LolaLiza’s Post

🌟 Taylor Swift's concert in Amsterdam: An evening of near-perfection! 🌟 Last night, Taylor Swift kicked off the first of her three sold-out shows at the Johan Cruijff Arena in Amsterdam and it was nothing short of spectacular. National newspaper Algemeen Dagblad (AD) hailed her performance, noting that "During the first of three sold-out concerts in the Johan Cruijff Arena, Taylor Swift approached perfection. The biggest music star of the moment effortlessly captivated her audience with an illustrious marathon show." 🎶 However, AD also pointed out a significant challenge: "Is there nothing Swift doesn't do well tonight? Well, alright: Swift is ultimately not a sorceress; even she cannot save the acoustics in the Amsterdam stadium, although she sings well. But even that is less bothersome tonight, thanks to the Swifties. Because of them, it resonates anyway." 💫 The acoustic limitations of large venues like the Johan Cruijff Arena can pose challenges for even the most talented performers. While these stadiums offer the capacity to host tens of thousands of fans, the sound quality can sometimes fall short of the experience that both artists and audiences deserve. 😕 🔊 This brings me to a critical question: Should world artists continue to perform in these mega stadiums...? 🎤 ✔ or ❌ #TaylorSwift #acoustics #music #concert

Friday Nonsense™, entry #412: posts on the keys of life[1] Suggested audio[2]: Jurassic 5’s ‘Improvise’ As a kid, I had no idea who Keith Jarrett was, nor was I familiar with 'improvisation'. But standing in a used record store, I did know this—the guy on the cover of that ‘The Köln Concert’ album, hunched over his piano in ecstasy or despair (or both?), was having a moment and I really wanted to hear what it sounded like. When I put vinyl to turntable, I was amazed—it’s lyrical, honest, free, uncluttered, meditative, and astoundingly spontaneous[3]. The recording's backstory is wild—organized by 17-year-old Vera Brandes[4] and the first jazz concert ever played in the Köln Opera House, it almost didn’t happen. Exhausted after a nearly 600KM drive[5] and with a sore back, Jarrett arrives in Cologne…to a mess. Instead of the Bösendorfer 290 Imperial concert grand he’d requested, he’s instead staring at a beaten-up baby grand used for rehearsals. As Brandes put it, it “was completely out of tune, the upper and the lower octaves were wrecked, the black keys in the middle didn’t work, the pedals stuck. It was unplayable”[6]. Jarrett had to improvise _how_ he was going to play an unaccompanied, improvisational concert. Leaning heavily on ostinatos and the playable sections of the keyboard, he trusted in his chops and his ability to make it work[7]. In a business context, improvisation is emphatically _not_ just winging it when the shit hits the fan and hoping something good happens. It _is_ a learnable discipline of calculated flexibility. That flexibility is rooted in how well an org knows its own SWOT and whether it has a foundational strategy agile enough to rearrange its component parts when a new mess requires it. Yes, change is a constant. What's new is that the nature of those changes is harder to anticipate now. Our orgs have less time to pivot, so what we take with us into that improv matters more. You _can_ build and train for this—how you structure your org defines the limits of how it can innovate. Research[8] points out that a ‘minimal structure’ approach provides the ‘sensemaking’ for people and functions to improvise without excessive limitations. Improvisations can also lead to new structures[9]. How you’ve build it equals how well it will work. That comical cluster of circumstances in Cologne resulted in the best-selling piano album in history. As my man Chris Howard put it yesterday, that era's Bregenz, Bremen and Lausanne concerts are arguably better—fewer limitations, more range—but Köln remains a brilliant lesson in constraint-based improvisation. TL;DR? That von Moltke quote about no plan surviving first contact with reality[10]? It’s true. (Complimentary dad joke: What do you call a poor classical pianist? Baroque.) Happy Friday, all. #ocm #innovation #history #transformation #strategy #culture #resilience #management #futurism #music #psychology #technology #future #creativity #fn412 #fridaynonsense

The scorching summer heat is a time to recharge batteries, bring in new perspectives and #leave #comfort #zones. The latter is essential for growth. This year, for the first time, I participated at the #Sziget music festival for the entire 6-day-duration. Why was it stepping out of my comfort zone? #1. The age group between 20-30 represent 90% of the festivalgoers and most people don’t attend events where their age group is considered fringe. #2. I went to the festival without knowing the artists. Obviously when I work, I have absolutely no time to keep up with the names and styles of bands. It was thus a perfect occasion to learn about Stormzy, Raye, Halsey, Aurora or Fred again and decide what I like to listen to. #3. Sziget is a big island in the middle of the Danube; crossing it multiple times a day to watch a show meant a 15-km-walk each day. My bet is that it’s one of the most enjoyable ways getting into shape at speed of light. #4. Getting the feel for GenZ was really interesting. My impression was that GenZ is a digitally expressive, face-to-face shy, respectful generation. I actually felt at ease surrounded by 450.000 of them during Sziget. #5. It was refreshing doing something so utterly different than the rest of the year. What did *you* do for the first time this summer that took you out of your comfort zone? #summer2024 #SZIGET2024 #leave #comfort #zone

What is it like working with artists and artist hospitality in a festival environment? Is it just parties at the backstage or actually hard work? What qualities are vital in this job? If you are interested in the subject, check out my article "How do you tame an angry tour manager? Artist hospitality in a music festival" in arts management jubilee publication by Sibelius Academy. This is an old one written by yours truly, but still a good and a valid one. Link in comments 🔽 #artsmanagement #festivals #article #artistproduction #festivalproduction

There's been a lot of chatter about the post-Covid thirst for live entertainment abating as some major artists struggle to sell out shows. But on the other hand, Live Nation reported its biggest ever quarter in May and announce that the company is on track for a record year in 2024. (Live Nation said that attendance at its shows nearly doubled for international artists across top 50 global tours compared to five years ago.) Here's the thing: a small number of elite artists like Beyoncé and Taylor Swift are driving massive ticket sales. For everyone else, touring is complicated and always has been. Jennifer Lopez and the Black Keys overestimated their staying power and canceled poorly selling concerts. But Olivia Rodrigo? Her shows have sold out, and tickets on the aftermarket are through the roof. Billie Eilish? Same. And it's impossible to find a ticket for Chapell Roan. All of those artists could play football stadiums if they wanted to do so, but they are not, and so their shows are selling out. The wild card in the deck: ticket fees from Live Nation are so bad that you can find competitive prices on the aftermarket. That's why the Department of Justice has sued Live Nation. If someone is on the fence about seeing Jennifer Lopez, paying excessive fees is just enough to dissuade them. I worry about the lesser known bands trying to make a name for themselves by touring small clubs. They can barely afford the costs of touring amid inflationary pressures. (They have to pay for their own travel costs just like you and I do -- and you know how expensive travel is these days.) They are the have-nots who cost maybe $20 to see at your local club and are playing their hearts out. If you want to support the touring industry and you are fortunate enough to live near a city where options are plentiful, give the lesser knowns a try. The big-name stars will be just fine. #Touring #LITrendingTopics  #TheInsider #Music #Concerts https://lnkd.in/gk3KYA5w

"Hey there, #ArtsAdvocates #ArtsPolicymakers shaping the performing arts scene in Arab countries! Let's dive into the captivating journey of music, dance, and theater in the region. Despite the burgeoning infrastructure for arts and culture, there's a pressing issue: funding scarcity. Imagine the untapped potential waiting to be unleashed! We're talking about platforms, festivals, and markets eagerly anticipated by #ArabTalents, yearning to showcase their artistry. But alas, the lack of financial support remains a formidable barrier. Now, picture this: a vibrant landscape where artists seamlessly navigate touring opportunities across countries, connecting cultures through their mesmerizing performances. It's not just a dream; it's within our grasp. So, dear policymakers, let's work hand in hand to nurture and elevate the performing arts scene in Arab countries. Together, we can create a thriving ecosystem where creativity knows no bounds and where every artist's voice resonates across borders. #SupportTheArts

How do you bring art and culture together in a large format festival like never before!? Roshan Abbas shares the unspoken story of Spokenfest at our upcoming Masterclass at the Shows of India Conclave 2024! Don’t miss this one! Register Now! Link in Bio #showsofindia #panel #events #concerts #art #culture #liveentertainment #MusicFestivals #Festivals #India #Spoken #SpokenFest #SpokenWord 

Cancelled Tours and Rescheduled Shows... Is there a way to prevent that from happening...? Let's Find Out! Lately, we are witnessing a lot of shows interrupted and tour cancellations from well-known artists. Who is going to be next?? Sometimes, artists, during their performances, actually cannot complete the act they have been performing or even often feel that they will have to stop their performance in the middle, if not the tour altogether... Every singer, intuitively feels whether or not they will be able to "lift" their performance(s) to achieve at least a reasonable merit, so to speak. All of that is because the majority of them do not have a solid ground of knowledge on how to power the voice and not kill it, or themselves in the process. Most Recently... Read more here: https://lnkd.in/gZNBFac4

Wrote this piece to help explain to artists who want to do showcase festivals! If you think it might help an artist you know, please feel free to share it to them! https://lnkd.in/gxX6i4Ta

Cancelled Tours and Rescheduled Shows... Is there a way to prevent that from happening...? Let's Find Out! Lately, we are witnessing a lot of shows interrupted and tour cancellations from well-known artists. Who is going to be next?? Sometimes, artists, during their performances, actually cannot complete the act they have been performing or even often feel that they will have to stop their performance in the middle, if not the tour altogether... Every singer, intuitively feels whether or not they will be able to "lift" their performance(s) to achieve at least a reasonable merit, so to speak. All of that is because the majority of them do not have a solid ground of knowledge on how to power the voice and not kill it, or themselves in the process. Most Recently... Read more here: https://lnkd.in/ebUV_Zqw