The Client
Total impressions
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Digital platforms used
Dax — the stage name of Canadian rapper and singer Daniel Nwosu Jr. — has earned a devoted global following with raw, self-written songs pulled straight from his own life. He doesn’t keep fans at arm’s length: he talks to them directly and constantly across social media, through short-form video and personal messages. That makes social the obvious place to reach the people most likely to buy a ticket — the same engaged audience we tapped for his single “Lonely Dirt Road” campaign.
Dax’s team came to us with one clear goal: sell tickets for his multi-city tour. The run spanned eight markets — London (Ontario), Ottawa, Denver, Chicago, Columbia, Atlanta, Charlotte and Memphis — each with its own venue, its own ticket inventory and its own sales pace.
Tour promotion is a different problem from a typical advertising campaign. Instead of pushing a single event, we had to support eight venues at once, each selling at a different rate. As some cities began to sell out, we needed to move fast — pulling budget off the markets that were taken care of and pushing it toward the ones that still needed help. That meant monitoring ticket sales continuously and adjusting in real time.
Our paid social strategy was built around two audiences working in sequence. We started with fan targeting — people who’d already engaged with Dax across social platforms, his warmest and most likely buyers. From there we layered in affinity targeting: fans of similar artists and genres who lined up cleanly with the tour. Locking in the core fans first and then prospecting outward let us build demand fast without burning budget on the wrong people.
We chose Meta (Facebook and Instagram) and TikTok as the primary platforms because they’re built for exactly the kind of engaging, short-form video that moves music fans. Cutting through a crowded feed takes content people actually want to watch — and these platforms let us put that content in front of the right audiences at scale.
Creative is where the campaign really came to life. We tested two types of video assets: personal “liner” videos, where Dax spoke directly to fans and called out their specific tour market, and high-energy live footage of him performing on stage. The liner videos won, and it wasn’t close. Fans responded to being spoken to directly and to hearing their own city named — that personal connection cut through the noise in a way the concert clips, as strong as they were, couldn’t match. It’s a reminder that authentic artist-to-fan interaction is one of the most powerful tools in music marketing.
We ran the campaign end to end: building and structuring the paid social, segmenting and targeting audiences, testing and optimizing creative, and reporting on performance throughout. The key operational move was budget reallocation — as venues sold out, we shifted spend toward the cities that still needed support, keeping every market on pace to fill the room.
Kim M. Pham, Vice-President Digital Marketing
The campaign drove real demand in every market:
But the number that matters most: all eight venues sold out. This wasn’t engagement that just looked good on a dashboard — it turned into real people in real rooms across the entire tour run.
Music is what we do. We specialize in music and entertainment advertising, and we know how direct-response plays out in this space — which platforms to lean on, which creative actually moves fans, and how to move fast when a live campaign won’t wait. You can see the same approach in our campaigns for Steve Aoki, Kali Uchis and Tech N9ne. By pairing sharp fan targeting with video creative that connects and real-time optimization, we help artists, promoters and venues turn social engagement into sold-out shows.
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