, how to build a run of show, and how to work a door that moves.
How to build a shortlist of rooms that will actually say yes, who to email, what to put in the first message, and the site visit questions that save you on the night.
Who to email, what a fee actually covers, how a door split is written down, and the parts of an artist agreement that cause arguments at 3am when nobody wrote them down.
What a venue is actually deciding when they read your email, the six things to include, and a full worked example you can adapt.
A guest list is a budget line paid in capacity. How to decide who is on it, how to cap it, and how to run it so the door never has to make a judgement call.
A timed document that tells everyone working your event what happens when, who is responsible, and what to do when something slips.
The access information every event page should carry, what a safer-space policy has to include to be worth anything, and who is responsible when something goes wrong at 2am.
Staffing, scanning, guest lists, cash, refusals and the queue. How to run the one part of the night every single attendee experiences.
What ticketing actually costs, how the fee models differ, and how to move platforms without losing the audience you built.
Fees, who owns the audience, payout timing, the door scanner, discovery, and the four questions that decide whether you can ever leave.
How percentage-plus-fixed fee structures behave at different ticket prices, why cheap tickets are punished hardest, and how to work out your real cost per ticket.
Legitimate ways to cut the fee load: pricing for absorption, tiering, group orders, door sales, free ticketing, and choosing a structure that suits your ticket price.
Export first, run one event in parallel, redirect the links, and move the list. A sequence that keeps your buyers and your search results intact.
Publishing, tickets, the door scanner, tracked links, broadcasts, series, and claiming your venue or promoter page. What works today and what does not yet.
Creating an organizer profile, publishing an event, what the flyer requirement is for, and how to import an event you have already listed elsewhere.
How the Dizko box office works. Setting capacity, ticket types and tiers, promo codes, complimentary tickets, refunds, what Dizko charges, and when the money arrives.
How the door screen works, what each scan verdict means, why the scanner refuses to work offline, and how to run a fast door on a phone.
How to message everyone who follows your events, what the audience view tells you, and how to test a lineup before you announce it.
How to create a link per channel, what the numbers mean, how to use them with ambassadors and paid ads, and the mistakes that make attribution lie.
Why a residency should be one followable thing rather than twelve separate events, how to set one up, and what changes about promotion when you do.
Dizko already has a page for most venues and promoters. Claiming it gives you control of how you appear and what people see when they search for you.
Organize your rekordbox library with AI: a free prompt for genres, years, smart playlists, and optional hot cues, using an agent with access to your local files.
Publishing is free. Your event lands in the city map, the feed, and the weekly city articles the same day, and you get a page you can send to anyone. Free tickets, a door scanner, tracked links, and broadcasts to your followers are all included.
Create an event