What changed for artists on HyperTribe.

Yelé's producers had agreed the splits on a new song out loud, and nobody had it written down.

Within the hour we built a one-page split sheet with them, checked how the payouts would reach everyone, and gave them a short message to get each producer's agreement in writing.

Three days later Yelé had filled the sheet in themselves, every share and every writer ID in place.

A launch show for a new single was booked, and the one funding round that could pay for it closed in seven days. The application hadn't been started.

We checked the funder's own rules to make sure they qualified, then drafted the application around the funder's marking criteria. The budget and venue stayed blank until they gave us the real figures.

The draft landed a day early, so they had the whole week to read it, change what they wanted and submit it themselves.

Fusionarium had the music, from a Naples-born artist in Belfast, but the old brand was built around too many instruments at once, which was impractical.

We worked out with them what Fusionarium is in one line, then built the materials around it: a press kit and bio, an activation plan city by city, and their funding applications reviewed with them. They chose every word and every image; they played the shows.

One brand across the press kit, the website and the stage, with the mandolin, which they added in May, at its centre. Funding applications in and decisions pending, a UK venue plan with ready emails, and a sign-up route being built into every show.