There’s a question that’s been circling the music world for a while now — and it’s only getting louder: how does a new artist actually get heard today?

Because if you look around, the industry that once thrived on risk and discovery now seems to cling to nostalgia like a life raft. Major labels and festival lineups read like a roll call of the same veterans — the safe bets, the proven draws — while entire generations of emerging voices wait at the edges, wondering where exactly the door went.

But out there, between the boardrooms and the barrooms, something else is happening. A quiet recalibration. Small venues, artist collectives, and independent promoters are starting to rebuild the ecosystem from the ground up: one room, one night, one new artist at a time.

That’s where today’s guests come in.

Cat Henry is the Executive Director of the Live Music Society, a nonprofit working to keep small venues alive, the kinds of places where artists first find their voice and communities gather to listen. Her organization has been putting real financial and logistical muscle behind those stages, including their support for the tour we’re talking about today.

Tom DeGeorge, COO of D-Tour, helps connect a network of independent venues and promoters across the country, giving artists and local scenes a fighting chance to operate outside the corporate machine. He’s one of the key architects behind this tour’s routing and strategy.

And at the center of it all is Jenna Fournier, known to fans as Kid Tigrrr - the headlining artist whose creative fingerprints are all over this project, from the music itself to the visual identity and storytelling that tie it all together. She represents that very question we started with: how does an independent artist break through today — not by chasing the algorithm, but by maybe by building something that feels real?

Together, we’re talking about the D-Tour and Live Music Society collaboration - One Night Live - what it says about where live music is heading, the economics of trying to make it sustainable, and whether the next generation of artists can still carve out their space in a world dominated by the past.

Because if there’s still a way forward for new live music, this might just be what it looks like.