Proof, not promises.

The challenge

Bublup is a consumer software app that needed to grow its user base in crowded app-store and paid-media markets, where acquisition costs climb fast and most spend gets wasted on channels nobody is measuring. I came in on user acquisition and over about five years rose into senior growth leadership, where the mandate widened to owning the entire marketing function — strategy, spend, infrastructure, and the team. The hard part isn't buying traffic; it's making strategy, creative, analytics, and budget actually answer to each other instead of living in separate silos.

What I did

• Administered a $1.5M+ annual paid-media budget across Google, Meta, and LinkedIn, owning SEO, SEM, and PPC strategy and execution.
• Built the paid-media and community strategy that drove a 500% signup increase over three years.
• Stood up a brand-ambassador program of 300+ ambassadors with 4M+ potential reach that produced 1,500+ reusable creative assets.
• Built the email infrastructure from scratch on Mailchimp, Autopilot, and Mailgun, and the executive dashboards leadership actually used to make decisions.
• Assembled and mentored the marketing team, and fed product design input and monetization off what the acquisition and analytics data was telling me.

The result

The signup curve is the headline: a 500% increase over three years off the paid-media and community engine I built. The ambassador program turned 300+ people into a 4M+ reach surface and, just as importantly, a content factory that generated 1,500+ reusable creative assets — so the paid budget had real material to run on instead of stock filler. By the time I was senior, I owned the whole function: the $1.5M+ in spend, the analytics it reported to, the email plumbing, and the team running it.

The challenge

Observer Media is a digital media brand that needed new audience and revenue products that didn't exist yet. The job wasn't optimizing something already running — it was standing up products from scratch and proving they could grow into a real, monetizable audience. That's the hard part of media: a launch is easy; an audience that keeps showing up and pays its way is not.

What I did

• Launched the company's first podcast vertical from nothing — a new product line, not an episode.
• Built and grew the Membership Newsletter and the LinkedIn Newsletter as distinct audience products.
• Stood up a Breaking News editorial product as a new way to bring readers in.
• Owned the audience-growth and monetization strategy behind new editorial products, including the industry-watched broker Power Lists.
• Ran each from idea to a growing, monetizable subscriber base — the zero-to-one work end to end.

The result

Together these products reached more than 100,000 active subscribers. Just as important as the headline number: these were new products that didn't exist before I started, and the Power Lists became something the industry watched. The pattern was the same every time — take a product idea and turn it into a real audience that grows and can be monetized.

The challenge

Chill Bong sold elevated cannabis smoking accessories in a category where the usual growth playbook is illegal. Google and Meta won't run cannabis ads, so you can't simply buy your way to scale the way most brands do. Every bit of growth had to be earned the hard way: through partnerships, retail and wholesale distribution, live events, and word of mouth.

What I did

• Pursued co-branded product collaborations and retail/kiosk concepts with cannabis lifestyle brands like Jane West and My Bud Vase, working toward real wholesale doors instead of chasing ad impressions.
• Built and worked a large cannabis-industry B2B contact list, running direct outreach to open wholesale and partnership conversations.
• Ran the on-the-ground activation at Lockn' Festival 2021 — handling live sales, merchandising, and inventory across a multi-day music festival.
• Treated events and distribution as the growth channel, since the paid-media channel was simply off the table.
• Operated as the brand's direct sales and BD function — pitching and merchandising in person rather than behind a dashboard.

The result

There are no vanity numbers to wave around here, and I won't invent any. What this work proved is range: I worked to grow a brand in a category where the easy, expensive paid-media shortcut doesn't exist. That forces real marketing discipline — knowing who actually buys, getting product into the right doors, showing up where your customers already are, and selling face to face. The partnership targets were credible names in the space, the B2B list was real and I worked it directly, and the Lockn' activation was a live sales-and-inventory operation I ran on the ground.

The challenge

Live entertainment is a brutal place to make money: the field is saturated, buyers shop on price, and most performers never build a real demand engine — they wait for the phone to ring. I decided to run my own music business like a company that has a marketing department, except the marketing department is one person. Me. Brand, web, SEO, the booking funnel, listings, reviews, the sales conversations, and the actual gig delivery all had to come from the same operator, and it all had to pay for itself on my own books.

What I did

• Built and shipped a fast Astro website (jordanlovinger.com) myself — design, copy, and code, not a template I paid someone to fill in.
• Stood up an SEO content engine — a working blog plus service pages — built to rank for the local booking searches real customers actually type.
• Wired a self-serve quote-and-booking funnel with Stripe payment links so a lead can get a price and pay without me chasing the thread.
• Ran the discoverability and distribution layer end to end: Google Business Profile and reviews, plus listings across GigSalad, Thumbtack, and The Bash.
• Owned positioning, email, scheduling, event management, and the performance itself — and landed corporate and institutional clients (NBCUniversal, Life Time, Pinnacol Assurance, the Denver Art Museum), not just one-off private parties.

The result

It works, and it shows up on my own books: around $20,000 in live-performance income across 40-plus invoiced bookings in 2025, and — with the teaching side counted — a business that grossed over $44,000 that year, run entirely by one person. The client list is the part I'm proudest of: NBCUniversal, Life Time, Pinnacol Assurance, the global law firm Womble Bond Dickinson, the Denver Art Museum, a weekly residency at Goosetown Tavern, and regular sets at Dazzle, Denver's premier jazz club. No agency, no marketing hire, no outside budget — just the funnel I built, landing real clients in a market that eats most performers alive.

The challenge

My private lesson business — guitar, bass, and singer-songwriter instruction in Denver — is a textbook local-service problem: keep a calendar of recurring students full, without burning money on ads. The demand is there; people in Denver search for lessons every day. The job is to be the obvious answer when they do, then convert that inquiry into a student who keeps showing up week after week. So I built it the same way I'd build it for any local client.

What I did

• Built dedicated lesson landing pages for each offering (guitar, bass, singer-songwriter) so each search intent lands on a page that actually answers it.
• Wrote a blog content cluster targeting what real prospects type — '[instrument] lessons Denver' and cost/'how much does it cost' questions — to capture organic search at the top of the funnel.
• Built a lead-capture and onboarding funnel on MyMusicStaff that turns a cold inquiry into a booked, recurring student instead of a one-off reply.
• Stood up a reviews and reputation engine on Google so satisfied students feed credibility back into the top of the funnel.
• Tuned the whole system to lean primarily on organic search and referrals — the cheapest durable demand a local business can own.

The result

The result is a recurring roster of 18 active students and more than $23,000 in lesson revenue in 2025 alone — sourced largely through organic search and referral. It's not a campaign that ran once; it's a system I operate live, every day, on my own business: the local-SEO pages, the content, the MyMusicStaff intake, and the Google reviews all feed each other to keep the calendar full. And I'm the one person running every piece of it.