Rebuildingmarketingat full scale.

When I joined Insomniac in 2021, live events were returning at extraordinary speed. The portfolio was moving from pandemic shutdown to full-scale operation, requiring the marketing organization to rebuild its capacity while delivering some of the largest campaigns in live entertainment.

I set the organizational structure for the marketing department, repositioned roles, clarified expectations, and led recruitment across open positions. Final hiring approval sat with me, allowing us to rebuild the team around the capabilities the returning portfolio required rather than simply recreating what had existed before.

The organization brought together festival marketing, CRM and web, social media, paid advertising, partnerships, in-house media production, and customer service. Creating alignment across these functions meant establishing clearer ownership, strengthening cross-departmental collaboration, and building a shared operating culture around accountability and trust.

We implemented Asana as the organization’s central project-management system, documented critical workflows, and introduced more consistent planning and decision-making across the portfolio. These systems gave teams and executive leadership greater visibility into priorities, resources, dependencies, and delivery.

We also launched a customer data platform to consolidate and protect first-party data while creating a more complete view of Insomniac’s audiences. The platform strengthened the connection between customer intelligence, CRM, web, and paid media—allowing the organization to communicate more effectively across the full customer journey.

At the portfolio level, I led marketing-mix planning and resource allocation across more than 40 festivals and hundreds of annual concerts. The challenge was not simply managing volume. EDC, HARD, Beyond Wonderland, and the wider portfolio each served different communities and required distinct positioning, creative systems, content, and campaign strategies.

The goal was to centralize the capabilities that benefited every brand without flattening the individual identities that made those brands valuable.

During the engagement, Insomniac’s social audience and first-party database each grew by approximately 100%. More importantly, the company emerged from its post-pandemic rebuilding period with a marketing organization designed for the scale, complexity, and customer expectations of the business it had become.

The work was not to make every festival market the same. It was to build one organization capable of helping every festival grow on its own terms.