By Jim McCarthy Mar 26, 2009 0 comments

If you don’t think of this as Live Entertainment, you need to catch up…

I got an email from Daily Candy the other day (Daily Candy is 99% women and 1% marketers who aren’t women. :) ) about an upcoming event called Sweet Siamese, here in Los Angeles.

They described it this way:


“Nab a ticket online and wait for e-mailed instructions covering what to wear and where you’ll find the warehouse space that’s gotten an art nouveau/Secret Garden makeover for the evening.

Along with savories and sweets passed throughout the night and the option of indulging in infused-vodka cocktails and more at the bar, expect the unexpected: an active tea party installation; ballerina on a shelf; a little burlesque; photography; video projections; and an array of musical acts, from a saxophonist to singing sirens chained to a piano by a heartless madame (ah, that explains it).”

So let me get this straight…you buy a ticket based on the idea that this elaborate, performance-art like party will be happening somewhere, and that after you buy in, you’ll be told where to go and what to wear…

Yes, that’s about the size of it.  If you click through to buy tickets now, you’ll see that there’s a problem: the event is sold out.

Why is this so appealing and what makes this so Live 2.0?

Clearly, it’s designed to appeal to a certain kind of person:  young, adventurous, city-dwelling, probably highly educated and probably a big reader.

As we say here all the time, it Is Its Own Marketing.  That’s why Daily Candy chose to write about it, which undoubtedly had some impact on the selling out, but this is just an infectious idea.  It was designed to seduce the mind of those who belong in its niche.

And if you’re out there thinking to yourself that this is really just a party or a club scene, you’ve got it all wrong.  This is a show where the action happens to be happening all around you.  You’re eating, you’re drinking, you’re socializing, but you’re also observing and participating in this bizarre world that the producers of this have created.

Not every genre or every kind of act can capture the full extent of the involvement that’s here, but that doesn’t matter, because most of the time, there’s no attempt made to do so.

Just weaving a strand or two of this kind of thinking into traditional performances would have an impact, and the results for an organization that learns to do this well would be revolutionary.

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