Case study
Nashville At Heart.
A full live band, eight performers and a modern country greatest hits set, toured through mid sized theatres and arts centres. This is what Showmark made for it, and how.
Pictured: Nashville At Heart on stage, filmed and photographed by Showmark
The show
Modern country, played by a full live band.
Nashville At Heart is a celebration of modern country at its very best: the biggest hits from today's chart topping country artists, including Luke Combs, Morgan Wallen, Shania Twain, Lainey Wilson and Taylor Swift, performed by a full live band of the UK's best session musicians. Cinematic lighting and Nashville stagecraft set the scene, but the draw is the music, played with warmth, precision and feeling.
The show is produced by The Live Music Co., with technical production by Eventech, and tours through 2026 and 2027. It is built for mid sized theatres, regional arts centres and festivals, and plays seated or standing rooms from a few hundred people to several thousand.
- EightPerformers, always
- 90 to 120Minutes on stage
- 2026 and 2027Touring years
- TheatresArts centres and festivals
The brief
A touring show sells itself to a venue before it ever plays there.
A theatre programmer books a show from a trailer, a listing image and a short description. If the trailer does not sell the room in its first few seconds, the rest of the pitch never gets read. Nashville At Heart needed a reel that put a programmer in the audience, stills the venues could run in their own formats, and a steady supply of short content to keep the show in front of ticket buyers between announcements.
It also needed all of it to come from the real thing: a full house, the band's own lighting, the audience singing back. Nothing staged.
The session
Filmed on tour, in front of a paying audience.
The Showmark Session, run inside a real show rather than a staged one.
Record
Nashville At Heart carries its own mixing console and in ear monitoring, so the audio was recorded from the show's own desk rather than from the cameras, and mixed afterwards.
Shoot
The show tours with its own floor lighting on top of each venue's rig, which means the stage is already lit for the lens. Cameras worked the pit, the stage and the circle to get the band and the room in the same frame.
Edit
The reel was cut with the people who run the show in the room, opening on the moment a programmer needs to see first: the band, the lights and a full house singing.
Photograph
Stills from the shows and a white studio shoot of the full eight piece line up, for listings, posters, venue screens and the tour's own adverts.
The reel
The video every venue sees first.
Press play. Nothing loads from YouTube until you do.
The content
One day of filming, a year of posts.
The set runs from Beautiful Crazy and Last Night through You're Still the One, Heart Like a Truck and Bless the Broken Road to Love Story, You Belong With Me and Chicken Fried. The social cuts follow it: one song or one moment each, vertical, sized for Reels, Shorts and TikTok, and evergreen, so the show's channels have something to post in the gaps between tour announcements rather than one burst on launch day.
The studio stills became the show's listing image, the venue formats for dates including Liverpool Olympia, and the artwork for the tour's own advertising.
Where it went
Three things the session left behind.
A reel in every pitch
The trailer sits on the show's page at The Live Music Co. and goes out with every venue and promoter approach for the 2026 and 2027 tour.
Artwork the venues can use
Stills supplied in each venue's own formats, so a theatre's marketing team can list the show the day it is confirmed.
Content between the announcements
Short vertical cuts the show's channels can post all year, each built around a song the audience already knows.
Want the same for your show? The Showcase package is built for touring productions.
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