Evelyn Partners’ Post

This year’s Tramlines Festival and The Fringe at Tramlines provided a combined £7.3 million boost to the city’s economy. https://lnkd.in/egPYcn4Z #Events #Festival #EventProfs

🎸✨ Rocking Out and Reflecting at the Lynyrd Skynyrd and ZZ Top Concert! I’m here tonight, taking in not just an amazing show, but also some great insights that apply to our work in government service and public procurement. Watching these legendary bands reminds me of the key principles we use every day: Collaboration: Just as these musicians seamlessly come together to create something memorable, we in public procurement need to work across departments and with vendors to deliver the best outcomes for our communities. Resilience: These rock icons have adapted to decades of change. Likewise, in procurement, we face evolving regulations, new technologies, and shifting market dynamics with resilience and determination. Adaptability: Whether it’s keeping up with the latest in sustainable procurement or navigating supply chain challenges, staying ahead of trends ensures we deliver the best value for taxpayer dollars. As Lynyrd Skynyrd celebrates 50 years of music, I’m reminded that public procurement is also about longevity, efficiency, and creating lasting impact. Let’s keep rocking our commitment to excellence in public service! 🎶 #PublicProcurement #GovernmentService #Collaboration #Resilience #Adaptability #ContinuousImprovement #NIGP #VAGP #MPPA #ProcurementExcellence

Further Growth For The Cultural Sector in the Welsh Capital Impressive new plans have been unveiled by Canolfan Mileniwm Cymru | Wales Millennium Centre (WMC) for a new 550-capactity theatre next to the city's new £250m 15,000-seater indoor arena. WMC currently generates over £70m per year for the Welsh economy, attracting 1.8 million visitors to its iconic building. We recently launched our report on creative industries in Wales which highlighted that in 2022 alone, the sector generated a £3.8bn turnover, making 5.3% of total Welsh GDP. It is further estimated that in 2022 there were close to 10,500 active enterprises in the Welsh creative industries sector (including freelancers), employing between 68,000 and 90,000 people. We hope, through plans such as this, a model of sustainable growth that focuses on increasing the number of small (10-49 employees) and medium size (50+) firms will produce strong benefits by providing better local employment, more skilled jobs, and building firms’ capacity and capabilities to innovate, develop and diversify, as well as more means with which to increase their production and exports. Read the full report below: https://lnkd.in/dE-WrCnh FSB Wales (Federation of Small Businesses) https://lnkd.in/dAQ4nqzU

The UK is one of only three net exporters of music globally; the world’s largest exporter of books; and second only to the US in advertising. The UK's creative sector therefore plays a pivotal role in driving the national economy. According to the Department for Culture, Media and Sport and Creative UK, creative industries generate around £125 billion annually - spanning advertising, architecture, design, fashion, film, software, music, performing arts, publishing, TV and radio. Altogether, these industries account for 5.7% of the UK’s total GVA and employ 2.3 million people. Credit to FT Global Media Editor Daniel Thomas for giving such a strong platform to the sector in the Financial Times today, where he examines how a Labour government could drive growth in the UK’s creative industries, including UK Culture Secretary Lisa Nandy's commitment to “walk alongside” the sector and making it a cornerstone of Labour’s national growth strategy. #CreativeIndustries #Labour #Investment #EconomicGrowth #Culture

We are delighted to work with partners on a new £6.75m initiative to make the Liverpool City Region a leader in music industry research, development and innovation. MusicFutures, a government-funded Creative Cluster programme, aims to create jobs, harness creativity, and drive economic growth in the city region. Find out more ➡️ https://lnkd.in/e72Ptf6M

🎶 Anyone excited about the Taylor Swift concerts? Toronto is gearing up for an unforgettable experience as Taylor Swift arrives on November 16! With 500,000 visitors from outside Toronto expected for her six shows at the Rogers Centre, downtown is set to be buzzing with excitement—and a bit of chaos. Traffic congestion, packed public transport, and full parking lots are just a few challenges we might see. City officials are preparing to manage the influx, but my thoughts go out to those who live and work downtown. How are you planning to navigate the excitement? Are you embracing the chaos, or finding ways to avoid it? Share your thoughts and tips below! Also, What are your thoughts on how cities can better prepare for large events like this? Share your ideas below! ⬇️ #CityPlanning #CommunityEngagement #toronto Build Recruitment Inc - Follow Us

One of the greatest struggles that any creative will experience – whether they be musicians, artists, writers, or anything – is finding like-minded peers who share your vision and appetite. But what if there was a way to connect with those people, to find your tribe, and to be amongst supportive individuals? That's where names like Tileyard London come into things. Having initially started as just a few studios with a tiny café, it soon blossomed into a creative arts hub, where people of all fields – artists, bands, management companies, distributors, and more – can come together to share their talents, efforts, and resources in what has since become a globally recognised creative community. With a myriad functions, ranging from offering studio facilities (and hosting names like Drake and Mark Ronson), to being a venue, to boasting co-working spaces, amenities, educational facilities (Tileyard Education), a management, publishing, and record company, and just about everything else you could possible imagine, it goes without saying that if you want Tileyard to do something, it probably already does it. For our latest Venue Spotlight, we spoke to Tileyard's Head of Partnerships and Events, Bryan Borcherds, about the history of Tileyard, the initial vision, and how things have grown. Read the full feature here: https://lnkd.in/g4krVAxu

I woke up to another shock in Quebec. Things are not looking good for Quebec businesses these days. What are some of the reasons for JFL filing? The primary reasons behind the festival's financial difficulties include: 1. Pandemic Impact: The global pandemic forced the festival to effectively cease operations for two years, resulting in significantly reduced revenue while still incurring nearly all of the associated overhead costs 2. Inflation: Following the pandemic, the festival has been grappling with inflationary times, which means that the cost structure of the festival has increased appreciably, exerting unprecedented financial strains on the organization. 3. Changing Entertainment Industry: The entertainment industry has undergone significant changes, and the festival has struggled to adapt to these new conditions, which have affected its financial stability. 4. Internal Challenges There have been reports of internal challenges and serious problems within the festival organization. For example, the president and CEO of Juste pour rire/Just for Laughs, Charles Décarie, left his job in early January, and at least 10 employees were let go prior to the holidays in December. 5. Competition: The emergence of new, large-scale comedy events, such as the Netflix Is a Joke Fest, has introduced tough competition for JFL, potentially impacting its standing in the global comedy festival circuit. 6. Silence and Lack of Communication: There has been a notable silence from the JFL side regarding the festival's plans and programming, which is unusual compared to previous years when announcements and communications would have been made by this time. 7. Ownership and Financial Backing: The Just for Laughs Group is 51% owned by Bell Media and Groupe CH, with the remaining 49% owned by Creative Artists Agency. There is no clear indication of the current financial commitment of these stakeholders to the festival, especially in light of the financial challenges. These factors combined have created a "very difficult financial situation" for the festival, necessitating a formal restructuring process to avoid bankruptcy and hopefully allow the festival to return in 2025. Hopefully they can turn it around. I used to love going to the festival. #justforlaughs #comedy #business #hardtimes #quebec Ville de Montréal

Staggered that the Co-op Live venue in Manchester has balked another one of it's gigs, not even at the 11th hour, but at the 11th minute, asking ticket-holders to "kindly disperse from outside the venue". It's not been a smooth start at all. Even the CEO has resigned effective immediately in the past 10 days. What is causing this? What is it that they just haven't got a handle on? Have they got some sort of unrealistic expectation, optimism bias or confirmation bias that is making them behave unusually positively? Edit: Reports are that some part of the air handling infrastructure fell from the ceiling.

The engagement of local residents in initiatives in their locality is important. Community engagement is key