Every tour we run carries a pixel and a Conversions API relay wired to the artist's own ticket buttons, city by city, so we read cost per ticket instead of guessing from clicks. This page is the running count. Numbers come from the promoter's own sheet or the artist's ticketing back end, not from our ad platform, and they are refreshed every cycle.
Cost per head is the market's total ad spend divided by every body in that room, from every channel. It is the only tour metric that travels between artists, and it is the one we ask to be held to.
| Tour | Status | Rooms | Tickets counted | Sell-through | Cost per head |
|---|---|---|---|---|---|
| MEMBA2026 Tour | Completed Aug 29 | 5 | 2,423 of 4,110final counts | 59% |
$0.29 to $0.98 |
| Whipped CreamHome Was Always Me | On the road | 16 | 1,832 of 7,660counts to Sep 22 | 23.9% |
$0.28 to $2.25 |
| MashBitSummer and Fall Tour | 8 sold out | 27 | 3,085 of 3,3355 rooms with a head count | 92.5% |
$0.31 to $3.71 |
Twenty six rooms where we hold a promoter capacity and a promoter sold count, so sell-through is arithmetic rather than an estimate, and cost per head is our media in that market over every ticket in the room. MashBit sold out five more rooms, in Atlanta, Nashville, Honolulu, San Francisco and Atlantic City, that the promoter marks sold out without a head count, so they stay out of this table and every total on the page.
| Market | Tour | Capacity | Sold | Sell-through | Cost per head | Status |
|---|
Whipped Cream rows are the promoter's sheet of Sep 15, with final counts for Santa Fe and Houston and a Sep 22 read for DC; Chicago and DC have since played. MashBit rows are the promoter's capacity sheet of Sep 3, taken after the summer rooms played, with Seattle read the day before its show. MEMBA rows are final counts, except Portland and Seattle, which are the promoter's last read before those shows played. A room showing no ads carried no spend from us.
Three runs, each with a different shape: a tour that keeps selling out rooms, a run we have final promoter numbers on, and a run on the road right now.
He came to us with 50 tickets sold. The first show sold out a 500 capacity room. Nobody expected DC to sell out either, and it did, with 300 people still waiting downstairs. Eight rooms have sold out so far, the biggest a 1,200 capacity room in Chicago, and Boston and Seattle, the two played rooms that did not sell out, closed at 80 and 90 percent. That is why the next run is being booked into rooms twice the size.
The campaign buys against a deduped ticket-click event, 43,604 tracked ticket clicks across 25 markets at 36 cents each, at 10.9x back on ad spend and roughly a 10 percent click-through rate. Across the five rooms with a head count, cost per head lands at $1.92, from 31 cents in Chicago to $3.71 in Seattle. The Australian leg wraps on October 3, and twelve more dates are on sale across Canada and the US through Dallas on December 19.
The cleanest proof on the book, because the whole run has played and we have the promoter's final counts to check ourselves against. Brooklyn closed it out at SILO, 650 of 650, a sell-out, and closed the last 276 tickets in the final two days. Measured against every body in that room, Brooklyn's ticket ads ran at 29 cents of media per ticket, the cheapest ratio of the run.
The finding that changed how we schedule every tour since: Salt Lake City sat at 59 tickets with 8 days to go and finished at 357. Denver sat at 317 nine days out and finished at 724. Between those two rooms, 705 tickets, 65 percent of both houses, landed inside the final nine days.
Sixteen headline dates from Santa Fe on September 18 through Saint Louis on November 21, tracked against the promoter's own count sheet every cycle. The run sits at 1,832 of 7,660 sold, 23.9 percent, with final counts in from the two opening rooms. Budget is deliberately held back for each show's buying window rather than smeared across the calendar.
The clearest single read we have: Santa Fe added 29 tickets in 24 hours once support went live, while Houston, with identical venue-side support and no spend from us, added 2 in the same window. Santa Fe went on to finish at 370 of 400, 93 percent, after 235 tickets in its final week. Houston got its own budget two days out and added 88 in its last three days to close at 200.
A normal tour campaign optimises for link clicks, because the ticketing company owns the checkout and nobody instruments the handoff. We instrument the handoff. The event fires on the artist's own domain the instant before the browser leaves for the ticketer, so the ad platform gets a real conversion signal it can optimise against.
Base pixel site wide. Squarespace, Webflow or a static build, it does not matter. Verified on the wire, not assumed.
A delegated listener on the real ticket links fires a custom event carrying city, venue and date, so it keeps working when widgets re-render.
The same event goes server side sharing one event id, so browser and server dedupe into one conversion. This is what survives iOS, ad blockers and Safari.
The event becomes a named conversion categorised as purchase intent, and every city ad set is built to buy against it rather than against clicks.
This measures clicked to buy, high intent, not the final purchase confirmation. The ticketing company owns the confirmation page and we never claim otherwise. Cost per head is total market media divided by every body in that room, from presale, organic and paid together. It is a cost-of-media ratio, not a claim that our ads sold each individual seat. That is the honest version, and it is exactly why these numbers hold up when a manager audits them.
The ticket-buying curve tracks the audience's age, not the artist's size. Young rooms buy in the last nine days. Older rooms buy one to two months out. So the biggest lever on a tour campaign is when the money is live, and we can prove the age mix from the client's own delivery data rather than asserting it.
| Artist | 18 to 24 | 25 to 34 | 35 to 44 | 45 plus | Under 35 |
|---|---|---|---|---|---|
| MEMBA | 23.6% | 63.2% | 13.3% | 0% | 87% |
| Whipped Cream | 17.5% | 55.8% | 20.2% | 6.4% | 73% |
| MashBit | 10.1% | 31.3% | 32.0% | 26.6% | 41% |
Share of impressions, pulled from each account. The caveat said out loud: delivered mix reflects targeting too. MEMBA ran a hard 21 to 38 age cap, which is why it reads zero at 45 plus. Whipped Cream and MashBit both let the platform find responders at any age, so those two are the clean comparison. How this changes a plan: hold a thin awareness layer early, then concentrate conversion budget into the nine days before each show. On MEMBA that pattern put 65 percent of two rooms into the final nine days.
We tell every tour client to expect somewhere between one and five dollars per head in the door, so nothing we deliver is a surprise. Every run on this page has landed inside that band or under it.
Five rooms, final promoter counts, one sell-out.
Six rooms with our spend, two final counts in.
Five rooms with a head count, eight sell-outs.
Pixel and Conversions API installed on the artist's domain, city-burned creative in an A and B rotation per market, budget concentrated into each show's buying window, and reporting in cost per head against the promoter's own sheet.
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