However, this has also drawn some backlash from critics, who say that a female headliner would never be able to get away with, let alone praised for, a set this stripped down. And I have to agree. Rosalía is currently putting on one of the most thoughtfully curated and intentionally produced arena tours with her LUX World Tour, and fans even joked on TikTok that she “used the whole tour production budget on Bjork”.

So, Justin has some fans and some critics. What else is new.

Here’s what he can do to engage the former and possibly re-ignite the later.

1. Lean fully into the “full circle moment” of it all.

Justin was famously discovered on YouTube for his covers. Have Justin partner with YouTube to create a playlist hand picked by Justin of his favorite current YouTube covers. He can spotlight young artists doing unique covers on YouTube in a nod to both the next generation and his own start. He can also go all in on nostalgia by re-packaging his iconic purple Baby hoodie for merch in his new era.

2. Let fans co-curate the setlist with you

Similar to how Justin was taking “requests” from the livestream chat at Coachella, let fan co-curate the setlist by partnering with a DSP (music streaming platform like Spotify, Apple Music, etc) to create a “group” playlist where super fans can add their dream songs to the “setlist”.

3. Keep a good thing going with his SKLYRK x Shark ChillPill Portable Fan Collab

Portable fans are set to be the “it” accessory of summer 2026. Justin Bieber is the first major celebrity to understand that. He could have one-of-a-kind “cooling” centers at each tour stop where fans can try out the portable fan and escape the “Heat” (a cheeky play on the name of the Skylrk collection).

With these three ideas, Justin Bieber could keep his most engaged fans hooked long after he leaves the Coachella stage.

If you like these ideas and want some rollout moves of your own, hit me up! It’s literally what I do.

Of course you do. Who wouldn’t! That’s probably why you’re getting this email. But not everyone knows how much an agency partner can help with this. A lot of people think of social media agencies as big companies that can only help huge artists. I’m here to show you exactly how I’ve helped artists, labels, (and music executives!) of all sizes grow their socials.

So here’s exactly how we deliver these results for our clients...

Every client engagement starts with a deep dive into what you actually want to achieve. New customers? Industry credibility? A loyal community that buys from you? Your goal shapes everything we do — because a strategy built for the wrong outcome is just wasted effort.

From there, we spend 20–30 hours researching your niche, your competitors, and what’s already working with your target audience. We write the scripts, craft the hooks, and build out your full content strategy. You just show up and film.

Once we find the content format that’s getting traction, we double down on it — hard. We handle the posting schedule, platform optimization, and engagement tools so every piece of content is working toward a specific goal. Each week we dig into the analytics: what performed, what didn’t, and what we’re adjusting going into the next week.

And when you hit your follower targets? That’s where most agencies stop — but that’s where we’re just getting started. We build the funnel that turns those followers into actual revenue: the automations, the conversion touchpoints, the systems that make your audience work for you around the clock.

We handle all of it, start to finish.

Send me an email and let’s map out what this looks like for you.

send me an email

I’m baaaaack! Three releases dropped this week that deserve a full breakdown.

My name is Olivia, and I own entertainment marketing company Amethyst Collab, where I work with artists and entertainers on creative rollout strategies with a focus on social media and digital marketing. Now let’s get into it!

Harry Styles Kiss All the Time. Disco, Occasionally. (Album)

The Release

Harry Styles’ fourth studio album Kiss All the Time. Disco, Occasionally. arrives on March 6 after one of the most carefully constructed gap years in recent pop history. The 12-track project, executive produced by longtime collaborator Kid Harpoon, pulls from disco, synth-pop, and European club culture — recorded between 2024 and 2025 at Hansa Studios in Berlin and Abbey Road in London. The album follows Harry’s House, which won the Grammy for Album of the Year in 2023, meaning the bar coming in was already sky-high. The campaign surrounding this release has been just as considered as the music itself, and that is not an accident.

What Worked

Styles went quiet for years — no drip of content, no ambient promo — which allowed the album announcement to land like an actual event. When the campaign did begin, it started with an eight-minute YouTube film uploaded in late December 2025, closing on the phrase “We Belong Together,” which seeded the campaign before anyone even knew a campaign had started. Global street posters in January directed fans to a cryptic website, which then redirected them to a WhatsApp community — turning a traditional media touchpoint into a permission-based, direct-to-fan channel that most artists are still treating as a footnote. The cover art reveal on Instagram pulled over four million likes in three hours, proving the appetite was fully there before a single album review went live.

The physical rollout is equally impressive. Multiple vinyl variants — including a holographic sleeve and a sold-out pink edition — plus a deluxe box set with a branded 35mm film camera speak directly to the collector culture Styles has cultivated over three albums. The tour architecture is also smart: instead of a traditional world tour, he is anchoring in residencies, including 30 dates at Madison Square Garden and 12 nights at Wembley Stadium. Residency-first strategies let artists control the live show at a level touring logistics rarely allows, and they create a destination pull that keeps a market warm for months. The Netflix concert special dropping two days after the album extends the release weekend into a cultural moment rather than just a Friday upload.

What I’d Add

The WhatsApp community is the most interesting piece of this campaign, and it deserves to be pushed further. Right now it functions as a fan engagement layer — but with a list that size, it could become a genuine release mechanism. Imagine a surprise bonus track dropping exclusively in the chat, or the first ticket presale window living there before it goes anywhere else. The scarcity and intimacy are already built in; the next step is making that channel do real commercial work.

I’m always saying this about Harry Styles and other artists with superfans, but the fans are being severely underutilized. There should be a content creation system for the fan pages. Employ your biggest supporters!

Shakira & Beéle “Algo Tú” (Single)

The Release

“Algo Tú,” the new collaboration between Shakira and Colombian artist Beéle, officially released on March 4 — but the real launch happened on March 1, when Shakira debuted the track live at her free concert in Mexico City’s Zócalo in front of more than 400,000 people, setting a new record for the largest concert in Mexico City history. The timing is perfect, it arrives during the Las Mujeres Ya No Lloran World Tour, which Billboard has already confirmed as the highest-grossing Hispanic tour in history, pulling in $421.6 million across 82 stadium dates.

What Worked

The sequencing here is near-perfect. Rather than releasing the single and hoping a performance moment would follow, the team engineered the live debut first and let the record release serve as the follow-up. The result: a 400,000-person room became free earned media that no marketing budget can replicate, and the official release two days later benefited from all the press coverage, fan footage, and social volume the live moment generated. That is inverted rollout thinking, and it works.

The buildup was also thoughtfully paced. Rumors started circulating in January when Shakira’s production team and de Laiguana were spotted in Colombia. Behind-the-scenes footage from Barranquilla — with marimondas, comparsas, and Shakira behind the wheel of a city bus — gave fans something to track in real time without a single official confirmation. The lyric video dropped with the single, with the official music video to follow shortly after, giving the campaign two distinct content windows without cannibalizing attention. And choosing Beéle as the collaborator signals a deliberate strategy: Shakira continues to bridge her legacy fanbase with newer Latin audiences by choosing rising artists from within the culture rather than crossing into pop adjacency for a feature.

What I’d Add

The Barranquilla rollout footage was gold — but it lived mostly in fan-captured clips and regional media rather than being seeded as its own content series by Shakira’s team. A three-to-four-part behind-the-scenes documentary dropped to YouTube in the weeks leading up to release, centered on the Carnaval creative universe of the video shoot, would have deepened the storytelling around a single that already has a strong visual and cultural identity. Audiences want to be let into the world, not just shown the door.

Given that Beéle is a rising artist with a distinct fanbase, more deliberate cross-promotion into his channels — takeovers, joint content, collaborative playlists — would have served both artists. The collaboration introduced Beéle to Shakira’s audience, but the reverse pipeline is equally valuable and looked underdeveloped from the outside. When you feature someone as culturally specific and ascending as Beéle, the campaign should work as hard for them as it does for the main act.

Bebe Rexha “New Religion” (Single)

The Release

“New Religion,” the third single from Bebe Rexha’s forthcoming visual album Dirty Blonde, dropped today on March 6 via Empire Distribution — her first release as an independent artist after departing Warner Records. Rexha has described this era as a return to dance music after a period of frustration and creative constraint, and the three-single run ahead of the June 12 album release is positioning Dirty Blonde as an event rather than just a record.

What Worked

The creative framing around this era is doing real work. Rexha announced Dirty Blonde with a 13-second teaser in February that displayed the full track listing before revealing anything else — a high-confidence move that signals the music can stand on its own. She followed it with a Diplo-produced supercut remixing snippets of every song, which functioned as a cinematic album trailer. These were not just promotional assets; they were creative statements, and they told a story about an artist who arrived at this project with clarity and conviction.

The decision to release every track as an individual single — each with its own music video — is ambitious and audience-centered. Rexha told Billboard she does not want to be “confined by a certain sound or certain boundaries,” and the single-by-single model lets each track breathe without forcing listeners to consume a 13-track body of work in one sitting. The fan voting system used to select “Çike Çike” as the second single was a particularly smart democratizing move that turned the release calendar into a participatory moment. And her real-time relationship with her audience on social — including publicly shutting down BLACKPINK collaboration rumors while redirecting straight to “New Religion” — keeps her visible and relatable without manufactured drama.

What I’d Add

The independent pivot to Empire is the most important story in this campaign, and it is not being told loudly enough. Framing this era as “creative freedom” in press quotes is a start — but there is a longer narrative here about an artist who left a major label system, bet on herself, and delivered a visual album with a clear sonic identity. That is a story that resonates with artists, with industry press, and with fans who have been watching her navigate that transition publicly. A dedicated media moment — a Billboard cover, a Variety long-form, a personal essay placed on a major platform — built around the independence narrative would give this campaign a spine that the individual singles are still building toward.

The visual album concept also deserves more pre-release infrastructure. Promising a music video for every track raises audience expectations — but without a clear roadmap for when those videos are coming post-June 12, there is a risk the rollout loses momentum after the album drops. Maybe add a cryptic countdown page for each visual.

Need help with your rollout? Reach out!

Big moments deserve big rollouts. But most people fumble their own announcements — either by moving too fast, not thinking strategically, or treating a PR opportunity like a casual Instagram post. Here’s how to actually make the most of it.

1. Tell your publicist early.

I cannot stress this enough. Give us time to build the right pitch, identify the right outlets, and time the release strategically. The best press placements don’t happen overnight — they’re the result of conversations that happen weeks in advance. No publicist? No problem. Hit me up.

2. Know your angle.

“I got a new job” is not a story. “I went from assistant to CEO in two years and here’s what I learned about the music industry along the way” is a story (a true one, from my life by the way, lol). Before you announce anything, ask yourself: why does this matter beyond my personal network? What does it say about where the industry is headed? What conversation does it start? If you can’t answer those questions, keep workshopping your angle with your publicist. The outlet you’re pitching doesn’t care about your milestone — they care about what your milestone means to their readers.

3. Be ready to talk.

You’d be surprised how many people secure a press opportunity and then have absolutely nothing interesting to say. Can you jump on the phone with a reporter on short notice? Do you have quotes prepared that go beyond “I’m so excited and grateful for this opportunity”? Because that quote will get cut every single time. Think about what you actually want people to walk away knowing — about you, your vision, your take on the industry. Reporters are looking for specificity, perspective, and personality. Give them something to work with.

4. Have assets ready.

A great press placement with a low-res or worse, no headshot is a waste of everybody’s time. Before your announcement goes live, make sure you have high-quality photos, an updated bio, and any relevant supporting materials that a journalist or editor might need. If there’s a product, album, or brand involved, have clean visuals ready to send immediately. Don’t make a reporter chase you down for basics.

5. Think beyond the drop date.

The announcement is not the finish line — it’s the starting gun. What’s your follow-up plan? Are you doing press the week it goes live? Are you leveraging the placement on your own channels? Are you sending it to potential clients, collaborators, or investors? Make a plan for what happens after.

Your big moment deserves more than a post and a prayer. Treat it like the launch it is.

What else do you want to know about landing press for your big announcements?

A publicist’s favorite answer.

Yes, I see the irony. So here’s the breakdown:

If you rely on ragebaiting, quick viral hits, and outrage marketing, then yes. Kim Kardashian, for example, has made a pretty fruitful career out of this. There are some music artists who do it as well. And I get it - virality sells. Some people think when folks are talking, that’s all that matters. But what people are saying about you and your brand is just as important to cultivating long term relationships with your audience.

So for some people, I guess all press is good press.

But if you’re looking to build a legacy, and stay brand-safe, then no. It sure isn’t.

Curating your public image carefully is smart. It gives you the flexibility for a longer career, and more allies both in the industry and in your fans.

However, a scenario where “all press is good press” actually does apply when artists or other creatives invoke the saying to justify overlooking small, niche outlets in favor of only big outlets. Overlooking trade publications is one of the biggest mistakes you can make in 2026. You never know where your next fan or customer can be. Have the humility to meet then where they’re at.

Additionally, in this political climate, the “controversial” choice to speak out against injustice can be made. Artists like Ariana Grande have seen their political prowess lead to more engaged fans.

So the most important thing to consider is: are your core fans happy? Are you? What is in line with the long-term image you want to curate?

Your publicist can be a partner in deciding these things. It’s what we do here at Amethyst Collab. Let’s chat.

The rollout has reframed what we know about music marketing, putting fans in the drivers’ seat.

Read all about it, in my latest rollout review for Forbes:

Read It On Forbes

About Amethyst Collab: We’re a digital-first music marketing and PR agency that prioritizes innovative marketing strategies for music, entertainment, and sports clients. Learn more and inquire about help for your rollout at hmu@amethystcollab.com, or by replying to this email.

A secondary page used to promote a certain type of artist content that wouldn’t go on their main page.

• Burner pages can also be known as fan pages or edits pages.

• Many artists run their own, but usually this is ran by a dedicated agency, like Amethyst Collab.

• Often they’re themed around one type of content, like a Bridgerton edits page or a page just for basketball edits.

Why are these better than artist’s socials?

They aren’t. They’re supplementary.

• Artist socials are more calculated and curated.

• Burner pages rely on volume - consistent and almost constant posting.

How did you get to a 30% engagement rate?!

What I like to call the 3 C’s of running a burner page:

• Culture - posts music be cultural relevant and tapped in the niche markets of fandom.

• Consistency - high volume of content at a consistent basis.

• Casual - content shouldn’t be hyper-produced. The more organic, the better.

Can you do this for me?!

Yes, we can.

• Reply to this email, or email hmu@amethystcollab.com

• Mention this Substack for a discounted rate.

• We’ll send you a deck and set up a call.

Let’s get you these views. And engagement. And fans. There’s a lot of benefits here.

Read my full analysis on Forbes:

Read The Full Article On Forbes

Read the full article, breaking down the 4 most creative marketing moves of the week, at my column on Forbes:

Read The Full Article On Forbes

His team faces a unique challenge: How do you reignite momentum after a three-year gap when competitors have maintained constant visibility? Or, more directly, when you’re that big, where do you go from here?

Evolution is the natural next step in Styles’ music, and his rollout should be no different.

Here are the marketing moves that would transform Styles’ comeback from a traditional album rollout into a cultural reset. You can now read the full article published on Forbes:

Read The full Article On Forbes