White Paper One

Talent Buying & Event Management Since 1975

Advertising on Streaming Platforms

Event Marketing Across Audio, Online Video, and Connected TV

How fairs, festivals, public concerts, casinos, theme parks, and other live entertainment venues can use audio, online video, and connected TV advertising to reach ticket buyers. A practical guide to platforms, programmatic buying, geographic targeting, geofencing and geoframing, costs, creative, and measurement.

Original research and drafting by Emma Mailey, TSE Intern and student at Berklee College of Music.

Prepared By

TSE Entertainment, LLC

Focus

Event Marketing

Applies Through

2027 Planning Cycle

Executive Summary

Reaching Ticket Buyers Where They Watch and Listen

WHAT STREAMING ADVERTISING OFFERS EVENT MARKETERS

Audio advertising reaches people listening to music and podcasts, including during screenless moments.
Online video advertising uses performance footage, artist announcements, and event highlights to generate interest.
Connected TV advertising delivers video ads through supported streaming services and internet-connected television environments.
Display advertising reinforces event details and provides additional opportunities to direct audiences toward ticket information.
Programmatic advertising allows advertisers to purchase eligible inventory through automated buying platforms and exchanges.
Retargeting and frequency management can help advertisers reconnect with interested audiences and manage repeated exposure where supported.

Geographic targeting is particularly important for events. A casino showroom or club show may draw mainly from its metropolitan area, a county fair from surrounding counties, and a major festival, rodeo, or theme park concert series from several states. IP-based location targeting can help identify geographic audiences, but IP addresses do not always reflect a person’s actual location. Marketers should understand the limitations before using IP targeting as the sole basis for a local campaign. Real-time geofencing adds another option: drawing boundaries around target communities, competing events, or a venue and building an audience from the devices that enter them. Platforms can reach that audience on phones and, by linking each device to its home address and household IP address, on computers and connected TVs. Geoframing builds a similar audience from devices seen at a place in the past, but it relies on stored location data, and regulation is moving against it: geofencing of past events is now effectively prohibited in several states, and more states are considering similar limits.

Creative quality also matters. Streaming TV advertising appears on large screens, so footage must be clear, well-produced, appropriately formatted, and understandable without relying on tiny text or complicated graphics.

Ultimately, impressions are only one part of performance. The goal is to connect advertising exposure with meaningful outcomes such as qualified website visits, ticket purchases, revenue, and incremental sales.

Introduction

Streaming Is Not One Channel

Streaming and digital media have become important tools for event marketing. Promoters, venues, fairs, festivals, casinos, theme parks, performing arts centers, artists, and agencies can use platforms such as Spotify, YouTube, Netflix, Roku, and Amazon to reach potential ticket buyers through audio, video, display, and connected TV advertising.

The opportunity extends beyond traditional music streaming. Connected TV (CTV) advertising allows event marketers to place video advertisements within ad-supported streaming services viewed on internet-connected televisions. This can bring concert announcements, festival promotions, and venue campaigns into the same living rooms where audiences watch movies, television series, live sports, and other premium content.

The shift in viewing supports this approach. Streaming accounted for 48.6% of U.S. television viewing time in May 2026, its highest share on record, according to Nielsen. Digital video advertising, which includes connected TV, grew 25.4% in 2025 to $78 billion, according to the IAB/PwC Internet Advertising Revenue Report.

However, streaming is not one advertising channel with one pricing model. Spotify audio ads, YouTube video campaigns, Netflix advertising, and programmatic connected TV campaigns operate differently. Available inventory, audience targeting, buying methods, minimum budgets, and measurement options vary by platform.

A successful campaign begins with the event’s objective: reaching the right people, in the right geographic markets, with creativity that encourages them to take action.

Section 1

Understanding Streaming Advertising for Live Entertainment Events

Traditional radio and television advertising generally involve buying scheduled placements within programming. Digital streaming platforms offer additional opportunities to define audiences, choose eligible inventory, manage campaigns, and measure responses.

Depending on the platform and buying method, advertisers may be able to use signals such as:

Geographic location and market.
Demographics and entertainment interests.
Listening or viewing behavior.
Previous advertising interactions.
Website activity and permitted first-party customer data.
Conversion events and ticket-purchase information.

These capabilities help event marketers focus spending on audiences who are realistically able and likely to attend.

For example, a casino booking a headliner in its showroom might prioritize its own metropolitan area and the drive-in markets its guests come from. A state fair, rodeo, or destination festival could justify a broader campaign targeting several regions. Past ticket buyers, relevant music audiences, and people who have visited the event website may also be useful audiences when the appropriate targeting tools and permissions are available.

The key is to avoid confusing a large audience with a valuable audience. Reaching thousands of people who cannot reasonably travel to an event may generate impressions without producing meaningful ticket demand.

Section 2

Audio and Online Video Advertising

Audio and video serve different purposes and can work together within the same campaign.

Audio advertising

Audio ads reach people while they listen to music or podcasts. The advertisement should communicate essential information through sound alone, since the listener may not be looking at a screen.

A useful structure is:

Artist or event + city + date + venue + ticket information + call to action.

For a festival, fair, or multi-act concert series, an advertisement might begin with live-performance audio, introduce the lineup, announce the location and dates, and finish with a clear instruction to purchase tickets.

Spotify provides advertising options across supported audio, video, and display environments, with different formats and buying paths. Its self-service platform, previously called Spotify Ad Studio, is now Spotify Ads Manager. Amazon also offers audio advertising through eligible audio environments.

Audio can build recognition and reinforce a campaign, but it cannot visually demonstrate the stage production, crowd, venue, or the atmosphere of a festival, fairground, or showroom.

Online video advertising

Video helps potential attendees imagine the experience. Marketers can show live performances, artist interviews, audience reactions, production design, venue features, and footage from previous events.

YouTube offers several advertising formats, including skippable in-stream, non-skippable in-stream, bumper, in-feed, and Shorts placements, depending on campaign eligibility and setup. Google also offers Demand Gen campaigns across eligible surfaces such as YouTube (including Shorts), Discover, Gmail, Maps, and the Google Display Network. Google began a phased move of standalone Display campaigns into Demand Gen in June 2026, with the transition expected to continue into 2027.

Creative should match the format. A six-second bumper needs one memorable idea, while a longer video can communicate the lineup, atmosphere, and ticket details.

Rather than relying on a single master video, event marketers should consider producing several lengths and aspect ratios. The strongest opening, message, and call to action may differ between placements.

Section 3

Marketing Through Connected TV and Streaming Platforms

Connected TV advertising brings event promotion onto the television screen through internet-delivered video content. It combines the visual impact of traditional television with digital campaign features such as audience targeting, automated buying, and performance measurement.

For event marketers, this creates an opportunity to promote public concerts, fairs, festivals, rodeos, casino entertainment, theme park concert series, comedy shows, theater productions, and venue experiences through streaming environments that audiences already use.

Where can event marketers advertise?

Netflix: Netflix has an advertising-supported subscription plan in eligible markets and provides advertising opportunities through its advertising platform and supported buying partners. In March 2026, Netflix announced expanded audience targeting through Amazon DSP and Yahoo DSP, new tools to manage how often ads appear across streaming services, and its own Conversion API for measuring outcomes. Netflix reports that its ad-supported plan reaches more than 250 million monthly active viewers worldwide, and its inventory can be bought programmatically through partners including The Trade Desk, Google Display & Video 360, Amazon DSP, and Yahoo DSP. Advertisers should confirm current market availability, buying access, and targeting options before planning a campaign.
Roku: Roku offers streaming video advertising through Roku Ads Manager, including placements on The Roku Channel and eligible third-party streaming apps. Its self-service tools allow advertisers to establish campaign objectives, select available placements, upload creative, and manage campaigns. Roku does not guarantee delivery on any specific third-party app, and advertisers cannot select individual channels from its list. In June 2026, Fox Corporation agreed to acquire Roku, with closing expected in the first half of 2027, so buying options may change.
Amazon: Amazon offers streaming TV and programmatic advertising options through its advertising ecosystem, with access to eligible Amazon-owned and third-party inventory
depending on the product and buying method. Amazon has combined its programmatic platform (formerly Amazon DSP) and its ad console into a single platform called Amazon Ads Agent. Prime Video shows ads by default to Prime members who do not pay extra for ad-free viewing.
YouTube: YouTube is now the most-watched streaming platform on U.S. television screens, with 13.8% of all TV viewing time in May 2026, according to Nielsen. YouTube video campaigns can run on connected TVs as well as phones and computers, so event video purchased through Google Ads may also appear on the living-room screen.
Disney+, Hulu, and ESPN: Disney sells advertising across eligible ad-supported inventory on these services. Inventory is available through Disney’s sales team and approved programmatic partners. Disney Campaign Manager, Disney’s self-serve platform for smaller advertisers (formerly Hulu Ad Manager), offers access to eligible Disney+ and Hulu inventory; advertisers should confirm the specific services and placements included.
Peacock: NBCUniversal’s Peacock carries ads on its Premium plan. Advertisers can buy through NBCUniversal’s sales team, programmatic partners, or Peacock Ad Manager, a self-serve tool designed for smaller advertisers.
HBO Max and Paramount+: Both offer ad-supported plans. Paramount Skydance completed its acquisition of Warner Bros. Discovery on October 6, 2026, and the combined company, now called Skydance Corporation, plans to merge HBO Max and Paramount+ into a single service over time. The two services remain separate for now. Paramount already sells streaming inventory, including some live sports, through programmatic partners such as Amazon DSP, Google Display & Video 360, The Trade Desk, and Yahoo DSP. Buying paths and sales contacts for both services may change as the merger is integrated.
Free ad-supported services: Tubi (owned by Fox, with 110 million monthly active users), Pluto TV (Paramount), The Roku Channel, and Samsung TV Plus are free to viewers and supported entirely by advertising. They are generally bought through their owners’ sales teams or programmatically, and they often appear in broad CTV campaigns.
Live TV streaming services: YouTube TV, Sling, Fubo, and Hulu + Live TV carry cable networks over the internet. Some of their commercial time is sold by market, often through cable operators’ ad sales units or network partners, which can suit local and regional event campaigns. Comcast’s Universal Ads, a self-serve tool for smaller advertisers, offers access to inventory from partners including NBCUniversal, Paramount, Fox, Warner Bros. Discovery, and Roku.
Starz: Starz’s financial filings describe a subscription business with no advertising revenue, so, like Apple’s streaming service, it is not currently an option for event advertising.
Apple TV and the Apple TV app: Advertisers should distinguish the Apple TV device and app from the individual streaming services available through them. This distinction matters more now that Apple renamed its Apple TV+ subscription service to Apple TV in late 2025. Apple’s own streaming service does not offer an ad-supported plan, and Apple has said it has no current plans to add one, although it has sold advertising around select live sports. Ad-supported apps watched on Apple TV devices, such as Hulu, Peacock, Tubi, and Pluto TV, are reached through those services or their programmatic partners. Marketers should not assume that every service accessible through Apple TV accepts third-party video ads. They should verify whether a specific service offers ad-supported inventory and whether it can be purchased directly or through an authorized programmatic partner.

A campaign described as advertising on streaming television may therefore run across several eligible services rather than exclusively on one platform. The media plan should specify which inventory is included, how placements are purchased, and what reporting is available. For most event campaigns, buying each service separately is impractical. Programmatic platforms and aggregated self-serve tools can reach many of these services at once, although they usually do not guarantee placement on any specific one. Because services add, change, and merge ad plans frequently, marketers should confirm current availability before planning.

Buying through programmatic platforms and open exchanges

Programmatic advertising uses automated technology to buy and deliver eligible ad placements. Instead of negotiating every placement individually, advertisers can use a demand-side platform (DSP) to access available inventory through exchanges, marketplaces, and publisher relationships.

Depending on the platform, an advertiser may be able to:

Define the campaign objective, budget, audience, and geographic market.
Select eligible streaming TV inventory or approved publisher deals.
Upload video creative that meets the required specifications.
Establish bidding, delivery, and frequency settings where available.
Monitor delivery and performance through the buying platform and supported measurement partners.

Not all streaming inventory is available through every exchange or DSP. Some placements require direct agreements, approved partnerships, or specific account access. Open-exchange buying also does not guarantee that an advertisement will appear on a particular streaming service.

For an event marketer, the practical benefit is the potential to reach relevant audiences across multiple eligible streaming environments while managing spending and delivery through a more centralized workflow.

How DSPs decide where an ad runs

Advertisers new to programmatic buying often assume they choose the channels where their ads will appear. In most streaming campaigns, they do not choose individual channels directly. They define the audience, geography, budget, and price they are willing to pay, and the DSP decides which available impressions to buy.

Each time a viewer starts a show on an ad-supported app, the publisher or its supply-side platform offers the ad opportunity to buyers, usually in an automated auction that takes a fraction of a second. The DSP checks whether the household fits the campaign’s targeting, whether the app and content meet the advertiser’s settings, and whether the price is acceptable, then bids or passes. Where an ad actually runs is therefore the result of thousands of these decisions, not a schedule chosen in advance.

The advertiser influences placement mainly through the type of inventory it buys:

Open exchange: Inventory from many apps is available to any buyer through real-time auctions. It can be less expensive and easier to access than private deals, although price and placement controls vary. Much premium inventory is sold through other buying arrangements.
Private marketplace (PMP) deals: A publisher or aggregator invites selected buyers to bid on specific inventory, often at a minimum price, using a deal ID entered in the DSP. This is how many premium services, including Netflix, Disney, and Paramount, make inventory available programmatically.
Programmatic guaranteed: The advertiser commits to a fixed number of impressions at a fixed price on a specific publisher, delivered through the DSP. This offers the most control and usually the highest cost and minimum commitment.
Curated packages: DSPs, supply-side platforms, and data companies assemble groups of apps by genre, audience, or quality standard, such as sports, news, or entertainment networks, and sell them as a single deal.

Within those choices, advertisers can usually set inclusion lists (apps the campaign may run on), exclusion lists (apps to avoid), content genre and rating filters, and device and time-of-day settings. Once the campaign runs, the DSP’s optimization shifts spending according to the selected goal, such as reach, completed views, or conversions. Without placement controls, delivery can concentrate on lower-cost apps.

Transparency is a practical concern. Reports may identify the app but not the program or network within it, especially on aggregator apps and free ad-supported channels. Apps are identified by technical labels called bundle IDs, which are not standardized; a 2022 Pixalate study found that 40% of Roku apps and 30% of Fire TV apps were known by more than one bundle ID, which can complicate targeting, reporting, and fraud detection. Event marketers should ask for placement reports at the app level, at minimum, review the supply paths where possible, and confirm whether low-quality or unidentified inventory can be excluded. They should not assume that a campaign sold as “streaming TV” ran on the best-known services.

IP targeting: reaching the right geographic audience

IP addresses can provide a geographic signal that helps advertisers target areas such as a city, region, or ZIP-code market, depending on the platform’s capabilities. This can be useful for promoting a concert to potential attendees within driving distance or a festival to several selected markets.

However, an IP address does not always accurately represent where a viewer actually is.

Several factors can affect location accuracy:

Internet traffic may be routed through an ISP gateway located in another city or region.
VPNs and proxy services can make a connection appear to originate somewhere else.
Mobile networks may route traffic through infrastructure outside the user’s immediate area.
Shared networks, corporate connections, and household internet arrangements can complicate geographic interpretation.
A household-level signal does not necessarily establish the precise location of every individual watching the television.

For these reasons, IP-based targeting should be treated as a useful signal rather than a guarantee of physical location.

Event marketers should check the geographic definitions used by the platform, review delivery reports, and compare campaign performance against actual ticket sales by market. Where supported, more reliable platform first-party audience information and other permitted location signals can complement IP-based targeting.

For example, if a concert is held at a casino outside San Antonio, an advertiser might target San Antonio and nearby communities, then compare delivery and sales against surrounding markets. If a meaningful portion of impressions is delivered outside the intended area, the marketer can review the targeting settings and ask the platform or buying partner to investigate.

Geofencing and geoframing: real-time and historical location audiences

Geotargeting, geofencing, and geoframing are often used interchangeably, but they are different tools. For event marketers, the difference that matters most is timing: whether an audience is built from where people are now or from where they were in the past.

Geotargeting: Selects an area where ads should run, such as a DMA, a group of ZIP codes, or a radius around a venue. At its most precise, it can target a list of specific household addresses.
Geofencing: Draws a virtual boundary in real time, often a custom shape around a venue, fairground, town, or neighborhood, and builds an audience from the devices that enter it while it is active. Those devices can be reached on the phone while inside the boundary and, once linked to a home address and household IP address, afterward on other devices, including computers and connected TVs.
Geoframing: Also called historical or retroactive geofencing. Uses stored location data to identify the mobile devices that were inside a boundary during a past time window, such as last year’s event dates, and builds an audience that can be reached later, wherever those people are.

For most event campaigns, real-time geofencing is the stronger choice. It builds an audience from where people are now rather than where they were months ago, it does not depend on buying stored location histories, and vendors continue to offer it in states where they have switched off historical products.

How real-time geofencing works for events

A marketer draws one or more boundaries in a geofencing platform and sets the dates and hours they are active. Devices that enter a fence during that time can be served ads right away, on mobile apps, mobile video, and streaming audio where the inventory carries location signals. They are also added to an audience the campaign can keep reaching after they leave. One widely used platform keeps that audience available for up to 30 days and, through cross-device matching, can extend it to other devices in the same household, including connected TVs. This is how a real-time geofence reaches streaming TV: not by fencing the television itself, whose location comes from its home internet connection rather than GPS, but by following the phone that was inside the fence to the household it belongs to.

Common event uses include:

Targeting a geographic area: Fencing the towns, neighborhoods, campuses, or shopping districts where likely attendees live, work, and gather. This is an alternative or a complement to ZIP code and DMA targeting, and it can be drawn tightly around the places that matter rather than following postal boundaries.
Competing and comparable events: Fencing another concert, fair, rodeo, or sports venue while its event is running, then promoting your own event to the people who attended.
Your own grounds: Fencing the event while it is underway to promote later dates, upgrades, or the next on-sale. Impressions during a performance tend to be limited, because attendees spend little time in ad-supported apps while watching a show, so much of the delivery happens in the follow-up window after they leave.
Measuring visits: Some platforms draw a separate conversion zone around the venue to estimate how many people who saw an ad later arrived. These figures are modeled and should be compared against ticket sales and gate counts.

How geoframing works

Geoframing works backward. Instead of capturing devices as they arrive, a vendor searches stored location data for devices that were inside a boundary during a past window, such as gates open to gates closed at last year’s event, and builds an audience from them. It is also the method facing the most regulation: it is now effectively prohibited in several states, as described below.

Geoframing’s advantage is reach into the past: it can build an audience from an event that has already happened, such as last year’s festival, without having had a fence in place at the time. Vendors also set practical limits. One platform serving the event market requires at least 50,000 unique mobile devices for a historical campaign, which a single county fair or community festival may not reach on its own, and limits lookback windows to between one month and one year, recommending one to three months for the best results. Smaller events may need to combine several days, years, or events into one audience, or rely on real-time geofencing instead.

Some vendors sell address-list targeting under the name “addressable geofencing.” Despite the name, it is a form of geotargeting, not geofencing or geoframing: it starts from a list of street addresses rather than from devices observed at a place. Vendors map each address to its property lines or to the household’s IP address and then deliver ads to devices on that home network, including connected TVs. For an event, the address list might come from past ticket buyers, provided the data was collected with appropriate permission to use it for advertising. When comparing proposals, marketers should ask which of these a vendor is actually selling.

How a location audience reaches streaming TV

Whether the audience comes from a real-time fence or a geoframe, getting it onto streaming TV generally works in three steps:

Capture: In real-time geofencing, the platform records devices as they enter an active fence, such as a target community, a competing event, or the event grounds, during the dates and hours the marketer sets. In geoframing, a vendor searches stored location data for devices observed inside a boundary during a past window. In both cases, the location data comes from apps whose users have allowed location sharing.
Match: The platform or vendor links each device to a home address and household IP address, typically by observing where the device spends overnight hours or which home internet connection it uses. A device graph may then link that household to its connected TVs and other devices. These links can be based on observed information, inferred relationships, or both.
Deliver: The matched households become an audience that can be reached through programmatic CTV, as well as on phones and computers. A real-time audience can be reached within days and, on some platforms, for up to 30 days. A geoframed audience is usually reached weeks or months after the original visit.

Location-based streaming audiences are only as reliable as the location data and matching behind them. An audience that one provider can build may not be approved for activation on every DSP or streaming service. Several limitations are worth understanding before buying:

Smaller pools: Many people decline app tracking or location sharing, so a fence or frame captures only an eligible subset of the devices present. Coverage depends on app permissions, identifier availability, the data provider, privacy restrictions, and the ability to match and activate the resulting audience; no single capture percentage applies to every event.
Matching loss: Not every captured device can be tied to a home, and not every home can be matched to a streaming TV. Some matches are inferred rather than directly verified. Each step reduces the final audience, and match rates are usually reported by the vendor rather than verified independently.
Location accuracy: GPS signals are less reliable indoors and in dense crowds, and a small boundary can pick up people passing nearby rather than attendees.
Timing: A real-time audience builds as people arrive and can be reached within days. A geoframed audience takes longer to build and match, so it suits planning for a future event rather than reaching people while one is underway.
Modeled results: Reported audience sizes and “foot traffic” visits are often estimates. Marketers should ask how they are calculated and compare them against actual ticket sales by market.

The regulatory environment for location advertising

Privacy law treats real-time geofencing and historical geoframing differently, and regulation is moving decisively against geofencing of past events. Geoframing depends on stored location histories, often bought from data brokers, and that market is where regulators have focused. Since late 2025, five states have banned the sale of precise location data, and vendors have stopped offering geoframing in several of them. In practice, geofencing of past events is no longer available in a growing number of states, while real-time geofencing generally remains available, subject to consent and sensitive-location rules.

Federal enforcement: In January 2025, the FTC finalized orders against location-data brokers Gravy Analytics and Mobilewalla over location data collected or sold without verified consumer consent, including visits to sensitive places.
State bans on selling precise location: Maryland (October 1, 2025), Oregon (January 1, 2026), New Jersey (June 30, 2026), Virginia (July 1, 2026), and Connecticut (October 1, 2026) now prohibit the sale of precise geolocation data. Because geoframing audiences are typically built from purchased location data, these laws affect geoframing most directly.
Vendor restrictions: Vendors have responded by switching off historical products state by state. One major platform restricts geoframing and offline visit measurement in Virginia, Connecticut, and Washington while continuing to offer real-time geofencing there. Another does not run historical geofencing in Connecticut, Oregon, or Virginia. Some vendors also apply minimum radius rules, such as 3,000 feet in Connecticut, Washington, Nevada, and New York. These are company policies adopted in response to state laws, not statutes, so they can differ from one vendor to the next.
More states are following: In June 2026, the Massachusetts House and Senate each passed bills that would ban the sale of precise location data, and California, Maine, Vermont, and Washington considered similar bans during their 2026 sessions. Privacy specialists describe the shift as a move beyond notice and consent toward outright bans on certain uses of location data. The pendulum is swinging toward more regulation, and geofencing of past events is its main target.
Sensitive locations: California (effective January 1, 2026) and Washington prohibit geofencing around in-person health care facilities. These rules apply to real-time geofencing as well as historical audiences.
Texas: The Texas Data Privacy and Security Act treats precise geolocation (within a radius of 1,750 feet) as sensitive data that generally requires opt-in consent, and businesses must honor universal opt-out signals. Texas has not banned the sale of precise location data, so both tools remain available there, subject to consent.

The precise obligations depend on the business, data use, and applicable law. Event marketers should ask vendors whether they are selling real-time geofencing or historical geoframing, where their location data comes from, how consent was obtained, whether sensitive locations are excluded,

and whether the product is available in every state where the campaign will run. For events that draw across state lines, a state-by-state availability map from the vendor should be reviewed before each campaign. Permission to collect location data does not necessarily permit its use for every advertising campaign.

For event marketers, the practical conclusion is to build location strategies around real-time geofencing and first-party ticket-buyer data, and to treat geoframing as a tactic that may not be available, or may not remain available, in every market.

Used carefully, both tools have a place, and for most events real-time geofencing should come first. It builds an audience from the communities, venues, and competing events that matter and can reach that audience on phones, computers, and connected TVs. Geoframing adds reach into past events where no fence was in place. Both work best alongside ticket-buyer data and broader geographic targeting, with results judged against ticket sales rather than the size of the audience a vendor reports.

Frequency management across platforms

Frequency refers to how often an individual or household is exposed to an advertisement during a defined period. It matters because a viewer who sees the same concert advertisement repeatedly may eventually stop paying attention, while someone who sees it only once may not remember the event.

Streaming campaigns can use frequency caps or other delivery controls when the platform and buying method support them. These controls may operate at the household, device, campaign, or platform level.

However, frequency management across multiple services is not always seamless. If one campaign runs through Netflix, another through Roku, and a third through a separate DSP, each system may measure exposure differently. The same household could therefore see the advertisement more often than a report from any single platform suggests.

To manage frequency effectively:

Set a reasonable exposure goal based on the campaign’s objective and duration.
Use household-level or cross-platform controls where available.
Review reach and frequency reports throughout the campaign.
Rotate creative to avoid excessive repetition.
Coordinate buying partners when campaigns overlap.
Confirm what each platform’s reported frequency actually measures.

The appropriate frequency depends on the audience, event, budget, and sales timeline. A new festival may need repeated exposure to establish awareness, while a concert approaching its ticket deadline may benefit from a different message rather than simply more impressions.

Why high-quality video is essential

Connected TV is a large-screen environment. Poorly produced footage, unreadable text, weak sound, or an unclear message can undermine the campaign even when the audience targeting is strong.

For streaming TV, marketers should prioritize:

High-resolution source footage suitable for television playback.
Clear visuals, stable shots, and good lighting.
Proper aspect ratios and technical specifications for each placement.
Music and voiceover that are cleanly mixed and appropriately licensed.
On-screen text that remains readable from a distance.
An opening that establishes the event quickly.
A clear event name, location, date, and ticket call to action.
Correct safe areas and formatting for platform-specific requirements.

A polished 15- or 30-second advertisement might combine live crowd footage, a recognizable artist, the venue or festival name, the event date, and a clear ticket-purchase instruction. The advertisement should communicate the experience without relying on viewers to pause the video or read a dense block of text.

High-quality production does not necessarily mean an expensive commercial shoot. Properly edited footage from previous performances can work well when it is clear, visually compelling, and appropriate for the intended audience. The important point is to create material specifically suited to the television environment rather than simply enlarging a low-resolution social media video.

Section 4

Audience Targeting and Geographic Strategy

Location is central to event marketing because a ticket connects a customer to a particular place and date.

The appropriate geographic strategy depends on the event:

A club show may depend primarily on the surrounding metropolitan area.
An arena concert may draw attendees from a wider region.
A casino showroom or performing arts center may rely on its local market and repeat guests.
A county or state fair may draw from surrounding counties, with grandstand concerts sometimes pulling from farther away.
A theme park concert series may focus on season-pass holders and visitors within a day’s drive.
A major festival may attract visitors from several states or countries.
A destination event may require national or international advertising.

Real-time geofencing offers another way to target a geographic area. Instead of selecting ZIP codes or a DMA, a marketer can draw custom boundaries around the towns, neighborhoods, campuses, or venues where likely attendees live and gather, and build an audience from the devices that enter them. That audience can be reached on phones and, through linked home addresses and household IP addresses, on connected TVs. Section 3 explains how this works and how it can extend to streaming TV.

Where budgets allow, campaigns should be organized so individual markets can be evaluated separately. Useful measures include spend, ticket revenue, conversion rate, cost per acquisition, reach, frequency, and remaining inventory.

Retargeting can also help reconnect with people who have already shown interest. Potential audiences include website visitors, past purchasers, and people who interacted with previous advertising, provided the platform supports the relevant audience and all privacy requirements are met.

The key is to combine audience data with real-world event economics. A large audience is not necessarily valuable if most people are too far away to attend.

Section 5

Advertising Costs and Budget Planning

There is no universal price for streaming advertising. Costs depend on the platform, inventory, audience, geography, competition, bidding strategy, buying method, and campaign objective.

Advertisers may encounter several pricing models:

CPM: Cost per thousand impressions.
CPV: Cost per view under the platform’s definition.
CPC: Cost per click.
Conversion-based bidding: Bidding optimized toward actions such as purchases or leads.
Negotiated buying: Agreed terms for specific inventory or campaigns.

Spotify provides self-service, programmatic, and managed buying options for eligible advertising products. Google offers different bidding approaches depending on the video campaign objective. Amazon’s requirements also vary by advertising product and buying method. Its self-service streaming TV ads have no stated minimum spend and are billed by CPM, while managed-service campaigns typically require a minimum that varies by country.

For connected TV, advertisers should confirm the minimum budget, platform fees, available inventory, targeting options, and measurement capabilities before committing funds.

Ballpark costs for connected TV

Published prices for streaming advertising are rarely official, but industry estimates give a useful starting range. The figures below are 2026 estimates from trade press and buying platforms, not published rate cards, and actual prices vary with targeting, timing, and competition.

Media cost: Open-exchange CTV inventory is commonly estimated at about $15 to $30 per thousand impressions (CPM). Premium services bought directly or through private deals often run about $25 to $65, and live sports can exceed $40 to $80. Trade press estimated Netflix CPMs at roughly $25 to $65 or more in 2026, with top shows at about $45 to $55.
Audience data: Behavioral or third-party audience segments may add about $2 to $8 CPM, depending on the provider and audience. First-party customer lists may avoid third-party data charges, although matching, onboarding, platform, and management costs can still apply.
DSP and service fees: DSP platform fees commonly run about 10% to 20% of media spend; The Trade Desk’s take rate has stayed near 20% for years. Agencies or resellers that manage campaigns usually add their own fee on top.
Minimums: Self-serve tools generally have low entry points. Amazon’s self-service streaming TV ads have no stated minimum, and Roku and Disney self-serve campaigns list minimum campaign budgets around $500 in their published guidance. Managed-service campaigns through a major DSP, such as Amazon’s, typically require a much larger commitment, often cited at $50,000.

For preliminary budgeting, an all-in cost of about $25 to $45 per thousand impressions, including media, data, and fees, can be used as an illustrative range for some targeted regional CTV campaigns, rather than a dependable industry average. Premium inventory and narrower targeting may cost more. As an illustration, a $10,000 budget at $35 CPM buys about 285,000 impressions. At an average frequency of four exposures per household, that suggests roughly 71,000 households under a simplified model, not a guaranteed deduplicated reach figure. Actual household reach depends on how devices, households, and repeated exposures are measured. Marketers can compare the estimate with the number of households in the target market to judge whether the budget is large enough to matter.

When comparing proposals, ask whether quoted CPMs include data, platform, and management fees, and what share of the budget reaches the media itself. In its 2025 programmatic transparency research, the Association of National Advertisers (ANA) found that CTV had grown to more than 44% of programmatic spend while showing weaker efficiency than other channels, which makes fee transparency especially important.

A practical budget can be divided into three stages:

Awareness: Introduce the event, artist, venue, or festival.
Consideration: Give audiences reasons to attend and direct them toward event information.
Conversion: Focus on ticket purchases and other measurable outcomes where tracking and optimization are supported.

The allocation should reflect the event’s sales situation. A new festival may need substantial awareness spending, while an established artist with strong demand may prioritize the on-sale period and final ticket push.

Most importantly, a lower CPM does not automatically mean a better campaign. The business question is whether the advertising generates enough ticket sales or additional revenue to justify the investment.

Section 6

Creative Strategy and Implementation

Creative should match the environment in which the audience encounters the advertisement.

Audio needs to communicate without visuals. Online video can tell a story across multiple formats. Connected TV needs to be compelling and readable on a large screen. Display advertising must communicate quickly within a limited space.

For most event campaigns, the creative should include:

Recognizable artist or event branding.
A strong opening visual or sound.
Event name and location.
Date and venue when relevant.
Ticket information.
A clear call to action.

Messaging should evolve throughout the sales cycle.

Early campaign: Establish awareness through artist recognition, event concept, lineup, atmosphere, and venue.

On-sale period: Make the event, date, location, and ticket-purchase path immediately clear.

Mid-campaign: Highlight supporting acts, unique experiences, venue features, production, and relevant reasons to attend.

Final stretch: Emphasize the upcoming date and verified ticket availability. Scarcity claims should always reflect actual inventory.

Creative testing can include different openings, footage, voiceovers, lengths, calls to action, and audience segments. Testing should be structured so marketers can identify which changes appear to improve performance.

Section 7

Measurement, Attribution, and Optimization

Streaming advertising provides a range of performance metrics, including impressions, reach, frequency, CPM, video completion rates, clicks, website sessions, conversions, ticket purchases, cost per acquisition, revenue, and return on ad spend.

The correct metrics depend on the objective. An awareness campaign should not be judged by the same criteria as a campaign optimized for ticket sales.

Not every live entertainment event is measured in tickets. A grandstand show included with fair admission is judged by gate attendance. A casino concert may be judged by hotel stays, gaming visits, and player-club sign-ups as much as by seats sold. A theme park concert series may aim to increase park admission or season-pass sales. Corporate and private productions usually have no public audience to reach and rarely need streaming advertising. The campaign objective and measurement plan should reflect the venue’s actual business goal.

Measurement should be prepared before launch. Where supported, useful tools include:

UTM tracking and ticketing-platform reports.
Website conversion tracking.
Permitted advertising pixels or server-side integrations.
Geographic sales comparisons.
Post-purchase surveys.
Holdout or incrementality tests.

For connected TV, measurement can be particularly challenging because viewers see ads on televisions but may purchase tickets later on their phones or computers. The advertising platform may report an attributed conversion even when the final purchase occurs elsewhere. Conversion APIs (CAPI) are one way the industry is addressing this: they pass purchase events from a ticketing or website system directly to the advertising platform. The IAB published a guide on CAPI for connected TV in October 2025, and Netflix introduced its own Conversion API in 2026.

Platform-attributed conversions are useful, but they do not automatically prove that advertising caused an additional sale. In particular, a view-through attribution report may credit purchases that would have occurred without the ad. Geographic comparisons, holdout tests, and other incrementality methods can provide stronger evidence when campaign scale and resources permit.

Optimization should happen while the campaign is active. Review which markets generate ticket demand, whether frequency is excessive, which creative produces useful actions, and whether budget should move between audiences or objectives.

For streaming TV campaigns, also confirm how reporting defines a household, impression, reach, and conversion. Different platforms may use different methods, making direct comparisons difficult.

Section 8

Integrating Streaming with the Broader Marketing Mix

Streaming is usually most effective when it complements other marketing channels.

Radio can reinforce local awareness. Social media can generate engagement and distribute artist content. Search can capture people actively looking for tickets. Email can reach existing customers. Outdoor advertising can build local visibility near venues and event locations.

A coordinated campaign can use streaming video to introduce an event, social media to share additional content, search to capture demand, and email to encourage past customers to return.

The objective is not to be everywhere. It is to understand what each channel contributes and avoid spending repeatedly on audiences who are unlikely to buy.

Checklist

Key Actions Before Launch

Before committing a budget, confirm each of the following:

Define the business goal and acceptable acquisition cost.
Identify realistic geographic markets and audiences.
Decide the role of audio, online video, connected TV, and display.
Confirm current platform access, buying methods, minimums, and eligible inventory.
Ask how the DSP or partner selects placements, which deal types are included, and whether quoted CPMs include all fees.
Review IP-based targeting limitations and available geographic controls.
Ask location vendors whether they sell real-time geofencing or historical geoframing, how devices are matched to households, how location data was consented, and whether the product is available in every state the campaign covers.
Establish frequency goals and investigate cross-platform overlap.
Produce high-quality creative tailored to each format.
Set up ticketing and website measurement before launch.
Separate prospecting from retargeting when appropriate.
Monitor market-level performance and optimize toward ticket sales.

Conclusion

Streaming Works Best as Part of the Plan

Streaming advertising gives event marketers multiple ways to reach potential ticket buyers, from audio and online video to connected TV placements across supported streaming services.

Netflix, Roku, Amazon, and other advertising platforms provide different routes to streaming audiences. Programmatic buying can expand access to eligible inventory, while audience targeting and frequency management can help campaigns reach relevant households more efficiently.

However, technology does not eliminate the fundamentals of event promotion. IP-based targeting can be imperfect, cross-platform frequency can be difficult to measure, and high-quality video is necessary to make the most of the television screen. Advertising performance also depends on ticket pricing, artist demand, geographic reach, timing, and the overall strength of the event offer.

The strongest approach combines carefully selected audiences, compelling creative, realistic geographic targeting, appropriate frequency controls, and reliable measurement.

Streaming should not automatically replace radio, social media, email, search, or other channels. Instead, marketers should determine where it fits into the overall plan, what role it should play, and whether it contributes to measurable business outcomes.

Reference

Frequently Asked Questions

What is streaming advertising?

Streaming advertising is paid advertising delivered through internet-based audio and video services. It can include music and podcast ads, online video, connected TV, display placements, and programmatic inventory.

What is connected TV advertising?

Connected TV advertising delivers digital video ads through internet-connected televisions and supported streaming services. It combines the visual impact of television with digital targeting and measurement capabilities.

Can I advertise on Netflix, Disney+, Peacock, Apple TV, and other streaming services?

Yes, where advertising inventory is available through the relevant service or buying platform. Netflix offers an advertising-supported plan in eligible markets, and Roku provides access to its own and eligible third-party streaming inventory. Apple TV is both a device and app ecosystem and, since late 2025, the name of Apple’s own subscription service, which does not currently offer an ad-supported plan. Ad-supported apps viewed on Apple TV devices can still be reached through those services or their programmatic partners. Most other major services, including Disney+, Hulu, Peacock, HBO Max, Paramount+, and Prime Video, also sell advertising, as do free services such as Tubi and Pluto TV. Starz does not currently sell advertising.

How does IP targeting work for streaming TV?

IP targeting uses an internet connection’s IP address as a geographic signal to help identify potential audiences in selected markets. However, VPNs, mobile networks, internet service provider routing, and shared connections can make the apparent location inaccurate. IP targeting should not be treated as proof of a viewer’s physical location.

What is frequency management?

Frequency management helps control how often an audience sees an advertisement. Frequency caps may be available at the household, device, or campaign level, depending on the platform. Cross-platform frequency can be harder to control when several advertising systems are involved.

Does streaming TV require professional video production?

Not necessarily, but the video must meet technical requirements and look good on a large screen. Clear footage, good sound, readable text, event details, and a strong call to action are essential. Existing live-event footage can work if it is high quality and edited for the intended placement.

How much does streaming advertising cost?

Costs vary by platform, inventory, audience, geography, bidding strategy, and buying method. Advertisers should confirm current minimums and pricing directly with the relevant platform or buying partner. As a rough 2026 planning example, some targeted regional CTV campaigns may be modeled at about $25 to $45 per thousand impressions once data and platform fees are included. Actual costs may be higher, especially for premium services and live sports.

How do I measure whether streaming ads sell tickets?

Use available ticketing and website conversion reports, campaign tracking, and geographic sales comparisons. Where practical, incrementality testing can help distinguish additional sales generated by advertising from purchases that might have occurred anyway.

Should streaming replace radio and social media?

Usually not. Streaming can complement radio, social media, search, email, outdoor advertising, and artist or venue channels. Each channel should have a defined role in the campaign.

Can geofencing reach people on streaming TV?

Yes, through the household rather than the television itself. A real-time geofence builds an audience from the devices that enter a boundary. The platform links those devices to home addresses and household IP addresses and can keep reaching that audience, for up to 30 days on some platforms, including on connected TVs in the same household. Geoframing does the same with devices seen at

a place in the past, but five states now prohibit the sale of the precise location data it usually relies on. In both cases the streaming audience is smaller than the number of people who were present.

What is the difference between geofencing and geoframing?

Geofencing builds an audience in real time from the devices that enter a boundary while it is active, and can reach them on their phones and, through linked home addresses and household IP addresses, on other devices including connected TVs. Geoframing, also called historical geofencing, identifies devices that were inside a boundary during a past time window and advertises to them later. For most events, real-time geofencing is the stronger choice: it reflects where people are now, does not depend on buying stored location histories, and faces fewer state restrictions.

Is geofencing of past events still legal?

It depends on the state, and the answer is changing. Maryland, Oregon, New Jersey, Virginia, and Connecticut now ban the sale of the precise location data that geoframing relies on, and vendors have stopped offering historical geofencing in several states. More states are considering similar laws. Real-time geofencing remains generally available, subject to consent requirements and bans on fencing around health care facilities. Marketers should confirm availability with their vendor for every state a campaign will reach.

Reference

References and Further Reading

The sources below were used to research and verify this white paper. Streaming platforms change their ad products, policies, and prices often, so readers should confirm current details with each platform. Sources were reviewed in October 2026.

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Amazon Ads. “Amazon Ads Agent: Omnichannel Advertising Platform.” Amazon Ads, 2026. https://advertising.amazon.com/adtech-solutions/amazon-ads-agent

Amazon Ads. “How Any Business Can Get Started with Streaming TV Ads.” Amazon Ads, 2026. https://advertising.amazon.com/library/guides/streaming-tv-ads-for-all-businesses

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About

About TSE Entertainment

TSE Entertainment, LLC is a talent-buying and event-management agency that has served the live-event industry since 1975. Operating as a buyer-side partner for fairs, festivals, public concerts, casinos, theme parks, rodeos, and corporate productions, TSE represents the buyer’s interests in every booking. Its fee is built into the deal structure rather than added on top, aligning the agency with the organizers it serves.

Because TSE works on the buyer’s side of every booking, it sees how marketing decisions shape ticket sales, gate attendance, and guest visits once the talent is confirmed. This white paper reflects that vantage point: streaming can extend an event’s reach, but it works best when the buying decisions behind it are clear, local, and measured against real results.

Planning your 2027 season?

Talk to TSE Entertainment about an event marketing plan built for your market. Visit tseentertainment.com to start the conversation.