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laurafaritos · 7 days ago

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HDMS018. Not Just Funny—Profitable: How I'm Learning To Apply the Marketing Funnel to Comedy Shows

Listen, I am not a marketing expert. I’m a comedian who, until recently, thought “marketing” meant slapping a show flyer on Instagram, posting it on my story a couple of times, and hoping for the best. And if that didn’t work? Well… guess my friends didn’t love me enough!

For years, I ran shows that were objectively great—strong concepts, talented comedians, fun lineups. And yet, my audience was usually just other comedians, my friends, and whatever couple accidentally walked into the venue that night. I tried word of mouth, organic social media, and sheer blind optimism. But nothing worked consistently. Sometimes I broke even. More often, I lost money. And I had no idea why.

Then I started a Harvard Digital Marketing Strategy course, and I felt my brain rewiring. Marketing is a system, not a shot in the dark. There’s a structure to it. And more importantly, most comedians struggle to sell out shows because we are skipping steps. We promote, but we don’t market. We assume "putting it out there" is enough. And when people don’t show up, we blame everything except the fact that we never actually gave them a reason to care.

Nobody teaches us this. Not comedy schools. Not media programs. Not even “the industry.” But if comedians actually understood how audiences decide to buy tickets, we wouldn’t have to rely on clubs, bookers, or external gatekeepers. We could take control of our own careers.

So let’s break down the three stages every audience member goes through before they buy a ticket—Awareness, Consideration, and Conversion. If you’re only focusing on “getting the word out” (like I did for years), that’s exactly why you’re struggling to fill seats.

I. HARVARD RECAP: THE MARKETING FUNNEL & WHY IT MATTERS

Alright, let’s break this down like I just smuggled Harvard Business School notes straight to you. (Because, in a way, I did.)

A marketing funnel is a three-stage roadmap that explains how people go from “Oh, what’s this?” to “Take my money.” Every single person who buys something—whether it’s a pair of shoes or a ticket to your comedy show—goes through these psychological steps: Awareness, Consideration, and Conversion.

Most comedians (my past self included) completely ignore this. We assume that if we post a show flyer, people will magically buy tickets. The reality? Audiences move through these stages, and if you skip one, you’re just throwing spaghetti at the wall, hoping it sticks.

Stage 1: Awareness (Getting on Their Radar)

The first hurdle is simple: people can’t buy from you if they don’t know you exist. For brands, this means investing in ads, press coverage, influencer marketing, and viral content. For comedians, this means making sure people actually see your promo material before the day of the show.

Harvard explains that there are two types of brand awareness:

Unaided Awareness – When people can name your brand without being prompted. (Example: If I ask you to name a sneaker brand and you immediately say “Nike.”)

Aided Awareness – When someone recognizes your brand only after being reminded. (Example: If I show you a list and you go, “Oh yeah, I’ve heard of OOFOS.”)

Big brands like Nike don’t have to worry about Awareness. Small brands—and comedians—do. This means investing in the right places so more people hear about your show before it happens.

Stage 2: Consideration (Why Should They Care?)

Here’s where most of us screw up.

Just because someone knows about your show doesn’t mean they care about it. Consideration is where audiences weigh their options. They’re asking, “Do I really want to go to this? Why should I pick this over other plans?”

In the Harvard case study, OOFOS struggled because runners didn’t immediately see why they needed "recovery footwear." Just knowing OOFOS existed wasn’t enough—they had to be convinced it was worth their money. Similarly, comedians need to give people a reason to care.

If you post a flyer that just says “Comedy Show – 8 PM”, that’s weak Consideration strategy because it doesn’t tell anyone why your show is different. But if you post, “You love dark humor? My show mixes stand-up with paranormal stories. Here’s a clip of the last one where the audience lost their minds.”—that’s strong Consideration strategy because it taps into your audience’s specific interests.

At this stage, you need to sell the experience and differentiate yourself. Why should people come to your show instead of watching Netflix at home?

Stage 3: Conversion (Closing the Sale)

This is where money is made—or lost.

By the time someone gets to Conversion, they already know about you (Awareness) and they’ve considered their options (Consideration). Now, they’re standing at the door of your comedy show wondering if they should actually buy the ticket.

At this stage, your job is to remove friction and give them a final nudge. This is why businesses use one-click checkout, discount codes, and “only X tickets left” tactics. People hesitate before spending money, so the easier and more urgent you make it, the more likely they are to buy.

For OOFOS, their problem was that people interested in their shoes weren’t always buying. The fix?

Stronger messaging on why their product was unique

Targeted search ads to hit people right when they were actively looking to buy

Email marketing to re-engage people who visited their site but didn’t purchase

For comedians, conversion problems look like this:

People liking your promo posts but not actually buying tickets.

People saying they’re coming but bailing last minute.

People watching your stand-up clips but never showing up IRL.

The solutions?

A direct ticket link in every promo post (remove friction).

Limited-time discounts for early buyers.

Personal DMs to past attendees (retention marketing).

The more you make it easy and urgent to buy, the higher your ticket sales will be.

Why Most Comedians Fail at This

Most comedians don’t sell out shows not because they aren’t funny, but because they skip steps.

They assume Awareness = ticket sales. (Just because someone saw your flyer doesn’t mean they’re coming.)

They don’t nurture Consideration. (You need to convince them why your show is worth their time & money.)

They don’t optimize Conversion. (If you’re not making it EASY & URGENT to buy, you’re losing potential ticket buyers.)

Big companies have entire teams for this. As self-employed comedians, we are the marketing team, production team, and talent. That means we have to work smarter, not harder.

TL;DR Recap:

The Marketing Funnel is Awareness → Consideration → Conversion.

Skipping steps = struggling to sell.

If you want to sell out, you need strategies for all three stages.

If you think, “but I’m just a comedian, not a businessperson”—guess what? If you’re self-employed, you’re running a business.

Now, let me show you how I failed at every single one of these before finally getting my first (almost) sold-out show.

II. MY COMEDY SHOW GRAVEYARD: HOW I FAILED AT EVERY STAGE OF THE FUNNEL

If I had known about the marketing funnel earlier, I could have saved myself from years of failed shows. But hey—what is comedy if not turning your own disasters into something useful? I want to walk you through three key failures that showcase exactly how I ignored Awareness, Consideration, and Conversion in my early comedy shows. Spoiler: I was out here learning the hard way.

FAILURE #1: The Disaster Show (2017) – No Awareness, No Money, No Plan

The Disaster Show was my first attempt at running a comedy production, and I went into it with all the confidence of someone who had never heard the term "marketing strategy" in her life. I relied entirely on my classmates and comedian friends to fill the room, assuming that word-of-mouth and personal invitations would be enough. I put up a couple of posts on Facebook, told a few people, and hoped for the best.

What I did not do was create awareness beyond my immediate circle. There was no social media campaign, no email outreach, no strategic partnerships with other communities—just me assuming people would show up because the show existed. The result? A half-empty room, no new audience members, and no revenue.

It was a pay-what-you-can show, and the most I made in two editions was enough to give each comic $10. I made nothing for myself. Worse, I had no way to keep in touch with the few audience members who did come. No email list. No retention strategy. Just me, starting from scratch every single time.

FAILURE #2: Good Vampire Morning (2019) – Great Idea, No Consideration Strategy

By 2019, I had leveled up—I now had a unique and exciting show concept: Good Vampire Morning, a variety show where comedians had to perform in a vampiric accent. I thought the concept alone would carry me to success. I was wrong.

I made the classic mistake of assuming a cool idea was enough. I assumed people would see the show flyer, think it was fun, and automatically want to come. I did not think about my target audience, the competitive landscape, or the fact that people need a reason to buy beyond just "this looks cool."

The result? Two shows with nearly no audience. The lineup was killer. The performances were hilarious. And yet? I was performing to four of my friends, two comedians who weren’t booked, the bar DJ, and a confused walk-in couple. I failed to give people a reason to choose this show over any other way they could spend their evening.

I didn't build engagement. I didn’t offer any exclusivity, discounts, or compelling reasons to attend now instead of later (spoiler: there was no later). I didn't even reach out to niche communities—no horror fans, no goth groups, no vampire-loving weirdos like myself. I skipped the Consideration stage entirely, and the result was a completely empty room.

FAILURE #3: Haunted Comedians (2021) – The Conversion Catastrophe

At this point, I should have learned my lesson. Instead, I made a whole new set of mistakes.

The first time I tried to run Haunted Comedians, I intended for it to be a live show—but when I struggled to sell tickets, I panicked and pivoted. Instead of focusing on ticket sales, I reframed the event as a recording day, assuming that if I just got comedians together to film, I could at least create some content.

This was a huge mistake. Instead of doubling down on my marketing and actually driving conversions, I gave up on selling tickets altogether. I assumed that I could salvage the event by recording it. What I didn’t consider was that recordings only work if the production is solid.

The venue had originally agreed to let me use the space under the assumption that I could bring in at least 15-25 audience members. When I showed up with five, it was humiliating. They never wanted to work with me again. Worse? Our recording equipment failed halfway through the interviews, and we didn’t even notice. Half the footage was unusable. I walked away with no audience, no content, and another financial loss because I had to pay the comedians out of pocket.

I failed at the conversion stage. Even the people who had expressed interest never made it to actually purchasing a ticket because I never followed up, never created urgency, and never made buying tickets as easy and frictionless as possible.

THE TURNAROUND: HAUNTED COMEDIANS 2025

Fast forward to January 31, 2025—my first real success.

Was it perfect? No. Did it sell out? Not quite—80% sold. But compared to my track record, this was a HUGE win.

What changed? I used actual marketing strategies—consistent promotion, a clear value proposition, and targeted outreach. I made sure to capture audience emails for future retention. I created an experience, not just a comedy show, but a unique event that was worth talking about.

This show proved to me that marketing isn’t about luck—it’s about strategy. Now, my next step is making sure I build on this momentum and retain my audience. Because a one-time success isn’t enough—I need to turn first-time attendees into repeat customers.

III. WHAT I’M DOING DIFFERENTLY NOW: APPLYING THE FUNNEL TO MY COMEDY BUSINESS

So, what’s changed? Why did Haunted Comedians 2025 succeed when all my other shows flopped? The answer is simple: I finally started treating my comedy like a business.

This means I’m no longer relying on hope, good vibes, and a cool concept to sell tickets. I’m actually applying the marketing funnel to make sure my audience moves through each stage—from Awareness to Consideration to Conversion.

Here’s how:

1. Awareness: Making Sure People Actually Know My Show Exists

Before, I relied on posting a flyer and hoping for the best. Now, I take an intentional, multi-platform approach to brand awareness:

Consistent social media presence: Not just “promo posts,” but engaging content—clips, behind-the-scenes footage, audience testimonials, and memes related to my show’s themes.

Collaborations & cross-promotions: Partnering with other comedians, podcasters, and local businesses to tap into their audiences.

Press & niche communities: Reaching out to bloggers, newsletters, and community groups that align with my show’s themes (horror fans for Haunted Comedians, relationship bloggers for Failed By Sex Ed).

SEO & searchability: Making sure my show’s event page is optimized with keywords so it actually shows up when people search for comedy in Toronto.

2. Consideration: Giving People a Reason to Choose MY Show

People don’t just buy comedy tickets—they buy experiences. Instead of assuming that people will just “get” what makes my shows special, I’m actively showing them why my events are worth attending.

Clear branding & messaging: Every post, email, and promo reinforces what my show is about and why it’s different from generic stand-up nights.

Building anticipation: Instead of just announcing the lineup, I introduce the comics one by one, tease special moments, and create a sense of exclusivity.

Testimonials & social proof: Sharing audience reactions, post-show highlights, and feedback to build credibility and FOMO.

Storytelling: I don’t just say “Come to my show!”—I tell stories about the chaos, the comedians, the wild moments, making people feel like they’d be missing out if they don’t attend.

3. Conversion: Making It EASY for People to Buy Tickets

This is where I failed the hardest before—I’d get people interested, but they’d never actually make it to the purchase. Now, I’m making ticket sales frictionless:

Clear, frequent calls-to-action (CTAs): Every piece of content has a next step—“Get your ticket now,” “DM me for the link,” “Join the email list for early access.”

Urgency & scarcity: I highlight when tickets are selling fast and create limited-time offers. (Example: “Only 10 tickets left at early-bird pricing!”)

Email marketing & retargeting: Instead of relying on Instagram’s algorithm, I’m actually collecting emails so I can remind people to buy tickets.

Partnerships for added incentives: Offering free drinks, discounts, or giveaways through venue partnerships to make ticket purchases more attractive.

WHAT’S NEXT? KEEPING THE MOMENTUM GOING

I finally have proof that marketing works, but this is just the beginning. My next priority? Retention. Keeping track of my audience, building relationships, and turning one-time ticket buyers into repeat attendees and superfans.

I’ll be setting up a real email list, creating more content between shows, and making sure my marketing doesn’t just start two weeks before the event—it’s ongoing. Because at the end of the day, a sold-out show isn’t luck. It’s strategy.

V. THE AUDHD ANGLE: HOW I’M BUILDING A SYSTEM THAT WORKS FOR MY BRAIN, NOT AGAINST IT

Let’s be real—I didn’t struggle with marketing my shows just because I didn’t know the strategy. I struggled because traditional marketing approaches are built for neurotypical brains that can handle structure, discipline, and long-term consistency without a meltdown. That’s not me.

For years, I thought my inability to stick to a long-term marketing plan was a personal failing. That I just needed to “try harder” or “be more organized.” But newsflash: I have AuDHD. My brain doesn’t function the way business books tell me it should. And instead of fighting against it, I’m finally building a system that works with my brain.

1. Making Marketing Work for My Dopamine-Seeking Brain

Reframing marketing as content creation: Instead of treating promo as a chore, I frame it as “making funny or interesting content” because that is something I actually enjoy doing.

Batching & automation: If I try to post daily, I’ll fail. If I dedicate one hyperfocus day to scheduling a month’s worth of posts? That works.

Gamifying the process: I track ticket sales like a video game, celebrate every small win, and make it fun instead of overwhelming.

Micro-wins instead of massive tasks: “Write one social post” is manageable. “Build a 3-month marketing plan” is instant executive dysfunction. So I break it down into dopamine-friendly steps.

2. Beating Executive Dysfunction by Using My Strengths

Interest-based motivation over discipline: If I don’t find a way to make it interesting, I won’t do it. So I inject humor, storytelling, and creativity into everything.

Body-doubling & external accountability: Instead of struggling alone, I set deadlines with friends, co-work on marketing with other comedians, or even use public accountability like “If I don’t post about my show by 3 PM, roast me.”

Templates & structured flexibility: I use marketing templates so I don’t have to reinvent the wheel every time—but I also leave room for last-minute impulsive creativity because I know that’s how I work best.

3. Preventing Burnout by Pacing Myself (Instead of Going All-In and Then Crashing)

Building in rest & recovery: I no longer overextend myself with unrealistic expectations. I plan around my energy levels.

Working with my hyperfocus, not against it: If I feel a sudden surge of productivity, I lean in and create as much as I can. If I’m in a slump, I don’t force it—I work with what I already prepared.

Prepping for future-me: I leave breadcrumbs for my future self—easy-to-edit templates, clear next steps, reminders that make it easier to pick up where I left off when my motivation inevitably fluctuates.

VI. BUILDING A SYSTEM THAT SUSTAINS ME LONG-TERM

For the longest time, I thought my inability to “just be consistent” with marketing was a personal failure. I saw comedians around me grinding, posting non-stop, and selling out rooms, while I struggled to even remember to promote my shows until the week before. I assumed the answer was discipline. Structure. Forcing myself to stick to a rigid, long-term marketing plan like a real businessperson.

But that’s not how my brain works.

Now, after spending over 60+ hours studying this Harvard course and applying what I’ve learned, I see marketing differently. It’s not about willpower—it’s about building a system that works with my neurodivergence instead of against it.

What does that mean in practice?

Marketing = Content Creation. I’m reframing show promotion as a creative process, not a boring task I “have” to do.

Batching & Automation = My Lifeline. I build my promo in hyperfocus bursts, so I don’t have to rely on daily motivation.

Templates & Systems = Future-Me’s Best Friend. I create reusable marketing materials that make it easier every time.

Momentum > Perfection. I’d rather be consistently imperfect than perfectly inconsistent.

This shift in thinking is the reason Haunted Comedians (Jan 31) was 80% sold out, while past shows barely broke even. It’s the reason I’m finally tracking my audience, building a real marketing funnel, and making decisions like a business owner, not just an artist.

And the best part? This is just the beginning.

I can’t wait to see what happens when I apply this system to all my comedy shows in 2025. If this is what I’m learning from just two modules of this course, I can’t imagine how much my strategy—and my career—will evolve by the end of it.

So if you’re a comedian reading this, wondering if you’ll ever figure out how to market yourself, just know that I’m figuring it out in real-time too. And if you stick around, I’ll share everything I learn along the way.

VII. FINAL THOUGHTS

Aaaaaaaaaaaand that was the post! You made it to the end!

If you’ve made it this far, congrats—you now know more about marketing than 90% of comedians running shows right now. (Seriously. Most of us are out here hoping for the best and praying our friends show up.)

I’m documenting everything I learn from this Harvard course in real time and applying it to my own comedy career. If you want to:

Follow the full journey of me trying to crack the code on selling out shows,

Steal my marketing strategies without having to take a Harvard class,

See if I actually succeed or fail spectacularly,

Then stick around.

Tchau, tchau!!!

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rodneycomedyny · 9 days ago

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The Best New York Stand-Up Comedians Light Up the Stage

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mykpopwire · 3 months ago

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media release: COMEDY ROYALTY DOUGLAS LIM AND STAR SINGER-SONGWRITER AISHA RETNO BRING IN THE FIREWORKS AT THE BIG LOL ASIA SHOW

The countdown has begun! LOL Asia, South East Asia's leading entertainment powerhouse, is pulling out all the stops for its 15th Anniversary bash with The Big LOL Show—a two-night spectacular filled with comedy, music, and surprises at Zepp KL on December 13 & 14, 2024.

South East Asia’s iconic comedian Kumar, known for his razor-sharp wit and infectious energy, will headline the show. But he won’t be standing alone on this star-studded stage, because every great party needs an unforgettable twist!

Wait for ittttttt! LOL Asia is excited to announce that Douglas Lim, Malaysia’s beloved king of observational comedy and quick-fire one-liners, is set to deliver his signature laugh riot at The Big LOL Show 2024. Also adding a melodic twist to the celebration is none other than Aisha Retno, the rising superstar of Malaysia whose soulful voice has captured the hearts of fans across the nation.

Malaysian singer-songwriter and actress, Aisha Retno gained prominence as the Rookie Champion on TV3's singing talent show Vokal Mania in 2020. She has since built a reputation as a versatile artist in the local music and entertainment scene. In 2021, her English single "W.H.U.T." achieved significant success, garnering over 7 million Spotify streams within two months and reaching the third spot on the RIM domestic singles chart.

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Lim has appeared in notable productions such as the films 1957: Hati Malaya and Los and Faun and the stage musicals Lat Kampung Boy and Ola Bola: The Musical. Internationally, he performed in Malaysia's first off Broadway production, Thicker Than Water, in New York in 2018. In stand-up comedy, he co-founded the Malaysian Association of Chinese Comedians (MACC), touring extensively with its successful shows. His performances at prestigious events like the Melbourne International Comedy Festival has solidified his reputation as one of Asia’s top comedians. During the pandemic, Lim pivoted to creating viral parody videos, earning the title "King of Parody" from the Malaysia Book of Records.

The line-up doesn’t stop there! Malaysia’s top-tier comedians Joanne Kam Poh Poh, Prakash Daniel, Brian Tan, and Farid Azmeir will keep the laughter rolling, while musical powerhouses Saint Kylo and Claudia Tan promise electrifying performances. The Mast Millennium Dancers will add a dazzling touch of Broadway glamour to the evening.

We want to see you this December 13 & 14. Come for the laughs, stay for the music, and leave with memories that will last a lifetime. Get your tickets now at https://lolasia.bigtix.io

*photos courtesy of LOL Asia

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premierticketsau · 3 months ago

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Join Melbourne’s Crowd at Nahi Rehna INDIA Stand-Up Event

Join Melbourne’s crowd at the Nahi Rehna INDIA Stand Up Comedy Show Melbourne. Experience the buzz and excitement as audiences come together to enjoy top-notch comedy performances. This event is perfect for anyone looking to unwind and have a great time filled with laughter. With a lineup of talented comedians, you’re guaranteed an entertaining evening. Be part of the fun and get your tickets today through Premier Tickets!

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k-wavemy · 3 months ago

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LOL Asia celebrates 15 years of laughter with The Big LOL Show—an all-star, two-night anniversary spectacular.

#LOLAsia15thAnniversary #TheBigLOLShow #KWaveMY

Get ready and brace yourself! Gather the family for an epic two-night extravaganza of comedy, music, and pure entertainment as LOL Asia marks its 15th Anniversary with The Big LOL Show! on December 13th and 14th at ZEPP KL, this milestone event will bring audiences from across Malaysia and Southeast Asia to their feet, featuring a star-studded lineup of top comedians and a surprise guest guaranteed to deliver laughter, music, and unforgettable memories.

Tickets are now available at https://lolasia.bigtix.io!

Headlining this year’s anniversary celebration is the enigmatic comedy icon, KUMAR. Joining Kumar on stage are Malaysia’s comedy heavyweights JOANNE KAM POH POH, PRAKASH DANIEL, BRIAN TAN, and FARIDAZMEIR, each bringing their own unique brand of wit and charm. But the excitement doesn’t end with comedy alone! Rising music stars SAINT KYLO and CLAUDIA TAN will set the vibe with electrifying performances, while the incredible MAST MILLENNIUM DANCER troupe will elevate the night with Broadway-style dance numbers.

And just when you think the evening couldn’t get any more thrilling, a surprise performer will make a memorable appearance! Stay tuned for more updates on this exciting addition.

This celebration of LOL Asia’s 15 years wouldn’t be possible without our passionate audience, whose faith, loyalty, and trust in our brand and platform have fueled our journey of curating local and international multi-format entertainment events. For over a decade, our fans and supporters have uplifted us, amplifying the energy that makes LOL Asia shine brightly across Southeast Asia and in international markets like the UK, Australia, New Zealand, India, and beyond.

Since its inception in 2009, LOL Asia has captivated die-hard fans of fact-filled entertainment, selling over 500,000 tickets, showcasing more than 350 talents across various genres from around the world, and touring 23 cities across Asia and Australia.

This year, as a token of appreciation, LOL ASIA will host an incredible giveaway for its ticket-buying audience: two lucky ticket holders will win a pair of passes to all LOL Asia shows in 2025! How exciting is that? That means a whole year of laughter, fun, and unforgettable moments to enjoy with a different friend each time—because joy is always better when shared!

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This year, as a gesture of gratitude, LOL ASIA will host an incredible giveaway for its ticket-buying audience: Two lucky ticket holders will win a pair of passes to ALL LOL ASIA shows in 2025! How exciting is that? It’s a whole year filled with laughter, fun, and unforgettable experiences to enjoy with a different friend each time—because joy is best when shared!

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chandigarhlifestyle · 3 months ago

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Abhishek Upmanyu: The king of stand-up comedy! 😎

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dsl4973 · 7 months ago

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zomgmouse · 7 months ago

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DEAR EDINBURGH, You are invited to join The Ceremony. You're welcome.

Part ritual, part group therapy, part comedy show. Not a cult.

Co-created with the audience, each show is completely different.

One-of-a-kind theatrical metaphysical nonsense. Existential, experimental. Clowny, chaotic, communal. Genuinely surprising every time.

It's the late-night deep and meaningless you never knew you needed. Or maybe you did. The choice is entirely so as to of yours.

Join me.

1-26 AUG (not 12, 19) | 9.45pm | Summerhall

WINNER – Pick of the Week – 2024 Adelaide Fringe Festival ★★★★ “Hilarious, moving, provocative ... extraordinary” - The List “Pure fringe … unique, intellectually spiky … definitely silly!” – Disrupting Stages

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aallamericanlimofan-blog · 1 year ago

Link

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mirecalemoments01 · 1 year ago

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#AdamSandlerComedyTour #ComedyExtravaganza #IMissedYouTour #LiveComedy #SandlerLaughs #SandlerOnTheRoad

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twoinchreview · 2 years ago

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2023 gigs.

A list rather than a review but there will be the odd descriptive comment when warranted. The list will include accompanying fine dining.

13.1 Harry Hill. New Theatre, 'Boro. Nuts. Funny af, but nuts.

23.1 Frank Turner, Lottery Winners, Wildwood Buoys. O2 Academy, Leicester. The Marquis Wellington.

26.1 Francis of Delirium, Sloe Noon, Collars. Bedford Esquires. McDs. Great gig. 1st support, quirky (the drummer was also the guitarist), 2nd were superb, reminded me of Slothrust and FoD are always excellent.

2.2 Sprints, Langkamer, Eades. Bedford Esquires. Herd. Amazing, just brilliant. Missed Eades (fucked off 'bout that), Langkamer got me well in the mood and Sprints nailed it. Burger at Herd was one of the best I have ever eaten. Top night.

14.2 Mogwai, Brainiac. Rock City. Horn in the Hand. Brainiac are odd, Mogwai were fucking loud. HitH always delivers when it comes to burgers.

17.2 Doors Alive. Roadmender. Oriental Garden. Great tribute act. Great Chinese meal.

18.2 Dr. Feelgood, Dois Padres. Bedford Esquires. McDs. So glad I made the effort.

22.2 Hotel Lux, Average Life Complaints, The Barratts. The Craufurd Arms, MK. 81 The Original Diner. Three good bands. ALC stood out, HL were so interesting to watch. Burger was just 'good'.

25.2 Total Stone Roses, Oaysis. Met Lounge 'Boro. The College Arms. decent tributes, decent pub-grub katsu curry.

28.2 Young Fathers, Callum Easter. O2 Academy Leeds. Almost Famous. Wow. What a midweek trek, what a gig! YF did not disappoint and CE was intriguing - he played with YF also. And, the best burger I have EVER eaten. EVER.

3.3 Emily Breeze, Andrea Kenny. The Donkey, Leicester. Heritage India. EB was fabulous. The restaurant front of house thought I was a food critic, I am sure of it.

5.3 Grade 2, Clobber, Kings of Pigs. Voodoo Lounge, Stamford. McDs. Sunday gig, G2 were really good.

10.3 Suede, Desperate Journalists. Rock City. Horn in the Hand. DJ were fucking excellent. Also, saw great singer in the Lilly Langtrees pub after the gig....see 06.07 entry.

13.3 Self Esteem, Campbell King, Tom Rasmussen. Cambridge Corn Exchange. Honest Burger. SE was wonderful - great show, great songs, great voice, great live.

14.3 Slow Readers Club, Andrew Cushin. Lafayette, King's Cross. Cut and Grind. I loved this gig. SRC in a small venue - place was bouncing. Katsu chicken burger was good.

16.3 Mike Wozniak. The Core at Corby Cube. Nando's. Wonderful, laugh out loud ramblings.

21.3 Death Cab for Cutie, Slow Pulp. O2 Institute, Brum. Manzils. SP stole the show, DCFC were 'alright'. Great veg madras but with fucking mushrooms.

22.3 The Orielles, Pale Blue Eyes. MASH, Cambridge. Butch Annie's. Brilliant gig. TO were a different band live and PBE will play arenas one day, I'm sure of it. Marvellous burger, marvellous gaff.

24.3 Black Honey, The Howlers. Bedford Esquires. Herd. Bloody excellent night for food and music.

28.3 Anna B. Savage. Village Underground. McDs.

30.3 Jadu Heart, Gglum. Assembly Rooms, Islington. MEATLiquor, GDK. Gglum stole the show. She rocked, actually. I had a balcony ticket but snuck downstairs during a technical hitch with JH's kit; the upstairs bar ran out of beer (wtf?) so I went in search of booze only to find I could walk into the main hall unchallenged! Great burger followed by a really great kebab. 04.04 Gretel Hänlyn, Mary in the Junkyard. The Moth Club. McDs. Great little venue and MitJ were excellent (brilliant drumming and drummer) and GH was fantastic. No overground afterwards but jumped in an Uber to Finsbury Park with two fellas who'd been to the gig #lifesavers

11.04 Big Thief. Hammersmith Apollo. Chicago Grill. I found BT disjointed and out of tune at first, came good toward the end. Burger was fucking huge and beat me. Plus I had to use cutlery to eat it.

14.04 Joe Rooney., A Celebration of Father Ted. The Key Theatre, Peterborough. Interesting evening with the chap that was in one episode of Father Ted as Father Damo. 18.04 Waxahatchee, Indigo Sparks. Earth. GDK. No overground, walked there and back and still made GDK and caught the 23.00 train. 20.04 Fenne Lily, Naima Bock. Islington Assembly hall. GDK. Last minute gig (thanks to ReTickin') and I am glad I made the effort FL and her band (esp. the guitarist) was most impressive - great live sound. 21.04 Lemondaze, Treeboy & Arc. Portland Arms, Cambridge. Butch Annie's. Brilliant live sets from both and a flipping excellent burger.

04.05 Yard Act. Troxy.

05.05 Big Country, Spear of Destiny. Islington Assembly hall.

08.05 Haley Blais, Katie Tupper, Georgia Harmer. Bush Hall. Tiger's Diner. Three great artists and HB's voice is one of the best I have ever heard. Burger was a treat...I shovelled it down!

11.05 Foals. Pryzm Kingston. The first of two shows for the band on the night presented by Banquet Records and they were on top form.

16.05 Lael Neale, Guy Blakeslea. Lexington, Islington. McDs, GDK. LN was simply wonderful. 2-4-1 GDK is always a treat! 08.06 Crawlers. Omeara, Borough. The Kebab Shop. Last minute ReTickin' gig and I am very glad I made the effort. Lamb Shawarma was amazing. 10.06 Diane Cluck, Johanna Warren. Cafe OTO, Dalston. Only went to see JH and it was a performance workshop, so no singing. Not what I expected.

16.06 Arctic Monkeys, The Hives, The Mysterines. Emirates Stadium. 22.06 The Sherlocks. Bedford Esquires. Herd. Last minute gig 'cos Dara O Briain was cancelled due to flooding. TS were cracking.

26.06 Indigo de Souza, Rosie Alena. Village Underground. Fat Hippo, Shoreditch. IdS, and her band, flippin' rocked. I like it when the live performance is a real step up from studio. FH was also cracking.

06.07 Get Cape. Wear Cape. Fly, Girl Band. Craufurd Arms. GB were excellent - saw the guitarist/lead singer, Georgie, after the Suede gig 10.03 - chatting after their set, she remembered me! GCWCF lost the plot with the chatting, rowdy audience...it was embarrassing.

07.07 Breanna Barbara, Memory of Speke. Moth Club. Burke's Warehouse. BB was so good, fantastic. MoS were very good. Burger & chips were excellent.

19.09 My Baby. MK11 MB were really good value - rock enthused dance music and the lead singer's voice is exemplary.

22.08 Boygenius, Ethal Cain. Piece Hall, Halifax. 242 mile round trip was just about worth it. Both acts were OK. Venue is special, though.

28.08 Karen Jonas. Great Easton Village Hall. 29/08 Future Islands. Cambridge Corn Exchange. Popeyes Louisiana Kitchen. FI are so good live. Cajun chicken burger was fine.

05.09 Samia, Art School Girlfriend. Kentish Town Forum. One of the best gigs this year.

23.09 Flock of Seagulls, Enjoyable Listens. Bedford Esquires. Brewhouse & Kitchen. FoS were good value, EL were excellent as always and the burger was fine.

26.09 The National. Ally Pally. Views from the venue were spectacular.

04.10 Sprints. Scala. Ballache getting to the gig 'cos of the train strike, but well worth it. Aftershow gathering at The Lexington warranted an overnight stay!

05.10 Hard-Fi, Tom A. Smith. The Junction. Impressed with HF, even more impressed with TAS and his band.

06.10 The Undertones, Tom Robinson Band. The Junction. TRB were amazing. He is a great entertainer and his guitarist was superb.

18.10 Treeboy & Arc, Bo Gritz. The Moth Club. T&A are seriously good live.

23.10 Lande Hekt, Charley Stone's Actual Band. The Lexington. 26.10 Yumi and the Weather, Sunny Gym. The Craufurd Arms. Only caught the final song from SG but it was excellent. YatW were banging.

30.10 Cash Savage and the Last Drinks, James P. Honey. The Lexington. CSatLD were amazing. The violinist pulled out one of the best live solos of any instrument I have even witnessed.

08.11 Deadletter, The Joy Hotel. The Craufurd Arms. TJH were bloody good...including bass, 5 guitars! D were superb - great front man.

09.11 Nothing But Thieves. World Resorts Arena, Brum (old NEC). £7.50 a fucking pint. NBT is about right.

12.11 This Is The Kit, Gina Birch. The Glee Club, Brum.

15.11 The Murder Capital. Electric Ballroom. Mental gig. Haven't seena mosh pit like it since the 80s. Thoroughly enjoyed this gig.

16.11 Bleach Lab, Wings of Desire. Scala. WoD were right down my street and delivered - a nice surprise as I'd not heard of them before. One of those gigs where support > headliner.

23.11 Bdrmm, Damefrisor. Bedford Esquires. I flipping enjoyed this. B drummer cracked open a bottle of beer with the end of his drumstick which was the coolest thing I have ever seen.

03.12 The Rural Alberta Advantage, Zoon. Lafayette. I was not in the mood for travelling down to this on a Monday night. However, it was well worth it. RAA were every bit as 9, or so, years ago when I first saw them.

04.12 Coach Party, Bedroom High Club, House of Women. O'Meara. A free gig put on by Beavertown brewery and I'd have gladly paid. Each band were great. BHC were brand new to me and were the pick of a fantastic bunch. I will definitely catch all 3 live again.

12.12 Rahill The Lower Third

#gigs #livemusic #best burgers #livecomedy #standup #Food #fastfood #music

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laurafaritos · 7 days ago

Text

HDMS017. What a Marketing CEO Taught Me About Selling Comedy Shows

Soooooo, my world has turned upside down since I started this Harvard digital marketing course. Module 1 took me 35 hours, and I wrote 15 reflection essays along the way. I’m 20 hours into Module 2, only halfway through, and realizing this course is basically a full-time job.

If this were any other year, I’d be beating myself up for taking so long. For eight years, I convinced myself that next time, I’d finish things “on time.” That if I just tried harder, I’d magically function like everyone else. And every time I failed, I thought I was the problem.

But I’m done with that.

The difference between then and now is a diagnosis. I am not broken—I have two disabilities that affect how I learn, and I’m doing all of this in another language. So if it takes me four times longer to study, then it takes me four times longer. What matters is that I’m learning.

One of the biggest game-changers so far? The GAMMA Strategy. I can physically feel it rewiring my brain chemistry. I cannot look at my comedy shows the same way. And honestly? I don’t understand why comedy schools and media programs don’t teach this.

But I think I know why—those programs train us to be employees, not self-employed creatives. And GAMMA? It’s a fundamental concept for anyone trying to run their own career like a business.

I’ve been in entertainment for 12+ years and a comedian since 2016, and this is the first time I’m hearing about this.

So in this post, I’ll break down what the GAMMA Strategy is and how it’s making me rethink everything about my comedy career. If you’re struggling to sell out shows, this post is for you.

I’m not the same comedian I was before this module, and I can’t wait to see who I’ll be when this course is over. Hope this changes your life too.

I. What is the GAMMA Strategy? (And Why Didn’t I Learn This Sooner?)

The GAMMA Strategy is a framework for marketing planning, and once you learn it, you can’t unsee it. It breaks marketing down into five essential parts: setting clear goals, defining your audience, crafting the right messaging, tracking what works, and optimizing for success. It’s a simple system, but the way it reframes business decisions is a game-changer.

It made me realize how often comedians, including myself, approach marketing completely backward. We don’t think about who we’re trying to reach, why they should care, or how we’re positioning ourselves. We assume that if we’re funny enough, the right people will find us, buy tickets, and spread the word. But that’s not how it works.

Comedy doesn’t operate in a vacuum. The biggest comedians aren’t just talented—they understand how to sell their brand. They know their audience inside and out, they test different ways to market themselves, and when they find what works, they double down. They’re not just throwing random promo posts on Instagram and hoping for the best. They’re following a strategy, whether they realize it or not.

I used to think talent was enough. It’s not. If you don’t treat your comedy like a business, you will always struggle to make a living. GAMMA is the business plan nobody teaches you in comedy school—and once I saw it, I couldn’t go back.

II. How I'm Applying the GAMMA Strategy to my Comedy Business

Once I understood the GAMMA framework, I realized that most comedians—including myself—have been flying blind when it comes to promoting our work. We think marketing means posting a flyer on Instagram, asking people to come to our show, and hoping for the best. But that’s not a strategy—that’s just wishful thinking.

Here’s how the GAMMA framework applies directly to comedy:

1️⃣ Goals & Strategy – Most comedians say they want to "get more people at shows" or "grow an audience," but those aren’t clear goals. A real goal is specific: Do you want to double your ticket sales in six months? Get 10K followers on Instagram to increase your booking potential? Sell out one show a quarter? Your strategy has to match your goal.

2️⃣ Audience & Targeting – Who are you actually trying to reach? Are you marketing to casual comedy fans, hardcore stand-up lovers, young professionals looking for a night out, or niche communities that connect with your material? I used to assume that my audience was “anyone who likes comedy,” but that’s way too broad. The better you define your audience, the easier it is to reach them.

3️⃣ Messaging & Creative – What makes your show different? If your promo is just “Hey, come to this comedy show,” it’s not enough. People need a reason to care. Are you the only Brazilian comedian doing a show about immigration? Is your event focused on horror comedy? Are you known for a specific style of humor? Your messaging needs to highlight what makes you unique.

4️⃣ Measurement, Testing & Learning – This is where most comedians fail. If a show does well, we celebrate. If it flops, we assume "people just weren’t interested." But did we actually track what worked? What kind of promo got the most engagement? What ticket price led to the most sales? Which social media platform converted best? If you’re not measuring, you’re guessing.

5️⃣ Acceleration & Optimization – Once you know what works, double down. If Facebook ads bring in more ticket sales than Instagram posts, invest more in Facebook. If a certain type of promo video converts better than others, make more like it. This step is about taking what’s working and scaling it up instead of starting from scratch every time.

For years, I thought selling tickets was just about being funny. But now I see it’s about building a system. GAMMA gave me a structure for marketing my shows, and it’s already changing the way I approach comedy as a business.

III. Managing This Process with AuDHD

Learning and applying the GAMMA strategy is one thing—but doing it while navigating AuDHD is a whole other challenge. For most of my life, I either beat myself up for struggling to keep up or I’d set delusional goals, thinking I could “just be more disciplined” if I tried hard enough. Neither of those approaches worked. What’s different now is that I understand how my brain works, and instead of forcing myself to work like a neurotypical person, I’m building systems that work for me.

Here’s how I’m managing this process in a way that actually supports my AuDHD brain:

1️⃣ Body-doubling & external deadlines – I don’t just set goals like "promote the show." I set external deadlines and social accountability. If I need to post about ticket sales, I’ll tell a friend I’m doing it by 3 PM so they check in. If I have to edit a promo video, I’ll book a coworking session with someone so I actually sit down and do it.

2️⃣ Working with momentum instead of against it – AuDHD means my energy levels are inconsistent. Some days I can work for 12 hours straight; other days, my brain refuses to engage. Instead of shaming myself, I plan around it. If I’m hyperfocused, I batch-create content so I have a backlog ready. If I know I’m low-energy, I schedule low-demand tasks like scheduling posts, updating my show calendar, or answering emails.

3️⃣ Automation & templates – Repeating the same task over and over drains me. So I’m creating plug-and-play systems:

A pre-made promo calendar so I don’t have to decide what to post every day.

Email templates for reaching out to venues, sponsors, and press.

A marketing checklist for every show so I don’t forget crucial steps (because I will forget).

4️⃣ Embracing "good enough" instead of perfectionism – Before, I’d get stuck trying to make the perfect promo video and end up posting nothing at all. Now, I remind myself: done is better than perfect. If a post isn’t flawless, it’s still better than silence.

For years, I thought my struggles with marketing were a personal failure—that I just wasn’t “disciplined enough.” Now, I see that my brain just needs a different approach, and forcing myself into a system that wasn’t built for me was never going to work.

By aligning my business strategy with how my brain actually functions, I’m finally breaking out of the cycle of burnout, avoidance, and shame. And honestly? This is the most sustainable I’ve ever felt in my comedy career.

IV. The Comedian I’m Becoming

Before this module, I thought marketing was just about promoting my shows. Now, I see that marketing is the strategy that makes the entire show possible. It’s not just about getting people in the door—it’s about making sure my comedy career is sustainable long-term.

For years, I relied on word-of-mouth and assumed that talent alone would be enough. Now, I’m treating my comedy like a business, because that’s what it is. Learning about the GAMMA strategy, audience targeting, and value propositions has completely changed how I approach my work.

I’m not the same comedian I was a month ago. And I can’t wait to see who I’ll be by the end of this course.

V. TL;DR & Final Thoughts

So, here’s the big takeaway: marketing isn’t just about promotion—it’s the foundation of a sustainable comedy career. Without a clear strategy, I was stuck relying on last-minute ticket pushes, hoping people showed up. Now, I’m building a system where every show, every project, and every piece of content works together to support my long-term goals.

This Harvard course is pushing me to think beyond just being funny on stage. It’s forcing me to step into my role as a producer, business owner, and strategist. And honestly? I love it. I’m not the same comedian I was before starting this module, and I know that by the time I finish this course, my entire approach to comedy will be transformed.

If you’re a comedian struggling to get people in the door, start thinking like a business. Your talent deserves an audience, but they won’t just appear—you have to bring them in. I hope what I’m learning here helps you, too.

Tchau, tchau!!!

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