Why Are So Many Tour Posters for Midwest Shows Designed on the Coasts? A Case for Local Art in Live Music Merch

Last week, I caught a stacked lineup in Tulsa, Oklahoma—Primus, A Perfect Circle, and Puscifer. Beyond the music, one thing stood out: the poster collectors. These bands are legendary in the concert poster world, and fans were lined up early just to snag a copy of the city-specific, limited-edition prints. As someone who designs posters and merch, I was both inspired and… puzzled.

What surprised me wasn’t the price (some posters sell out instantly at $60+ and flip online for double), but how few of these beautifully crafted prints actually felt connected to the cities they were created for. It got me thinking: if these are venue-exclusive art prints, why aren’t more of them designed by artists who live and work in the cities where the shows happen?

In digging around, I started following several of the tour’s credited artists, including those who’ve worked with Jack White’s No Name tour. Stylistically, the range is massive—from minimalist prints to intricate psychedelic compositions. But no matter the style, I kept noticing the same pattern: Midwest cities like Tulsa, St. Louis, Kansas City, and Omaha had venue posters designed by artists based in California or Brooklyn.

To be clear, this isn’t a knock on the artists themselves—many of them make absolutely stellar work. But there’s a disconnect here. These posters are meant to be show-specific collectibles, yet they often miss an opportunity to reflect the local culture, quirks, or even landmarks that make each city unique. It feels like a missed moment for the bands too: a way to more deeply engage with the places and fans they visit.

Take a moment to appreciate the Primus poster I created specifically for my Exhibition, which brilliantly highlights the rich history of Wichita Concerts. The design features playful typography, inspired by the iconic style of the Wonderbread Company, perfectly reflecting the era. Additionally, the poster itself is intended to resemble a quirky photocopy of a classic bag of bread, adding a nostalgic touch to the artwork. The Wonderbread Company had a prominent factory in Wichita during the time of Primus's first headline tour, creating a unique connection between the two.

There’s huge untapped potential for artists in the Midwest and other underrepresented regions to bring their voice to the touring poster scene. As someone living and working in this space, I know firsthand how rich the local creative communities are—and how hungry they are for meaningful collaborations.

A long term goal of mine in the art sphere is to land a gig poster for a Jack White concert: my first attempt at getting the attention of the Thirdman Team resulted in a deep dive into the varying styles and artists he typically commissions for his shows. With the research and accumulated knowledge I’ve gotten for Jack White over the years helped me design a mock up set I am incredibly proud of despite it not gaining much traction outside of a few kind comments on reddit.

I don’t pretend to have the solution to how bands can coordinate with a new artist in every city on a packed national tour. But I do believe in starting the conversation. There are plenty of creatives who would jump at the chance to contribute—myself included. Imagine a touring act spotlighting a different local artist in each city: the merch becomes more than a product—it becomes a cultural exchange.

If music is history, then concert posters are its visual record. Let’s make that record personal, place-based, and reflective of the people who were actually there.