Co-Founder
idobi Radio Summer School Tour
Years with Company: 2
Address: Los Angeles, CA
Web: summerschooltour.com
Email: peter@peterquinn.co
Clients: Charlotte Sands, Beauty School Dropout, Taylor Acorn, Rain City Drive, Arrows In Action, If Not For Me, Huddy
BACKGROUND
Having worked at Hopeless Records for more than two decades, Eric Tobin knows a thing or two about raising the profiles of hard rock bands. Along with Michael Kaminsky and Warped Tour founder Kevin Lyman, he founded the idobi Radio Summer School Tour, which recently wrapped up its second season.
Getting Schooled
Michael Kaminsky and I have been friends for 20 years. About a year and a half ago, Warped Tour finished. That outlet for both my artists at Hopeless and the artists he was managing [was gone]. And we started talking about doing a festival.
We went to a BBQ at Kevin’s house and started chatting about this idea. And Kevin’s like, “There are so many promoters that feel the same way. There are sponsors that want to get involved with something national.” We’d had conversations with managers and labels saying, “I wish this was still here.” We had an early conversation with idobi, and they came in quickly as a partner and backer.
Taking a Chance
I give kudos to Mike. He was like, “We should try this.” And I said, “Maybe we should look at a few other opportunities.” Once we met with Kevin, I said to Mike, “You’re right. Let’s build this thing. Let’s find that artist that isn’t the headliner. Let’s have a rotating bill where every fan gets to discover six or seven artists for a low-ticket price.”
Bands on the Verge
The goal is to have multiple headliners. The idea is: let’s pick artists that are starting to pop. They’re getting some radio or social success. We want to work with labels as much as possible. And if we’re looking around and going, “This band is doing 700 to 800 tickets or more,” let’s find two others that are like them.
Feeling the Vibe
For the first year with Magnolia Park, Stand Atlantic, The Home Team, and Scene Queen, it felt like all these artists are in the same spot on a ticketing level. And they’ve all sort of known each other on the periphery. They’ll all have a good time being together and creating a Summer Camp vibe.
The same goes for this year with Charlotte Sands, Taylor Acorn, and Rain City Drive. And then for the artists just below them [on the bill], we say, “In two years, we’d like to see you headline.”
Heavy Music Is Always in Vogue
If you live in that space of metal or hardcore, metalcore, punk, or alternative, there’s always a fan. And there’s this great crop of artists that is going to grow that community even more. I want to double down on it, because I care. I love the artists I work with.
Choosing the Next Lineup
UTA [United Talent Agency] is our agent. We’re talking about 2026. We’re looking at what’s coming up and having phone calls with managers and labels. “What’s the timeline?” “What are you feeling?” “Here’s the marketing we’re going to offer.” “Let’s find those artists we feel are on the way up and support them.” Mike, Kevin, and I sit down, look at a list of artists we feel good about, and then get people to understand their plans. That’s the fun part.
Discovering Bands and Making Friends
We want [Summer School] to be important to the community. We want the artists, managers, and agents to understand that, so every night the band says, “Show up at 4:00 and discover all the bands.” During the first year, all the bands were covering a Linkin Park track. They were all on stage together at the end [performing] it and became best friends.
What Changed Between 2024 and 2025?
We had a few more resources. We were able to bring on an amazing marketing person. As far as the approach, not a ton, because it’s young and the mission is clear. Again, it was to find artists on the rise. We’re still telling kids to show up early to see all the bands. It’s been a bit more about staying consistent.
Keeping Tickets Affordable
If you’re a 17-year-old kid going to a couple of these bigger festivals, what’s left in your pocket to discover bands? We want to keep this at $35 and under. For us, the ticket price is so important, to ensure that a kid goes, “Every summer, I can afford to discover this many bands and have a great time.”
Close Quarters Mean Tight Bonds
You remember those days when you’re a college kid living in an apartment with four other people as being the best. In tighter spaces, it creates that summer camp camaraderie. There’s positivity in having that group experience. I toured for five years before I started this job. When I look back, [that’s when] I made my best friends and learned my best lessons. Part of this is about fostering that friendship and chosen family experience.
Saving Lives Through Music
I hope that [concert attendees say], “That band changed my relationship with music,” not, “I went to a festival and paid a lot of money.” It’s, “This artist saved my life.” In year one, at least a third of these kids had never been to a show before. They’re just discovering this lifestyle and these friends. It starts with, “I feel a way…” And then you check out your first band, listen to the lyrics, and now there are words where emotions used to be.
We’re doing this for that kid who needs it. I was that kid. I didn’t have tons of friends when I got to school. Music opened up a door to a world of people putting on shows. I made more friends. I played in bands and made more friends. I went from “I’m struggling” to “I know who I want to be.” I hope the things we do create that opportunity.
The Right Match
I’ll bring [an artist] to Hopeless, and we’ll talk about it as a team. We’ve got to answer that question—can we do a great job? None of us here believe in signing something just because. We’re signing things that we feel we can grow. And we sign pretty eclectically within the bounds of alternative music. I want to find an artist that’s having some momentum and has a message that’s resonating. Some kid’s going, “This means something to me.” If there’s a connection there, the artist is motivated, and we can do a great job within the scope of what we do, I want to work on it. Let’s see if our philosophies match.
Building Worlds
I want to build a world for an artist. And that comes in a variety of ways. What is the message? What is the look and feel connected to that? What is that story you need to share in a song? How do we make that song come to life? And then, how do I have that sit-down with Spotify or Apple or Amazon or press and say, “It’s not about the single I’m dropping. It’s about the story in the long term that we’re creating”? I want to work with artists that fit into the way we do that world building.
