Arcade’s Dave Alcock On Turning Interest Into Tickets
Dave Alcock began working in the music business as a teenager after cold-calling a PR agency in Hanover Square at 16. He later completed six months of unpaid work experience before moving from intern to assistant, then into tour management, promotion, and artist representation.
His career includes a 16-year working relationship with Kerri Chandler, which began with a publicity-led campaign designed to establish the historical context around Chandler’s career. Alcock later founded Arcade Talent Agency as an independent company built around direct relationships with its artists.
Arcade has since expanded the agent’s role by appointing former Defected CEO Simon Dunmore as Head of Artist Development, adding support around contracts, sample clearances, legal connections, and wider career decisions. Ahead of WMC 2027, we spoke with Alcock about turning audience interest into ticket sales, testing new markets, controlling international touring costs, and knowing when an artist is ready for representation.
Be apart of the conversation by purchasing your badge for WMC 2027 right here.
Interview
What separates an artist who can secure occasional bookings from one who can build a sustainable touring career?
I think the biggest difference is consistency. An artist might have one successful show, although building a touring career means creating that demand repeatedly. You need audiences in different markets, and promoters need confidence that people will attend when a date is announced.
It is also a long-term commitment. The artists who build lasting careers usually keep releasing good music and developing their live show, while communicating well and maintaining productive relationships with promoters and their audience. One major opportunity can help, although careers are built over time.
When you assess a developing artist, which indicators tell you that audience interest could translate into ticket sales?
I look for evidence that people are actively engaging with the artist instead of scrolling past their content. Streaming numbers can provide context, although city-level engagement and repeat attendance often reveal much more. Mailing-list growth, merchandise purchases, and previous ticket sales also demonstrate whether listeners are willing to invest in the artist.
I pay close attention to what happens during the shows as well. Are people singing along, bringing friends, and returning for another date? Is the promoter asking to work with the artist again? Those responses suggest a genuine audience connection with greater potential than a short viral spike.
How should agents respond when streaming activity is concentrated in cities where the artist has never performed?
I would treat it as something worth investigating before booking a headline show. Streaming data can identify a possible audience, although it cannot confirm that those listeners will purchase tickets.
I would examine how consistent the numbers are, whether active engagement is coming from that city, and whether local promoters have expressed interest. A support slot or festival appearance can provide a sensible first test before attempting a headline date. The aim is to learn about the market and develop it gradually instead of chasing the highest streaming figure.
Which emerging markets appear ready to support electronic artists beyond one-off festival appearances?
There are interesting markets developing outside the established European and North American territories. Parts of Eastern Europe and Latin America are building active club communities, while Southeast Asia and the Middle East are supporting increasingly regular electronic music events.
Each market still needs to be assessed individually. Declaring that an entire country is growing does not provide enough information to book a successful show. You need to understand the promoters and venues, along with the audience and local economics. It often works better to begin with one or two cities where demand is already visible, then expand according to the results.
How are rising travel and production costs affecting the way agents plan international touring?
Rising costs mean we need to examine routing and tour economics much more carefully. We now look closely at travel and production expenses, alongside freight costs and how each booking fits into the complete run.
Regional runs often work better financially than isolated dates across several countries. An international booking can appear attractive on paper, although it may be the wrong date if the associated costs remove its financial benefit. Artists can still plan internationally, provided the numbers support each decision.
If you were advising an artist who hopes to secure agency representation within the next year, what should they concentrate on first?
I would concentrate on developing genuine activity before approaching an agent. Do not wait for representation to create every opportunity for you. Build a live show people want to attend, release music consistently, and develop audiences in the cities where you already have traction.
You should also have current live footage and professional materials that communicate what the project represents. An artist needs to demonstrate that people are already investing time and money in the music.
The best position is to approach an agency with evidence of an active audience and ask how the team can expand what is already happening. That conversation is far more productive than asking an agent to create an audience from the beginning.
