A release strategist that works from your own data. Connect your music and hype.kit reads what is actually happening with your audience and your scene, then hands you a dynamic plan: what to do, in what order, by when, who it is aimed at, and the words already written. Not a dashboard to interpret. A plan to work through.

Seven days of everything. Add a card to start, and nothing is charged until day eight. Your brand narrative, an Audience Snapshot with your fan archetypes, the full dynamic plan across all six pillars, and Recommended for you running live. At the end of the seven days you either subscribe or your account moves to Free, where the narrative and snapshot stay and you keep one trend.

Setup & Readiness, which covers the registrations and deadlines that pay you later and applies to new releases. Then Pitching, Organic Content, Paid Strategy, Direct to Fan and Global Growth. Live and touring is next.

Yes, on any paid plan. The EPK creator builds your press kit from the profile and catalogue hype.kit already has, and branded assets generates release artwork on your own brand. Both are paid features, not part of Free.

That is half of what it is for. Between releases hype.kit works the catalogue you already have, tells you when a track starts moving without you, names a market you have never worked, and surfaces anniversaries, re-promotions and sync windows.

No. No placements, no stream buying, no guaranteed virality. Anyone selling you those is selling you a number rather than an audience.

No. What sits underneath is encoded industry knowledge: real deadlines, real submission routes, real market rules, checked and dated. Ask a general chatbot how to pitch a UK tastemaker and it will confidently recommend an Australian conference. The captions and pitches hype.kit drafts for you are AI-generated and meant as a starting point in your own voice, and we label them that way every time.

$39 a month for an artist. Roster is priced by roster: $99 up to three artists, $149 up to five, $199 up to eight. Labels, distributors and bigger teams talk to us about Enterprise, by email at hello@myhypekit.com or through the form on the pricing page. Australian dollars, per month, and every plan starts with seven days on us.

Yes, and it is two months free on every plan. $390 a year for an artist. $990, $1,490 or $1,990 a year for Roster.

A seat is a person who logs in. An artist is a career on your roster. They are counted separately, because a label with six staff working twelve artists needs six seats and twelve artists, not eighteen of anything. Artist gives you one seat and one artist. Roster gives two seats and three to eight artists. Enterprise is set up around your team.

Yes. A one-off plan is $200: your plan for one release, made once and yours to keep, with every pillar, the copy written and your pitch. What it does not do is keep updating. It does not include Recommended for you, and if your release date shifts or your scene changes it will not know. Move onto a yearly plan within thirty days and the $200 comes off in full. One discount per checkout, so if you signed up with a promotion code, email hello@myhypekit.com and we will apply whichever is worth more to you.

Not one you sign up to. Free is where your account goes if the seven days end without a subscription. It keeps your narrative, your Audience Snapshot and one trend from Recommended for you, so you can see what moved in your scene. What it does not include is the move: who to reach, where, what to do and by when. That, the dynamic plan, the writing tools, the EPK creator, branded assets and pitching are all paid.

Yes. Add a card to start your seven days. Nothing is charged until day eight, and cancelling before then costs nothing. Do nothing at the end of it and you move to Free.

Your plan freezes rather than disappearing. You keep your narrative, your snapshot and your one trend on Free, and if you come back the plan is still there, along with everything that has moved since.

We opened to everyone on 6 September 2026. Start your seven days whenever you are ready.

It ran with twenty industry professionals: artists, managers and labels. It is closed now. What they broke, we fixed, and this version is the result.

Your music, through one link, which brings in your catalogue with its release dates and codes. Optionally your YouTube channel, read only, so your figures are measured rather than estimated. Optionally your Google Calendar, so the plan lands in the calendar you already use.

No. hype.kit drafts, you send. We never upload, edit, delete or comment on your channel, and the only calendar events we touch are the ones hype.kit created.

At any time, from your profile or from your Google account. We delete the stored tokens, and you can ask us to delete what was already collected by emailing hello@myhypekit.com. The privacy policy has the full detail.

Independent artists, the managers who work with them, and independent labels. If you are releasing music and the strategy is the part that keeps getting away from you, it is aimed at you.

Anyone looking for a shortcut. Anyone who wants someone else to run their socials. Anyone who wants a folder to organise. hype.kit decides what should happen and when, and writes it for you. You still have to do it.

Yes, and it is priced so it is always cheaper than buying separate artist seats. Five artists on Roster costs $149 against $195 of individual seats. Worth knowing that roles and permissions for a whole team are still being built, so today it is two logins rather than a full team on a shared roster.

Labels and bigger teams go on Enterprise, and it starts with a conversation. Tell us how many people and artists you work with, and we will set it up around your team. Email hello@myhypekit.com or use the form on the pricing page.

The plan builds anywhere. The market intelligence is deepest in Australia and New Zealand, which is where it was built and where the deadlines, submission routes and chart rules are richest. More markets are landing over time.

No. The most important thing to understand about hype.kit is that somebody is in it every day.

Your plan is built from research, not generated. Behind it sits a knowledge base we built by hand: industry reports, market data from sources like Statista and MIDiA, and feeds we review on a schedule. Every route, every deadline, every recommendation in there was put in by a person who understands this industry.

And it does not sit still. When a new market opens up, someone researches it properly and writes it in. When something we told artists last quarter stops being true, someone finds it and fixes it. When a platform changes how it works, that reaches the plans. That daily work is the product. The interface is just how you see it.

AI comes in at one point, and its job is narrow: drafting the pitch or the caption once the plan has already decided what needs doing and when. It writes from what you have told us about yourself. It does not choose your strategy, set your dates, or decide what matters for your release.

That is deliberate. A model left to invent your plan will confidently send you to a festival that does not exist. A researched knowledge base, kept current by a person, will not.

Yes, and it is the same human.

The person maintaining the research is the person you talk to. Artists who come on board early get time with us directly. If you are stuck, or the plan is not landing the way you expected, you say so and we work through it together. That is a conversation, not a support ticket.

We are also building out community meet-ups and sessions, so there is somewhere to turn up and ask things out loud alongside other artists in the same position.

And hello@myhypekit.com always reaches a person.

Because the research is the expensive part, and it only has to be done once.

When someone works out what is happening in a scene, which routes are open in a market, what actually moves the needle for an artist at a particular stage, that work serves every artist it applies to. A consultant does it for one client and bills them for all of it. We do it once and it reaches everyone it is true for.

So you get the same thinking a team would give you, for a fraction of what a team costs. What we spend our human time on is the part that cannot scale: the research, and the conversations.