A gig promotion agency for independent promoters.
Small room. Tight margin. Put the money where the decisions happen.
If you put on several live shows a month, you do not need a fresh presentation for every date. You need accurate tracking, a clear local offer and a spend plan that survives until show week. We help independent promoters sell tickets in 150–1,500-capacity rooms without confusing a busy comments section with paid demand.
A local gig has a short decision and a narrow margin.
An independent show competes with whatever else people could do that evening. A manageable ticket price can make buying an impulse decision, but the customer still needs the date, venue, bill and reason to go. Local radius targeting keeps the campaign near the people who can realistically attend. Genre matters too: proximity alone does not turn every nearby resident into a fan of the support acts or the headline artist.
The budget has to work around the economics of the room. A 200-capacity show cannot carry the same management overhead or broad prospecting plan as a large concert. We look at ticket price, saleable capacity, time remaining and existing demand before agreeing scope. There is no universal minimum spend that turns an unproven bill into a safe booking. Good planning also means recognising when the cost of acquiring a ticket buyer leaves too little margin.
Several monthly on-sales create overlap. Someone might be interested in two shows, while another should not see either. We organise audiences and reporting so one date does not swallow the whole calendar’s budget. Useful infrastructure is reused, but each show keeps its own offer and sales position. When the final week arrives, the decision is practical: which date needs support, what stock remains and how much cash is still available?
A method built around promoters & gigs.
Audit before boosting another poster.
We check the promoter’s account, dataset and purchase route, including where the buyer leaves for the ticketing page. Wrong purchase events can make a cheap campaign look successful while sales barely move. We repair what can be repaired and agree the measurement limits. The campaign objective follows that reality; we do not label clicks as tickets to make a modest budget appear to work harder.
Curve comparable shows, not the whole database.
A midweek support bill and a Saturday headline show may not share a buying pattern. We group previous exports where the comparisons make sense, noting venue size, genre, ticket price and lead time. This tells us whether the show needs a steady run-in or a concentrated final-week plan. With little history, we use an explicitly illustrative starting point and adjust against actual sales.
Phase for the people deciding this week.
We keep the announcement useful without spending the whole allowance while buyers are still waiting. The final-week reserve is part of the original plan, with a meaningful final-72-hour allocation. Local and genre-relevant audiences get an offer they can act on. Spend can move between shows when the calendar changes, but it is not moved away from a date simply because its quiet run-in feels uncomfortable.
Push the real bill and report the real sales.
Late creative gives the customer essentials quickly: who is playing, where, when and the current ticket price. Remaining-ticket claims come from verified inventory, not a decorative countdown. After the show, we compare tracked paid activity with the ticketing export and explain cost per ticket. If walk-ups or untracked sales affect the picture, they are discussed separately rather than silently assigned to the ads.
Make the creative answer the promoter’s questions.
A poster can carry the bill, but it should not be the only asset by default. A clear live clip may help someone understand an unfamiliar act; a short artist introduction can explain why the pairing is worth a night out. Sound, captions and the first frame need to make sense in the feed. We choose assets for the buying decision, not because a video automatically deserves more spend than a still.
For recurring promoters, a partnership can make more sense than rebuilding a one-show arrangement each month. We agree responsibilities for ticket availability, artwork, guest lists and promoter approvals. Clear hand-offs save time in the final week. The free teardown is a useful first check: send a recent comparable show, and we can identify whether timing, measurement or the offer itself needs the earliest attention.
A 1,500-capacity room. Tracking before spend.
Illustrative buying curve — not client results.Zombie Fest 9 at Cambridge Junction sits at the upper end of this capacity range. Ahead of its October 2026 event, the work covers rebuilding the ad account, repairing tracking, integrating Skiddle Conversions API and examining the previous two years’ sales curves. Results are landing November 2026. The relevant lesson for a gig promoter is the order of work: make the purchase measurable before scaling the push.
A festival bill is not a perfect substitute for your local gig history. We use it to show the measurement-led method, not to promise the same sales pace for a different act or room. Approved results and client permission are prerequisites for publishing sales figures. Your comparable shows are the strongest starting point for your campaign.
View the campaign referenceStart where the ticket is sold.
Independent promoters may have sales spread across different ticketing accounts. We can begin with exports from Skiddle, DICE or See Tickets, then check how each account handles measurement and ownership. Keep event identifiers and ticket types intact where possible. The platform guides distinguish confirmed facts from processes that need direct account verification.
Coverage with a ticket-sales purpose.
For a local gig, editorial coverage needs to land while people can still buy. We coordinate PR from our music PR partners with the paid campaign, using approved coverage to support the show’s story where appropriate. We remain accountable for ticket activity, not column inches, and this does not extend to release or playlist promotion.
PR alongside ticket campaignsPromoters & gigs: the practical questions.
Your next gig does not need a guessed budget.
Start with a recent ticketing export. We will check when your room buys and where a limited spend can be concentrated more sensibly.
No fee. No obligation. We’ll send your curve within 3 working days.