Most KOL deals
sell nothing.

Before a cent moves, we audit followers, engagement quality, comment authenticity and GEO on every creator. Bought or bot-heavy audiences get cut. You only pay for reach that's actually real and matched to your offer.

Wherever the creator will take it, yes. We push KOLs onto CPA, RevShare or hybrid terms so they have skin in the game. Some top names only do flat fees - there we cap spend, track every link and drop anyone who doesn't convert. Our own fee is a monthly retainer - the performance terms are between you and the creators we sign.

Almost nothing on the primary side of live events is a policy problem, and a creator posting about a show declares nothing at all. Resale is the exception. Google requires event-ticket resellers to confirm eligibility at the account level and at the domain level, and to state on their own site that they are a resale market rather than the primary provider and that prices may run above face value, high on the page, above the fold, inside something the visitor cannot dismiss and at the size the rest of the copy is set in. A creator cannot carry that obligation for you, and most of them will not front a resale brand at all, so we would move a resale creator budget and say so before anyone was booked. The real subject here is who is watching and whether they can reach the venue. The creator reality in this category is genuinely strong. An artist's own fan creators, the vloggers who cover the same circuit every summer, the accounts that track a club or a routing and the reviewers a theatre audience reads all move real demand, and the single most persuasive asset in the whole category is ten seconds of the room as it actually was. The show is geographically fixed, though, so a large audience in the wrong place is a cost and nothing else, which is why the audit here is a travel radius before it is an engagement rate. Rights are the other trap, because recorded music, an artist's likeness and a venue's own filming rules all sit behind somebody else's contract, so what a creator may film and post is agreed in the brief rather than discovered after the edit. Then there is price. A creator quotes the ticket, the fan meets the all-in total at the card screen, and a Congressional Research Service note restating GAO puts Ticketmaster's fees near twenty-seven per cent of the base ticket price, so the buyer blames the creator and the artist for a number neither of them set. We brief the all-in figure into the content, buy usage rights so the winning clip can run as paid, and price the deal against paid orders in the cities the show plays. Our published creator work sits in other verticals and we will not pretend otherwise - one where partners were paid on the conversion that carried the money rather than on reach, and one where mandated language had to live inside the creative and it still had to convert. On the call we will tell you which of your current creators we would rebook and which we would not.

First activations are usually live within days of kickoff, once the roster is vetted and signed. We move fast on purpose - in these verticals, momentum and fresh creators are most of the game.

Test batches start around $10k - enough for several vetted creators and real signal on what converts. We'd rather start small and scale winners than burn a big budget on one big name.

Usage rights are written into every deal before it's signed - including whitelisting, so winning posts can run as paid ads from the creator's handle. No "extra license fee" surprises after the post performs.

Per-creator links and promo codes wired to your funnel. You see signups, deposits and CPA per KOL - not a reach screenshot. Weak creators get cut, winners get scaled.

It happens - that's why deliverables and deadlines are contracted, payouts are milestone-based, and the roster always has a vetted replacement ready. Your campaign doesn't hinge on one person's mood.