What's new

Mentions: see who tagged you, and find the post

Story Mentions said Someone for every story, and a post or reel that named your band never showed up at all.

• Reconnect Instagram on the Accounts page and your story mentions show who posted them, with a link to their profile. Stories you already have named Someone fill in by themselves.
• A new Posts & reels tab lists the posts, reels and comments that @mention your account and the photos that tag it, each with a link to the original on Instagram.
• Instagram has no link to a story itself, so a story links to the person who posted it. Posts and reels link straight to the post.

The Video Studio locks while it renders

A video is now made exactly as it looked when you pressed Render, because nothing can be changed while it is being made.

• A full-screen panel covers the studio with the animated Band Social mark, a progress bar and a Cancel render button. For a carousel it says which slide is being made.
• Everything underneath is switched off, not just covered — you cannot reach it with the keyboard either, and a text box you were typing in lets go.
• Cancel render takes you back to editing with nothing lost. When the video has finished it says it is adding it to your post, then the studio closes.
• This replaces the thin progress strip that used to sit under the top bar.

Motion carousels

Turn a set of slides into an Instagram carousel where every slide is its own short, looping video, cut to the beat.

• In the Video Studio, open the Music section and choose “Make this a carousel”, or start from the new Motion carousel or Photo carousel templates. Every slide becomes a whole number of bars long, so it loops without a jump.
• The music is made on your device from a style and a number — no AI, nothing to license. Each slide is a loop of the same song, and it builds as you swipe. Use your own track if you prefer: tell the studio where bar 1 starts.
• A ball can cross every slide and a beat ruler ticks along the bottom. Photos can sit in arches, circles and rounded frames, with floating cards that pop in on the beat.
• Render makes one video per slide and puts them on the post in order, and rendering again replaces the whole set. If one upload fails, none are attached. Swipe view shows all the slides side by side, each looping, before you render.
• Pictures can be cut to a rounded frame, a circle or an arch, text can spring in, and camera moves can overshoot or bounce.
• Instagram posts of two or more items are now carousels even when they include video. Before, a post with any video went out as a single Reel and the rest was dropped.

A tidier Video Studio

The Video Studio now keeps your slides in view and tucks the settings into sections and tabs, so you can find a control without scrolling.

• Your slide list stays at the top left, so you can always see and pick a slide.
• Under it, Music, Look, Overlays and Style kit open one at a time. Each shows a short summary and a number when it is in use, and the studio remembers which one you had open.
• The slide panel on the right has four tabs: Content, Timing, Style and Layers. The tab you chose stays put when you click another slide.
• Nothing was added or removed — every control is still there, just easier to reach, and videos you already made are unchanged.

A Media Library, and a much bigger Video Studio

Keep your files in one place, and make richer videos from them.

• The new Media Library keeps your band’s pictures, video and audio in folders and subfolders, with search and filters. Files in it are never cleared away as unused.
• Everywhere the Video Studio asks for a picture, video or sound you can now upload from your device or choose from the Library.
• A video can have a background of its own — an image or a looping, silent video — behind every slide, set once in the left panel. A slide can still carry its own.
• Slides take text and picture layers, and the whole video takes overlays such as a logo or a handle. Drag them into place in the preview.
• New effects (film grain, vignette, duotone, glitch), a look-amount slider, and new transitions: dip to colour, flash, whip pan, glitch and wipe.
• Looks, blur and effects now work in Safari, where they used to do nothing.
• Templates and a style kit: Start from a template builds a Gig announce, Release teaser, Tour dates, Lyric video or Thanks video from your photos and your next show. A countdown, the next gig as a lower third, and a QR code can be added from Overlays. Save a video’s style once and every new video starts in it.
• Suggest text for text layers, which arrived with these templates, is switched off for now while we decide its allowance. Nothing else changed, and videos you already made are unaffected.
• Music tools: the studio hears the beats in your track, draws it across the video with your cuts, and can snap cuts to the beat or make every slide last 1, 2 or 4 beats. New Punch, Shake and Pulse effects follow the beat, a Bars layer draws the music as bars, a line or a ring, and Duck lowers the music under a voice-over or a clip’s own sound.
• Camera motion: push in, pull out and four pans, with a pace and an aim point you click in the preview. Depth makes a background drift against the photo in front of it. Video clips can run from ¼× to 4×, backwards, or frozen. (The Slow zoom switch is now Camera motion; older videos are unchanged.)
• Undo and redo in the Video Studio: arrows at the top, or Ctrl/Cmd+Z and Shift+Ctrl/Cmd+Z. A slider or layer drag is one step.

Connect an AI assistant to your bands

You can now let Claude or another AI assistant read your bands and add drafts, contacts and expenses — as you, with the access you choose.

• Account settings has a new API keys section. Create a key, choose Read only or Read & write, and pick how long it lasts. The key is shown once; revoke it any time and it stops working immediately.
• Assistants that support remote MCP servers can then list your bands, read posts, campaigns, growth and page analytics (Social), and venues, labels, press, tours, expenses, reminders and the booking report (Booking).
• With a Read & write key, and as a band owner or admin, an assistant can save draft posts and add venues, press contacts, expenses, reminders and logged outreach. It can never publish, schedule, send email or delete anything.
• Each request is checked against your bands and their subscriptions at that moment: a band whose trial has ended or whose subscription lapsed is locked to the assistant too, and comes back when you resubscribe.
• Setup steps and the full list of what an assistant can do are on the new AI assistants tab.
• Fixed: emptying a required field (such as a venue’s name) while editing a Booking record now says which field cannot be blank, instead of a generic failure.

Video clips and sound in the Video Studio

The Video Studio could only string photos and text cards together, with one music track under the lot.

• Photos & video now takes video clips as well as stills. A clip becomes a slide you can trim (start and length), mute or turn down, and frame like a photo, with the same size, background, caption and look controls.
• Any slide, including a text card, can carry its own audio file — a voice-over, a stab, a sound under a card. It starts with the slide, stops when the slide ends, plays over the music, and you choose where in the file it starts and how loud it is.
• The preview plays the same mixed soundtrack that gets rendered, so you hear music, slide audio and clip sound together before you render.
• A reopened project’s music now plays in the preview and the render; it used to be silent.
• Fixed: picking a video file could fail with a network error, and the right-hand panel scrolled sideways.

Story Mentions: keep the stories you’re tagged in

When someone tagged your band in an Instagram story, Instagram told us — and we threw it away. The story is gone after 24 hours.

• A new Story Mentions page in the Social menu keeps a copy of every story that tags a connected Instagram account, for each band that has the account connected. A number beside it counts the ones you haven’t seen.
• Download a story to reshare it, or Remove it to delete the saved copy. If the person deletes the story, it disappears here too.
• When Instagram doesn’t say who posted it, the card reads Someone.

Your dashboard and calendar say what kind of post it is

A network badge said Instagram, but not whether that meant a post, a Reel or a Story.

• Badges on the dashboard and the calendar’s day panel now read, for example, Instagram · Reel, YouTube · Short, Facebook · Story or TikTok · Video.
• Dashboard posts are grouped under Today, Tomorrow, Yesterday and weekday headers, in time order; drafts with no date sit under No date set.
• Click a photo or video thumbnail to see it full size, and step through the post’s media with the arrows. Videos play in place.

Busy minutes no longer trip the scheduler, and Facebook photos stay

A scheduled post with several photos could go to Facebook as text alone, and busy moments made the scheduler report errors.

• A Facebook post with more than one photo now goes out with all of them. Before, Facebook published the caption and left the photos unpublished.
• If a post’s photos or video can’t be found when it’s time to publish, that network now shows a failure saying so, instead of posting the caption on its own and calling it a success.
• Several due posts now publish at the same time, so a busy minute clears faster.

More accurate engagement numbers

Some Facebook and Instagram posts never got their likes and comments counted.

• Instagram likes and comments now appear in Reports → Engagement, with no need to reconnect.
• Single-photo and video Facebook posts are now counted, stories and posts you deleted are skipped instead of causing errors, and the Spotify artist search no longer shows a follower count of 0 for every artist.
• Platform colours in the Followers and Where you publish reports now match the rest of the app.

See how your posts are doing

Band Social was already reading likes and comments on your published posts, but nowhere showed them.

• Reports has a new Engagement tab: total views, likes, comments and shares, a row per network, and a list of your posts you can sort by any of them.
• Facebook, YouTube, Instagram and TikTok are all included. On TikTok it covers videos published through Band Social from now on; older TikTok posts and private ones can’t be read back.
• Numbers refresh a few times a day for 90 days after a post goes out. A dash means that network doesn’t report that number, for example views on Facebook.
• Instagram shows likes and comments; views on Instagram and Facebook are not included yet.

Download what the Video Studio makes

A video from the Video Studio went straight onto the post — there was no way to watch the finished file first, or to keep a copy.

• The studio now has a Download button beside Render & add to post. It renders the video and saves it to your device, and the studio stays open so you can keep editing.
• If you then add it to the post without changing anything, the studio uses that same render instead of making it again.
• A studio video on a post also has a Download link under Edit in Video Studio, on new posts and on ones you already saved.

Your trial talks back

A band that started a trial heard nothing from us until its 14 days were up — not a tip, not a reminder, not a word on the day it ended.

• Whoever manages the band now gets a short email on days 2, 5, 8 and 11 of the trial, and one when it ends. Each has one button, and it opens the exact screen it is talking about.
• What it says depends on what the band has done. Still setting up? It names the steps that are left. Already publishing or pitching? You skip the early ones, and on day 8 you get your first week in numbers instead.
• If nothing has happened by day 8, the email just asks what is in the way. Replying reaches a person, not a ticket queue.
• The email when the trial ends says what is now locked, and that nothing was deleted: subscribe and it all comes back.
• Subscribing stops them straight away. They only go to the band’s manager, and only to a confirmed address. Each one comes once, and at most five in all.

Firefox and Linux get the music back

A video made in the Video Studio on Firefox, or on any Linux desktop, came out silent — the picture was right and the soundtrack simply was not there.

• Those browsers can encode the picture but not the sound. The studio now brings an audio encoder along on the browsers that have none — a one-off download of about 600 KB onto your own machine, the first time you render there. Everything still happens on your device: nothing is sent away to be processed.
• What comes out is the file Chrome would have made, so a Reel rendered on Firefox publishes to Instagram, YouTube and Facebook like any other.
• If that download cannot arrive — you are offline, or something on the connection blocks it — the studio says so and makes the video without its music rather than failing. Reload and render again to get the track back.
• Browsers that already had an encoder of their own are untouched: they never fetch it, and opening the studio is no slower than before.

You can see your files going up

Uploading was one small spinner for the whole batch — no file name, no percentage, and nothing to tell a slow upload from a stuck one.

• Every file you add now gets its own row while it uploads: name, size and a bar that moves. It sits above the upload area, so it stays in view whether the post is empty or already full of media.
• The overall percentage is weighed by size, so three photos finishing beside a half-sent video reads as what it is rather than as nearly done.
• A file that fails is now just that one file: the rest still land on your post, and the one that didn’t stays on the list with the reason until you dismiss it. Before, one refused file threw away everything that had already uploaded.
• A video you render in the Video Studio goes up on the same list — it is the biggest file most posts carry, and it used to upload with nothing on screen at all.

A post that went out no longer reports a failure

Publishing to several accounts takes about a minute — longer than the connection is held open. The post went out; the screen said it had failed.

• Band Social now checks before it tells you anything: when the answer to a publish is lost — the connection drops, the page waits too long, your phone changes network — it re-reads the post itself and reports what actually happened on each account.
• When even that cannot settle it, you get “Still going out” rather than “Something went wrong”, with a link to the post — because the two ask you to do opposite things, and publishing again would post the same thing twice.
• Opening a saved post and pressing Publish now shows the same step-by-step panel the new-post page has — saving, publishing to your accounts, opening your calendar — instead of a spinner on a button for a minute.
• A save that fails because a file never finished uploading now names the file, instead of showing a code.

Post now, from a post you already saved

The editor could only schedule. Sending a draft out today meant leaving it for the dashboard and finding the post again.

• Open any post and the date and time now sit behind the same Post now / Schedule switch the new-post page has. In Post now the dates give way to a line naming the accounts it is about to go live on, and the primary button becomes Publish now.
• Publishing from here saves your edits first, so what goes out is what is on screen — not what the post said when you opened it.
• Every post opens on Schedule, so no press of the button you already knew can publish something by accident. The switch is absent on a post that has already gone out: sending that again would be a second post, not this one.
• The checks are the composer’s: a caption, at least one account, no file still uploading, no platform refusing your media, and TikTok’s audience chosen. A network that refuses the post is named and you stay on it — a half-send is never dressed up as a success.

Video Studio opens on posts you already made

It used to appear only while writing a new post, so a video could be edited once and never again — and a duplicated post could not reach it at all.

• Open a saved post and the Media card now carries the same Video Studio entry the composer has, with Edit in Video Studio under the video itself — it reopens the slides that made it, and rendering again replaces the video rather than adding a second one.
• Duplicating a post copies its video project too, so the copy can be re-cut — new dates on the gig card, a different photo — instead of only re-posted. Before, a duplicate opened with a video nothing could change.
• A video started from a saved post belongs to that post: it no longer turns up on the new-post page as somebody’s unfinished video.
• As in the composer, nothing reaches the post until you save it, and the platform checks judge the render before you do.

Your drafts are on the calendar

A draft saved without a date was visible almost nowhere — duplicating a post and saving the copy left it somewhere you had to go looking for.

• Drafts with no date now sit in a list under the calendar grid, the most recently worked-on first. They are not given a day — a draft in Tuesday’s square would read as scheduled for Tuesday — and the list is there whichever month you page to, because a draft with no date belongs to no month.
• Every save now lands on the calendar. A post with a date opens its own day with the post ringed; a draft without one lands in the drafts list, scrolled into view and ringed there. Before, a draft went to your dashboard, which opens on the Scheduled tab — so the post you had just saved was not on the screen you were sent to.
• Each draft card opens the post in the composer and carries the same Delete a day’s panel offers.
• Give a draft a date and it leaves the list for its day in the grid.

Your lists come back on the page you left

Venues, labels and press already remembered your search and your filters — and then dropped you at page one of them.

• The page you were on is now remembered along with the search and the filters, on all three Booking directories and in the shared venue directory. Leave a list on page 4 and page 4 is where you come back.
• Change a filter or the search and you start at page 1 again, because that is a different list — a page number is only kept for the list it was counted against.
• The shared directory dialog remembers its own search and its three filters too. What it does not keep is which entries you had ticked: a selection you can no longer see is not one worth restoring.
• Clear filters clears the remembered page along with everything else.

Your TikTok posts go out public

TikTok has approved Band Social for direct posting. The audience picker now offers everything your account allows, not just Only me.

• TikTok refuses a public post from an app it has not approved for content posting, so until now the composer offered you one audience — Only me — and said so. That approval came through, and posts published from here now go out at whatever audience you pick.
• You still choose the audience on every post, and it is never pre-selected: TikTok requires the choice to be yours, and publishing stays blocked until you make it. Your own account settings still rule — a private TikTok account, or one belonging to a creator under 18, offers a shorter list, and that is TikTok’s limit rather than ours.
• Nothing changes for posts you already published. Anything sent before this went out at the audience it was given, and stays there unless you change it in the TikTok app.
• Saving to your TikTok drafts is unaffected — a draft has no audience until you publish it in the app.

YouTube Shorts with a long caption now publish

A Short could be refused while the same post went out fine to TikTok, Instagram and Facebook. The cause was the title we built from your caption.

• YouTube caps a video title at 100 characters, and we were adding the “#Shorts” hint after cutting your caption to exactly that — so any caption of 93 characters or more went over the cap and YouTube refused the whole upload. Its wording for that is “an invalid or empty video title”, which is why this looked like a connection problem rather than a caption that was a few characters too long.
• Two more captions hit the same refusal: one whose hashtags pushed a line break into the title, and one where the cut landed in the middle of an emoji. Both are gone.
• Titles are now built rather than sliced: the first line of your caption, trimmed to fit with room for the #Shorts tag kept back in advance. Your full caption, hashtags and line breaks included, still goes in the video description as before.
• A post with no caption used to have no title at all, which YouTube also refuses. It now falls back to your band name.

Post artwork fits a Reel whole

A photo slide in the Video Studio can now be sized inside the frame instead of cropped to it, with a background image filling the rest.

• A photo slide always filled the frame, and whatever did not fit was cropped. Right for a photograph, wrong for artwork: a square or 4:5 image you had already built for a post lost its sides the moment you reused it as a 9:16 Reel.
• The slide panel now has Size — Fill, Fit, Full width, Full height or Stretch, plus a Scale slider down to 20% for a deliberate margin. Fill at 100% is the default, so every video you have already made looks exactly as it did.
• Under it, Background is what fills the frame the image no longer covers: an image of your own, with its own fit and a Blur slider to push it behind the picture on top, or a colour with your band’s five as presets.
• Slow zoom drifts across the whole frame, background included, so it crops the edges of a fitted image. Sizing an image down for the first time switches it off for you; switch it back on if you want the drift anyway.

Your YouTube uploads go out public

Videos and Shorts published through Band Social used to land private on your channel. New ones go out public.

• Until YouTube had approved Band Social, Google forced every upload from the app to land private and would not let it be made public afterwards. That approval came through, and the switch is now flipped: a Short or a regular video you publish from here goes up public.
• Anything you published through Band Social before 14 September 2026 is still private on your channel and stays that way — this applies to new uploads only. Open YouTube Studio and change the visibility on those yourself if you want them seen.
• Nothing changes in the composer. You still choose Short or regular video and nothing else: unlike TikTok, where you pick the audience per post, YouTube visibility is not a per-post setting here.

Facebook Reels and Stories actually publish

A Reel or a video Story sent to a Facebook Page had never once gone out. Both now run the upload Facebook expects.

• Facebook takes a video in three steps — it hands us a slot, it fetches the file, then it publishes. Reels and video Stories skipped to the third step, asking Facebook to publish something it had never been given, which came back as a missing-parameter error. A Facebook Reel had never published this way, and video Stories carried the same fault.
• Both now run all three steps, and wait for Facebook to finish reading the file before publishing. The wait is bounded, so a video Facebook will not take fails before anything is posted, carrying Facebook’s own reason — “The video is too long” rather than a bare code.
• Ordinary feed videos were never affected: they publish in a single step, which is why they always worked and these two never did.

TikTok offers only the audiences it will accept

A post set to public could be refused by TikTok, or quietly go out as private. Neither happens now.

• TikTok refuses a public post from an app it has not audited for content posting, and it does not tell the app whether that audit has passed. We had been reading a different list — the one describing the creator’s own account — as though it answered that question, so the composer offered an audience TikTok then refused.
• Where we know the audit has not passed, the composer now offers Only me and says that is the reason, instead of attributing it to your account being private or the creator being under 18.
• An audience TikTok no longer offers is never silently lowered. Before, a post you had set to public could go out private and report success; it is now refused before any video is uploaded, naming what TikTok does offer.
• TikTok’s error codes read as sentences now — the cap of five creators a day, rate limits, and the audit case — with the raw code kept on the end. TikTok’s own message for several of these is a bare link to its guidelines, which is exactly what used to land in your post history.

Your connected accounts are encrypted where they sit

The keys that let us post to your networks were stored as plain text. They are encrypted now.

• Connecting Facebook, Instagram, TikTok or YouTube leaves us holding a token — the thing that lets us post on your behalf. It was stored unencrypted, which was an oversight rather than a decision: it is the most valuable thing we hold for you. It is encrypted now, and unlocked only at the moment a post goes out.
• Nothing to do on your side and nothing to reconnect: tokens stored before this change keep working, and are converted in place.

Scheduled posts go out — and say so when they do not

Posts scheduled for the morning could still be sitting there six hours later, with nothing anywhere saying why. Four faults, all fixed.

• Saving a post was deleting its own media. The composer re-sends the files a post already has, and the save freed the old files before writing the new rows — the same files, so the bytes went and the post was left pointing at nothing. A save now only frees files the post no longer names. This was the cause behind a run of posts that failed minutes after their slot.
• Publishing was fetching your files back over the internet instead of reading them where they already were, so when that route broke, nothing could publish at all. Three of the four networks never needed it. The two that genuinely do — Facebook and Instagram fetch the file themselves — are now checked for reach before the post is sent, so a file they cannot see fails with that reason rather than a shrug.
• A post whose media file is missing is now refused when you save it, naming the file, instead of being stored and failing later at the network. That check runs ahead of every other media check, because it is the only one that helps Facebook and Instagram, whose bytes we never handle.
• When a scheduled run does fail it now records which post, which network, which account, and the network’s own words — the same detail publishing by hand has always given you. And if scheduled posts stop going out at all, we are told, rather than finding out when you do.

No more codec warning on a video we made ourselves

Attaching a Video Studio render to an Instagram post always warned about video codecs — including for the file the studio had just encoded correctly.

• The warning fired on every MP4 bound for Instagram whatever was inside it, so there was nothing to act on. Worse, it said nothing about the case that matters: a clip straight off a phone, which Instagram genuinely rejects.
• A Video Studio render now arrives stating what it encoded, so the warning stays quiet. For a file you upload yourself we check what is actually inside it before publishing: a video Instagram will not accept is an error naming the codec found, a sound format it dislikes is a warning about the audio, and a file we cannot identify keeps the old general advice rather than a guess.
• Nothing is ever blocked on something we did not actually measure — the same rule the size and shape checks already follow.

Duplicate a post, and get the whole post

A post now has a Duplicate action, and a duplicate carries everything the original had.

• Open a post and Duplicate sits next to Delete. It confirms, makes the copy and opens it — same screen, new post — so you land in an editor filled in identically.
• It copies what is on screen, not what was last saved, so duplicating halfway through an edit carries your unsaved work into the copy. The post you started from is never written to: duplicating is not a save.
• A duplicate used to arrive stripped. It lost the band, the accounts you had ticked, the per-network options and the content pillar — which left a copy that could not be published at all. It inherits all of them now.
• A copy is always an undated draft. It never takes the original’s slot, because two posts in the same minute would publish the same thing twice.

The size each network wants, before you export

The composer used to tell you your artwork was wrong only after you had uploaded it. It now says what each network takes, up front.

• A panel at the top of the Media card shows the export size for each network you have ticked — 1080×1350 for an Instagram feed post, 1080×1920 for a Reel or a Story, 1920×1080 for a YouTube video. Open it for the full specification: formats, size cap, the shapes allowed, minimum dimensions, length, and how many items.
• It follows the format you picked per network, so switching Instagram to Reel switches the advice with it.
• The numbers differ enough between networks to matter — an Instagram feed post takes an 8 MB JPG or PNG between 4:5 and 1.91:1, while Facebook takes 30 MB of nearly anything — and they are read from the same rules the publish step enforces, so the advice cannot drift from what is actually checked.
• Reels and Facebook Stories now say plainly that they take one item. A second video used to be accepted and then silently dropped at publish time.

A multi-image post previews as a carousel

The preview only ever showed the first file, so a post carrying five images looked like a post carrying one.

• Facebook and Instagram previews now page through the whole strip — arrows, a counter, a dot strip, and swipe on a touch screen — so you can see the order your slides publish in, and that the rest are attached at all.
• TikTok and YouTube publish a single clip, so they stay on the first item rather than offering a carousel that will not exist.
• Adding, removing or reordering media while the preview is open cannot leave it pointing past the end, and one file that fails to load drops itself out instead of blanking the whole preview.

One chip per network, and Back goes to the calendar

A post going to two networks showed as one chip in the wrong colour, and editing a post sent you to the dashboard.

• A day cell now shows one chip per network. A 9:00 post going to Facebook and Instagram is two chips, blue and pink; before, it was a single chip coloured by whichever network happened to come first, so a cross-posted day read as an Instagram-only day.
• Chips keep a fixed network order so they do not reshuffle between loads, a post naming no network still gets a grey chip rather than vanishing, and the +N more counter counts chips — matching what the cell actually shows. Four fit before it collapses, since a cross-post is two.
• The post editor now reads Back to Calendar and returns to the day the post sits on, with the post ringed. Saving an edit lands there too, and deleting returns to that day. A draft still goes to your dashboard: with no date of any kind it belongs to no day of the calendar.

The directory leads with how to reach a place

Every row now shows the ways in it has, the filters are down to the four that answer, and a correction you make reaches us.

• Each row carries icons for the website, Instagram, Facebook and email it holds, and they open straight from the row without ticking it.
• Kind of place, originals-or-covers and room size are gone from the filter row. Two of the three silently dropped every entry the catalogue had no answer for, and none of the three is how a band actually decides. What is left is text, kind, country and state.
• Countries are listed alphabetically now, with the count kept beside each — 131 of them is a list you look something up in, not one you scan by size. Regions keep count order, since they only appear inside a country you have already chosen.
• If you correct a venue you took from the directory — a working email, the right capacity — that correction is now sent to us with the before and after, so our entry can be checked. Nothing in the directory changes on its own, a person still reads each one, and your private notes on a venue never travel.

A shared venue and festival directory to start from

The Booking module used to hand every band an empty venue list. There is now a catalogue of over 18,000 places to search and copy from.

• Directory sits on the Venues toolbar, and is the main action when your list is empty. Search it, filter by kind, country and region, tick the places you want — or add every entry matching your search at once.
• Every entry in it has a way in: an email, a Facebook or an Instagram. The full source was more than twice the size, but a venue you cannot contact is a row you scroll past, so the rest is parked until there is a way to reach it.
• An entry you add becomes your own venue. You edit its notes, log contact against it, hang tour dates and reminders off it — and nothing we later change in the directory touches your copy. Entries you have already taken are marked Already added, so importing twice adds nothing.
• The catalogue was cleaned once, centrally, so you are not doing it: one spelling per country, capacities pulled out of prose into a field you can filter on, social handles turned into links that work, and festival months in the form the date field expects.

Connecting Instagram directly works

Connecting an Instagram account without going through a Facebook Page appeared to succeed, then everything about it failed.

• Instagram hands back two different account numbers at login, and we stored the wrong one. The connection saved, the card showed “Instagram Account” instead of your handle, and then publishing, post-history import and follower counts each failed in turn with a permissions error that had nothing to do with permissions. One bad value, three broken features, and no error at the point it went wrong.
• We read the account properly at login now, and a login we cannot read is refused outright rather than saved as a connection that will never work. A personal Instagram account is turned away by name, saying it needs to be a Business or Creator account, instead of appearing to connect and failing later.
• If you connected Instagram this way before, disconnect it and connect it again — the stored account number is the bad one, and only reconnecting replaces it.

A new account lands in the band wizard

Signing up and then finding nothing to do was too easy. A new account is now taken to the band setup, and hears from us once if it stops halfway.

• Creating an account used to leave you on a dashboard with an empty band switcher, two padlocked sections and one small Create band card. Unless you had arrived from a pricing button, nothing led you to the wizard. An account with no band now opens on the wizard wherever it lands, and the sidebar stops advertising modules for a band that does not exist yet.
• If you close the tab partway through, one email arrives — at least a day after you signed up, and never more than a fortnight later — with a single button back to where you stopped. It is sent once, ever.
• That nudge only goes to a confirmed address. While yours is unconfirmed the verification email is the one you are owed, and a mistyped address should not be mailed twice.

Every email we send looks like Band Social

The nine emails the platform sends were each built their own way. They share one layout now.

• One shell — the dark header with its accent rule, the same footer, the same buttons, headings and fine print — behind all nine: the account and security mails, the band welcome, the booking reminder digest and the weekly overview.
• The two contact-form notifications went from light to dark with it, so every message from Band Social now arrives looking like the app it came from.
• The booking digest keeps its gold, with overdue rows in orange, so a module’s colour still tells you which part of the app is writing to you.

Your week in numbers, to the whole band

A weekly email with your social, Spotify and public-page figures — and it goes to every member, not only whoever manages the band.

• It covers the last complete Monday-to-Sunday week, so everyone gets the same days and a week is never half-counted.
• It goes to the whole lineup. Unlike the booking reminders, which are a manager’s job, this reports the band’s own week and holds nothing manager-only. Each member is a separate send, so one bad address costs only that copy.
• A network that was not measured that week is left out rather than shown as zero followers, a first week shows no change rather than +0, and a band with nothing measured at all gets silence instead of a page of dashes.

A page whose plan has lapsed says so

A band whose trial had ended, or whose subscription had lapsed, kept serving its full public page, press kit and fan-email signup to the world.

• A published page whose band no longer has the Social module now shows a short page-unavailable notice instead of the page. The link a visitor followed is real and the page is coming back, so it is not a dead end — and search engines are told not to index it meanwhile.
• The whole public surface moves together, or the gap just changes address: the press kit PDF, the fan-email signup and the contact form all close with it, and the sitemap stops advertising the page.
• A page you never published, or switched off yourself, is unchanged — that is still a plain not-found.
• Nothing is deleted. Subscribe again and the page comes back as it was.

Every public page has a plain-text copy

Band pages, blog posts, the documentation and the marketing pages can all be read as Markdown — which is what an AI assistant asks for.

• Ask any public page for Markdown instead of a web page and you get it, your own band page included. People increasingly meet a band through an assistant reading the web on their behalf, and a page it can read plainly is a page it quotes correctly.
• Public pages also carry standard pointers to the documentation, the contact page, and the terms and privacy pages, so something reading the site can find them without guessing at addresses.

A web address you can read

A second band with a name already in use used to get a random string glued onto its public address. The wizard now walks the readable variants, and lets you finish the address yourself.

• Your public page and press kit live at band.social/your-band, taken from your band name and settled the moment the band is created — renaming the band never moves it, so a link already printed on a poster keeps working.
• When the obvious address is taken, the readable alternatives are tried first: the-verve, then theverve, then the-verve-band, then theverveband. Before this, the second band called The Verve was handed /the-verve-mfk2p9x1 and was stuck with it for good.
• Only when all four are gone does the wizard ask you to finish the address yourself — a city, a year, anything that tells you apart. It names the addresses that are taken, checks what you type while you type it, and confirms the address is yours before you go on.
• The ask comes on the band-name step, before you choose a plan, so nothing fails after you have picked one. Addresses the app needs for its own pages count as taken too, which quietly earns a band called Booking the address /booking-band.

Your uploads are filed by band, and never land on top of each other

Two files uploaded in the same instant could share a name, and the second replaced the first. Uploads now carry the band they belong to, and can never overwrite an existing file.

• Every upload used to land in one shared folder, under a name built from the clock. Two files uploaded in the same millisecond got the same name — and the second silently wrote over the first, which could be another band’s photo.
• Files are now filed under the band they belong to (your account photo under your account), with enough randomness in the name that the same filename twice is simply two files. The write refuses to replace anything already there.
• The same pass closed a hole. The address of a stored file is public — it is how your press-kit photos load — and the upload step trusted whatever address it was given, so any signed-in user could have written over a file whose address they had read off a public page. Both halves of an upload now check that the file belongs to a band you are actually in.
• Nothing you have already uploaded moves or needs re-uploading: older files stay where they are and keep loading. Deleting a band now takes its folder away with it.

The composer shows its work, and lands you on the calendar

Saving a post is several steps. You now watch them run, you are told which network refused a post, and you land on the day the post sits on.

• Saving used to be a disabled button and a toast at the end, naming neither the stage that was running nor the network that refused the post. A panel now lists exactly the steps this save has — writing the post, attaching a video made in the Video Studio, publishing to the accounts you ticked — marks the one running, and writes each outcome under it. Steps that do not apply are left out rather than greyed in.
• A half-send is treated as a failure, not a success. If Instagram took the post and Facebook’s token had expired, every account that refused it is named, and the flow stops there with two ways on: back to the post with your draft intact, or on to the calendar where the post now sits.
• The panel cannot be dismissed while it runs. Mid-save there is nothing to go back to — the post may already exist and the publish may already be in flight.
• On success the composer closes and the content calendar opens on the post’s own day, that day’s panel already open and the new post ringed. A draft goes to your dashboard instead: with no date of any kind it belongs to no day on the calendar.
• Saving while a photo or video was still uploading used to drop the file without a word. It is now refused, with the reason.

A post to Facebook and Instagram now reaches both

A post targeting a Facebook Page and an Instagram account produced the Page post and no Instagram post at all.

• Instagram does not publish in one go: the media is handed over, Instagram fetches and processes it, and only then can the post go out. That middle wait was implemented for videos but not for a single image or a carousel — so Instagram was asked to publish something it had not finished reading, and refused. Nothing appeared, and it happened on both ways of connecting an Instagram account.
• Every image, carousel, Reel and Story now waits for Instagram to finish before publishing, bounded by a timeout. A timeout means nothing was posted, so trying again is safe — there is no risk of the post going out twice.
• When a network does refuse a post, its own words now reach your publish log — “The image aspect ratio is not supported” rather than a generic failure — so you know what to change.
• A signed or cache-busted video link is no longer mistaken for an image, which is what sent the wrong kind of file to Instagram, TikTok and YouTube in a handful of cases.

Each network’s options sit under the network

In the composer, Format and TikTok’s posting options now open directly beneath the accounts they configure.

• Format — a feed post, a Reel or a Story — used to be pooled into one row under a divider, and TikTok’s posting options sat in a separate collapsed card further down the page, away from TikTok. Both now render indented under the network they belong to, as soon as you tick one of its accounts.
• The account rows lost their border, background and selected-state fill: a checkbox and the account name. An account whose token has expired carries its own line saying so, instead of a red tile.
• The per-platform drawer keeps only the media overrides, and is renamed Per-platform media to match. A new post and an edited one changed together — they are the same surface.

A colour picker that belongs to the app

Picking a colour used to open your operating system’s colour dialog. It now opens inside Band Social, with your own palette as presets.

• Every colour you pick — your five Video Studio card grounds, a one-off ground for a single slide, the five colours of your public page — went through the browser’s built-in control, which opens a grey system panel over a dark screen and cannot show you your own colours.
• The picker is ours now: a saturation square, a hue slider, a hex field and a row of presets. In the Video Studio the presets are your band’s five colours, so a custom ground is one click away from a sibling colour rather than six characters typed from memory; in the page builder they are that page’s other four.
• The studio’s picker also reads out the contrast — the swatch is typeset in the ink the card will actually use, so a colour that carries neither light nor dark text says so there, rather than on the finished card.

Connecting a network no longer takes a page off another band

One Facebook login managing Pages for two bands lost a connection on every connect. A page that belongs to a band now stays with it.

• Reported from real use: connecting for band A imported Pages X and Y; you deleted Y and kept X. Connecting for band B re-imported both and moved X to band B, leaving band A with nothing — and the next connect moved it back again.
• The cause: a connect returns every Page the login can see, which is never the same as the pages that band owns, and we handed the whole set to whichever band connected last. Merely reconnecting to refresh an expiring token did it too.
• Now a page that already belongs to a band keeps that band, whoever is connecting. A page belonging to no band is claimed by the band you are connecting for. Moving a page between bands happens only when you ask for it, from the band menu on the Accounts page.
• Re-authorising still refreshes the credentials in every case, including for another band’s page — that is how an expired token gets fixed, and it must not depend on which band you happen to have open. And the connect now says what it did: pages left with another band come back as a message naming the page and the band holding it, instead of silence.

Connecting Instagram works again

Instagram’s login was answering with an invalid-address error on some installations, and its error page explains nothing.

• Instagram rejects a login outright unless the address it is sent back to matches the registered one exactly. Three separate configuration slips could produce an address it would not accept, and all three failed the same silent way.
• The address is now built in one place and used by Facebook, Instagram, TikTok and YouTube alike, so the four cannot drift apart.
• The configuration is checked before you are sent anywhere: something missing or wrong brings you back to the Accounts page with an explanation, instead of dropping you on an error page with nothing to act on.

Support is one click away

A Support row in the sidebar, and the social profiles you can follow us on in the footer of every email we send.

• Support sits under Documentation in the sidebar’s Account group and opens a new email to support@band.social in whatever mail app you use.
• Every email Band Social sends now carries our social profiles in its footer, as platform logos, and the marketing site’s footer links them too.

Every field in the Booking record dialog is labelled

A screen reader read the venue, label and press forms as a column of blank boxes. Each field now announces its name.

• Every text, select and notes field in the add and edit dialog — venues, labels and press alike — carried no label a screen reader could use. Only the checkboxes had ever been wired up, so the rest of the form was read out as unnamed edit boxes.
• Each label is now tied to the field beneath it, so the field is announced by name and clicking its label puts the cursor in the box.

Venues place themselves on the map

Save a venue or festival without coordinates and its address is looked up, so it gets a pin instead of quietly saving unplaced.

• The add and edit dialogs asked for a latitude and a longitude, which nobody has to hand — so a venue typed with a perfectly good address saved unplaced, and unplaced meant invisible: no pin on Venues & Festivals, no pin for a show booked there on the Concerts map, and silently skipped by every tour route and drive figure.
• Saving with the coordinate fields empty now places the record from its own address, city and country. The Latitude field says so, and the map’s empty state points at the address instead of asking for decimals.
• Coordinates you typed in yourself always win and are never overwritten by an address match, so an exact spot you set by hand stays where you put it. Clearing both is how you ask for them to be worked out again.
• This reaches the places you saved before: a stored venue with no coordinates is looked up the next time it is saved, so opening it and pressing save is enough.
• A lookup can never cost you the save — an address with no match saves the venue anyway, just unplaced. Rows brought in by CSV import keep whatever coordinates the file carried and are placed the first time you save them.

Watch the presentation from the homepage

The Band Social presentation film now plays in the hero, in the shape of whatever you are reading on.

• Watch the presentation sits next to Start your free trial on the homepage and opens the film in place — nothing loads until you press it.
• There are two cuts and you get the right one: a 46-second portrait edit on a phone, filling the screen edge to edge, and the 98-second landscape edit everywhere else.
• If a video will not play, the player falls back to the other route for that cut rather than showing you a broken frame.

Reminders for venues and festivals

“Get back to us in September” becomes a dated reminder, and one email a day brings the due ones back.

• The contact log recorded what a venue said but nothing that resurfaced it on the day it mattered — and the most common answer a booking inquiry gets is not yes or no, it is come back later. Any venue or festival card now takes a reminder: what to do, the day to be told, and a note of what they actually said.
• A card shows its next follow-up as a pill, overdue ones stand out, and Follow-up due filters the directory down to the places waiting on you. The stat strip counts them.
• One email per band per day, never one per reminder. It arrives the morning a reminder comes due, lists everything due or overdue with the venue, the day and your note, and links straight back to the record.
• An open reminder keeps coming back until it is marked done, which is one click in the dialog and is named in every email. Nothing is ever emailed twice for the same day.
• It goes to the band owner’s account email, falling back to the band’s booking address, and it is sent by Band Social — not through your own outreach email, so it works whether or not you set SMTP up.
• A band whose Booking module has lapsed keeps every reminder and simply stops being emailed. Re-subscribe and they come back.

VAT and invoice details at checkout

Checkout now asks for a billing address and an optional VAT number, and calculates the tax instead of assuming there is none.

• Prices — €9.99 and €14.99 — are before VAT, and every place we show one now says so. At Portuguese VAT, for example, a €9.99 module is charged €12.29.
• A billing address is required at checkout, because the country is what decides the rate.
• A VAT number is optional and validated against the EU’s VIES register. A valid number from another EU country means reverse charge: 0% VAT, and your invoice says Customer to account for VAT. Without one, the sale is taxed as a consumer sale — you are never asked whether you are a business, because the VAT number answers that.
• The name, address and VAT number you enter are kept on your billing account, so renewal invoices carry them instead of going out blank.
• Mistyped it? Manage billing opens the Stripe portal, where the name, address and VAT number can be corrected — and where every invoice, past and current, can be downloaded.

Spotify and Apple Music embeds show up again

A music embed on a public band page was being blocked by our own security policy, and had been since the feature shipped.

• Paste a Spotify or Apple Music link into your public page and it becomes a player. The browser was refusing to load that player — the site’s security policy never listed the two embed hosts — so the block sat there quietly on every page that used one. Both are allowed now, and a test fails the build if a new embed is ever added without being allowed.
• Nothing to redo on your side: pages that already had an embed start showing it.

Deleting a band now closes the whole workspace

A deleted band takes its posts and its connected networks with it, instead of leaving them behind with nowhere to go.

• Deleting a band used to leave its posts in your composer with no band attached — visible, editable, and impossible to publish, because everything about publishing is decided per band. They now go with the band, along with their uploads, publish results and the analytics collected for them.
• Its connected networks go too. They used to fall back into the unassigned pool on the Accounts page, offered for attaching to another band; a connection made for a band now ends with it. Reconnecting later is the normal connect flow, and it lands back on the same account.
• This removes Band Social’s copy of the connection, not the permission you gave the network — withdraw the app’s access in Facebook, Instagram, TikTok or YouTube’s own settings, exactly as before. Posts already published stay live there.
• Uploaded files are freed properly now. Member photos, discography artwork, gig posters, press-kit photos and Video Studio backgrounds and music beds all used to be left on disk when a band was deleted; a file another post still points at is kept rather than deleted out from under it.
• What you are told before confirming is unchanged: you type the band’s name, you see how many other people lose access, and a paid subscription is cancelled.

Deleting a post tells you where it stays live

The confirmation now names the networks the post actually reached, so nothing goes quietly.

• Deleting a post has always removed it from Band Social only — what it published stays up on Facebook, Instagram, TikTok and YouTube. That is unchanged, but it was written nowhere, and the delete takes the links to those posts with it.
• The confirmation lists the networks the post really went out on, as badges, above a line saying those posts are not deleted and have to be removed in each network’s own app. A post that never published, or that failed everywhere, is deleted with the plain confirmation as before.
• Deleting on the networks is deliberately not offered. Instagram and TikTok expose no way to delete a post through their APIs at all, and doing it for Facebook and YouTube alone — the YouTube side needing every connected channel to re-approve Band Social — would be a half-promise. An honest warning is worth more.
• The same warning shows wherever a post can be deleted: the Home dashboard, the calendar and the composer.

Waiting looks like Band Social

The generic spinner is gone — the brand’s five-bar equaliser plays wherever the app is loading something.

• Every loading indicator in the app is now the Band Social mark playing: five bars rippling from the outside in. It keeps the colour and size of whatever it replaced, so buttons and tables look exactly as they did.
• Moving between pages shows it too. Sections that used to sit blank while the page was being built now show the loader — orange in Social, gold in Booking.
• If your system is set to reduce motion, it holds still on the logo’s own shape rather than animating.

Each member can link their own Instagram and Facebook

A band member now has their own social links, shown on their card on your public page when you fill them in.

• The Members tab on your band profile has an Instagram and a Facebook field, both optional, on the add form and when editing anyone in the lineup.
• Type the @handle or paste the profile link — either is accepted and stored as a full profile link. Something that is not a profile on that platform (a link to the other one, or a typo) is refused when you save, rather than becoming a dead link on your page.
• Filled-in links show as small icons under the member on your public page, and next to them in the lineup list so you can see at a glance who has them. Leave a field empty and nothing shows.
• Clearing a field removes the link again. These are the member’s own profiles — the band’s own social links stay on the Links tab as before.

Take a copy of your data — or close the account

Account settings gained a Your data card: one export of everything, and a self-service account deletion that can never take someone else’s band down with it.

• Export my data downloads a single JSON file: your account, every band you belong to, and their posts, campaigns, discography, concerts, subscribers, and Booking contacts, outreach history and expenses. Booking records are included even if that module has lapsed — your data does not stop being yours when a subscription does.
• Passwords and social-network tokens are never in the export, and the file names what was left out, so it is honest about its own gaps.
• Delete my account shows what would happen before you confirm it, band by band: bands you are alone in are deleted with the account and their subscription cancelled; bands with other people carry on without you and you are removed from the line-up.
• A band you own that has anyone else in it — including someone invited who has never signed in — stops the deletion until you hand the band over. Closing an account never deletes a workspace other people are working in.
• Handing a band over is now possible: the owner can make another member the owner from the Members tab, which makes the outgoing owner an admin. A band has one owner, and they can hand it back.
• You confirm with your email address and your password. Stripe keeps past invoices as financial records; nothing is charged again.

A way back into your account, and one email to confirm

Forgotten passwords can be reset without asking us, and confirming your email address is now part of signing up.

• Forgot password? on the login page sends a link to a Choose a new password form. It lasts an hour and works once, and asking again invalidates the previous one, so the newest email is always the one that works.
• The page answers the same way whatever address you type, so it cannot be used to find out who has an account here. An address that signed up with Google gets an email explaining there is no password to reset instead of a dead link.
• Signing up with an email and password now sends a confirmation link, good for 24 hours. Continuing with Google confirms the address on the spot.
• Until it is confirmed, a strip at the top of the app offers to resend the link, and three things wait: publishing to a network, AI generation, and outreach email. Everything else — bands, drafts, scheduling, your public page, venues, contacts, concerts, the trial — stays open.
• A post scheduled before you confirm is never marked failed for it: it stays scheduled and goes out on the next run once the address is confirmed.
• Repeated wrong passwords pause sign-in for that account for a few minutes. Only failed attempts count and a success clears them, and completing a password reset lifts the pause.

Make a video out of the photos on your post

Video Studio turns the stills already on a post into a short video for Reels, TikTok and Shorts, without leaving the composer.

• TikTok and YouTube publish video only, so a post carrying nothing but photos could not reach them at all. The Media card now offers Make a video from these photos — and says so plainly when an account you picked cannot take stills.
• Set how long each photo holds, what happens between them, a slow zoom so a still photo still moves, on-screen text in the app’s own fonts, and a look. Apply timing to all slides copies the timing across in one click.
• Text cards come typeset for you — an opener, a gig card, a lyric card and an end card. The gig card fills itself from your next scheduled concert and the end card takes your handle from your Instagram link; both stay editable.
• A card can sit on one of the four palette colours, on the previous slide blurred, on any colour you pick — the swatch marked Aa opens your system colour picker, and the text flips light or dark so it stays readable on whatever you choose — or on a background image you upload just for that card — which you can set to cover, contain, stretch, full width or full height, since a poster or a logo plate is rarely the shape of a Reel.
• Pick the shape for where it is going — 9:16 for Reels, TikTok and Shorts, 4:5 or 1:1 for the feed, 16:9 for YouTube — and a live fit check runs the same rules as publishing, so a video a platform would reject is caught while you are still making it. Safe areas shows what TikTok and Instagram cover with their own buttons.
• Add one music bed, trimmed and faded. Use your own recording: an uploaded commercial track can get the post muted or taken down.
• The video is rendered on your own device and attached to the post like any other file, so nothing is uploaded until it is done. Your work saves as you go, and an unfinished video is offered back if you reload — pick it up, or discard it. Start over inside the studio clears the timeline and deletes the draft.
• Instagram, YouTube and Facebook accept MP4 only. Chrome, Edge and Safari 26+ can make one; on Firefox and Linux the studio tells you before any time is spent rendering, rather than handing you a file that would fail at publish.

Money in your own notation

Account settings now let you set the currency symbol and the thousands and decimal separators used everywhere amounts appear.

• A Numbers & currency card on Account settings sets three things: the currency symbol (€ by default), what groups the thousands (a dot by default) and what opens the decimals (a comma by default) — so a fee reads €1.234,56 out of the box, or $1,234.56, 1 234,56 or 1234.56 if that is how you read numbers.
• The choice applies across the app: show fees and merch, expenses and their splits, every figure in the money and touring reports, tour distances, and the counts on Home and in your analytics — follower totals, TikTok views, Spotify followers, posts per week. Amount fields label themselves with your symbol too.
• It is a display setting, not a currency conversion — nothing is converted, and your own subscription is still billed in euro.
• It follows your login rather than your browser, so the same amounts read the same way on your phone, and both your bands print money identically.

Maps stay under your forms, and member cards are wider

An open dialog is no longer painted over by the map behind it, and the members grid on your band profile goes two to a row instead of three.

• Opening a form over a map — a new venue, a tour, a concert — used to let the map draw on top of it: pins, popups and the zoom buttons showed through the dialog and even took the clicks meant for it. Maps now sit under the app’s dialogs, dropdowns and navigation, like any other part of the page. The map itself is unchanged, on all three Booking maps.
• Band members now show two cards per row on a wide screen rather than three, so each card has room for the name, instrument and bio without cramping.

One pin per location — nothing hidden underneath

Records sharing the same coordinates used to stack, leaving only the top one clickable. They now share a pin whose popup lists every one of them.

• Two stages at one festival site, a venue and the festival it hosts, or a tour that plays the same room twice all sat on the exact same point — so the pins overlapped and every record but the topmost was invisible and impossible to click.
• Those records now share a single pin that shows the count, and its popup lists all of them under a heading naming what they are (“3 venues at this location”), each entry with a coloured dot for its kind, scrolling rather than running off the top of the map. A location with only one record looks and behaves exactly as before.
• On a tour’s route map, a venue played twice shows one numbered disc carrying both stop numbers (“2·5”) instead of hiding one stop under the other.
• This covers all three Booking maps — Venues & Festivals, Concerts and the tour map.

The whole drive, on the tour list

Each tour card now shows total kilometres and total drive time, so you can compare runs without opening them.

• Every card in the Tours list carries a drive line under its dates, date count and start point: total distance · total drive time, the same figures as the Total block inside the tour.
• It reads the total already worked out for that tour, so the list costs nothing extra to show and never spends a routing lookup of its own.
• It stays honest about what it knows: a total the dates have moved past since it was calculated is shown and marked out of date (opening the tour brings it up to date), a tour that could be routed but never has says so, and a tour with too few placed dates to have a route shows no drive line at all.

A tour can start from home

Give a tour a start point — "Lisboa, Portugal" — and the drive runs from there, out through every date, and home again.

• The tour dialog has a Start point field: type where the van leaves from and comes back to. A city and country is enough.
• The drive counts it. Going is measured from your start point through every mapped date, and Returning is the drive home — so the two longest legs of a run are in the kilometres and the drive time instead of missing from them.
• It shows on the tour map as a cream pin the route line leaves from, and opens the route list above stop 1, with the hop out of it underneath.
• Leave it empty and nothing changes: the drive runs from the first date to the last and back, exactly as before. Changing the start point recalculates the drive, the same as changing a date does.
• If the place can’t be found you are told which words failed, so a tour is never saved with a start point that quietly counts for nothing.

Build a tour from dates you already played

The tour date picker can now show past concerts, so a run you already did can be recorded, not just one you are planning.

• The create/edit tour picker splits your dates into Scheduled and Past. Scheduled shows by default; Show past dates reveals the rest.
• Editing a tour that already holds a past date opens with past dates showing, and a tour’s own dates are always listed — so renaming a tour can never quietly drop one.
• Everything else works the same for a tour that already happened: the start and end dates still come from its concerts, the map still numbers the stops in order, and the drive summary is calculated the same way.

Tours — group your dates into a run, and see it on the map

Concerts has a fourth view. Pick the scheduled dates that make up a tour, name it, and the map numbers them in order.

• Tours sits after Map on the Concerts screen. Create a tour, give it a name, and tick the scheduled concerts that belong to it.
• The tour's start and end dates come from the dates you picked — there is no separate window to keep up to date, so moving a show moves the tour with it.
• Opening a tour maps its dates as numbered stops — 1, 2, 3… in date order, joined by a dashed line — and clicking a number opens the same popup a pin does anywhere else. Dates whose venue has no coordinates are listed underneath rather than quietly left off.
• A date belongs to one tour at a time; ticking one that already sits on another tour moves it, and the picker tells you which tour that is. Deleting a tour never deletes its dates.
• Every tour shows the drive: kilometres and driving time going (through every date) and returning (the last date back to the first), a total, and the same figures for each leg. Toll roads are flagged with how much of the leg runs on them — routing services do not publish toll prices, so we say a leg has tolls rather than invent a figure.
• The drive is worked out once per tour and kept, so reopening a tour is free. It only recalculates when you change which dates are on the tour or move one of their venues — or when you press Recalculate.

The Country filter works on all three Booking directories

Venues & Festivals, Labels and Press & Media had an empty Country select. It now lists the countries your records actually use.

• The Country filter on Venues & Festivals, Labels and Press & Media was empty — it had no countries to pick from, so it could not narrow anything. It now fills itself from your own records, each entry with its flag, and grows as you add or import them.
• Spelling and case no longer split a country: "Portugal", "portugal" and a stray-spaced " Portugal " are one entry, and picking it keeps all three. A directory where no record has a country yet hides the filter instead of showing an empty one.

Tour Dates is now Concerts — and venues & festivals got their own map

One map per idea: Concerts maps your dates, Venues & Festivals maps the places. The old /booking/tour-dates link still works.

• Tour Dates is now called Concerts — same shows, same records, same List, Calendar and Map views. Old links and bookmarks redirect to the new address.
• The Concerts map is now only about your dates: two layers, scheduled shows and past shows, both lit by default. The Venues and Festivals layers have left it.
• Venues & Festivals has a Map of its own — a List / Map switch in the header plots every place you have coordinates for, with the same Venues and Festivals layers (and pin counts) that used to sit on the Concerts map. Your search and filters narrow the map exactly as they narrow the list, and a pin tells you the city, the festival month and how many upcoming shows you have booked there.

Your post history, a calendar that remembers, and a tidier band profile

Band Social now imports the posts you already published, the content calendar doubles as your publishing history, band settings moved into the band profile, and lists remember how you left them.

• Post history import — connect a network and the last 90 days of posts you already published come into Band Social, with an Import / Re-sync button on each platform card. It gives AI captions your real voice to work from on day one, and nothing is ever written back to the platform.
• The content calendar is now a history view as well as a plan: imported posts and posts you published immediately (which never had a scheduled date) both appear, on the day they went live. Imported entries are read-only and open the original post on the platform.
• Every Social page now shows one band — the one in the band switcher. The content calendar and the Accounts page used to mix bands together.
• Band Settings is gone as a separate page: every per-band setting now lives on the Band Profile, one tab per area, so there is one place to edit your band.
• Lists remember how you left them — search text, filters, the Tour Dates view and its map layers, and the report year are kept per band on your device, with a Clear filters button whenever something is still applied.
• Toast messages can be switched off in Account settings, for people who would rather the app stayed quiet.
• Tour dates are simpler and richer: a show is a single day (no start/end times), the venue field searches your saved venues as you type, you can add per-category costs right in the dialog, and a cover image (the gig poster) shows on the tour list and your public page.
• That same type-to-search field now covers every long list you have to pick from: the show an expense is linked to, the event a photo album belongs to, and the template an outreach email starts from — each matched on more than just its name.
• Public page polish — event cards sit two per row, the contact form moved into a Get in Touch pop-up that stays reachable however far you scroll, and the Header tab now sets both the banner’s alignment and its height (Compact, Standard or Tall).
• A better press kit — up to six captioned press photos, with the first printed wide and the rest as portraits three to a row, the band bio used directly (no separate press bio to keep in sync), fixed logo and links, and a Powered by Band Social wordmark footer.
• Booking reports gained an expenses-mix card on the Finance tab, and “Last contact” in the Outreach report now shows the date you actually last made contact.
• Cookies & analytics — a consent banner now asks before any analytics cookie is set, with one thing to decide (Band Social runs no advertising). Change or withdraw your choice any time from Cookie settings in the footer or the Privacy Policy.

Campaigns, AI writing, merch drops & an audience you own

A big release-focused update: plan whole campaigns from a date, draft posts and pitches with AI, plan merch drops, capture fan emails, and get a growth check-in — plus a Pro-only monthly Content Pack.

• Campaigns — turn a release date into a full plan. Pick a template and Band Social scaffolds the timeline as draft posts on your calendar: build-up → release day → roll-out, each pre-tagged with a content pillar and a starter brief.
• AI writing in the composer — generate captions built around a hook and a clear call-to-action, with style toggles; the composer flags a caption that’s missing either, and you can tag each post with a content pillar to steer the draft.
• Content pillars — tag posts by pillar (behind-the-scenes, story, opinion, fan, educational, teaser) and see your content mix in Reports, with a nudge when one pillar takes over.
• Content Pack (Pro) — once a month, plan a 5×5×5 shoot and generate a batch of varied draft posts across your pillars in one go.
• Merch Drops — plan a drop (item, price, date, shop link) and scaffold the teaser → drop-day → last-chance posts, linking out to your store.
• Audience — a fan email signup on your public band page (with consent) builds an email list you own, exportable to CSV any time.
• Grow your reach — a dashboard check-in turns your recent activity into a short list of fixable growth issues, each linking to the fix.
• Booking — Draft with AI writes a press pitch, booking inquiry or demo submission for you, with A/B subject-line variants, right in the send dialog.

Deeper reporting & a redesigned Booking view

New insight tabs across both modules, a card-based venue/label/press view, a clearer tour map, and more from your connected Spotify artist.

• Booking Reports is now a tabbed hub. Alongside the Finance P&L (now with revenue mix, per-venue profit-and-loss and year-over-year deltas) there are three new tabs: Outreach (email deliverability over time and your contact pipeline, with a stale-follow-up list), Coverage (how much of each directory you’ve actually contacted, plus untapped high-fit targets), and Touring (shows by city and country, most-played venues, new-vs-repeat and average fee by market).
• The Social Report gains a Content tab — your publishing cadence, the mix across platforms, and how reliably each platform published — beside the existing follower charts.
• Your Home dashboard now opens with a momentum strip: at-a-glance numbers for reach and posting on Social, shows and net on Booking, or both on Pro.
• Spotify monthly listeners are now tracked alongside your follower count, on their own line in the Report page.
• Import from Spotify now fills your bio and links too, not just your discography — one click pulls your artist profile into Band Social, and it never overwrites details you’ve already added.
• Venues, Labels and Press & Media are redesigned from plain tables into detail cards — each with a country flag, status pills (accepts demos, priority, contacted), quick links, a Send Email action, inline contact history, and, for venues, the shows you’ve booked there.
• The Tour Dates map is clearer: toggle layers for past shows, scheduled shows, venues and festivals — each colour-coded with a matching label — on a new dark map.

Smarter publishing & follower analytics

A new Report page charts your audience across every network, plus finer control over how each post goes out.

• New Report page — follower and subscriber growth is now tracked for every connected network (Spotify, Instagram, YouTube, Facebook and TikTok), each on its own chart, so you can watch your whole audience grow over time — not just Spotify.
• YouTube posts — choose to publish as a Short or a regular video right in the composer.
• TikTok posts — set who can see the post (Public, Friends or Only me, matching what your account allows) and toggle comments, Duet and Stitch, in line with TikTok’s posting requirements.
• Pre-flight media checks — every image and video is validated against each platform you’re posting to (format, dimensions, aspect ratio and duration) before the post is saved, so nothing fails silently at publish time.
• The composer now shows your uploaded media in the live preview, oriented correctly for the platform and post type.
• Delete a post straight from the calendar or the editor, and every confirmation now uses a styled in-app dialog instead of a browser pop-up. Deleting a post also cleans up the media files it used.
• Blog refresh — a cleaner reading experience with consistent page widths and headers, and a Blog link in the top navigation.
• Polish throughout — the sidebar now scrolls when the menu is long, a branded 404 page, and a more readable, navigable Privacy Policy.

Spotify integration & a fresh look

Connect your Spotify artist profile to bring your catalogue and audience into Band Social.

• Connect your Spotify artist — search for your profile and link it at band creation or later from your band profile.
• Import your discography from Spotify in one step — cover art, release date, type and the Spotify link come across automatically, and releases already on your profile are skipped.
• Follower growth tracking — your Spotify follower count is recorded over time so you can watch your audience grow.
• A branded welcome email now greets you when you create a new band.
• A refreshed look — a new waveform icon and "Band Social" logo across the app and emails.

The Booking module arrives

Band Social becomes one platform with two modules. Everything you already had for Social stays put; a whole booking & promotion CRM joins it.

• New Booking module: directories for venues & festivals, record labels and press/media, each with search, filters and CSV import/export.
• Outreach email — reusable templates with merge variables, sent from the built-in platform sender or your own SMTP, with a full sent-email log and a contact-history timeline on every record.
• Tour dates on a list, calendar and interactive map, with fees, merch and the other bands on the bill; each date can be shown on your public EPK or kept private.
• Money tools — expenses with per-member splits and a booking report with a per-show profit-and-loss.
• New tiered plans — Social, Booking and Pro — each with a 14-day free trial, no card required, billed per band.
• Refreshed dark theme with per-module accents (amber for Social, magenta for Booking) and a reorganised, tabbed settings area.
• New two-step band onboarding, and tour dates now share the same records as your Social event calendar.

Public pages, EPK & analytics

• Public band page at band.social/your-band, with a no-code page builder — 8 colour presets or fully custom colours, a header image, and reorderable sections.
• Downloadable press kit (EPK) generated straight from your page.
• Next-show banner with a live countdown, plus a contact form that emails your band directly.
• Page analytics — views (30-day and all-time), link clicks by destination, contact messages and top referrers.

Multi-platform publishing

• Compose once and publish to Facebook, Instagram, TikTok and YouTube, choosing exactly which connected accounts each post targets.
• Per-platform previews and publish logs so you can see what went live — or the exact error if a platform failed.
• A visual content calendar for scheduling, and multi-band management from a single account with a band switcher.