A summer of festivals from May through August. Tomorrowland and Creamfields anchor the festival side. Sónar's R2 stage and the 8-hour set in Antwerp anchor the artist-led side.
The opportunity is to leave the summer with more first-party data than the shows currently capture. A direct line of communication with the fans who showed up, on terms Reinier sets.
Posts from the night live for two days, then disappear into the algorithm. The biggest moment of the year, gone by midweek.
The most engaged fan on the floor walks out with a wristband and a blurry video. Limited reason to come back between shows.
Followers sit with Meta and TikTok. Ticket buyers sit with the festival CRM. Your fans, but not contactable on your terms.
Releases, ticket drops, the next tour. Most of it stops at the venue gate. The fan walks out, the window narrows, the cycle restarts.
The reach is there. The follower count is there. The thing worth building alongside it is a direct line to those fans, one that does not sit on someone else's platform. Algorithms shift, formats change, attention moves. A channel Reinier owns moves with him.
Highest open rates in music marketing. Multiples higher than social. Every show adding names. Every new announcement reaching them directly with no limits. The asset grows with every tour, on terms that stay the same.
Three pillars, in order: a real gift to the fan, the data that follows, the channel it powers. Built for touring artists, delivered within 48 hours of the last drop.
A fan-facing gallery after every show. Pro-shot stills and short clips fans would never get themselves. Professional lens, front-row angles, the moments they missed because they were in them.
Emotional asset, retained foreverEmail capture at the point of highest emotional intent via a clear value exchange. Data flows directly to Reinier's team as structured CSV. A clean first-party database, built from the venue floor up.
Owned audience, CRM-readyGalleries become a surface for ticket drops, merch links, and the first-party channel that pays back across every send after. Whatever CTA the moment calls for. The window stays open long after the lights come up.
Commercial surface, per showAcross the run, every set is a moment that won't be repeated. Now you can return to yours. Relive, download, and share the frames from the night you were in.
A branded gallery for every show on the run. Built on Reinier's own surface, opened by email, delivered within 48 hours of the encore. Fans return to relive, download, and share the frames from the night they were in.
Two acquisition channels feed every gallery. Reinier's existing inbox seeds the link out, segmenting by show and city so each fan only gets the dates they care about. His social channels post the gallery link the other way, where the existing reach does the rest. Both routes land fans on the same page, where the email gate does the capture.
Fans enter an email to unlock the gallery. Highest possible data capture. Every visitor becomes a known fan. Every known fan enters the CRM, segmented by show and city.
Gallery is open to browse. Fans enter an email only to download the shots they want. Lower friction, still strong capture, leans on intent rather than gating. The fans most likely to act, opting in by their own hand.
Both options can run side by side across the run. Festival mainstages on one setting, the Antwerp 8-hour on another, Sónar's R2 stage on another again.
Each one deployable from show one. Each one stacking on the last. The summer becomes a system, not a string of unrelated dates.
One gallery per night across the run. Each lands within 48 hours of the last drop, lives on Reinier's surface, carries the night's photography and clips. One template, every show, one CRM.
The audience already exists on social. Galleries give them a reason to opt in: something they actually want in return for an email. The follow becomes a known contact. Reach becomes ownership.
A shared hub that connects every show on the run. Fans from one city see what happened the night before. Press see the arc. Brands see the full season. Every show reads as one tour, not as a sequence of separate dates.
Alongside the per-show fan galleries, a behind-the-scenes strand that runs across the calendar. Treated like a running diary, show by show, stage by stage. Shot light, on phones or whatever the team is already capturing. Published into a running BTS gallery fans dip into as the run unfolds.
Start with a setup phase and one live show in May. If the team is happy with the output, we roll the same workflow through the rest of the summer.
After Marvellous Island we look at the data and work out the playbook for the rest. What lands hardest, what fans click, what the segmentation reveals. By August we are running the most refined version of the workflow on Reinier's biggest stages.
The platform runs either way. Reinier's team picks the route that fits how they already work.
Drop Highlight as the platform. Upload assets after each show, publish the gallery, send to the inbox. Full creative and timing control stays with Reinier's team.
Drop Highlight is on call for technical support, training, and post-show review.
Hand over the content from each show, sign off once, each gallery goes live within 48 hours of the last set. The team stays focused on the next stage.
Every show on the run, one operator, no internal lift on the live team.
Built once for Reinier. The same playbook plugs into every Fckng Serious artist on the calendar after that.
The biggest crowds on the roster, in the highest-intent moment of the year. A gallery on every Boris show feeds a CRM segmented by tour leg, by venue, by tier.
Her bookings, her audience. The same gallery template, branded to Ann, captures the fans who came for her specifically across the festival run.
Every Moritz set becomes a launchpad for the next Fckng Serious release. Captured contacts open the email when the next track drops, not the algorithm.
Same template, different artist. Each one brings their own fans into the Fckng Serious CRM, segmented by who came for whom. The label sees the full picture.
One playbook, multiple artists, one growing audience the label owns.