By early March 2026, Alli Starr’s calendar is already packed-not with vacations, but with festival applications, rehearsal schedules, and last-minute gear checks. She’s not waiting for someone to find her. She’s putting her name on the map, one submission at a time. This year, she’s targeting 12 live showcases across North America and Europe, each chosen for its audience, vibe, and track record of launching artists like her. No guesswork. No fluff. Just clear, actionable targets.
Why 2026 Is Different
2025 was the year Alli hit 500,000 streams on Spotify. 2026 is the year she turns those numbers into live moments. Festival organizers don’t just look at plays-they look at energy, stage presence, and how well an artist connects with a crowd. That’s why she’s not applying to every open call. She’s narrowing down to festivals that actually book artists with her kind of sound: raw, emotionally driven indie pop with electronic textures. Think Shaky Knees, Primavera Sound’s emerging acts stage, and the new Wanderlust Festival in Portland, which launched last year and already booked three artists who went on to sign with indie labels.
She’s also tracking which festivals release their lineups early. In 2025, 78% of the top 20 mid-sized festivals announced their lineups by mid-March. Alli submitted her materials by January 15 this year. That’s not luck-it’s strategy. She knows if you wait until February, you’re already behind.
The Submission Checklist
Every festival has its own rules, but Alli uses the same core package every time. It’s simple, but it works.
- One 3-minute live video-filmed on a phone, no studio tricks. It’s her 2025 set at The Doug Fir Lounge, no edits. Just her, a loop pedal, and a crowd singing along.
- One press kit PDF-2 pages max. No biography paragraphs. Just: where she’s played, who’s featured on her tracks, and one quote from a reviewer: “Starr doesn’t perform-she invites you into her head.” (Portland Mercury, 2025)
- One calendar link-Google Calendar embed showing her next 30 days of shows. It proves she’s active, not just hoping.
- One email subject line-“Alli Starr: Live from Portland, 12 shows booked in Q1 2026.” No “please consider” or “I’d love to.” Just facts.
She doesn’t send follow-ups. If they don’t respond in 14 days, she moves on. She’s learned that persistence doesn’t equal professionalism-it just means you’re spamming.
Her 2026 Festival Targets
Here are the 12 festivals she’s targeting, with why each matters:
- Wanderlust Festival (Portland, OR) - Her hometown. She played the demo stage last year. This time, she’s applying for the main stage. They’ve doubled their indie artist budget since last year.
- Shaky Knees (Atlanta, GA) - Known for booking artists who cross over from streaming to live. She’s targeting their “New Noise” stage, which booked 7 indie acts in 2025 who later signed to labels.
- Primavera Sound (Barcelona, Spain) - She’s applying to the “Emerging Voices” section. They had 14 North American acts in 2025. Alli’s music has gained traction in Spain via Spotify’s “Indie Pop Europa” playlist.
- Desert Daze (Lake Perris, CA) - They prioritize artists with strong visual aesthetics. Alli’s new music video, shot in a Portland warehouse, was made to match their vibe.
- South by Southwest (SXSW) (Austin, TX) - She’s applying for the “Music + Film” track. Her single “Flicker” was used in a short film that won a regional award last year.
- Le Guess Who? (Utrecht, Netherlands) - They book experimental pop. Alli’s collaboration with a local Dutch producer on “Static Bloom” gives her a direct entry point.
- The Great Escape (Brighton, UK) - One of the most artist-friendly festivals. They offer free accommodation and tech support. Alli’s UK fanbase has grown 200% since her last EP dropped.
- North by Northeast (NXNE) (Toronto, CA) - She’s applying as a Canadian artist. Her mom’s from Toronto. She’s got family ties-and a local PR contact who helped her get on a radio playlist last fall.
- Pitchfork Music Festival (Chicago, IL) - She’s not expecting a headline slot. But she’s targeting the “Underground” stage, which had 12,000 attendees in 2025. They don’t pay much, but the exposure is real.
- Fun Fun Fun Fest (Austin, TX) - They’re known for giving first-time festival acts a real chance. She’s applying with a new song, “Paper Planes,” that’s been gaining traction on TikTok.
- End of the Road Festival (Dorset, UK) - They book artists who tour small venues. Alli played 47 shows in 2025. That’s her ticket in.
- Coachella Valley Music and Arts Festival (Indio, CA) - She’s not applying for the main stage. She’s applying for the “Local Artist Showcase” in the camping area. Last year, 3 artists from that stage got signed. She knows it’s a long shot-but it’s the only way to get noticed by the right people.
What Happens After You Get Accepted
Getting in is only half the battle. Alli’s team has a 72-hour plan for every confirmed festival.
- Day 1: Send a personalized thank-you email to the booking agent, with a link to her new single.
- Day 2: Post a behind-the-scenes video of her packing gear. No filters. Just her and the van.
- Day 3: Tag every local venue, radio station, and fan club in the city. She’s not asking for help-she’s inviting them to show up.
She also books one local show in each city right before the festival. It’s not for money. It’s for credibility. People who see her play a 50-person club are more likely to show up at the festival. And they’re more likely to tell their friends.
The Real Goal
Alli doesn’t care about being on a poster. She cares about the person who comes up to her after a set and says, “I’ve been listening to you since last summer. I didn’t know you’d be here.” That’s the moment that turns a stream into a fan. That’s the moment that turns a festival slot into a career.
She’s not chasing fame. She’s building a circuit. And in 2026, that circuit is starting to look like a path.
How do festival organizers decide who to book?
Festival bookers look for three things: live performance energy, consistent fan engagement, and proof you can draw an audience. A high Spotify count helps, but it’s not enough. They want to see you’ve played at least 10 shows in the last six months, have a video that shows crowd interaction, and have local media coverage. Alli’s 2025 set at The Doug Fir Lounge, which had over 400 people singing along, was the video that got her into three festivals.
When should I submit to festivals in 2026?
The best time is between January 1 and February 1. Most festivals open submissions in December and close them by late February. The top 20 mid-sized festivals fill 70% of their slots before March. Waiting until March means you’re competing for the leftovers. Alli submitted her materials on January 15, 2026, and already has 5 confirmations.
Do festivals pay artists?
It depends. Big festivals like Coachella or Lollapalooza pay headliners, but most mid-sized festivals don’t pay artists cash. Instead, they offer travel stipends, accommodation, food, and sometimes merch table space. Alli’s strategy is to treat non-paying festivals as exposure opportunities. She’s already booked 3 shows in cities where she’ll be playing festivals-so she turns the trip into a mini-tour.
Is it better to apply to big festivals or smaller ones?
Start small. Festivals like The Great Escape, End of the Road, and Wanderlust are designed for artists who are building momentum. They have industry scouts in the audience. Big festivals like Coachella or Coachella’s main stage are for artists who already have a fanbase of 50,000+ and a booking agent. Alli’s 2026 plan focuses on 8 mid-sized festivals and 4 big ones as stretch goals. She’s not trying to go viral-she’s trying to go steady.
How important is a music video for festival submissions?
Not as important as a live video. Festival bookers want to see you perform live, not a polished studio clip. Alli submitted one 3-minute live video from a Portland show-no lighting, no edits. It showed her connecting with the crowd. That video got her into 4 festivals. A high-budget music video? It didn’t help at all.
What’s Next After 2026
If Alli hits all 12 targets, she’ll have played 140 shows this year. That’s not just a tour-that’s a foundation. She’s already talking to a booking agent about a 2027 European tour. But right now, she’s focused on one thing: showing up, playing hard, and letting the music do the talking.
The festival circuit isn’t a ladder. It’s a network. And she’s wiring herself into it, one connection at a time.
