TOUR MARKETING
CHECKLIST.
Right now a Yola date is a great night that ends when the lights come up. The club keeps the buyer list, the room goes home, and the next city starts from zero. This document fixes that. Three windows around every date: what happens before, what happens in the room, and what happens the morning after. Run it the same way every time and the tour compounds instead of resetting.
What a date is for
The set is the product. The room is the asset.
A comedy date pays you twice. Once at the door, which the club mostly controls, and once in what you carry out of the building: phone numbers, clips, footage, and a market that is now warm instead of cold. The second payment is the one that grows. It is also the one that gets skipped, because nobody is standing there at load out asking for it.
The club will never hand over the list of people who bought tickets to see you. That is their business and it is not going to change. The only way you end up owning that relationship is by capturing it yourself, in their room, on their night. Do that fifteen times and you can announce a date and sell it before the club has finished building the event page.
Pre. Sell the seats. Twenty one days of content and roughly seventy two hours of paid, aimed only at the market that can physically attend.
During. Capture. Footage, phone numbers, and faces. The show already happens. The capture is the only new work.
Post. Convert while the room is still high. The morning after a show is the highest converting window you will ever buy in that city, and it lasts about forty eight hours.
What has to be built before date one
None of this works without the plumbing.
Every item below is a one time build. If any of them is missing on show night, the capture window closes and does not reopen. Get all six live before the next date, then never think about them again.
| Piece | What it is and how it is set up | Owner | Status |
|---|---|---|---|
| The list | One account under Yola with a real area code, text and email in the same place. This is the party line. Everything else routes here. The signup hook is guest list and pre sale access, not a newsletter. | Crowd Control | To build |
| The QR | High contrast black and white. Not a picture, not stylized, not AI art. Those scan badly at distance and in low light, which describes every comedy club. Destination stays editable after printing so the same card works all year. | Crowd Control | To build |
| The landing | The QR resolves to a link page, never to the website. Three seconds of attention in a dark room. Top item is always the signup, then tickets, then socials. The website is for world building. The link page is for conversion. | Crowd Control | To build |
| Ad access | TikTok dark post access granted by Yola scanning a one time QR, plus standard Meta partner access. Dark posting means paid can run off content that never hits the main feed, so the timeline stays clean while the ads work. | Yola grants, CCD runs | To build |
| The archive | One Drive folder per date, named YYYY-MM-DD City Venue. Inside: full set, flyer, phone clips, crowd shots, and a note on what killed. This mostly exists already. The fix is naming it the same way every time so an editor can find things. | Rocco | Refine |
| Clip turnaround | A dedicated comedy clip lane, separate from the podcast and long form queue. Today long form edits block clip output, which means the best material from a Friday show lands after the audience has moved on. Target is 48 hours. | Crowd Control | To resolve |
An in room capture layer that unlocks something only inside the venue, tied to the phone number, syncing straight to the list. It removes the merch table as a bottleneck and lifts capture rate significantly. Worth adding once dates are running back to back, not worth the setup for a one off.
Who does what on every date
Four jobs. No overlap.
Performs. Makes the ask from stage, once, in his own words. Shoots one vertical selfie clip on arrival at the venue. Works the merch table for fifteen minutes after. That is the entire load.
Films the set wide so it can be cropped later. Grabs three crowd reaction shots and one exterior of the marquee. Drops everything into the dated folder before leaving the building. Not logistics, not door, not security.
Books the room, sets the terms, handles the club relationship and anything to do with the door. Flags the date to Crowd Control the moment it is confirmed, because the clock starts at confirmation, not at announce.
Runs the calendar, the paid, the list, the clip lane, and the fan page network. Builds the market specific assets. Turns on the morning after buy. Reports what the date produced.
A confirmed date reaches Crowd Control at least twenty one days out with venue, date, capacity, ticket link, and on sale date. Everything in section 04 is timed off that. A date that lands with ten days notice can still be worked, but the pre show content window is gone and the paid has to carry more weight at a higher cost.
Pre show, T minus 21 to the day before
Sell the seats. Only to people who can get there.
The whole pre show job is geography. A Yola clip that does 400,000 views nationally sells almost no tickets in Sacramento. The same clip pushed at people within forty miles of the venue sells the room. Organic goes wide because that is what organic does. Paid gets locked to the market, every time, no exceptions.
Date goes public
Owner: Arthur then CCDAnnounce post the day the club confirms. Carousel or single, whatever is fastest. Ticket link in bio and in the caption. The list gets it first, twenty four hours before the public post, framed as a heads up rather than a sale. That gap is the entire reason the list exists, and people notice when they get it early.
Same day, the market goes on the calendar and the fan page network gets the date and the assets so the pages are seeded before anything paid turns on.
Feed the market
Owner: Yola and CCDTwo to three posts touching this city, spread across the two weeks. City specific beats work better than tour graphics. A bit about the city, a callback to the last time he played there, a reply to a local comment, a clip tagged to the market.
Comedy has an advantage most music acts do not: the material is the ad. A clip that kills is both the content and the proof. Pick the clip that got the biggest laugh in the room, not the one with the highest view count. Those are frequently not the same clip, and the room is more honest than the algorithm.
Ticket push and local pickup
Owner: CCD and ArthurList message goes to the market segment only. One ask, human, no menu of options. Reference something real about the city so it does not read like a blast.
Local pickup where it is available: morning radio, a local podcast, a drop in at a nearby club. A fifteen minute podcast in market moves more tickets at this scale than a national placement does.
Paid goes live, geo locked
Owner: CCDDark ads switch on seventy two hours out and run through doors. Radius targeting on the venue, twenty five to forty miles depending on the market. Creative is the best performing recent clip with an overlay carrying venue, date, and a direct ticket call to action.
Budget follows softness. A room pacing to sell out gets the money pulled and moved to the room that is not. Check counts every day from here, not once.
Final assets and room prep
Owner: CCD and RoccoStory sequence the night before with the ticket link sticker. Print or restock the QR cards and confirm the destination points at the right market. Confirm the merch table has the QR standing up and visible, not lying flat under a stack of shirts.
Rocco confirms the shot plan and the battery situation. Yola confirms he knows the ask he is making from stage.
Show day capture
Nothing changes about the show. Everything changes about what you keep.
Do not build a production around this. The value is that it is small, repeatable, and survives a bad travel day. If half the list below happens, the date still works.
| When | Do this | Spec | Owner |
|---|---|---|---|
| Arrival | Marquee and exterior | One vertical shot of the marquee or the door with his name on it, one wide of the empty room. Both post the same night as story and both become B roll later. | Rocco |
| Arrival | The selfie clip | Fifteen seconds, phone, no setup. City name in the first three words. This is the highest value asset of the day because it geo locates the content and it is the only thing that cannot be made later. | Yola |
| Doors | Line and room fill | One shot of the line or the room filling. This is the sellout proof for the next market and the credibility asset for a promoter conversation. | Rocco |
| Set | Film the whole thing wide | Locked wide, full body, clean audio off the board where possible. Wide crops down to vertical. Vertical never crops back out to wide. Do not chase the set with a handheld. | Rocco |
| Set | Three crowd cutaways | Real laughter, faces lit by the stage. These are what make a clip feel like a room instead of a recording, and they are the difference between a clip that travels and one that dies. | Rocco |
| Close of set | The ask | Thirty seconds, once, in his own voice, before the applause break. Not a pitch. See the copy bank for the shape of it. The ask converts a room far better than any sign, card, or post. | Yola |
| After | Merch and photo line | Fifteen minutes minimum at the table. QR standing and visible. Every photo taken is a person who will scan if asked once while the phone is already in their hand. | Yola |
| Load out | Dump the folder | Everything into the dated Drive folder before leaving the building, plus one line in the notes file on which bits killed. That note is what tells the clip lane where to cut. | Rocco |
A person in a comedy club has already paid, already laughed, and already decided they like you. That is the warmest a stranger is ever going to be. A card on a table catches the people who were walking past it anyway. One sentence from stage, at the moment the room is still with you, catches a meaningful share of everyone in the building. It costs thirty seconds of a fifty minute set and it is the highest leverage thirty seconds of the entire night.
Post show, T plus 1 to T plus 7
The morning after is the buy.
This is the part almost nobody runs, and it is the part that works. The morning after a show, everyone who was in that room is still riding it, and everyone who was not is seeing their friends post about it. Run ads into that city on that morning and you catch both. Attendees convert to owned contacts at rates you will not see again, and the people who missed it get a very specific kind of regret that sells the next date.
The window is real and it is short. Day one is excellent. Day two is good. Day four is a normal ad.
Turn on the capture buy
Owner: CCDAds live in the played market by mid morning. Geo locked to the city that just saw the show, nowhere else. Running it nationally kills the entire effect, because the line only lands for people who were there.
Creative is raw. Phone footage from last night, a fan shot clip, the crowd reaction. A polished edit reads as an ad. A shaky clip from the third row reads as evidence. Fan shot content performs best of all, because when a fan sees their own video used they reshare it to their own circle for free.
The call to action is the list, not tickets. The city just bought. What you want now is the phone number.
Thank the room
Owner: CCD writes, Yola voicesOne message to the market segment. Short, warm, specific to the night. Name the venue. Reference something that actually happened. Include the next thing, once, lightly.
This is also where new signups from last night get their first message, which sets the tone for the whole relationship. Do not make the first thing they ever receive a sales blast.
Best three cuts out
Owner: Clip laneThree vertical cuts from the set, shipped inside forty eight hours. Cut from the wide, intercut the crowd reactions, captions burned in because most of the audience is watching muted.
The cuts go out through the main account and get seeded across the fan page network on a stagger, not all at once. The network is roughly ten pages pushing at a time with about twenty owned and operated accounts behind it, which turns one good clip into a multi surface push instead of a single post.
The date recap
Owner: Rocco and clip laneOne longer recap of the night for the channel: marquee, the line, a bit of set, crowd, merch table, out. This is the asset that makes a run of dates feel like a tour rather than a series of gigs, and it is what an agent or a promoter watches when deciding whether the rooms are real.
Score it and hand off
Owner: CCDLog the date against the scorecard in section 09. Numbers captured, spend, clips produced, what the room actually did. Then feed the warm audience from this market into the next announce, because a city that has now seen him live is the cheapest audience he will ever have there again.
Copy templates
Say it like a person. One ask per touch.
Every template below is a shape, not a script. Rewrite them in his voice. The two rules that do not bend: one ask per message, and never a menu of options. Two asks in one message gets you neither.
What a date costs to work
Three to five dollars a seat.
The working heuristic is three to five dollars of gross ad spend for every ticket you actually need to sell. Not every ticket in the room. The ones that will not sell on their own. A two hundred cap club that moves a hundred and twenty on the club list and word of mouth needs eighty more, which is two to four hundred dollars of pre show media, and you halve that if the club or the promoter is spending on their side too.
Money moves toward the soft rooms, not the loud ones. A date that is five tickets from selling out does not need another dollar. Take it and put it in the city sitting at thirty percent with nine days to go.
| Line | Per date | What it buys and why |
|---|---|---|
| Pre show paid | 100 to 250 | Seventy two hours of geo locked dark ads into the market. Scales with how many seats are actually unsold, governed by the three to five dollar rule above. |
| Morning after | 100 to 250 | Flat, regardless of how the room sold. This is the capture line. It does not scale with ticket count, it scales with how many people were in the building. |
| The list | Roughly 30 | Cost of a send at current list size, scaling with segment size. Text sees ninety percent plus open rates against ten to twenty for email, which is why the phone number is the thing worth collecting. |
| One time | QR cards and a table stand. Destination is editable after printing, so one print run covers the year. | |
| Clip lane | Ongoing | A dedicated comedy clip editor, separate from long form. The current queue conflict is the real constraint on output and it gets worse as dates increase. |
Do not stop spending, flip the ask. Pull the ticket message and run a guest list giveaway instead, aimed at the same market. Scarcity does the selling for you and you convert a sold out room into signups you would otherwise never have collected. The merch margin on a full room frequently beats the door anyway.
What to log after every date
Nine numbers, the same nine every time.
The same nine every time, so that after eight dates you can see which markets are real, which creative converts, and what a Yola room is worth. This is also what turns a run of gigs into a case an agent, a promoter, or a brand can underwrite.
Cost per captured number. Everything else is context. Once that figure is stable across five or six markets you know exactly what it costs to grow the owned audience by a thousand people, and at that point the conversation with any partner stops being about vibe and starts being about math.
Six ways this goes wrong
All six are avoidable. All six have happened to somebody.
The morning after buy only works geo locked to the city that just saw the show. Push it nationally and the line stops meaning anything, because the resonance is entirely I was in that room.
A clean label style edit reads as an advertisement and gets scrolled. Raw phone footage reads as proof. Fan shot footage is better than both. Pick creative on how it feels, not on what it already scored.
If the list is not standing up on show night, every number in that room is gone permanently. There is no going back to collect. The plumbing has to exist before the first date, not after.
Follow me and buy tickets and check the podcast gets you zero of the three. One ask, every touch, no menu. This is the rule people break the most.
The pre show content window is three weeks. Compress it and the paid has to do all the work, at a worse price, into a colder audience. Confirmation has to reach the calendar the day the club says yes.
Comedy clip value decays fast. The best material from a Friday show is worth a fraction of what it was by the following Thursday. If the long form queue is blocking the clip lane, the clip lane wins.
Run this on the next three dates exactly as written before changing anything. Three dates is enough to see the cost per number stabilize, and enough to know whether a low capture rate is a stage problem, a table problem, or a plumbing problem. Change one variable at a time after that.
info@crowdcontroldigital.com