New Orleans · Booked Worldwide · Since 2007

We don't broker the band.
We are the band.

Most entertainment agencies are address books. They forward your inquiry to a subcontractor and hope. We employ our musicians, we built our own productions, we own our production inventory, and our catalog runs four generations deep. One contract. One crew. One company accountable for the whole night.

2007Founded in New Orleans
3House bands on payroll
10Productions we own
1,000+Songs in the book
4Generations of Credos

The difference

A roster is a promise someone else has to keep.

The largest agencies in this business advertise thousands of entertainers and describe themselves as cooperatives and databases. Read that carefully: it means the people who sign your contract are not the people who walk on your stage. Every planner has a story about the lineup that changed between the showcase and the ballroom.

We are built the other way around. Ask us who is playing and we will name them, put them in your contract, and send you video of that exact lineup.

	The roster model	The William Credo Agency
Who plays	A subcontractor assigned after you sign	Named musicians, written into the contract
Who is accountable	The agency bills you; the band answers to itself	One company owns the booking and the performance
Production	Outsourced to a partner, or your problem	Our inventory, our engineers, one invoice
The show itself	A genre and a song list	Ten productions we wrote, cast and staged
Custom music	Add horns to a cover	Original arrangements and commissioned works we publish
Multi-night events	Three agents, three contracts, three travel bills	A different headline show nightly, one contract
Price	"Contact us"	Investment tiers published on this site

Trusted by

Nineteen years of rooms where nothing is allowed to go wrong.

Apple
Google
Boeing
IBM
Coca-Cola
Mercedes-Benz
Lockheed Martin
Cisco
Shell
Siemens
General Electric
Pfizer
Delta Air Lines
Chevron
Toyota
Dell
HP
CVS Health
UnitedHealth Group
Berkshire Hathaway
Hilton
The Ritz-Carlton
Zurich
Xylem
Mitsubishi
Live Nation
The NFL
The NBA
The PGA
ESPN
MTV
ABC
CBS
Discovery
Super Bowl

Their arrangements and professionalism set them apart from all of the other groups in this genre.

Betsy CannowayXylem / All Pro Productions, Nashville

The most professional band we've booked in ten years of events. On time, on point, unforgettable.

Samuel E. SmithProduction Manager, Las Vegas

Four divisions, one company

The whole night, from the first downbeat to the load-out.

01

International Party Bands

Three house bands — The Mixed Nuts, Sugar Shaker and After Party — scaling from a seven-piece in a courtyard to twelve on a ballroom stage, with live horns, an in-house DJ covering every set break, and a bandleader who runs your room.

02

Legacy Tribute Series

Ten full productions we built ourselves, plus two New Orleans festivals we founded. A different headline show every night of your event, from one company, under one contract, on one travel bill.

03

Production Services

Concert-grade audio, intelligent lighting, LED and projection, and mobile staging up to festival scale — owned, trucked and operated by our own crew. From a ceremony PA for a hundred guests to a main stage for twenty thousand.

04

WCA Music Publishing

An independent label and publishing arm — WCIII Records — with a catalog running from the 1940s to the present. Original arrangements, commissioned works, and pre-cleared repertoire for events you intend to film, stream or broadcast.

Black-and-white studio portrait of Chuck Credo IV in a dark suit, arms folded, standing before a seamless backdrop. — Chuck Credo IV. Fourth generation, owner and music director.

Four generations

A New Orleans police officer's snare drum started this.

Chuck Credo IV picked up a guitar at six years old to play in his grandfather's Dixieland band. That grandfather, the clarinetist Chuck Credo Jr., led the Basin Street Six, played the 1984 World's Fair, and shared the Tulane Stadium field with Al Hirt at the Saints' earliest games. His father, Judge William "Chuck" Credo III, sat on the Louisiana Music Commission by the governor's appointment and still plays the Beatles Festival every July.

Chuck IV formed The Mixed Nuts at sixteen, has music-directed for Cyndi Lauper, Allen Toussaint and The Drifters, founded America's second-longest-running Beatles festival, and was inducted into the Louisiana Cultural Hall of Fame in 2020. He still books, casts and produces every band in this company himself.

Start here

Tell us the date and the room. We'll come back the same day.

Availability, what each option needs, and one all-in number — including travel, backline, freight and production. If you have more than one night to fill, say so and we'll program the whole arc instead of quoting you a band.

504-239-9133

Corporate & Conventions

Your most visible night, run by people who have never missed a cue.

General sessions, awards dinners, sales kickoffs, incentive trips, brand activations and closing parties — programmed as a run of show, not booked as a band.

What you are actually buying

A band is the easy part.

The reason Fortune 500 planners rebook us is not that we play well — plenty of bands play well. It is that the paperwork arrives before it is asked for, the walk-on music is cut to the exact length of the CEO's walk, the volume respects a room that still has to network, and load-in happens when the venue said it could happen.

Run-of-show discipline

Walk-ons, award underscoring, sponsor reads, sting cues and hard outs, rehearsed against your script and held to the minute.

Set lists approved in advance

Clean-lyric by default. You see and approve the full program before we load in. Do-not-play lists honored without argument.

Vendor paperwork, fast

COIs, W-9s and venue riders turned around in one business day, handled by the agency rather than the musicians.

Volume that respects the room

Sound aimed at the dance floor, not the dinner tables. Your guests can talk through dinner and still be on the floor by ten.

Production travels with us

Concert-grade audio and intelligent lighting included in the quote, operated by our engineers. No third-party coordination on your desk.

One landed number

Travel, lodging, backline, freight and per diems quoted upfront. The number we send is the number you pay.

Program the whole event

A different headline show every night, without three contracts.

Because we own ten productions and employ the musicians who perform them, a multi-night event can have a genuinely different headline act each evening — and you fly one company in once.

Night one — Arrival

The Hello Dollys or Haul'n Boats. Close-harmony 1940s swing, or the smoothest records of the late seventies played by a horn band that means it. Conversational volume, immaculate, sets the tone.

Night two — Gala & awards

Billy vs Elton or Eagles vs Fleetwood Mac. A two-hour concert experience that doubles as your awards program, with underscoring and walk-ons built in.

Night three — Closing party

SUPAFLY, All That & A Bag of Chips or Britney vs Justin. Continuous, segued, choreographed. Nobody sits down and nobody leaves early.

Where the saving actually comes from: you fly one band in, and they are already there on night two. One load-in, one crew, one set of flights, one contract — and your audience sees a different headline act every evening.

Segments we serve

Conventions & general sessions

Opening plenaries, walk-in and walk-out music, house band for a multi-day program, and closing-night entertainment that justifies the registration fee.

Galas & awards nights

Underscored award sequences, orchestral arrangements for the room's biggest moment, and a dance floor that fills the second the program ends.

Brand activations & launches

Custom arrangements built around a brand theme, and — because we own a publishing catalog — music you are actually cleared to film, stream and cut into a recap reel.

Incentive & destination programs

Full production that travels. We have played London, Dubai, Barcelona, Rome, Venice, Munich, Nassau and Las Vegas, and quoted every one of them as a single landed number.

Non-profit & institutional galas

Boards, donors and mission moments, at a budget that has to be defensible in an annual report. We publish tiers so you can plan before you call.

Conference & convention partners

DMCs, convention services managers and hotel entertainment buyers work with us on standing terms. Ask about repeat-program rates.

The most professional group we've worked with in years. Flawless from load-in to last note.

Nicole RussoGeneral Electric, corporate event

They read our crowd perfectly and never let the energy dip. Our guests are still talking about it.

Jean McIntyreGulf South Productions

We've had them for the past ten years. They coordinated their entire trip on their own, shipped their gear over and were ready to rock the house, no questions asked.

JenniferRepeat international corporate client

Their arrangements and professionalism set them apart from all of the other groups in this genre.

Betsy CannowayXylem / All Pro Productions, Nashville

Weddings & Private Events

Your whole day, one band, one contract.

Ceremony strings through the second line and on to the after-party — carried by one company, so nothing is handed off at the moment it matters most.

Ceremony to sendoff

Four moments, four different ensembles, one invoice.

01 · Ceremony

Strings and solo piano

Prelude, processional and recessional played by a string duo, a full chamber section or solo piano. Custom arrangements of your own songs with four weeks' notice.

02 · Cocktails

Jazz trio and standards

A New Orleans jazz trio or classic-pop set at conversational volume, from the same company, so the transition is a cue rather than a vendor change.

03 · Reception

Seven to twelve pieces

Live horns, multiple vocalists trading leads, an in-house DJ bridging every set break so the floor never resets, and a bandleader handling every announcement.

04 · Sendoff

A second line, produced properly

Brass band, grand marshal, umbrellas and handkerchiefs, permits filed, police detail coordinated and the route walked in advance. Not an add-on — a production.

Honest advice

How many musicians do you actually need?

Nobody in this business will tell you to spend less. Here is the real answer, from nineteen years of watching dance floors.

Under 100A rhythm section with one or two vocalists is plenty. Horns are a luxury at this size, not a difference-maker.

100 – 250A three-piece horn section is the difference between a dance floor that is busy and one that is packed. This is where the spend actually pays.

250 +A full show-band lineup with horns, multiple vocalists and proper production is what carries a room this size. Anything smaller disappears.

Band or DJ

The comparison, without the sales pitch.

What a band does better

Reads the room and changes course mid-set. Gives your guests something to watch. Plays your first dance as an arrangement written for you rather than the record everyone has heard.

What a DJ does better

Note-perfect originals, an unlimited catalog, no set breaks, a smaller footprint and a lower price. These are real advantages and we will not pretend otherwise.

What we recommend

Both — and it costs less than you think, because our DJ is already in the band. Live band for the reception, in-house DJ covering the breaks. Zero silence all night.

Timing

When to book, told straight.

Twelve months out

For a prime date, this is the booking window. Peak season in New Orleans runs October–November and March–May.

Carnival books first

Anything in Carnival season, and prime Saturdays in spring and fall, typically go twelve to eighteen months out. Krewe balls have their own calendar entirely.

Six months is late

Not impossible — we hold dates and lineups shift — but call rather than email, and be flexible on band size.

From the ceremony strings to the second line, they carried our entire wedding. Flawless and so much fun.

Max & Shayna McDonaldNew Orleans

Everyone told us how incredible they were. No one wanted to leave the dance floor. Worth every penny.

Regina S.Wedding reception, New Orleans

The Legacy Tribute Series

Ten full productions. Eighty years of music. One company that can headline every night of your event with a different one.

These are not acts we represent. They are shows we wrote, cast, staged and staffed — our own production line, which is why we can program an entire event instead of filling one slot in it.

The productions

Billy vs Elton
Two pianos, fifty years of hits, nobody wins and everybody sings. Real piano arrangements at authentic tempos with genuine left-hand parts. Fifteen years touring, eleven countries.
Flagship
Newspaper Taxi
The Beatles as the records sound, not as the band played them live — Sgt. Pepper, The White Album, Abbey Road. House band of America's second-oldest Beatles festival.
The Beatles
Eagles vs Fleetwood Mac
The two biggest bands of the 1970s trading songs all night, built around the winter of 1976 when both owned Los Angeles at once. Harmony as architecture, three and four voices deep.
Theaters & galas
The Hello Dollys
Three voices, one microphone, and the songs that got a generation through a war. Close harmony in the Andrews Sisters tradition, with period staging and costume changes. Patriotic, war-years, girl-group and holiday programs.
Corporate & military
SUPAFLY
Donna Summer, the Bee Gees and ABBA, staged in extravagant seventies outer-space style. Nine musicians, six vocalists, full horns and string lines. Segued end to end — the floor never gets a chance to clear.
Disco & dance
Haul'n Boats
Steely Dan, Toto, the Doobies, Hall & Oates — the smoothest records of the late seventies played by a horn section in captain's hats. The joke is the packaging; the music is not a joke.
Yacht rock
L'Eighties Night
The decade of the arena chorus, treated as music rather than costume. The women of the eighties are the spine of the show — Madonna, Whitney, Tina, Cyndi. The safest call on the roster for a mixed-age room.
The eighties
All That & A Bag Of Chips
The nineties did not have a sound, and that is the entire point. Every genre the decade produced, live, with choreography, synced video and transitions written in so the energy never resets.
The nineties
Britney vs Justin
Two Mouseketeers, one breakup, twenty years of songs everybody still knows. Built to reproduce the Max Martin, Neptunes and Timbaland productions properly — aimed squarely at the people now signing the contracts.
Y2K pop
STYLE
A full-production Taylor Swift concert starring Juliet Liuzza, with six musicians and four dancers. The only show here whose subject is still filling stadiums — and the only one that sells a family ticket.
Current era

Two festivals we founded

We don't just play them. We produce them.

New Orleans Beatles Festival · since 2002

The second-longest-running Beatles festival in the United States, held every July at the Jefferson Performing Arts Center. Louisiana musicians playing the Fab Four, once a year, at home.

Stones Fest New Orleans · since 2011

An annual celebration of the Rolling Stones catalog, built as an all-star jam that pulls in the wider classic-rock songbook.

Billy vs Elton on stage — two grand pianos facing each other, the full band centre stage, a packed theatre with the balcony full behind them. — Billy vs Elton. Two pianos, fifty years of hits, and a room that knows every word.

For agencies, venues and presenters

We are the rights holder, not the middleman.

If you are an agency, a casino entertainment buyer, a theater presenter or a festival producer, these shows are available to you directly. We own the productions and employ the casts, which means we can supply a multi-night run, a residency or a full buyout — with a technical rider, stage plot and marketing kit that were written by the people who built the show.

Casinos Multi-night runs and rotating residencies
Theaters Seated concerts, scalable production package
Festivals Sixty to ninety minutes, no breaks, full production
Agencies Sub-licensing and white-label bookings

What ships with every show

Technical package

Stage plot, input list, lighting plot, power requirements, load-in timing and truck pack, per configuration.

Marketing package

One-sheet, hi-res photography, logo files, short and long bios, video reel and radio spots. No email wall — ask and it's sent.

Scaling

Every show runs as a full production or a reduced configuration, priced accordingly. Tell us the room and we'll tell you which.

The Bands

Three house bands. Same standard, different rooms.

All three are ours — cast, rehearsed, contracted and produced by this agency. You are never routed to a subcontractor, and the lineup you approve is the lineup that plays.

Nine pieces · since 1998

The Mixed Nuts

The flagship. Three female and three male vocalists, full rhythm section, saxophone and trumpet — nine pieces at every event, no exceptions. Roughly 150 dates a year, a 600-song book, and the band Fortune 500 companies book twice.

Best for: galas, conventions, luxury weddings, anything where the room has to be carried for four hours.

themixednuts.com

Seven or nine pieces

Sugar Shaker

New Orleans funk, soul and dance with a modular lineup built for the road. Add horns for a bigger wall of sound, scale back for an intimate set, and bring concert-grade audio and lighting that travels with the band.

Best for: festivals, corporate parties, touring and destination programs, rooms from fifty to ten thousand.

sugarshakernola.com

Seven, nine or twelve pieces

After Party

The clearest packaging we offer. Seven-piece with in-house DJ; nine-piece with the 504 Horns and live charts; twelve-piece full show with a second guitar, two on-stage dancers, expanded lighting and choreographed features.

Best for: Carnival and krewe balls, awards nights, weddings, anything that needs to scale up or down late.

afterpartyneworleans.com

Also available

Chuck Credo IV

Solo acoustic through a fourteen-piece ensemble, plus music direction, MC and lecture engagements, and studio production. Blues, rock and New Orleans R&B.

chuckcredo.com

Ensembles & specialty

String quartets and chamber sections, New Orleans jazz trios, brass bands, gospel choirs, ceremony musicians, live-band karaoke and DJ-hybrid sets.

National & celebrity talent

Headliner procurement through our own buying relationships. We have shared stages with Journey, Taylor Swift, The Temptations, REO Speedwagon, Cyndi Lauper and Frankie Valli.

Ancillary entertainment

Strolling acts, live event painters, stilt walkers, silent discos, photo booths, dancers, comedians and venue uplighting — coordinated on the same contract.

Louisiana Music Hub

Our regional network of Louisiana players, from Dixieland veterans to session musicians, for programs that need authentic local personnel at scale.

WCA at Louis Armstrong International

We program live New Orleans music at the city's airport, seven days a week, all year. It is the first thing your guests hear when they land.

The repertoire

A thousand songs, and we'll learn yours.

Across the three bands the book runs past a thousand titles — today's charts, hip-hop and R&B played live by a horn band, Motown and Stax, funk, disco, classic rock, country crossover, first dances, and the New Orleans catalog that is the reason clients fly us in: Fats Domino, Irma Thomas, The Meters, Professor Longhair, Louis Armstrong and a proper second line.

If your must-play isn't in the book yet, get it to us about four weeks out and it will be in the set — arranged for the lineup you booked, not approximated.

Musicianship

Our players come out of concert touring, television broadcast, film, Broadway and studio session work, including Grammy-nominated projects. Chuck Credo IV has served as guitarist and music director for Cyndi Lauper, Allen Toussaint and The Drifters.

1,000+Songs in the book
150Dates a year, flagship band
7–12Piece configurations

Production Services

We own the stage, the rig and the crew. So there is nobody to blame but us.

Most agencies outsource production to a partner, or leave it on your desk. Ours is in-house — designed, trucked and operated by our own engineers, on the same contract as the band.

Audio

P.A. and sound design

From an economical powered system covering a hundred guests at a ceremony to a concert rig covering twenty thousand at a festival, designed for the specific room. Our engineers have worked events up to and including live GRAMMY Awards broadcast.

Lighting

Design, not just fixtures

Intelligent and LED fixtures with AVO consoles and Chauvet inventory. Lighting designed to the room, the brand palette and the camera — because the photographs are what outlive the night.

Staging

Decks to mobile stages

Stage Right decking in 4'×8', 4'×4' and 3'×8', choir and rolling risers, plus Stageline mobile stages — SL100, SL250/260, SL255/265, SL320, SAM555 with covered wings and SAM750 — for outdoor and festival scale.

Video

LED wall and projection

LED wall rental and installation, projection and content playback, with synchronized video packages built for the shows that use them.

Backline

State-of-the-art backline

Full backline service for national acts, regional festivals and international corporations, so visiting artists arrive to gear that matches their rider.

Crew

Stage management

Rider negotiation, contract review, transportation coordination, load-in scheduling and on-site stage management. The part of the job nobody sees, and the only part that determines whether the show starts on time.

Why in-house matters

One crew, one contract, one number to call at 4 p.m.

When the band and the production company are two vendors, every problem becomes a negotiation — who owns the delay, whose power drop failed, whose engineer mixed it too loud. When they are one company, the problem is simply ours, and it gets fixed while you are doing something else.

It also means the quote is honest. Production isn't a line item that appears after you have committed to the band; it is in the first number we send you.

A stadium stage build seen from the seating deck — flown line array speaker hangs, lighting truss, LED screens and stage decking in an empty arena before doors. — Flown line array, truss and LED at stadium scale — load-in, before doors.

Music publishing & clearance

The problem nobody else in this category will solve for you.

If you are filming your general session, streaming a keynote, or cutting a recap video for social, the music in that footage is a rights problem — and every other entertainment agency will quietly leave it with you and your legal team.

We run a publishing arm. WCA Music Publishing and WCIII Records hold a catalog spanning the 1940s to the present, and write new material for commercials, film and games. That means we can supply pre-cleared repertoire and owned masters for anything you intend to capture and distribute.

Custom & commissioned work

Original arrangements

Charts written for your lineup and your moment — a processional, a first dance, an award fanfare, a company anthem — not a cover approximated on the night.

Commissioned compositions

A new work written for your event, recorded, registered and delivered to you with a lead sheet. You leave owning something.

Orchestral expansion

Add a string section, expanded horns, Latin percussion, a choir or specialty vocalists to any of our bands, scored properly rather than bolted on.

New Orleans

An agency in Los Angeles cannot learn this city. We were born in it.

If your event is in New Orleans, the entertainment is not the hard part — the permits, the routes, the police details, the load-in windows and the unwritten protocol are. That is operational knowledge, and it is four generations deep here.

The second line, actually explained

It is a permitted, policed, routed parade. Not an add-on.

Most vendors sell you "a second line" and hand you a brass band. A second line in the city of New Orleans is a municipal event with paperwork, and it is filed under City Ordinance #17271.

Two formsThe Master Special Event Application, plus the Supplement C parade form.

60–90 daysThe practical filing window. File early — later than this and you are hoping, not planning.

≈ $200Typical permit cost.

≈ $385 min.Police escort, minimum. Scales with route length and time of day.

6–8 blocksMost routes. Roughly 45 minutes of escort time.

We file the forms, coordinate the detail, walk the route in advance, provide the grand marshal, the brass band, the umbrellas and the handkerchiefs, and run the push-off on a cue. You approve a route map.

Venue intelligence

We hold the load-in file on this city.

Load-in doors and freight paths. Power drops and whether they are actually where the plot says. Stage weight limits and ceiling heights. Sound ordinances and hard curfews. Union rules. Which ballrooms need a generator and which courtyards go silent at ten.

For the hotels, museums, estates, warehouses and theaters we have worked in for nineteen years, that information lives in our files, not in a guess. Ask us about a room and you will get an answer, not a site-visit request.

Carnival

Krewe balls have their own rhythm — the tableau, the court presentation, and the moment the room is finally released onto the floor. Carnival season books first and books hardest. Nobody plays a Mardi Gras room like a band from here.

The cultural program

New Orleans, produced — not decorated.

Brass & second line

Traditional brass bands, grand marshals, social aid and pleasure club protocol observed properly, dance troupes and full parade production with permits and details handled.

Jazz & heritage

Dixieland and traditional jazz ensembles drawn from players who learned it from the previous generation, plus New Orleans R&B and funk repertoire played by people who grew up on it.

Destination programs

Multi-day entertainment arcs for conventions and incentive trips: arrival reception, gala, closing party and a second line, sequenced and permitted as one program.

For DMCs & hotel buyers

Standing terms for destination management companies, convention services managers and hotel entertainment buyers running recurring programs in this market.

Planner familiarization

Bring your team to New Orleans, see the bands live, walk the venues, hear a second line and eat properly. We host planner visits — ask.

Hear us live, publicly

Our bands play public dates around the city all year, and we produce two annual festivals. Before you book, come hear the actual lineup in an actual room.

Our Story

Four generations. One city. The same job.

The William Credo Agency was founded in 2007, but the work is considerably older than that — and it has never once been done by someone who wasn't a working musician.

The line

First generation

William "Bill" Credo Sr.

A drummer, and a member of the New Orleans Police Department. The snare came first.

Second generation

Chuck Credo Jr. · 1926–2010

Jazz clarinetist. Led the Basin Street Six and the Skylarks, played the 1984 World's Fair, shared the Tulane Stadium field with Al Hirt at the Saints' earliest games, and toured from Ireland to Singapore.

Third generation

The Honorable William "Chuck" Credo III

A Jefferson Parish judge, appointed to the Louisiana Music Commission by Governor Mike Foster, and a legislative advocate for Louisiana musicians. Still performs at the New Orleans Beatles Festival every year.

Fourth generation

Chuck Credo IV

Guitarist, producer, music director and festival founder. Started at six in his grandfather's Dixieland ensemble, formed The Mixed Nuts at sixteen, and by eighteen was playing weekly across the Gulf Coast and the SEC. LSU, Manship School. Inducted into the Louisiana Cultural Hall of Fame in 2020.

Archive photograph of Chuck Credo Jr. seated in a suit, holding his clarinet. — Chuck Credo Jr., clarinet.
The Basin Street Six.

Credentials

2020Louisiana Cultural Hall of Fame, inducted
Hall of FameLouisiana Music Commission
ILEAInternational Live Events Association
CSEPCorporate Special Events Professional
IEBAInternational Entertainment Buyers Association
InsuredFully insured; COI and W-9 on request, one business day

Music direction & the catalog

Stages shared, records made.

Chuck Credo IV has served as guitarist and music director for Cyndi Lauper, Allen Toussaint and The Drifters, and our bands have shared stages with Journey, Taylor Swift, The Temptations, REO Speedwagon, The Four Tops, The Doobie Brothers, Kid Rock, The Go-Go's, Levon Helm, Frankie Valli, Harry Connick Jr., Boyz II Men, Chic, Trace Adkins and Big Freedia.

WCIII Records

Our independent label. The catalog includes the Basin Street Six recordings and Credo productions — which is to say, our own family's back catalog is part of the asset.

WCA Music Publishing

Publishing spanning the 1940s to the present, writing new material for commercials, film and video games, and clearing repertoire for events that get filmed.

Louisiana Music Hub

A regional network connecting Louisiana musicians to work, and clients to authentic local personnel at whatever scale a program requires.

Giving back

The William Credo Foundation

A 501(c)(3) focused on New Orleans community impact, with a particular commitment to military and veteran families — a commitment that runs in the family. We work with the Gary Sinise Foundation's Soaring Valor program, Each One Save One, Catholic Charities, The Material World Foundation and The National WWII Museum, and we welcome World War II veterans at our events.

Press

The Times-Picayune · NOLA.com

Keith Spera on the New Orleans Beatles Festival and the agency's two decades presenting it.

OffBeat Magazine

"Let It Be: New Orleans Beatles Festival Gets Back to Where It Once Belonged," and earlier features on the New Orleans cover-band economy.

Biz New Orleans

"Setting the Soundtrack," and coverage of the Black & Gold Gala.

GoNOLA · New Orleans Tourism

An official tourism feature on Chuck Credo IV and the city's live-music economy.

Check Your Date

Tell us the date and the room. We answer the same day.

You will get availability, what each option actually needs, and one all-in number — travel, backline, freight and production included. If you have more than one night to fill, say so and we will program the whole arc.

Inquiry

Your name

Email

Phone

Your role

Event type

Event date

Nights of entertainment

City & venue

Expected audience

Investment range

Tell us about the night

Or call 504-239-9133 — we answer. Email WilliamCredoagency@gmail.com.

What things cost

Nobody else in this category will publish this.

Every competitor says "contact us for pricing," which means every buyer arrives anxious. Here is the real architecture, so you can plan before you call. Final numbers depend on band size, date, travel, venue and production.

Under $20KSmaller ensembles, regional dates, seven-piece configurations, ceremony-and-reception packages.
$20 – 32KNine-piece with live horns, in-house DJ, standard production, most regional galas and weddings.
$32 – 45KFull show configurations, one of the Legacy productions, travel dates, expanded production.
$45 – 70KTwelve-piece full show or multi-night programs, orchestral expansion, national and destination travel.
$70K+Multi-night arcs, festival scale, headliner procurement, commissioned original work, international.

Direct

The William Credo Agency, LLC
New Orleans, Louisiana
504-239-9133
WilliamCredoagency@gmail.com

We don't broker the band.We are the band.

A roster is a promise someone else has to keep.

Nineteen years of rooms where nothing is allowed to go wrong.

The whole night, from the first downbeat to the load-out.

International Party Bands

Legacy Tribute Series

Production Services

WCA Music Publishing

A New Orleans police officer's snare drum started this.

Tell us the date and the room. We'll come back the same day.

Your most visible night, run by people who have never missed a cue.

A band is the easy part.

Run-of-show discipline

Set lists approved in advance

Vendor paperwork, fast

Volume that respects the room

Production travels with us

One landed number

A different headline show every night, without three contracts.

Night one — Arrival

Night two — Gala & awards

Night three — Closing party

Conventions & general sessions

Galas & awards nights

Brand activations & launches

Incentive & destination programs

Non-profit & institutional galas

Conference & convention partners

Your whole day, one band, one contract.

Four moments, four different ensembles, one invoice.

Strings and solo piano

Jazz trio and standards

Seven to twelve pieces

A second line, produced properly

How many musicians do you actually need?

The comparison, without the sales pitch.

What a band does better

What a DJ does better

What we recommend

When to book, told straight.

Twelve months out

Carnival books first

Six months is late

Ten full productions. Eighty years of music. One company that can headline every night of your event with a different one.

Billy vs Elton

Newspaper Taxi

Eagles vs Fleetwood Mac

The Hello Dollys

SUPAFLY

Haul'n Boats

L'Eighties Night

All That & A Bag Of Chips

Britney vs Justin

STYLE

We don't just play them. We produce them.

New Orleans Beatles Festival · since 2002

Stones Fest New Orleans · since 2011

We are the rights holder, not the middleman.

Technical package

Marketing package

Scaling

Three house bands. Same standard, different rooms.

The Mixed Nuts

Sugar Shaker

After Party

Chuck Credo IV

Ensembles & specialty

National & celebrity talent

Ancillary entertainment

Louisiana Music Hub

WCA at Louis Armstrong International

A thousand songs, and we'll learn yours.

We own the stage, the rig and the crew. So there is nobody to blame but us.

P.A. and sound design

Design, not just fixtures

Decks to mobile stages

LED wall and projection

State-of-the-art backline

Stage management

One crew, one contract, one number to call at 4 p.m.

We don't broker the band.
We are the band.