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How to Promote a Concert on a Small Budget (And Actually Fill the Room)

Putting on a show is one of the most exciting things you can do in music. The planning, the anticipation, watching people discover something they love for the first time in a room with fifty strangers. But here’s the thing nobody tells you until it’s too late: a great show with nobody in attendance is just a rehearsal with better lighting. Promotion is the job, and the good news is you don’t need a major label’s marketing department to do it well.

The single most important thing you can do before you spend a single penny is build and maintain an email list. Email remains one of the most effective marketing tools available, and if you aren’t building a mailing list yet, your next gig is the perfect time to start. Social media platforms change their algorithms constantly, shadow-ban accounts without warning, and generally make it harder every year to reach the people who already follow you for free. Your email list is yours. Nobody can take it away. Start collecting emails on your website through a sign-up form, and gather zip codes too so you can segment your list by location when you have shows in different cities down the road.

Social media still matters enormously, just use it smarter than most people do. Target people who love the type of music you play and people who are in the area of the concert. Post regularly on every account you own and make sure the fans you already have share and interact with your content. The algorithm rewards engagement, so ask questions, post behind-the-scenes rehearsal clips, share the story of how the show came together. Behind-the-scenes rehearsal footage creates a sense of intimacy, and quick cuts of past performances build anticipation ahead of the show. TikTok in particular has become a genuinely powerful tool for reaching local audiences who had no idea you existed last Tuesday.

When you’re ready to spend a little money on paid advertising, even a tiny amount goes further than most people expect if you’re smart about targeting. Start with a smaller budget to gauge what works, and be prepared to adjust based on performance metrics like reach, engagement, and ticket sales. Ten or fifteen dollars boosting a well-made Instagram Reel to people within twenty kilometres of your venue, filtered by music interest, will almost always outperform a hundred dollars thrown at a vague, untargeted post. Target ads within a realistic distance of the venue, adjust messaging based on local preferences, and focus on areas where similar artists have found success.

Don’t overlook the power of your local community, both online and in person. Embrace free marketing tools. A website, a newsletter, a link-in-bio tool, and active social media accounts are must-haves. Beyond that, reach out to local bloggers, community Facebook groups, neighbourhood subreddits, and music forums. Post in “things to do this weekend” style groups. Many cities have free local event listings through newspapers, radio stations, and arts councils that most people never bother to use. Cross-promote with other bands on the bill. Their audience is your audience for the night, so make sure they’re sharing the show too.

Your ticketing page deserves more love than it usually gets. Make your ticketing page as enticing as possible. Include an event description with the location, bios of the performers, and all the important event information. Add links to the artists’ music so people can listen, and embed videos to make it even more engaging. A bare-bones event listing with just a date and a price tells people almost nothing about why they should come. Give them a reason. Describe the vibe, the room, the feeling they’ll walk away with. People don’t buy tickets to a show; they buy a night they don’t want to miss.

Finally, remember that your most powerful promotional tool is the fans who already love what you do. Some artists enjoy a rare luxury where their fans become their most powerful agents of promotion. When fans feel connected, they naturally become ambassadors for the show. User-generated content provides valuable social proof that paid ads simply cannot replicate. Give your existing fans something to share. Offer an early-bird discount, a limited presale, a little exclusive content just for them. Make them feel like insiders. When someone tells their friends “you have to come to this show with me,” that’s worth more than any ad you’ll ever run, and it costs you nothing but genuine connection with the people who already believe in what you’re making.

Cris Derksen, Cree Cellist and Composer Who Redefined Canadian Classical Music, Dead at 45

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Canada lost one of its most singular musical voices on May 15. Cris Derksen, 45, died in a highway crash in northern Alberta, fatally injured while driving home after attending the funeral of their father in Tallcree First Nation. Derksen’s wife, Rebecca Benson, remains in critical condition.

Born in Treaty 8 territory in Alberta, Derksen was of dual Cree and Mennonite ancestry, and saw music as a powerful tool for storytelling, connection, and advocacy. She began playing cello with the Edmonton Public Strings Program at age 10, attended the Victoria School for the Performing Arts in Edmonton, and went on to earn a bachelor of music in cello performance from the University of British Columbia, where she served as principal cellist with the UBC Symphony Orchestra.

Derksen’s sound was unlike anything else out there, integrating a drum machine, loop station, synthesizer, and guitar multi-effects pedals into her compositions, going well beyond that foundational mix of powwow and classical. The result was a body of work that consistently moved audiences and opened classical music to entirely new communities.

Her career began gaining national momentum around 2006 when she performed the music festival circuit alongside Inuit singer Tanya Tagaq, and she soon became a fixture on Canada’s symphony stage. She performed internationally, including across Europe, Mexico, Sweden, Australia, and the United States, and served as the composer for the Canadian Pavilion at the World Expo in Dubai in 2022 and again in Osaka in 2025.

She made her Carnegie Hall debut in 2024 performing with the Orchestre Métropolitain and conductor Yannick Nézet-Séguin, presenting her commissioned work Controlled Burn. The piece, rooted in traditional Indigenous fire stewardship practices and brought to life through cello, electronic effects, and col legno technique, became one of the defining works of her career.

Just weeks before her death, the Toronto Symphony Orchestra presented the world premiere of Still Here, a work composed through sessions with First Nations, Inuit, and Métis clients of the Centre for Addiction and Mental Health’s Shkaabe Makwa centre, as part of CAMH’s Art of Healing Program. It was entirely characteristic of Derksen, who consistently made her art meaningful beyond the concert hall.

Derksen founded the Indigenous Classical Gathering at the Banff Centre for the Arts, served as artistic advisor for the Calgary Philharmonic Orchestra, and chaired the equity committee for Orchestras Canada, working to make classical music more reflective of Canada’s diverse population and opening doors for BIPOC composers and performers.

Her most recent album, ‘The Visit,’ was released in 2025. Her final major work, Cikilaxwm: Controlled Burn, a full-length narrative contemporary ballet created with Indigenous choreographer Cameron Fraser-Monroe, debuted at Ballet Kelowna earlier this month, exploring Indigenous fire stewardship.

The tributes from across the music world have been immediate and unambiguous. Saskatoon Symphony Orchestra CEO Mark Turner wrote: “Much should be said about Cris’ exceptional artistic genius. As a composer, as a performer, as a mentor, she was special. A friend with an immense generosity of the human spirit. A calm level head, a warm laugh, a true leader without ego, and a full heart.”

Tanya Tagaq, one of Derksen’s earliest and closest collaborators, posted simply: “We were so young. Baby musicians. You’ve been part of my life for so long. I miss you already. I love you Cris.”

Cris Derksen is survived by her wife, Rebecca Benson. She was 45.

Marco Antonio Solís Brings “Tour Gratitud 2026” to North American Arenas This Summer

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23 dates. Arenas and amphitheaters coast to coast. Marco Antonio Solís, the Michoacán-born singer whose catalog has defined Latin music for decades, brings his “Tour Gratitud 2026” to North American stages starting July 24.

Solís carries one of the most celebrated legacies in Mexican music. Known to generations of fans as El Buki, the frontman of Los Bukis, he built a solo career that stands fully on its own. Hits like “Si No Te Hubieras Ido” and “Tu Cárcel” remain touchstones, tracks that audiences know by heart and sing back loud.

The Live Nation-promoted tour opens at Moody Center in Austin and moves through major markets including Washington D.C., Boston, Las Vegas (2 nights at Dolby Live at Park MGM), Sacramento, and the Los Angeles area before wrapping October 10 at Yaamava’ Theater in Highland, California.

Last year’s solo run was a genuine success. His performance at Estadio GNP Seguros in Mexico City alone grossed $4.6 million off 56,140 tickets. In February, Los Bukis reunited for a 2-night stand at SoFi Stadium in Inglewood, grossing $14,246,905 off 95,720 tickets. The demand for Solís, in any configuration, is real and consistent.

The accolades match the audience. In 2022, the Latin Recording Academy named him Person of the Year, and that same year he appeared on the cover of Pollstar. The recognition reflects a career that has never stopped moving.

Tickets go on sale to the general public May 22 at 10 a.m. local time at LiveNation.com. Presales are on now through May 21. Citi cardmembers and Verizon customers both have presale access running until May 21 at 11 p.m. local time. VIP packages, including meet-and-greet and photo opportunities, early entry, and access to a preshow lounge, are available at vipnation.com.

“Tour Gratitud 2026” Dates:

July 24 — Austin, TX — Moody Center

July 25 — Hidalgo, TX — Payne Arena

Aug. 7 — Fort Worth, TX — Dickies Arena

Aug. 8 — Tulsa, OK — BOK Center

Aug. 14 — Washington, DC — The Theater at MGM National Harbor

Aug. 15 — Boston, MA — MGM Music Hall at Fenway

Aug. 19 — Uncasville, CT — Mohegan Sun

Aug. 21 — Reading, PA — Santander Arena

Aug. 22 — Belmont Park, NY — UBS Arena

Aug. 28 — Laval, QC — Place Bell

Aug. 29 — Hamilton, ON — TD Coliseum

Sept. 4 — Sterling Heights, MI — Michigan Lottery Amphitheatre

Sept. 5 — Rosemont, IL — Allstate Arena

Sept. 11 — Las Vegas, NV — Dolby Live at Park MGM

Sept. 12 — Las Vegas, NV — Dolby Live at Park MGM

Sept. 18 — Tucson, AZ — Tucson Arena

Sept. 19 — Phoenix, AZ — Mortgage Matchup Center

Sept. 25 — Sacramento, CA — Golden 1 Center

Sept. 26 — San Jose, CA — SAP Center

Oct. 2 — Chula Vista, CA — North Island Credit Union Amphitheatre

Oct. 4 — Long Beach, CA — Long Beach Amphitheater

Oct. 9 — Fresno, CA — Save Mart Center

Oct. 10 — Highland, CA — Yaamava’ Theater

Bonnaroo, Lollapalooza, and Austin City Limits Are Coming to Disney+ and Hulu This Summer

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Three of the biggest festivals in North America just got a massive global platform. Disney+ is joining Hulu to livestream Bonnaroo, Lollapalooza, and Austin City Limits, putting all 3 events in front of music fans anywhere in the world.

Hulu enters its sixth year as the exclusive streaming home of the Live Nation festivals, and the addition of Disney+ represents a significant expansion of that reach. The partnership means subscribers across the globe get real-time access to some of the most culturally significant festival weekends of the year.

The dates are locked. Bonnaroo runs June 11-14, Lollapalooza follows July 30 through August 2, and Austin City Limits closes the run October 2-4. That’s a summer and fall of major live music, all accessible from wherever fans are watching.

Beyond the sets themselves, Disney+ and Hulu are bringing back Live Set, an on-site studio production featuring artist interviews and behind-the-scenes access at each festival weekend. It adds a layer of context and access that a straight livestream doesn’t offer.

“Music festivals are among the most electric, can’t-miss moments in culture,” said Lauren Tempest, Head of Content Planning and Partnerships at The Walt Disney Company. “We remain committed to bringing fans the biggest, most iconic moments right as they happen.”

The business case is clear. Live Nation’s Living for Live Global Study found that 73% of fans say they’re listening to more international artists than before, and 85% agreed live music transcends borders and languages. Streaming these festivals isn’t just a content play, it’s a response to how music fandom actually works now.

“Music festivals used to be experiences reserved for the people who could physically be there,” said Kevin Chernett, EVP and Head of Global Media Partnerships at Live Nation. “Expanding this partnership with Disney+ and Hulu allows these festivals to reach music fans at an entirely different scale.”

Corona Capital 2026 Locks In Gorillaz, The Strokes, and Twenty One Pilots for Mexico City

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Corona Capital just announced its 2026 lineup, and it’s a statement. The 16th edition of Mexico City’s premier rock festival lands November 20-22 at Autódromo Hermanos Rodríguez, with Gorillaz, The Strokes, and Twenty One Pilots each commanding a headline slot across the three-day run.

Mexican promoter OCESA is going rock-heavy this year, and the depth of the bill backs that up. More than 60 acts spread across multiple stages makes this one of the most stacked Corona Capital editions in recent memory. Last year’s festival drew nearly 174,000 attendees over three days and grossed $16.7 million, so the bar coming in was already high.

Gorillaz close out Friday night on a bill that also includes Mumford & Sons, Daniel Caesar, James Blake, The Kooks, and Chvrches. That’s a Friday with genuine range, genre-spanning and consistently strong from top to bottom.

Saturday belongs to Twenty One Pilots, closing the night after a day that includes The Offspring, Pierce The Veil, Underworld, Mother Mother, Baby Queen, Børns, and Maisie Peters. The Offspring and Pierce The Veil both earned Pollstar cover features last year, and seeing them on the same day card is a genuine draw.

The Strokes headline Sunday, closing out the full weekend on a bill featuring The xx, Lola Young, Lil Yachty, The Black Crowes, Johnny Marr, Manic Street Preachers, and Loyle Carner. That’s a Sunday closer with real weight behind it.

A presale for Banamex cardholders begins May 26 at 2 p.m. local time, with the general on-sale following May 27 at 2 p.m. local time. Full details and tickets are available at coronacapital.com.mx.

Corona Capital 2026 Lineup Highlights:

Friday, November 20 Gorillaz, Mumford & Sons, Daniel Caesar, James Blake, The Kooks, Chvrches, CMAT, Anna Luna, Chezile, Absolutely and more

Saturday, November 21 Twenty One Pilots, The Offspring, Pierce The Veil, Underworld, Mother Mother, Baby Queen, Børns, Maisie Peters, Baby Queen, Balu Brigada, Dope Lemon, Jordana, Militarie Gun, Peaches and more

Sunday, November 22 The Strokes, The xx, Lola Young, Lil Yachty, The Black Crowes, Johnny Marr, Manic Street Preachers, Loyle Carner, Lola Young, Bad Suns, Ela Minus, Good Kid and more

Photo Gallery: Electric Callboy, Polaris, and Scene Queen at Toronto’s Coca-Cola Coliseum on May 16, 2026

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All photos by Mini’s Memories. You can contact her through Instagram or X.

William Shatner Assembles an All-Star Metal Army for a Fearless New Album

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William Shatner is making a metal album, and he’s doing it with an army. The legendary actor, author, and cultural icon has announced a full-scale heavy metal project via Cleopatra Records, built around massive guitars, cinematic arrangements, and a personally hand-picked roster of elite metal talent.

The catalyst was Shatner’s involvement with Nuclear Messiah’s upcoming album ‘Black Flame’, where he voiced an intro piece created with ex-Megadeth founding guitarist and widely revered metal innovator Chris Poland. That collaboration opened a door Shatner walked straight through.

“When Nuclear Messiah came to life, something clicked,” Shatner says. “It wasn’t just a track, it was a doorway. It made me want to go all the way in, bring in the best metal players I could find, and create something fearless.”

His history with heavy music runs deep. Zakk Wylde, Ritchie Blackmore, Edgar Froese of Tangerine Dream, Wayne Kramer of MC5, and Henry Rollins of Black Flag and The Rollins Band have all recorded with him previously. This new project raises the stakes considerably, more artists, more distortion, more drama, with Wylde personally gifting Shatner a guitar as the project took shape.

Shatner framed his vision plainly: “I am covering Black Sabbath, Judas Priest and Iron Maiden as well as a number of new songs written by my team. Metal has always been a place where imagination gets loud. I chose these artists because they have something to say, and because metal demands honesty.”

Full album details including title, tracklist, release date, lead single, and the complete roster of featured artists are still to be announced via Cleopatra Records.

Rock Legends Queen Deliver a Lavish 5-CD Collector’s Edition of Their Landmark 1974 Album ‘Queen II’

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More than 50 years after it set Queen on the path to superstardom, ‘Queen II’ has been remixed, remastered, and expanded into one of the most comprehensive archival releases the band has ever put together. The 5 CD/2 LP Queen II Collector’s Edition box set is out now via UMe, with Brian May and Roger Taylor serving as executive producers.

The 2026 mix was handled by the trusted team of Justin Shirley-Smith, Joshua J Macrae, and Kris Fredriksson, the same team behind the Queen I reissue and several other past releases. The results are stunning, bringing new dimension to an album that May has called the band’s single biggest leap forward.

May was direct about what ‘Queen II’ represented: “That’s when we really started making music the way we wanted to, rather than the way we were being pushed into recording it.” Taylor echoed that: “I think we felt we were evolving our own sound. We were pioneering this sort of multitracking thing. It gave you a tremendous palette, massive choral effects with just 3 of us singing.”

The box set goes deep. CD 2 presents a completely different, 100 percent previously unreleased version of every song on the album, drawn from original Trident sessions outtakes, complete with false starts, guide vocals, and studio banter between all 4 band members. Highlights include a solo Brian May demo of “White Queen (As It Began)” dating from 1969 and 2 solo Roger Taylor demos of “The Loser In The End” that track the song’s evolution. The never-completed session track “Not For Sale (Polar Bear)” also surfaces here for the first time.

CD 3 strips the songs to their backing tracks, spotlighting the band’s musical performances without lead vocals. CD 4 brings together BBC Radio 1 sessions for John Peel and Bob Harris from late 1973 and early 1974, plus a full live set from Golders Green Hippodrome on September 13, 1973, 6 months before ‘Queen II’ was even released. CD 5 closes the set with live performances from the Rainbow Theatre in March 1974 and Hammersmith Odeon in December of that year.

The Collector’s Edition also includes a 112-page book packed with previously unseen photographs, handwritten lyrics and musical notation from Freddie Mercury, Brian May, and Roger Taylor, journal entries, letters, vintage adverts, gig posters, and outtakes from Mick Rock’s legendary photo session for the album cover.

Tracklist:

CD 1: Queen II — 2026 Mix

  1. Procession
  2. Father To Son
  3. White Queen (As It Began)
  4. Some Day One Day
  5. The Loser in the End
  6. Ogre Battle
  7. The Fairy Feller’s Master-Stroke
  8. Nevermore
  9. The March of the Black Queen
  10. Funny How Love Is
  11. Seven Seas Of Rhye

CD 2: Queen II — Sessions

  1. Procession (Stage Intro Tape — April 1973)
  2. Father To Son (Takes 4 & 9 — with Guide Vocal)
  3. As It Began (Brian’s Studio Demo — October 1969)
  4. Some Day One Day (Take 1 — with Guide Vocals)
  5. The Loser In The End (Roger’s First Demo)
  6. The Loser In The End (Roger’s Second Demo)
  7. Ogre Battle (Takes 2 & 6 — with Guide Vocal)
  8. The Fairy Feller’s Master-Stroke (Takes 4 & 9)
  9. Nevermore (Take 6)
  10. The March Of The Black Queen (First Section Takes 3 & 5)
  11. The March Of The Black Queen (Second Section Take 1)
  12. Funny How Love Is (Take 4)
  13. Seven Seas Of Rhye (Takes 4, 5 & 6)
  14. I Do Like To Be Beside The Seaside (Take 4)
  15. See What A Fool I’ve Been (B-side Version 2026 Mix)
  16. Not For Sale (Polar Bear)

CD 3: Queen II — Backing Tracks

  1. Procession
  2. Father To Son
  3. White Queen (As It Began)
  4. Some Day One Day
  5. The Loser in the End
  6. Ogre Battle
  7. The Fairy Feller’s Master-Stroke
  8. Nevermore
  9. The March of the Black Queen
  10. Funny How Love Is
  11. Seven Seas Of Rhye

CD 4: Queen II — At The BBC

  1. See What a Fool I’ve Been (BBC Session 2, July 1973 — 2011 Mix)
  2. Ogre Battle (BBC Session 3, December 1973)
  3. Nevermore (BBC Session 4, April 1974)
  4. White Queen (As It Began) (BBC Session 4, April 1974)
  5. Procession — Intro Tape (Live at Golders Green Hippodrome, September 13, 1973)
  6. Father To Son (Live at Golders Green Hippodrome, September 13, 1973)
  7. Son And Daughter (Live at Golders Green Hippodrome, September 13, 1973)
  8. Guitar Solo (Live at Golders Green Hippodrome, September 13, 1973)
  9. Son And Daughter — Reprise (Live at Golders Green Hippodrome, September 13, 1973)
  10. Ogre Battle (Live at Golders Green Hippodrome, September 13, 1973)
  11. Liar (Live at Golders Green Hippodrome, September 13, 1973)
  12. Jailhouse Rock (Live at Golders Green Hippodrome, September 13, 1973)

CD 5: Queen II — Live

  1. Procession — Intro Tape (Live at the Rainbow, March 1974)
  2. Father To Son (Live at the Rainbow, March 1974)
  3. Ogre Battle (Live at the Rainbow, March 1974)
  4. White Queen (As It Began) (Live at the Hammersmith Odeon, December 1975)
  5. The March Of The Black Queen (Live at the Rainbow, March 1974)
  6. The Fairy Feller’s Master-Stroke (Live at the Rainbow, March 1974)
  7. Seven Seas Of Rhye (Live at the Rainbow, March 1974)
  8. See What A Fool I’ve Been (Live at the Rainbow, March 1974)

Country Star Kane Brown Teams With The Elia Group to Open a 4-Story Entertainment Complex on Nashville’s Lower Broadway

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Kane Brown’s name is going on a building on Lower Broadway, and the story behind it is a genuine full-circle moment. Brown’s On Broadway, a 4-story bar, restaurant, and live music venue spanning 11,400 square feet, opens this summer at 312 Broadway in the historic space that previously housed The Valentine.

Brown used to spend his early career nights at The Valentine, drawn to its live music and energy. Now his name is on the building. He and The Elia Group have built something that reflects both the artist and the street it sits on, from a main floor anchored by a full-scale live music stage set against exposed brick and steel-and-glass accents, to a mezzanine with dedicated bar service, a 3rd-floor lounge wrapped in walnut paneling and platinum records, and a rooftop delivering Broadway’s ultimate day-to-night experience against the Nashville skyline.

Brown laid out his vision directly: “We wanted to make it a place that stands apart from everything else on Lower Broadway. I wanted to build a place that I want to hang out at, my friends want to hang out at and will be an unforgettable experience for anyone who visits. Nights in Nashville are about to hit a little bit different.”

Elia Group Founder and CEO Zaid Elia called the partnership a defining moment for both the company and the city, describing Brown as “a visionary artist who has continually redefined boundaries while remaining deeply rooted in authenticity,” a philosophy that mirrors the group’s own approach to hospitality.

For Elia Group, Kane Brown’s On Broadway is the next step in a multi-venue Nashville expansion that also includes Zuzu Nashville, an upscale Asian-inspired dining experience on 1st Avenue South, and a 3rd concept on 3rd Avenue with an artist partnership still to be revealed.

2025 was already a landmark year for Brown. He released his acclaimed album ‘The High Road’, launched an arena tour of the same name, earned his 2nd RIAA diamond certification with “What Ifs” featuring Lauren Alaina, guest-starred on 9-1-1: Nashville, and executive-produced a Lifetime film alongside his wife Katelyn Brown.

Linda Perry Documentary ‘Let It Die Here’ Is Now in Theaters Worldwide

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Linda Perry: Let It Die Here is in theaters now, and it arrives with serious momentum behind it. Following its critically acclaimed debut at the Tribeca Film Festival, the feature-length documentary from award-winning filmmaker Don Hardy opened in New York and Los Angeles earlier this month and is now expanding through all global markets.

The film chronicles the life and career of the Grammy and Golden Globe-nominated songwriter, producer, and 4 Non Blondes frontwoman, iconic in the nineties for the era-defining “What’s Up” and quietly one of pop music’s most prolific behind-the-scenes forces ever since. Her credits span Dolly Parton, Christina Aguilera, P!nk, Adele, Miley Cyrus, Celine Dion, Alicia Keys, Gwen Stefani, The Chicks, Ariana Grande, Weezer, and more.

Beyond the career retrospective, Let It Die Here is an exploration of identity, vulnerability, and creativity, filmed over several years as Perry confronted personal change and a crossroads in her professional life. Candid interviews with Dolly Parton, Christina Aguilera, Brandi Carlile, Sara Gilbert, and Kate Hudson add depth to an already unfiltered portrait.

Perry was candid about the experience: “I had no intention of making a documentary. Maybe that’s why it’s so raw and emotional. If I knew I was making one I probably would have tried to control the narrative. Don Hardy captured an extremely intimate time in my life and I am so grateful he did.”

The release also coincides with a fresh wave of attention around “What’s Up.” The song went viral on TikTok via the “What’s Up/Beez In The Trap” mashup, hit No. 1 on the platform’s trending charts, generated more than 3 million user-created videos, and landed 4 Non Blondes a performance on 2026 Dick Clark’s New Year’s Rockin’ Eve. Linda Perry: Let It Die Here is in theaters now.