00:00:00
Hey, I'm Jodie, event manager, business owner, educator, and podcast host. I'm an introverted homebody wannabe winemaster, and I truly believe in the power of events to inspire, delight, and ignite human potential. Every week, I take you backstage into the wonderful world of business events and give you the insider scoop on how to take your event to the next level. Before we begin, I'd like to acknowledge the Aboriginal and Torres Strait Islander people as the traditional custodians of the lands where we live, learn, and listen. Let's get into it.
00:00:39
Well, Chad. Welcome to the Events Insider Podcast. Hi, Jodie. Lovely to be here. Really happy you asked me.
00:00:46
Oh, no, it's a pleasure. It's great to have you. And as I always say, when I have experts on, it's just so nice to have other people be able to share their expertise, because as an event manager, I feel like I have bits of information and bits of knowledge and experience about all areas of events. But it's really great to have experts in a particular area on to share their knowledge. So I'm grateful that you are joining me today.
00:01:09
Very happy to have my brain picked in any way you wish. I will do. I will do. And I've got a bunch of questions that I want to ask you, so let's get into it. But before we do, I did just want to ask if you could share a little bit about your career and I guess what your zone of genius is.
00:01:25
Well, I had my start at university. I was pretending to study material science, but I spent way too much time at the bar, and the bar became a place where I started DJing, and from that I built up some contacts, and then I started booking entertainment for students. So you had a little side hustle going while you're at Uni? Well, if you could call going to the bar and DJing instead of studying, then yes. But actually, I did do something with that study.
00:01:54
I worked as a science communicator for a few years, which was a brilliant job, but I then upgraded to booking the University of New South Wales Roundhouse, which is where I really started founding the network that I have around Sydney. From leaving there, I joined my hero and mentor, David Milton at Musicland, where we booked heaps and heaps of dozens of bars and venues around Sydney, bands and DJs. That evolved into me taking over the company. Our focus now is primarily on consulting to event production companies for their corporate events and festivals and functions. Okay, amazing.
00:02:34
And I'm still DJing. I've been a DJ for as long as that as well. Oh, amazing. So you obviously really love it. I did actually read that your mantra at Musicland is don't do normal, which I immediately resonated with.
00:02:50
Can you tell me what that means to you? Well, I think that don't do normal sort of ties in with where my zone of genius was. I didn't actually tell you what that was, but the second part of that first question was what my zone of genius was. Based on my experience, I think that I have an inherent way of just DJs call it reading a room, but what it translates to in events is knowing your audience. Yes.
00:03:14
So your audience might be secretaries, it might be truckers, but this is going to be a common thread in everything we say today. It's knowing your audience. And as a DJ, to become a good DJ, you have to have this intangible but very tight connection with whoever you're in front of. That's the same with clients as well. So I feel that based on my experience and knowing how to work with clients and producers, that I can come up with ideas that they're not expecting that still tick the boxes.
00:03:45
Yeah. Amazing for what their briefs are to achieve. So don't do normal. Don't do normal is as much for me as it is for people that want to work with me. For years and years, I used to just look at Events academy, look at Facebook, and look at what all the other people were doing, all these big fancy gigs for huge brands, and I would suffer massive FOMO.
00:04:04
I'd get jealous. I would sort of think, oh, I have to do this. I have to do this type of act. I have to do that type of act. It just got to the point where one of my close friends just pulled me over and said, Just stop, will you?
00:04:17
And he said, Take a look at yourself. He would say, how long has this person been in business? And they'd say, They've been around for five years. And then he'd ask me, how long have you been in business? I'd say, well, 20 years.
00:04:28
Okay, well, maybe you should look at what you know and then do that. So don't do normal is my way of reminding myself that I have a lot of experience and that I want to affect a little bit of change in the industry by offering things that aren't what you would normally see or expect, but still achieve the brief that you've been asked to get. Yeah. And I love what you've said there about it's really up to knowing your audience. And one thing I always talk about is an event is only an event with the guests.
00:05:07
There like, if you don't have guests and you're not delivering to the guests, you don't have an event. And so really, knowing your audience is so important. And I love that you've been able to translate that from being a DJ. That's like event Management 101. Yeah, I love that.
00:05:21
As I said, don't do normal so resonates with me. No one wants to go to the same event all the time, but I do feel like there's an element of that where we are consistently encouraged to push the boundaries and always innovate, and that can be quite overwhelming. I've definitely felt overwhelmed at times and I know for our listeners, sometimes it's really hard to think outside the box. So I guess what advice would you have to people who are feeling a bit pressured to always do things differently? I think to break it down, to be more practical where possible.
00:05:52
I think when I'm faced with a big project, I break it down into smaller chunks. Yeah. And most of the chunks would be chunks that I understand, so you feel like you're achieving something. One of the chunks is drawing up a spreadsheet for a budget, then tick. You got that?
00:06:08
If another chunk is booking a venue or doing some invitations, then that's a tick. You feel good about that, but then you'll get into the mysterious stuff where you don't quite understand and that's where you need to get help. If you're feeling a bit confused about having to do a risk assessment or booking entertainment or florals or whatever it might be, there's a network of people out there, such as myself, that would be more than willing to connect with you, to answer your questions, to hopefully win the work that can help you along with any of those bits that you don't understand. The challenge is, of course, that you need to find those people plenty out there. You need to make the phone calls and it's a process where you might talk with someone on the phone you do need to make a good connection with, not to be friends, necessarily, but to know that you can have a working relationship with them.
00:07:01
When you find a supplier that's happy to have chats here and there to answer questions with you, they know that you're picking their brain and they will hope that they will win the work as a result. Yeah, I love that. Yeah. Never be afraid to ask for help. Yeah.
00:07:17
Because it can feel really lonely planning an event like, we've got the weight of the world on our shoulders and everything could go wrong and it's going to come back on us. And so that's a really good reminder that actually your suppliers are there to help you and that's what they're there for. There's this whole world of suppliers out there that can help you and you don't have to have everything figured out when you go and lock in a supplier, like have a chat with them. In fact, you shouldn't, you shouldn't think that you know everything, because part of getting better at something is to not is to realize you don't know something and then do everything you can. If it requires going into a YouTube rabbit hole, then do so.
00:07:57
The question about innovation is a real hot topic for me. I get told to innovate all the time, but I really don't think that a lot of clients understand what that really means. So their boss, their CEO might say, do something innovative, do something different, and then it'll trickle down to me and then I will do something innovative and I will do something different. And then when it goes back up the food chain, they're looking at it and they think, I don't know what. This is, what planet is this guy on?
00:08:25
Yeah, just book a DJ. So the problem there is communication throughout the decision making chain, but also there's an inherent fear, there's a fear of failure, which makes a lot of people in the decision making chain risk averse. So being risk averse means that you will not likely do something that's innovative like booking a piece of entertainment that is not something that you've done before. So finding ways to overcome that fear slowly, one step at a time. Building relationships with good suppliers is how you incrementally break down that risk aversion.
00:09:05
Because you're not just breaking down your risk aversion, you're breaking down whoever signs the checks. Risk aversion. That's so true. That's so true. Yeah, I think some people do use this term innovate kind of loosely and don't really understand it could mean a thousand different things.
00:09:22
Yeah, well, it's one of my core values. And so if I'm to affect change the way I want to, I need to spread ways to enable people at every level, the executive assistant, the secretary, the CEO, to be willing to do that on my little patch of turf. I'm not talking about AI, everything, I'm just talking about maybe doing a little bit of entertainment that's slightly different. Yeah. Can I give one good example of that?
00:09:46
Yeah. As a DJ, I would go and do loads of gigs playing background music for cocktail parties and functions and conferences and things and it would all be fine, but then the producers and clients would say, oh, let's do something different next year. And I realized that doing something different could be the complete polar opposite of what they were expecting. So one trick that I've learned with great success is to make small changes, small incremental changes, because it's easier for you to handle and it's also easier for the decision makers to handle. So at functions and events, I would then add a musician, like a percussionist to play along with me, or a sax, which a lot of you have seen and that's kind of fairly common now, but then okay, so after doing that function, the producer would say, oh, well, we did sax last year, what are we going to do?
00:10:38
I said, okay, well, let's bring in a cello. And so then I established a really good relationship with an amazing cellist and we did a bunch of gigs, we still perform it's. DJ and cello, you look at that on a piece of paper and you think, how the heck is that going to work? But you've taken that incremental step because the boss from the previous year has said, oh, Saxon percussion worked well, what are we going to do this year? Because their level of fear has decreased by that much.
00:11:03
So now we're going to leverage that and then we're going to add another Kooky instrument, a cello, which you would never expect to see with a DJ. It's like changing it sort of ten degrees or 10%. It's just that's right. Slightly shifting it a different way. I love that.
00:11:18
That's such great advice. That's right. So now, instead of a cello, I've got a harp. We'll go through all the instruments. That's right.
00:11:27
So the point there is that it's a little incremental change. So when your boss says, do something different, I'm not saying you got to do something completely different, do something just a little bit different, because then it breaks down. That risk aversion just enough so that the trust is increased a little bit to give you a little bit more rope to try something a little bit more innovative next year. Yeah. And so your bread and butter really is live music and DJs like you've talked about, but you do actually cover all types of entertainment.
00:11:55
And so I think it's natural for us automatically, when we think, oh, we need entertainment to go to a DJ or a band. And that is quite common. But I guess where should we start when it comes to entertainment? Rather than maybe just automatically thinking DJ or band like, where do we start? I've been trying to use the word entertainment less nowadays as well.
00:12:16
What do you use? I like to think of it as guest engagement. Tell me more. Yeah. In my mind, it opens up the options quite a bit.
00:12:26
And when you usually say entertainment to someone, they immediately think music, but it doesn't necessarily need to be that. Of course, if that's the most obvious thing, then yes, book it. Don't rock the boat if you don't need to. But if you've got the opportunity to try something different, then if you're thinking of it in terms of guest engagement, then you need to define what that means. And by that definition, you open up a whole bunch of other options.
00:12:51
Engaging a guest means that you are connecting with them, intangibly you're, getting their attention, and then you're evoking some level of emotion from them. That could be wonder, that could be, wow, that could be, I'm going to get up and dance. It's that instinctive emotion that you can evoke from them that will trigger them to do something that you want them to do. It's not always music that does it. I love that example.
00:13:19
Yeah. You touched on a couple of different types of entertainment there, so can you go through that to kind of give us some ideas of different types of entertainment we could consider? Yeah, so I've had great success with live art at events. Same exam. Yeah, live art.
00:13:34
So not every artist is willing or capable of creating art live. Yes. Actually, I think the one I used was from your recommendation, so thank you. It was. And she's amazing.
00:13:47
Shannon Crease is a name, everyone. Yes. Shout out. Thank you. So our live art is art by nature engages you, right.
00:13:56
So art by nature is designed to evoke an emotion from you, but when it's in front of you at an event being created in real time, it becomes a whole other thing. You might walk past it and just see a few lines there, but then five minutes later, when you'd look back, you see more shapes. You see something else, and your attention is drawn to it. And over the course of the two or 3 hours of the event, you'll see something evolve and appear on screen, and then it becomes a photo opportunity. Then it becomes something that someone can win as a raffle prize at the end of the night.
00:14:29
Then it can become something that hangs in your office. I can recall probably my favorite engagement with Shannon where we were doing caffeine infused cola, I think. Not sure how successful it was. Yeah. But at this event, there was a great DJ, there was a singer, but they wanted live art.
00:14:48
So this was caffeine. It was coffee, coffee infused cola. And they wanted live art. And so they were saying, let's get someone in to do a mural. I said, okay, well, let's do that, but let's paint the mural using only coffee.
00:15:01
Yeah. Awesome. Yeah. So we developed a way to paint with coffee, which took a couple of weeks, but in the end, in terms of engagement piece, we put a few triggers around, like pots of brewing coffee and whatnot. And then as guests would appear, they would see that she was dipping it into a coffee pot and painting with it.
00:15:21
And then the engagement was, what are you doing? And then we'd have conversations with the guests, and they'd discover that she's painting with coffee. And what do you think they did? They sniffed they sniffed the canvas. Yeah.
00:15:33
So if you think of that process, the guest was engaged and then thoroughly hooked on the whole concept. And so at the end, it was a beautiful portrait painted with coffee, smelling like coffee, that everyone got their picture taken with. It's just like another sense as well, which is awesome. Exactly. So I work a lot with senses, but the key point there is that your engagement needs to evoke an emotion of some kind.
00:15:55
Okay. Good tip. There's so much to think about in the world of guest engagement, which I'm going to call it now. Thank you. But I do feel like for a lot of us and a lot of our events, it is going to be a DJ or a band, and that's.
00:16:10
Kind of all we have budget, which is totally fine. So I guess when it comes to that, I feel like the scope is endless. And the million dollar question really is how do we find a good one in our budget? Can you share any tips? Well, I would question how the budget set.
00:16:27
Okay. Yeah. I get a sense, having seen some spreadsheets, that people that are putting these things together don't necessarily understand the value of entertainment. Let's just say you get lumped with organizing the Christmas party, right.
00:16:43
You and I do it all the time. But if you're an executive assistant or a PA or God help you, a social committee, and you've got this enormous task that might have a sizable budget, you're going to look at it and go, okay, I've got whatever. And then you think, okay, I need a venue, I need to feed them, I need to give them drinks, and then I need to entertain them. I think that entertainment should almost be the first consideration. Interesting.
00:17:09
Yeah. Okay. Yeah. Because what are you going to remember at the end of the night? So true.
00:17:16
Are you going to remember the florals? Maybe you are, if that was the type of night. But what you're going to remember is, did you have a good time? And one thing I do talk about a lot is often I see people stretching their budget too thin because they're trying to do all things right, whereas I really encourage people to okay. If you don't have an endless budget, which, let's be honest, no one does, let's pick one thing and really nail it.
00:17:40
And maybe it means not having some other stuff. Very good point. And that's okay because people are still going to remember it because you've really nailed that one thing. And so I do resonate with what you're saying in terms of, for example, a Christmas party, where maybe, yes, the engagement piece is actually the most important, maybe it should take precedence in our budget. It needs to be considered as an important part.
00:18:05
Of course, you need to have a good meal and the room needs to look good, but if no one has a good time, they're going to remember that. So I think that the consideration for entertainment or engagement, whatever we want to call it, needs to be almost the first decision. Yes, you're going to be able to find a place to have your party, but what are you going to have people do while they're there? Yeah, if you keep that in mind, then your approach to budgeting will change, I think, a little bit. Maybe you can't have as big a bar tab, necessarily, or your centerpieces can't be as elaborate, but what it might do is it might open up a little bit more funds to book that slightly better band or that better DJ.
00:18:45
But truly, with budgets, you really do get what you pay for. Yeah. Okay. If your budget is such that you can really only afford, like, a basic mobile DJ, then so be it. But ring around and have a conversation with the with the DJ themselves.
00:19:00
They're a supplier like any other supplier and you need to connect with them. Yeah. Is there any benefit in booking them really early or really late? Well, if it was a Christmas party, the later you leave it, the less chance you have of getting anyone and anyone good, for that matter. When you talk about early, the earlier you engage someone like me, the more time I have to prepare, the more time I have to understand the client, but more importantly, understand their audience.
00:19:32
Knowing that I'm on a gig means that you can rest, rest assured, knowing that, firstly I'll turn up and secondly, I'll be ready to play the hell out of it. Yeah. So you get tasked with arranging a party, you think, Where am I going to have it? You call the venue, but I think your second phone call should be, who is it going to entertain us? Yeah.
00:19:48
So true. Especially if it is the social and kind of, I guess, fun aspect of the event is important. Yeah. You can have a lower budget DJ, but I want to reiterate the point, talk to them. They might be a plumber during the week and a DJ on the weekend, but if that's what you can afford, so be it.
00:20:05
Just talk to them, make sure that you feel comfortable with them. You've got to have that good relationship with them. Don't be telling them what to do. You want to have a back and forth with them so that they feel comfortable with you and you feel comfortable with them. It's that communication.
00:20:22
And you can get away with a low budget piece of entertainment as long as they know what they're tasked to do and you build a bit of a relationship with them. Yeah. Which is exactly my next question for you. So once we have it all sorted and we've got someone locked in, what's the best way to brief them? Because for speakers, for example, I like to give them the outcome or the learning outcome I want the audience to walk away with, rather than me really dictating the exact content that I want them to deliver and kind of leaving it up to them as the expert to design the content.
00:20:54
So would you say it's the same for your entertainers or different? It's similar, but I think we need to step back and look at it a little bit more conceptually in that when you brief them, what are you telling them? When I get briefed, my first question is, who is my audience? Because I want to know, are they truckers? Because if they're truckers, then maybe they'll be like this.
00:21:14
If they're influencers, God help them, they'll be into something else. But the role of what we need to do as entertainers and artists, we need to create memories, we need to create chitchat around the water cooler. When you're in the office the next day. We need to be able to have people constantly. We need to have people talking about it after.
00:21:35
So when you brief an artist, you don't want to say, Play 80s music, you want to describe what they're walking into. Love that. As comfortable as you might see me on stage, I am completely shitting my pants. Producers will ask me before a gig and they'll say, how are you? And I'll say, I'm nervous.
00:21:56
I'm always nervous before I play. There's a lot of pressure on the DJ. Yeah, I think. Sorry. You told a story in our warm up about how you sit at the back of the room for gigs.
00:22:07
I'm at the front of the room. You are lucky. You for a lot of these conferences I work on, by the time it gets to me playing the dance set at the end of a conference, all the producers are done. So I often see them at the back of the room, literally legs up, having champagne, dancing around with me, literally spotlights on me, working. That was an aside.
00:22:31
But the idea of briefing an artist is to make them feel comfortable with what they're about to walk into. I'll go and do a gig for 50 people, or I'll go and do a gig for 1000 people. It's the same. I walk out and there's a sea of blank faces, and I have to turn that from that to a heaving dance floor as quickly as possible. And that's petrifying, and it would help if I knew what I was working with.
00:22:57
So my first question when someone wants to book me is who's the audience? Not, what's the budget, but who's the audience? You can't just push a group out and just turn the lights on and say, Go. They've got to have an understanding of who they're performing for so that they can more quickly build that connection with the audience. And it's so true that you are the expert, and so we want to put our faith and our trust in the person we've booked and not be too descriptive, but still giving them a really good understanding of who their audience is, like you said.
00:23:34
Yeah, so true. And I think, like with life, events need to have a purpose as well. Yes. So share that with your artists. The purpose of this event is we're celebrating our Christmas party.
00:23:47
I ask all these questions because it helps inform the culture of the people that I'm performing for. It helps to paint a picture of who the guests will be. So don't be afraid to share that type of information with whoever you're booking, because the perceptive good entertainers will use that as part of their part of building their sets and their performances. So I have one final question for you, and that is from all your years of experience working with talent and venues and DJing yourself, what's your number one piece of advice to anyone planning events. There's a couple that I want to share.
00:24:28
I'll allow it. The first one would be you need to have an understanding of every step of the process. It's no longer a badge of pride to say, oh, I don't know about that tech stuff. I just let the tech guys do that. I think that you are more valuable when you have an understanding of the bits and the bulbs.
00:24:49
Not to say that you need to know how to operate a lighting desk, but if you're presented with a quote, which you will be from a production company, you need to know the difference between a digital desk and an audio desk and an led up light and a Parkhan. Again, not intimately, but you need to know what that is. You need to understand the bits of equipment that a DJ might need. Again, not intimately, but just to know when you look at it at a quote, because you're going to see a piece of equipment and what might feel like a disproportionately high fee, but you need to understand what that is. You can't question a fee when you don't understand what it is on the list.
00:25:29
So that's from the tech perspective. But also you need to understand from a hospitality perspective as well from the food and beverage about service and the time of how that takes. You can't just compartmentalize that part of the operation and say they're in charge of that. When the shit hits it, they're going to come to you. So you've got to understand the time and motion it takes to prepare mains when entrees have run late.
00:25:58
You've got to understand all those steps in the process in order to be able to make decisions on the fly, which is as event managers, that's what you do. Carrying on from that. I think a very valuable skill is to develop ways to triage requests that come into you. I know that for instance, when you're on a job, Jodie, you might have the tech guy saying, I need some help with this audio component, or the screen content is not working. Or your florals person might walk in and say where do you want this?
00:26:30
And you might be hit with four people asking you questions all at the same time. Yes, always being able to triage that I think is a super valuable skill. It means that you can say, okay, the florals have a timeline of 2 hours. I can deal with you in ten minutes. Content is critical, is mission critical, so we've got to make sure that's working.
00:26:53
So I'm going to focus on you for that time. So if you had to go from florals to food and beverage to tech, you need to understand those bits and pieces so that the vision person can say, we're having a bit of an issue with this, or we need to change this aspect ratio of this image. You need to understand that you can't wear that as a badge of pride anymore. To just say, I'll leave it to my tech guys. And I have learnt so much from hanging out at Ops and just watching and then asking little questions about this piece of equipment or that piece of equipment and I just tuck it in the back of my head so that when I do eventually need to understand it, it's there and I can call upon it.
00:27:33
Being able to make decisions on the fly is what you're going to be inundated with. Yeah. I love that you've talked about education kind of being the number one thing that people need to kind of level up in if you're going to be planning events, which is why I started Events academy and I know you're also working on some education yourself as well, which is really exciting. But I do think it's so true that it doesn't need to be this whole thing, but continually learning and bettering yourself and developing your skills is only going to make your job easier when it comes to planning events. Yeah.
00:28:08
My last and my biggest point about this last question is your events are only going to be as good as the relationships you have with your suppliers. Yes. I think you use the word prescriptive if you're telling them what to do. You might be missing on 15 years worth of experience in the exact situation that you're dictating to them. Yes, they may have been in that problem dozens of times before and could have an easy solution.
00:28:35
So you need to understand that you're going to be surrounded, hopefully with people that have a lot of experience in the field that they've been engaged to work in and over the course of time, you'll find a florist that you love working with, you'll find a caterer that you love working with. That's not to say that you need to spoil them in any way, the same way you don't have to spoil an artist, just feed them and they'll be happy. Consider what they need to do to make to put on a good performance or to put on a good show for you from a technical perspective. Have those conversations with them, pick their brains, show some vulnerability. Don't be afraid to say, I don't quite understand this, can explain it to me.
00:29:17
We don't have to have game face on to our supplies. That's a way that you can show that you want to learn and that you are open to suggestion. Because if you're that classic hard faced, clipboard carrying boss, you're going to have people that will hold back. Yes. So building a good and amiable working relationship with a supplier will benefit you when you leave from one job to the next.
00:29:45
You'll take them with you in your little black book of contacts. Yeah. I'm the first person to admit that I absolutely am not an expert which I said at the beginning, it's why I love getting experts on. And I do think that as event managers, we typically do fall into that category of feeling like we need to be in charge and feeling like we need to manage everyone. But it's so important to humble yourself and be confident in the suppliers that you've booked and really leave it up to them.
00:30:14
Give them direction. They don't know what they're walking into, but leave it up to them as the expert and just have confidence in the people that you've booked. That's right. Trust is the name of the game. And it does take time, it takes a lot of time to get to the point where you can get a brief from someone and they just go, I've given it to him, he'll be fine.
00:30:35
And then you just check in periodically to make sure that you're on target. But the strength of those relationships are what will help you in your career and will be very impressive to whoever your bosses are if you get tasked with that Christmas party and you say, yeah, I've got a guy, or I've got the best florist, or My cater is fantastic, and don't be afraid to invite them along to some meetings. Yes, so true. There's this weird level of secrecy I find, as if that I'm going to steal the client or if I'm going to steal something from someone. But I don't know, that's just not how I would work.
00:31:16
I can explain an entertainment concept a million times better than what someone that's not from that world would be able to do. And I could do it with enthusiasm and gusto and theatrically, so much so that anyone being administered this would feel compelled to book. And so there's no harm in having someone like me come in and help with the pitch or having your tech director or the guy you're booking the entertainment, just come in on a Zoom call and say, yeah, we've got this DJ gear. The room is going to be lit. In this type of way, it actually makes you look really good because it means that you've got this panel of experts that you can go, yeah, I got a guy.
00:31:56
She's amazing, I'm all over this. Exactly. Yeah. It makes you look really much very powerful and knowledgeable in that sense. So don't hesitate to if you've got a critical meeting to even have someone like me on the phone or on Zoom or like a head on a screen.
00:32:12
There's been times when I've had to explain very difficult concepts to an end client and the producers have allowed me to be in the room and I've done it song and dance. And the clients have gone, yeah, let's make it happen. Whereas if it if it was left in the hands of a producer who is great at their job, but not necessarily explaining the concepts, that I might be involved with, it becomes hard and therefore not so compelling to work with. Yeah, I love that. Such great advice, Chad.
00:32:41
And thank you so much for sharing it with us today on the podcast. If anyone wants to connect with you or reach out to you how can they do that? Well, you can find me at musicland. I'm sure that we'll have notes for the website, but yeah, I'll pop it in the chat. I'm very open to helping anyone with suggestions, for helping with arranging entertainment or engagement, whatever you want to do.
00:33:08
But my goal in Career now is not unlike your strategy, which is to leverage the experience I have and to help people in the business. So I don't mind getting called Amazing us. Thank you so much for joining us today. You're very welcome. Thanks for listening to this episode of the Events Insider podcast.
00:33:29
If you loved it, make sure you subscribe, leave a review, share with your friends and I'll chat to you next week. Bye.
