When and How to Create a Valuable Marketing Event

Azure CEO Summit
Snapshots from Azure’s 11th Annual CEO Summit

A key marketing tool for companies is to hold an event like a user’s conference or a topical forum to build relationships with their customers and partners, drive additional revenue and/or generate business development opportunities. Azure held its 11th annual CEO Summit last week, and as we’re getting great feedback on the success of the conference, I thought it might be helpful to dig deeply into what makes a conference effective. I will use the Azure event as the example but try to abstract rules and lessons to be learned, as I have been asked for my advice on this topic by other firms and companies.

Step 1. Have a clear set of objectives

For the Azure CEO Summit, our primary objectives are to help our portfolio companies connect with:

  1. Corporate and Business Development executives from relevant companies
  2. Potential investors (VCs and Family Offices)
  3. Investment banks so the companies are on the radar and can get invited to their conferences
  4. Debt providers for those that can use debt as part of their capital structure

A secondary objective of the conference is to build Azure’s brand thereby increasing our deal flow and helping existing and potential investors in Azure understand some of the value we bring to the table.

When I created a Wall Street tech conference in the late 90’s, the objectives were quite different. They still included brand building, but I also wanted our firm to own trading in tech stocks for that week, have our sell side analysts gain reputation and following, help our bankers expand their influence among public companies, and generate a profit for the firm at the same time. We didn’t charge directly for attending but monetized through attendees increasing use of our trading desk and more companies using our firm for investment banking.

When Fortune began creating conferences, their primary objective was to monetize their brand in a new way. This meant charging a hefty price for attending. If people were being asked to pay, the program had to be very strong, which they market quite effectively.

Conferences that have clear objectives, and focus the activities on those objectives, are the most successful.

Step 2. Determine invitees based on who will help achieve those objectives

For our Summit, most of the invitees are a direct fallout from the objectives listed above. If we want to help our portfolio companies connect with the above-mentioned constituencies, we need to invite both our portfolio CEOs and the right players from corporations, VCs, family offices, investment banks and debt providers. To help our brand, inviting our LPs and potential LPs is important. To insure the Summit is at the quality level needed to attract the right attendees we also target getting great speakers.  As suggested by my partners and Andrea Drager, Azure VP (and my collaborator on Soundbytes) we invited several non-Azure Canadian startups. In advance of the summit, we asked Canadian VCs to nominate candidates they thought would be interesting for us and we picked the best 6 to participate in the summit. This led to over 70 interesting companies nominated and added to our deal flow pipeline.

Step 3. Create a program that will attract target attendees to come

This is especially true in the first few years of a conference while you build its reputation. It’s important to realize that your target attendees have many conflicting pulls on their time. You won’t get them to attend just because you want them there! Driving attendance from the right people is a marketing exercise. The first step is understanding what would be attractive to them. In Azure’s case, they might not understand the benefit of meeting our portfolio companies, but they could be very attracted by the right keynotes.

Azure’s 2017 Summit Keynote Speakers: Mark Lavelle, CEO of Magento Commerce & Co-founder of Bill Me Later. Cameron Lester, Managing Director and Co-Head of Global Technology Investment Banking, Jeffries. Nagraj Kashyap, Corporate VP & Global Head, Microsoft Ventures.

Over the years we have had the heads of technology investment banking from Qatalyst, Morgan Stanley, Goldman, JP Morgan and Jeffries as one of our keynote speakers. From the corporate world, we also typically have a CEO, former CEO or chairman of notable companies like Microsoft, Veritas, Citrix, Concur and Audible as a second keynote. Added to these were CEOs of important startups like Stance and Magento and terrific technologists like the head of Microsoft Labs.

Finding the right balance of content, interaction and engagement is challenging, but it should be explicitly tied to meeting the core objectives of the conference.

Step 4. Make sure the program facilitates meeting your objectives

Since Azure’s primary objective is creating connections between our portfolio (and this year, the 6 Canadian companies) with the various other constituencies we invite, we start the day with speed dating one-on-ones of 10 minutes each. Each attendee participating in one-on-ones can be scheduled to meet up to 10 entities between 8:00AM and 9:40. Following that time, we schedule our first keynote.

In addition to participating in the one-on-ones, which start the day, 26 of our portfolio companies had speaking slots at the Summit, intermixed with three compelling keynote speakers. Company slots are scheduled between keynotes to maximize continued participation. This schedule takes us to about 5:00pm. We then invite the participants and additional VCs, lawyers and other important network connections to join us for dinner. The dinner increases everyone’s networking opportunity in a very relaxed environment.

These diverse types of interaction phases throughout the conference (one-on-ones, presentations, discussions, and networking) all facilitate a different type of connection between attendees, focused on maximizing the opportunity for our portfolio companies to build strong connections.

Azure Company Presentations
Azure Portfolio Company CEO Presentations: Chairish, Megabots & Atacama

Step 5. Market the program you create to the target attendees

I get invited to about 30 conferences each year plus another 20-30 events. It’s safe to assume that most of the invitees to the Azure conference get a similar (or greater) number of invitations. What this means is that it’s unlikely that people will attend if you send an invitation but then don’t effectively market the event (especially in the first few years). It is important to make sure every key invitee gets a personal call, email, or other message from an executive walking them through the agenda and highlighting the value to them (link to fortune could also go here). For the Azure event, we highlight the great speakers but also the value of meeting selected portfolio companies. Additionally, one of my partners or I connect with every attendee we want to do one-on-ones with portfolio companies to stress why this benefits them and to give them the chance to alter their one-on-one schedule. This year we managed over 320 such meetings.

When I created the first “Quattrone team” conference on Wall Street, we marketed it as an exclusive event to portfolio managers. While the information exchanged was all public, the portfolio managers still felt they would have an investment edge by being at a smaller event (and we knew the first year’s attendance would be relatively small) where all the important tech companies spoke and did one-on-one meetings. For user conferences, it can help to land a great speaker from one of your customers or from the industry. For example, if General Electric, Google, Microsoft or some similar important entity is a customer, getting them to speak will likely increase attendance. It also may help to have an industry guru as a speaker. If you have the budget, adding an entertainer or other star personality can also add to the attraction, as long as the core agenda is relevant to attendees.

Step 6. Decide on the metrics you will use to measure success

It is important to set targets for what you want to accomplish and then to measure whether you’ve achieved those targets. For Azure, the number of entities that attend (besides our portfolio), the number of one-on-one meetings and the number of follow-ups post the conference that emanate from one-on-one are three of the metrics we measure. One week after the conference, I already know that we had over 320 one-on-ones which, so far, has led to about 50 follow ups that we are aware of including three investments in our portfolio. We expect to learn of additional follow up meetings but this has already exceeded our targets.

Step 7. Make sure the value obtained from the conference exceeds its cost

It is easy to spend money but harder to make sure the benefit of that spend exceeds its cost. On one end of the spectrum, some conferences have profits as one of the objectives. But in many cases, the determination of success is not based on profits, but rather on meeting objectives at a reasonable cost. I’ve already discussed Azure’s objectives but most of you are not VCs. For those of you dealing with customers, your objectives can include:

  1. Signing new customers
  2. Reducing churn of existing customers
  3. Developing a better understanding of how to evolve your product
  4. Strong press pickup / PR opportunity

Spending money on a conference should always be compared to other uses of those marketing dollars. To the degree you can be efficient in managing it, the conference can become a solid way to utilize marketing dollars. Some of the things we do for the Azure conference to control cost which may apply to you include:

  1. Partnering with a technology company to host our conference instead of holding it at a hotel. This only works if there is value to your partner. Cost savings is about 60-70%.
  2. Making sure our keynotes are very relevant but are at no cost. You can succeed at this with keynotes from your customers and/or the industry. Cost savings is whatever you might have paid someone.
  3. Having the dinner for 150 people at my house. This has two benefits: it is a much better experience for those attending and the cost is about 70% less than having it at a venue.


I have focused on using the Azure CEO Summit as the primary example but the rules laid out apply in general. They not only will help you create a successful conference but following them means only holding it if its value to you exceeds its cost.



The warriors…

Last June I wrote about why Kevin Durant should join the Warriors

If you look at that post, you’ll see that my logic appears to have been born out, as my main reason was that Durant was likely to win a championship and this would be very instrumental in helping his reputation/legacy.

Not mentioned in that post was the fact that he would also increase his enjoyment of playing, because playing with Curry, Thompson, Green and the rest of the Warriors is optimizing how the game should be played

Now it’s up to both Durant and Curry to agree to less than cap salaries so the core of the team can be kept intact for many years. If they do, and win multiple championships, they’ll probably increase endorsement revenue. But even without that offset my question is “How much is enough?” I believe one can survive nicely on $30-$32 million a year (Why not both agree to identical deals for 4 years, not two?). Trying for the maximum is an illusion that can be self-defeating. The difference will have zero impact on their lives, but will keep players like Iguodala and Livingston with the Warriors, which could have a very positive impact. I’m hoping they can also keep West, Pachulia and McGee as well.

It would also be nice if Durant and Curry got Thompson and Green to provide a handshake agreement that they would follow the Durant/Curry lead on this and sign for the same amount per year when their contracts came up. Or, if Thompson and Green can extend now, to do the extension at equal pay to what Curry and Durant make in the extension years. By having all four at the same salary at the end of the period, the Warriors would be making a powerful statement of how they feel about each other.

Amazon & Whole Foods…

Amazon’s announced acquisition of Whole Foods is very interesting. In a previous post, we predicted that Amazon would open physical stores. Our reasoning was that over 90% of retail revenue still occurs offline and Amazon would want to attack that. I had expected these to be Guide Stores (not carrying inventory but having samples of products). Clearly this acquisition shows that, at least in food, Amazon wants to go even further. I will discuss this in more detail in a future post.

The Business of Theater

Earnest Shackleton

I have become quite interested in analyzing theater, in particular, Broadway and Off-Broadway shows for two reasons:

  1. I’m struck by the fact that revenue for the show Hamilton is shaping up like a Unicorn tech company
  2. My son Matthew is producing a show that is now launching at a NYC theater, and as I have been able to closely observe the 10-year process of it getting to New York, I see many attributes that are consistent with a startup in tech.


It is fitting that Matthew’s show, Ernest Shackleton Loves Me, was first incubated at Theatreworks, San Francisco, as it is the primary theater of Silicon Valley. Each year the company hosts a “writer’s retreat” to help incubate new shows. Teams go there for a week to work on the shows, all expenses paid. Theatreworks supplies actors, musicians, and support so the creators can see how songs and scenes seem to work (or not) when performed. Show creators exchange ideas much like what happens at a tech incubator. At the culmination of the week, a part of each show is performed before a live audience to get feedback.

Creation of the Beta Version

After attending the writer’s retreat the creators of Shackleton needed to do two things: find a producer (like a VC, a Producer is a backer of the show that recruits others to help finance the project); and add other key players to the team – a book writer, director, actors, etc. Recruiting strong players for each of these positions doesn’t guarantee success but certainly increases the probability. In the case of Shackleton, Matthew came on as lead producer and he and the team did quite well in getting a Tony winning book writer, an Obie winning director and very successful actors on board. Once this team was together an early (beta version) of the show was created and it was performed to an audience of potential investors (the pitch). Early investors in the show are like angel investors as risk is higher at this point.

Beta Testing

The next step was to run a beta test of the product – called the “out of town tryout”. In general, out of town is anyplace other than New York City. It is used to do continuous improvement of the show much like beta testing is used to iterate a technology product based on user feedback. Theater critics also review shows in each city where they are performed. Ernest Shackleton Loves Me (Shackleton) had three runs outside of NYC: Seattle, New Jersey and Boston. During each, the show was improved based on audience and critic reaction. While it received rave reviews in each location, critics and the live audience can be helpful as they usually still can suggest ways that a show can be improved. Responding to that feedback helps prepare a show for a New York run.

Completing the Funding

Like a tech startup, it becomes easier to raise money in theater once the product is complete. In theater, a great deal of funding is required for the steps mentioned above, but it is difficult to obtain the bulk of funding to bring a show to New York for most shows without having actual performances. An average musical that goes to Off-Broadway will require $1.0 – $2.0 million in capitalization. And an average one that goes to Broadway tends to capitalize between $8 – $17 million. Hamilton cost roughly $12.5 million to produce, while Shackleton will capitalize at the lower end of the Off-Broadway range due to having a small cast and relatively efficient management. For many shows the completion of funding goes through the early days of the NYC run. It is not unusual for a show to announce it will open at a certain theater on a certain date and then be unable to raise the incremental money needed to do so. Like a tech startup, some shows, like Shackleton, may run a crowdfunding campaign to help top off its funding.

You can see what a campaign for a theater production looks like by clicking on this link and perhaps support the arts, or by buying tickets on the website (since the producer is my son, I had to include that small ask)!

The Product Launch

Assuming funding is sufficient and a theater has been secured (there currently is a shortage of Broadway theaters), the New York run then begins.  This is the true “product launch”. Part of a shows capitalization may be needed to fund a shortfall in revenue versus weekly cost during the first few weeks of the show as reviews plus word of mouth are often needed to help drive revenue above weekly break-even. Part of the reason so many Broadway shows employ famous Hollywood stars or are revivals of shows that had prior success and/or are based on a movie, TV show, or other well-known property is to insure substantial initial audiences. Some examples of this currently on Broadway are Hamilton (bestselling book), Aladdin (movie), Beautiful (Carole King story), Chicago (revival of successful show), Groundhog Day (movie), Hello Dolly (revival plus Bette Midler as star) and Sunset Boulevard (revival plus Glenn Close as star).

Crossing Weekly Break Even

Gross weekly burn for shows have a wide range (just like startups), with Broadway musicals having weekly costs from $500,000 to about $800,000 and Off-Broadway musicals in the $50,000 to $200,000 range. In addition, there are royalties of roughly 10% of revenue that go to a variety of players like the composer, book writer, etc. Hamilton has about $650,000 in weekly cost and roughly a $740,000 breakeven level when royalties are factored in.  Shackleton weekly costs are about $53,000, at the low end of the range for an off-Broadway musical, at under 10% of Hamilton’s weekly cost.

Is Hamilton the Facebook of Broadway?

Successful Broadway shows have multiple sources of revenue and can return significant multiples to investors.

Chart 1: A ‘Hits’ Business Example Capital Account

Since Shackleton just had its first performance on April 14, it’s too early to predict what the profit (or loss) picture will be for investors. On the other hand, Hamilton already has a track record that can be analyzed. In its first months on Broadway the show was grossing about $2 million per week which I estimate drove about $ 1 million per week in profits. Financial investors, like preferred shareholders of a startup, are entitled to the equivalent of “liquidation preferences”. This meant that investors recouped their money in a very short period, perhaps as little as 13 weeks. Once they recouped 110%, the producer began splitting profits with financial investors. This reduced the financial investors to roughly 42% of profits. In the early days of the Hamilton run, scalpers were reselling tickets at enormous profits. When my wife and I went to see the show in New York (March 2016) we paid $165 per ticket for great orchestra seats which we could have resold for $2500 per seat! Instead, we went and enjoyed the show. But if a scalper owned those tickets they could have made 15 times their money. Subsequently, the company decided to capture a portion of this revenue by adjusting seat prices for the better seats and as a result the show now grosses nearly $3 million per week. Since fixed weekly costs probably did not change, I estimate weekly profits are now about $1.8 million. At 42% of this, investors would be accruing roughly $750,000 per week. At this run rate, investors would receive over 3X their investment dollars annually from this revenue source alone if prices held up.

Multiple Companies Amplify Revenue and Profits

Currently Hamilton has a second permanent show in Chicago, a national touring company in San Francisco (until August when it’s supposed to move to LA) and has announced a second touring company that will begin the tour in Seattle in early 2018 before moving to Las Vegas and Cleveland and other stops. I believe it will also have a fifth company in London and a sixth in Asia by late 2018 or early 2019. Surprisingly, the touring companies can, in some cities, generate more weekly revenue than the Broadway company due to larger venues. Table 1 shows an estimate of the revenue per performance in the sold out San Francisco venue, the Orpheum Theater which has a capacity 2203 versus the Broadway capacity (Richard Rogers Theater) of 1319.

Table 1: Hamilton San Francisco Revenue Estimates

While one would expect Broadway prices to be higher, this has not been the case. I estimate the average ticket price in San Francisco to be $339 whereas the average on Broadway is now $282. The combination of 67% higher seating capacity and 20% higher average ticket prices means the revenue per week in San Francisco is now close to $6 million. Since it was lower in the first 4 weeks of the 21 plus week run, I estimate the total revenue for the run to be about $120 million. Given the explosive revenue, I wouldn’t be surprised if the run in San Francisco was extended again. While it has not been disclosed what share of this revenue goes to the production company, normally the production company is compensated as a base guarantee level plus a share of the profits (overage) after the venue covers its labor and marketing costs. Given these high weekly grosses, I assume the production company’s share is close to 50% of the grosses given the enormous profits versus an average show at the San Francisco venue (this would include both guarantee and overage). At 50% of revenue, there would still be almost $3 million per week to go towards paying the production company expenses (guarantee) and the local theater’s labor and marketing costs. If I use a lower $2 million of company share per week as profits to the production company that annualizes at over $100 million in additional profits or $42 million more per year for financial investors. The Chicago company is generating lower revenue than in San Francisco as the theater is smaller (1800 seats) and average ticket prices appear to be closer to $200. This would make revenue roughly $2.8 million per week. When the show ramps to 6 companies (I think by early 2019) the show could be generating aggregate revenue of $18-20 million per week or more should demand hold up. So, it would not be surprising if annual ticket revenue exceeded $1 billion per year at that time.

Merchandise adds to the mix

I’m not sure what amount of income each item of merchandise generates to the production company. Items like the cast album and music downloads could generate over $25 million in revenue, but in general only 40% of the net income from this comes to the company. On the other hand, T-shirts ($50 each) and the high-end program ($20 each) have extremely large margin which I think would accrue to the production company. If an average attendee of the show across the 6 (future) or more production companies spent $15 this could mean $1.2 million in merchandise sales per week across the 6 companies or another $60 million per year in revenue. At 60% gross margin this would add another $36 million in profits.

I expect Total Revenue for Hamilton to exceed $10 billion

In addition to the sources of revenue outlined above Hamilton will also have the opportunity for licensing to schools and others to perform the show, a movie, additional touring companies and more.  It seems likely to easily surpass the $6 billion that Lion King and Phantom are reported to have grossed to date, or the $4 billion so far for Wicked. In fact, I believe it eventually will gross over a $10 billion total. How this gets divided between the various players is more difficult to fully access but investors appear likely to receive over 100x their investment, Lin-Manuel Miranda could net as much as $ 1 billion (before taxes) and many other participants should become millionaires.

Surprisingly Hamilton may not generate the Highest Multiple for Theater Investors!

Believe it or not, a very modest musical with 2 actors appears to be the winner as far as return on investment. It is The Fantasticks which because of its low budget and excellent financial performance sustained over decades is now over a 250X return on invested capital. Obviously, my son, an optimistic entrepreneur, hopes his 2 actor musical, Ernest Shackleton Loves Me, will match this record.