Brij Gosai’s Post

Why do I still bet on creative conferences? In a world where the digital and physical realms increasingly intertwine, the value of creative conferences has never been more pronounced. I've spent years studying, organizing, and promoting these gatherings because they are more than mere events; they are transformative experiences that reshape culture and the social fabric. With SXSW London coming up soon, the rebirth of MIDEM+ or the expansion of Amsterdam Dance Event beyond electronic music, these gatherings are paving the way for blending art, performance, science, and technology, creating ecosystems where professionals and creatives converge to foster innovation. Festivals such as Primavera Sound or Advanced Music, S.L. take a hybrid approach, combining a strong music lineup with B2B opportunities, offering a bit more than the traditional showcase festivals. These events are essential for discovering new talents and facilitating industry connections, but do they really accelerate the transformation of the industry? Then there are the traditional fairs, which, in an effort to stay relevant, engage consumer brands to create a 'cool' factor, often incorporating elements from their more avant-garde counterparts to attract a broader audience. I'm thinking of Integrated Systems Europe (ISE) or IFA Berlin partnering with TNW to build startup programs. The landscape is further enriched by the emergence of events like ComplexCon and VeeCon... the new kids on the block. These platforms are redefining the conference experience by merging pop culture with industry insights, appealing to both consumers and professionals. They learned from the successes of Lance Fensterman who redefined business events for the masses with ReedPop. Or Karl-Heinz Müller with Bread & Butter back in the day. Amidst this evolving ecosystem, there is ample room for innovators to craft new experiences. We aim to build conferences that not only provide networking opportunities but also serve as a crucible for cultural evolution and a laboratory for societal transformation. Reflecting on an article I wrote in 2017, the passion for events that blur the lines between categories and genres remains (link in the comments). As the event industry continues to move towards an interdisciplinary approach, traditional formats are being reimagined. The quest for attention now requires event producers to seek inspiration from creative conferences, aiming to energize their audiences with fresh perspectives on interaction and knowledge sharing. It's not about attending more conferences; it's about selecting the ones that truly matter—the ones that will change your perspective on life and business. #CreativeConferences #Innovation #Culture #TechEvents Sesamers

From Bureaucrats to Business Moguls Why Today's Governments Must Embrace Entrepreneurial Thinking or Risk Obsolescence In the realm of global entertainment, the recent buzz around Taylor Swift's six-day concert saga in Singapore has sparked an intriguing blend of commercial success and political discourse. The controversy stemming from a comment about Thailand and Singapore's substantial grant to the event underscores the complex interplay between politics and business in the music industry. From a marketing lens, it's evident that commercial enterprises prioritize potential earnings, with political factors (as assessed through PESTEL analysis) often taking a backseat. However, the choice of Singapore, noted for its political stability by the organizers, is telling of the nuanced considerations that underpin such decisions. Diving into the heart of Taylor Swift's appeal, a candid conversation with my Gen Z children shed light on her music's profound resonance. Swift's songs, characterized by their emotional depth and human touch, strike a chord with the younger generation's yearning for authenticity, self-love, and mental well-being. This revelation was somewhat unexpected for someone from a generation that idolized the likes of Michael Jackson, Queen, and the Eagles. At 34, Swift's connection to Singapore, possibly influenced by her parents, might also play a role in this scenario. Looking at Singapore, the proactive and entrepreneurial approach of our younger G4 government is evident. The emphasis on securing economic advantage through high-profile events like Swift's concerts is a strategic move to elevate the nation's brand on the global stage. The Singapore Tourism Board's (STB) long-standing practice of offering grants to events that promise significant branding and economic value is a testament to this forward-thinking mindset. Having been part of organizing an Asia Pacific Quality Network for Higher Learning academic conference, I've witnessed firsthand the stringent KPIs attached to these grants, aimed at ensuring a substantial international presence. The debate over the use of taxpayer money for such initiatives is valid. Yet, if these investments yield considerable returns by enhancing Singapore's global standing and economic health, they warrant consideration. In an era where governments must embody an entrepreneurial spirit to thrive, especially in resource-scarce nations like Singapore, such strategies are not just optional but essential. As we navigate the complexities of global entertainment, politics, and economic strategies, the saga of Taylor Swift's Singapore concerts offers rich insights into the evolving dynamics of our world. It's a vivid reminder of the intricate dance between art, business, and governance in shaping our cultural and economic landscapes.

🇪🇺 Preparing with Nele Hertling two sessions for the European Festivals Association summit in Usedom, here are some of the questions we will address: 🌳 *Mon. 13 May: Denis de Rougemont Lab: Experimenting democracy* Why do we choose to create a festival? To promote an artistic form, to respond to a local need or commission? How does an idea, vision, desire germinate? How does a founder (a person, a group) mobilise around this idea, analyse needs, find resources and strengths? How is the festival project organised over time, and what are the consequences for the group in terms of its composition, skills, mode of action and governance? What weakens the core group or, on the contrary, makes it more robust? 🏡 *Tue. 14 May: Festival Cities and Regions Workshop* ❓ What is new in your relation between cities and festivals that you think is relevant to share with the other cities and regions? ❓ What are the methodologies used by cities and regions to consult their festivals: How do cities and regions initiate and strengthen their dialogue with their festivals? How do cities ‘value’ their festivals - in which policy areas and actions do they address festivals? How do festivals define their relation with their cities beyond funding opportunities? We are tapping into the variety of experiences and political ideas of relation ❓ What is the state of play of the work in progress of the EFFE Seal for Festival Cities and Regions focusing on Environmental Sustainability. 😎 Hope to see you at the Baltic Sea! (or in Berlin 15-16 May) ➕ Programme of the summit: https://lnkd.in/gRSw9K-V ⚡ The EFFE Seal for Festival Cities and Regions: https://lnkd.in/eHjbhp4R #culture #festival #europe #germany #berlin 👀 Nathalie Perrin-Gilbert Jochen Schäfsmeier Elisabeth Champollion Jorge Losana Jochen Christian Sandig Martin Bailly Pascal Keiser

This is a good plan (and I don't say that often) and highlights that the region should be focussing on the brownfields of Parramatta before the greenfields of far western Sydney to minimise environmental impacts of new construction and long distance travel. This plan takes advantage of the City's location and its transport assets and potentials, correctly identifying missing Metro stations (Rosehill and Silverwater) that need to be accounted for, and missing links (Parramatta to Epping) that should be high priority.

🎶The Eurovision Song Contest: More Than Music, a Marketing Spectacle🎶 The Eurovision Song Contest isn't just about catchy tunes and dazzling performances—it's a powerful marketing tool for the countries that participate. Here's why: 1. Cultural Showcase : Eurovision offers countries a platform to showcase their unique culture, traditions, and artistic talents on an international stage. From traditional folk music to modern pop hits, each entry reflects the cultural identity and diversity of its nation, attracting global attention and fostering cultural exchange. 2. Brand Exposure : Participating countries strategically leverage Eurovision to enhance their global visibility and promote their tourism, trade, and investment opportunities. Through captivating performances and creative staging, countries aim to leave a lasting impression on viewers worldwide, positioning themselves as attractive destinations for tourism and business. 3. Diplomatic Soft Power : Eurovision serves as a diplomatic tool for countries to enhance their soft power and strengthen international relations. By participating in the contest, nations engage in cultural diplomacy, promoting goodwill and friendship with other participating countries and audiences across the globe. 4. Economic Impact : Hosting or participating in Eurovision can have significant economic benefits for countries, generating revenue from tourism, hospitality, and media exposure. The influx of visitors, media coverage, and promotional activities associated with the contest contribute to the local economy and create business opportunities for various industries. 5. Audience Engagement : With millions of viewers tuning in from around the world, Eurovision provides an unparalleled opportunity for countries to engage with a diverse and captive audience. Social media platforms amplify the conversation, allowing countries to interact with fans, promote their entries, and generate buzz leading up to the contest. 6. Brand Building : Eurovision offers countries a platform to enhance their national image, brand reputation, and global perception. A successful performance can elevate a country's profile, boost national pride, and leave a positive impression on audiences worldwide, contributing to long-term brand building and reputation management efforts. In conclusion, the Eurovision Song Contest transcends borders and languages, serving as a dynamic marketing tool for countries to promote their culture, enhance their visibility, and strengthen their global influence. #Eurovision #Marketing #CulturalDiplomacy

😢 Spare a thought this week for one of the region’s most trusted brands. The Co-op group prides itself on ethical values, sustainability and fair trade. Just four years ago it reset its brand to focus on those simple and trusted pillars. But in committing £100m to a 15 year sponsorship deal for the new Co-op Live arena, operated by Oak View Group (OVG), its name is now associated with the botched launch of a project it ultimately has no control over. 🎶 Cock-up Arena, Co-op Chaos, Co-flop Arena may be the phrases being bandied about this week by members of the public, after planned concerts at the new £365m Co-op Live Arena featuring Take That, Peter Kay and rapper A Boogie Wit Da Hoodie were scrapped. 😡 The statement we shared with readers this week from the Co-op Group was laced with fury at the disastrous launch, demanding a clear plan of action. 😇 Reputationally, the city of Manchester has been rescued by the audacious actions of the rival AO Arena, operated by another American entertainment industry giant AEG. My hunch is that punters will be forgiving of the Co-op itself, and are savvy enough to know it’s not their fault. But where it really matters the reputation of Oakview is the one that will take the longest time to recover. Friends of mine who have sponsorship packages are getting anxious they’ve wasted their money. 🙏 But artists, their agents, tour promoters in the music and sports industries, will need some serious reassurance from OVG. As we speak, contingencies will be being made for artists who want to play a music loving city like Manchester, but avoid the calamity that may befall a commitment to the new venue. 🎭 Before all this chaos ensued, talk was all about whether Manchester could sustain two venues of such similar size. 🙏 The irony is that without the original Arena being there to bail it out, it could all have been far worse for everyone.

So here’s my opinion. 👍 What a great advert for a great city. ‘You’re new arena isn’t ready? No problem, we’ll take that 35 truck tour and do it in our other arena’ Something no other city in the UK could do by the way. 💡Maybe this is a moment to build on. Maybe instead of being competitors we could see closer collaboration between these two giants to build on Manchesters reputation as an entertainment/sports centre. Let’s imagine a city based festival with both part of the picture. But, maybe that’s just wishful thinking on my part. 💭 In games world we talk a lot about legacy, let’s unpack that a little here. - the AO Arena opened in 1995, it was the first event I worked. It was built as part of an Olympic bid. Although the bid failed, it helped bring the Commonwealth Games to Manchester in 2002. - The Commonwealth Games needed a stadium, which was built and later became the home of Manchester City. - The Stadium, now Etihad Stadium grew to be a campus for sporting excellence. - The Campus is now home to Co-op Live arena. It’s having hard times, but it will open. It will be successful and all this termoil will fade into the background. And yes, I will be there on opening night too. 🔗 Like it or not. The paths of Manchester Arenas are linked and I’m proud of my association with both these venues. I’m proud of this city, its attitude and resilience. Its a place where I’ve spent many years and have many friends and colleagues. 🐝 I love the attitude of this city. “Think we can’t do it? Watch us!’” It’s been a difficult time. It’s regrettable that fans have been inconvenienced and disappointed in the past weeks. But, Co-op Live, will open, it will be a success and Manchester will have two giants of the event industry to be rightly proud of. 👀 Think differently? Watch us! Take That move Co-op Live shows to rival arena after chaos https://lnkd.in/eNZutqwH

I remember when I was studying economics in my spare time while also teaching yoga. Both fields, though seemingly different, shared a core principle: the search for balance. Whether in economics or yoga, it’s about finding that equilibrium—between giving and receiving, like the flow of inhalation and exhalation, or the rhythm of systole and diastole. Reflecting on Micael Dahlen #happyflation, I see a deeper connection between economic theory, particularly the levels of individual satisfaction, and the importance of self-awareness. Once our basic needs are fulfilled, material things alone rarely bring lasting happiness. More and more, we’re realizing that social connections, good health, discipline, and other intangible aspects of life have a much greater impact on our well-being and happiness.

https://buff.ly/3vh8ZWt Despite facing financial difficulties, larger gatherings are still attracting a substantial number of participants, with a noticeable increase in attendance rates. This trend suggests that despite financial limitations, the allure and excitement of events are on the rise. One possible explanation for this trend could be the growing interest in unique event experiences and networking opportunities that these gatherings provide. In today's digital age, where virtual connections are abundant but face-to-face interactions are limited, individuals are placing more importance on the chance to meet and connect with others in person. Furthermore, event organizers are demonstrating more ingenuity in their approaches, offering innovative solutions to make events more accessible and appealing to a wider audience. Incorporating technologies like live streaming or virtual reality experiences can help bridge the gap for those unable to attend physically, ultimately increasing overall participation rates.

As an entrepreneur who has not only launched and nurtured a business in Stratford but also championed the success of many others, I've had a front-row seat to the power of the Stratford Festival Theatre on our local economy. The recent economic impact report, detailing the festival's significant contributions, does not come as a surprise but rather as a confirmation of what we, as a business community, have experienced firsthand. The Stratford Festival's ability to generate $147.3 million in local spending in 2023 is a remarkable testament to its role as an economic powerhouse. With sectors such as restaurants, accommodations, and retail benefiting immensely, the festival has not just been an event; it has been a catalyst for year-round economic vitality. For instance, the infusion of $24.4 million into local restaurants and $12.3 million into accommodations underlines the festival's profound impact on our community's prosperity. Unlike any other event or attraction in the area, the Stratford Festival stands out for its singular capacity to draw visitors, talent, and investment into our city. This unique position strengthens our local industries, from hospitality to retail, creating an environment where businesses can flourish. The comparison with other tourist destinations only underscores the festival's unparalleled impact on Stratford's economic landscape. From the perspective of someone who has navigated the challenges and celebrated the triumphs of entrepreneurship in Stratford, the festival's economic impact resonates on a personal level. It's a reminder of the resilience and potential of our local economy, spurred on by the arts. The Stratford Festival is more than a cultural celebration; it is one of the cornerstones of our community's economic and social fabric.