If anyone else is reading this, I’d take that and point out the importance of identifying the specific types of promotion. Just from those few sentences, anyone trying to learn from @Coquet-Shack 's experience immediately ought to ask, what type of promotion achieved what type of result? How heavyweight does a promotor have to be to execute what specific types of transactions? And do we know what he actually did? Can we find out anything else about how he did it? Not to discredit anything here…no…not at all. Those are the types of questions I would ask in this scenario because those questions are necessary to really understand how this particular guy (shack) made something happen. It doesn’t do you any good if you don’t know enough about his situation to borrow ideas for yourself.
The Texas artist mentioned is interesting. A top label artist pushing to everyone? Break that down. A top label artist in some instances can actually carry weight. An artist with no stock equity in a label can’t make any real decisions but they can occasionally solicit and pitch ideas. Who is everyone? If you can get a reputable artist to solicit investors, publicity, marketing, and legal firms, that could really help. Soliciting tour managers and concert promoters…no good. Soliciting joint headliner ventures…no good either. Soliciting pay to play opening spots? Different story…yes, then it can help.