Segway dominated festival season. Nobody saw an ad.

When 100,000 people descend on the desert, the last thing they want is a banner ad. So Segway didn't run one. Instead, they sent creators — and the results were 4x every KPI they walked in with.

The smartest media buy at Festival Season wasn't a media segway-dominated-festival-season-nobody-saw-an-adbuy.

Every brand wants to "win" Festival Season. Most of them buy a sponsored stage, a branded activation, or a social ad targeting attendees. Segway took a different approach: they put their product in the hands of creators people actually follow, and let the content do the work.

Through Kalo's creator network, Segway activated seven creators across Instagram and TikTok for the April 2025 festival — led by Kalo ambassadors Rhegan Coursey (7.9M followers) and Matthew Maxfield (1.2M followers). The brief was simple: ride Segway's F3 and Xyber models around the festival, post authentically, and let the product speak.

The campaign ran across three weeks — pre-festival hype, live event content, and post-festival wrap — generating 41 posts across platforms, with 15 contracted deliverables and a wave of organic content that no brand brief could have scripted.

"The curation and ease of sourcing creators on Kalo is something new and exciting! I was able to pick from an array of Kalo ambassadors or create an invite based on our target. The overall results were 4x our KPIs compared to other campaigns." — Segway Social Media Manager

What 41 posts and 16 million impressions actually look like

This wasn't one big viral moment. It was a sustained wave of content — GRWM videos, vlog-style day recaps, candid rides between stages, and authentic product shoutouts that never felt like ads. That's the point. The creators weren't performing sponsorships. They were living their Festival Season experience on Segway hardware, and their audiences came along for the ride.

Two products. One festival. Maximum coverage.

Segway didn't just put one product in the field — they ran both the F3 and the Xyber across the campaign, giving creators two distinct ride experiences to feature. The result was 18 F3 features and 19 Xyber features, plus 13 brand mentions that didn't require a product visual at all — just creators organically shouting out Segway by name because the experience was genuinely worth talking about.

The organic multiplier — content nobody paid for

Here's what brands rarely talk about: when you give creators a genuinely great product experience, they post beyond the brief. The contracted deliverables were 15 posts. The campaign ended up generating 41. That's 26 pieces of content that Segway got for free — because riding a Segway through Festival Season was content worth making.

Rhegan Coursey alone posted multiple organic TikToks featuring Segway across her Festival Season series — GRWM videos, vlog days, backstage content — each one casually featuring the F3 or Xyber as part of her actual experience. Matthew Maxfield did the same, filming group rides, arrival moments, and day-2 fits with a Segway in frame. This is the organic multiplier that Kalo's network is built around: when the product fits the creator's life, the content creates itself.

28,750 people clicked through to Segway's page

Impressions are attention. Link clicks are intent. The 28,750 Instagram link clicks generated by this campaign represent people who saw creator content, felt compelled, and went looking for the product. That's bottom-of-funnel performance from what most brands still classify as a "top of funnel" channel.

This is the shift Kalo is built around: creator content isn't awareness-only anymore. When it's coordinated at scale, tracked properly, and tied to product-fit creators, it drives the full funnel — from a scroll-stop moment to a product page visit to a conversion.

The full media recap — all 41 posts, creator breakdowns, and platform-by-platform performance — is available here:

View the full Segway Festival Case Study

What this proves for every brand considering creator advertising

Segway didn't discover some secret. They just made a better decision about where to put their media budget. Instead of buying CPMs from a platform, they bought access to creators who were already heading to the festival — and let those creators do what they do best.

The $342,924 in earned media value didn't come from production studios or media agencies. It came from seven people riding Segways through a music festival and posting about it, because the product genuinely improved their weekend.

That's the Kalo thesis: the creator economy is a media channel. Treat it like one — with the infrastructure, data, and coordination that programmatic advertising brought to display and search — and the results stop being surprising.