Sign up for IQ Index
The latest industry news to your inbox.
IQ charts the trajectory of Gadget and explores the company's enduring ambition to be the best in the business
By Derek Robertson on 02 Aug 2024
“Choose a job you love, and you will never have to work a day in your life.” Sage advice. Timeless, too – that quote is attributed to famed Chinese philosopher Confucius. And it could certainly be applied to the people behind Gadget Entertainment Group AG, the Swiss live entertainment company celebrating its 30th anniversary this year.
“After finishing school, I wanted to follow my passion – organising concerts and working with musicians,” says Eric Kramer, one of Gadget’s founders and current managing partner, director business operations. “That’s why I decided against pursuing a study programme and started a company instead.”
And so, Gadget was born. Together with his then business partner and friend Alon Renner, Kramer began managing Swiss bands and booking bigger shows by international artists – in the first year or so, this included the likes of Run DMC, The Sugarhill Gang, Millencolin, and ‘Ol Dirty Bastard. Not bad for a company that was being run from the storage room of a paint shop.
And now, 30 years on, they are a behemoth; the largest and most important live entertainment company in Switzerland, active via three locations in Zurich, St.Gallen and Bern, they’ve gone beyond promotion and artist management to become a true 21st Century, 360° agency. As their website proclaims, they are “everything music.”
“We’re still full of ambition, passion, and commitment to music”
Easy as 1,2,3
As Kramer tells it, in the early years, they kept Gadget small and manageable. “It was just the two of us,” he says, “and the company grew very organically, with one thing leading to another.” It was over a year before they hired their first employee – Marion Streit – who joined “more or less by accident.” She was working in the post office; Kramer and Renner were frequent customers. “I had quit that job to go travelling,” she says. “And they asked if I wanted to work for them when I came back.”
Being such a small, inexperienced organisation, Streit had, she says, “no expectations.” But 29 years later, she’s still there – she’s now process manager, concerts and touring. “We have a great team – 100% authentic,” she says of her long Gadget career. “And we’re still full of ambition, passion, and commitment to music.”
That organic growth continued over Gadget’s first decade, with the company slowly building up their operations and a stellar reputation for professionalism and excellence. In 2004, Renner left the company, and Reto Lazzarotto, an artist manager and former marketing director of Warner Music Switzerland, joined. They also began branching out into brand partnerships and launched their own in-house record label – Gadget Records.
A year later, Stefan Wyss, the former booker of Salzhaus Club Winterthur, joined, and their expansion began to gather pace. “At Salzhaus, I booked a lot of shows from Gadget,” says Wyss. “After three years, Eric Kramer asked me to join Gadget as a booker and promoter – to basically run the live department and build up and expand Gadget’s live activities. It was a very interesting of- fer – and it was clear straight away I had to do this.”
“From the beginning, I felt there was a lot of potential to grow in the Swiss market and that we had all the possibilities to do what we love to do”
When he joined, Gadget consisted of just five people. “Very small and very familiar,” says Wyss. “It was great to work in such a very motivated team. From the beginning, I felt there was a lot of potential to grow in the Swiss market and that we had all the possibilities to do what we love to do.”
Gadget’s live entertainment and entertainment marketing divisions were established and expanded, so too their label and in-house publishing house. They also brought Christof Huber, partner and director festivals, on board. A booker who started his career at OpenAir St.Gallen in 1993, Huber had frequently worked with Renner and Kramer, booking Gadget acts, and was approached by Wyss to deepen their collaboration.
“He asked if we could join forces and if I could introduce them in London and work together in promoting international artists,” he says. “With Gadget Touring, we founded a company and started to establish good relationships with agents in the UK.”
Alongside this international expansion, they continued developing domestically and, says Kramer, “deepening our long-standing friendships and collaborations with key partners.” 2007 saw them promote their first show at the 3,000-cap MAAG Music Hall in Zurich; in 2012, they did the same at Zurich’s 13,000-cap Hallenstadion.
“With this network, we became the ideal gateway for international artists into the Swiss market”
That first event was, says Wyss, a “big move” and an important milestone for Gadget. “We decided to start promoting bigger shows as a local promoter – up until then, it had been club shows and festival bookings.” He says it was unequivocally the right decision and one that allowed Gadget to grow with their artists and continue expanding to that first arena show in 2012 and later their first stadium show in 2019.
We Promote
Eventually, it made sense to organise all this closer collaboration and cooperation more formally, and so together with wildpony AG – whose principal, Philippe Cornu, now runs Gadget’s Bern location – Incognito Productions AG, OpenAir St.Gallen, and SummerDays Festival, the Wepromote Entertainment Group Switzerland AG was formed.
“It was a very important step,” says Wyss. “It brought us closer to the established festivals on one hand and our promoting and management activities at Gadget on the other.” Joining forces allowed the new network to build international artists’ careers in Switzerland better, getting them into major arenas and promoting some of the most successful festivals as well as stadium shows and special events.
It also saw Cyrill Stadler brought into the fold. The CFO of OpenAir St.Gallen festival, he’d been working with Gadget since the early noughties, but he first worked with Kramer back in 1996, when Kramer was booking bands for the festival. “The combination of festivals with the artist scouts from Gadget was a perfect match,” he says of Wepromote. “And with this network, we became the ideal gateway for international artists into the Swiss market.”
“Thanks to our 500 concerts a year, eleven festivals, and 15 Swiss artists, we have a certain market position and a unique selling point”
The last of the current five partners, Oliver Rosa, joined in 2017. The former managing director of Warner Music Switzerland first got to know Gadget in the late 90s, when he was working PR for Warner and Kramer was managing a popular Swiss band. “We hit it off immediately,” recalls Rosa, “and it was the beginning of our long friendship.” He says that for him, back then, Gadget were the “cool kids – not just the small team itself but also their artists. Although we had a really good team at Warner, the Gadget people were somehow closer to the action than we were at a big, major label.”
Joining Gadget was something he always envisioned happening, but, he says, “it only became a serious option 20 years later – I’d left Warner at the end of the noughties, founded the Swiss Music Awards, and started managing Swiss acts.” When he came on board, his network was more focused on the domestic market and his event experience; currently, Rosa serves as managing partner, director artists and brands, and has brought in numerous new management mandates.
Much of Gadget’s success has been due to its ability to foster cooperation and forge important networks with like-minded organisations. This ethos of strength in numbers – as evidenced by the success of the Wepromote network – has stood the company in great stead as the Swiss market has evolved and become more competitive, and everyone IQ speaks to is keen to emphasise just how fundamental this aspect is.
“Thanks to our 500 concerts a year, eleven festivals, and 15 Swiss artists, we have a certain market position and a unique selling point,” says Rosa. “We keep our finger on the pulse and are a reliable partner.”
“Our market was always very competitive but our strong numbers will allow us to stay competitive in the Swiss market in the future”
Stadler comments, “In addition to our international roots, domestic artists play a very important role for us – local music is strongly ingrained in Gadget’s DNA.”
Kramer notes, “Due to the range of our offerings, we’re close to the people – we organise festivals, promote many shows, manage artists, and have offices in three different cities in Switzerland. We authentically embody our 360° full-service offering.”
Huber adds, “Our market was always very competitive, with lots of promotors and agents, but our strong numbers will allow us to stay competitive in the Swiss market in the future.”
We Unite
Indeed, this collaborative spirit has also filtered down to Gadget’s employees. Many spent time working with or for one of the five current partners; all knew of Gadget’s reputation for excellence, passion, and quite simply being brilliant at what they do. “It’s the spirit – you either have it or you don’t, but it’s something you can’t learn,” says Sarah Blum, head of project management, concerts and touring. “And the Gadget team has it.”
“I still feel the tingling in the team when we discover an upcoming artist, have the opportunity to give them a platform”
“Benefiting from each other and creating unique experiences for the public together,” is what Nora Fuchs, head of marketing and communications, festivals, says sets Gadget apart. “We all have the same passion for the music business and live entertainment, so we can enable unforgettable experiences in all areas of the field of music.”
“When I started at Christof Huber’s agency Incognito Productions over a decade ago, we were a team of four people, sent out festival tickets by post and regularly received band applications with CDs,” says Gadget’s head of projects festivals, Fabienne Wolfschläger.
“In the meantime, we have grown and professionalised as a company, but have remained agile and dynamic, like we used to be in the small team, which I really appreciate. And the passion is unchanged: I still feel the tingling in the team when we discover an upcoming artist, have the opportunity to give them a platform, and introduce them to a larger audience each time.”
Booker/promoter, concerts and touring, Sandra Schweizer says, “Joining Gadget amidst the pandemic posed challenges but turned out to be a positive transition. Working with Stefan Wyss was seamless, and we quickly aligned our efforts. The whole team is incredibly passionate and committed to achieving the best outcomes for our partners, artists, venues, and everyone involved in our vibrant industry.
“CTS Eventim relies on local entrepreneurs for its engagements, and that’s exactly what we wanted to remain”
“We place a high value on our relationships with agents, recognising their crucial role in our success. What I value most is the mutual respect and appreciation we have for one another, both within the company and in our external interactions.”
Head of booking, concerts and touring, Olivier Joye, adds, “I have been working at Gadget since 2010 as a promoter for international artists, as well as an agent for domestic artists. It’s a special thing to be able to work on different sides of the job and to share the office with so many people working in different fields of the business as part of our 360° model.”
Wepromote clearly benefitted all who contributed – as Kramer puts it, “In our business, the network is extremely important.” After closer and closer collaboration, the next step seemed obvious – and inevitable. “After the rather informal merger of Wepromote, we realised that we would like to unite everything in one company,” says Kramer.
Talks with possible investors and partners were initiated and options considered. “A strong, well-connected partner made sense given the high risks of the international concert market and the staging of major festivals,” says Rosa – and CTS Eventim fitted the bill perfectly.
“A perfect match” is how Kramer describes the company; “the partner that best suited us – we saw the most synergies,” adds Stadler. “CTS Eventim relies on local entrepreneurs for its engagements, and that’s exactly what we wanted to remain,” says Rosa. “We saw the opportunity to create something new.”
The CTS deal was, says Wyss, “a unique chance for us to become a bigger company and a much stronger player”
The partners talk more about a shared vision than this being a simple acquisition. CTS Eventim took a 60% stake in the company and contributed their Swiss subsidiary abc Production AG to the deal, allowing them to become Switzerland’s leading promoter. The company was formally renamed Gadget Entertainment Group, with the five partners – Kramer, Rosa, Huber, Wyss, and Stadler – retaining 40%.
The deal was, says Wyss, “a unique chance for us to become a bigger company and a much stronger player.” “It gave us new opportunities to develop and to reposition ourselves in the market,” adds Kramer. However, the way they worked didn’t change, with CTS Eventim giving the new company plenty of freedom. “We are still the same people and are able to make our own decisions as businesspeople,” says Wyss.
Such autonomy – and trust – was soon sorely tested. The new joint venture was publicly announced in January 2020; four weeks later, in March, Covid-19 hit, and the world basically shut down. In the music and entertainment business, as in so many walks of life, the effect was devastating. “The contrast between the urge of the new and the sudden lack of direction was tough,” says Rosa, “but we were able to switch gears and use the time to set up our new company properly.”
“Challenging” is how Kramer remembers that time. But despite this and all the upheaval, the new company demonstrated innovation and flexibility, successfully building up the structures that would be required for future success – even though some of the newly formed teams didn’t properly meet in person for over a year and a half. “We had to work out processes that didn’t exist yet, with a team that had never worked together before,” adds Blum. “Then came the year with the most shows ever – it felt like a final exam!”
“It’s impressive what our Swiss colleagues have achieved over the past three decades, continuously advancing the Swiss live entertainment”
“We were able to maintain faith in the new company at all times, both with our business partners and our people,” says Rosa. “We found the right mindset, which strengthened our belief that we had done the right thing with the merger, and that we were committed to each other.”
First & Last & All Ways
In a neat coincidence, Gadget were the first company to have to cancel a concert at Zurich’s Hallenstadion – German rock band Annen- MayKantereit on 28 February 2020 – and the first to promote a show there after Covid restrictions were finally eased – Swiss pop/rock band Pegasus, on 1 October 2021. And the company had more than just survived – it had grown from the 35 employees it had in January 2020 (they now have over 70) and emerged ready to re-establish its excellence across borders and entertainment sectors.
“We were able to deliver really strong results in 2022 and 2023 when we restarted,” says Huber. “This gave our main shareholder confidence.”
A testament to Gadget’s enduring popularity, professionalism, and growth is how highly various providers, suppliers, and fellow music business colleagues speak of them. “Our first contact was probably in 1984 – with the founders of OpenAir St. Gallen – so we can talk about a business relationship of a good 40 years,” says Jan Lemmenmeier of Stagelight. “They have always developed in the founders’ spirit and with a lot of passion. Since the 80s, cooperation has always been friendly – and what unites that wild bunch is their great love of music.”
Principal shareholder, CTS Eventim, also admires Gadget’s approach to business. “It’s impressive what our Swiss colleagues have achieved over the past three decades, continuously advancing the Swiss live entertainment [land- scape] both creatively and economically,” says Frithjof Pils, managing director of Eventim Live.
“Gadget’s openness in sharing know-how and best practice, but also challenges and failures, is something you only find in very few”
“In our volatile industry, pillars like Gadget are essential to offer artists, fans, media, and business partners maximum reliability and professionalism. We are happy that the company has been a part of Eventim Live for the past four years, and has grown into a solid cornerstone of our group with a lot of potential on top. Gadget is an example of the great development opportunities our group offers to independent and entrepreneurial promoters. We appreciate you and look forward to the joint future.”
Holger Jan Schmidt first met Gadget’s principles through Yourope – the European festival association, of which he is now general secretary. And he pays tribute to Gadget’s willingness to divulge data and information that can help improve the overall live music business.
“I am networked throughout Europe and beyond in the festival world, and I can honestly say that Gadget’s openness in sharing know-how and best practice, but also challenges and failures, is something you only find in very few,” says Schmidt. “They have understood that sharing results [makes] you richer in experience, knowledge, and contacts afterwards, and thus [result in] faster and more targeted progress.
“We at Yourope can count ourselves lucky that this mindset has also established itself as a philosophy in our association, thanks to these, our favourite Swiss, whose European thinking and identification many could learn a thing or two from.”
“Gadget have always evolved and grown bigger and bigger, but they always made smart moves”
As the CEO of Hallenstadion, Philipp Musshafen has a very close working relationship with Gadget – “They are one of the biggest promoters at our venue,” he says. “They have developed enormously, especially in the last five years, but they have simply remained good people and have their hearts in the right place – we’ve already done so much together and laughed so much.” He notes that, since the Eventim deal, discussions have become “somewhat different and more business-driven, but I’m always happy to meet Eric, Stefan, and all the others to do business or just to chat.”
It’s a similar story from Thomas Kastl and Oliver Pompetzki at Basel’s St. Jakobshalle. “Every interaction with Gadget has been memorable due to their professionalism and the enjoyable nature of our collaborations – their team consistently brings a positive and energetic atmosphere to every project we undertake together,” they say. They talk of Gadget’s “genuine joy and emotional investment” in their work, and again, an unwavering passion. “They are a unique and resilient organisation that continues to thrive and deliver exceptional entertainment experiences.”
“Gadget have always evolved and grown bigger and bigger, but they always made smart moves – they were always open to new fields in the business and were one of the first companies doing brand deals in Switzerland,” says Julie Born, managing director of Sony Music Entertainment Switzerland. “I’ve worked with the team there on various different projects over the years – we have artists they manage and artists they book – and they are one of the best management companies we have here in Switzerland.”
Born attributes some of their success to doing things differently – “thinking outside the box,” as she puts it – and maintaining open minds regarding business and friendships. “I have a really close relationship with Eric Kramer, and even though we don’t always agree, we still have huge respect for each other and can have a drink or lunch together,” she says. “That’s a highlight for me because usually, in this business, people are very opinionated, and if you disagree with them, they can turn on you. That mutual respect means a lot to me.”
“We’ve managed to maintain our DNA over all the years, despite the many changes”
Even within the organisation, there is pride and satisfaction in what they accomplish – and in making the spectacular seem routine. “We did the first club show with Imagine Dragons and accompanied the band through their fantastic career – right up to a sold-out stadium show for 42,000 at Berne’s Stadion Wankdorf,” says Christof Huber. “It’s rare to have such a consistent relationship with an artist, but it was a really proud moment for our company.”
We Celebrate
“I remember our first stadium show in 2019 – we were so excited and put so much work into the project. The show opened with pyro, and everything just ran smoothly,” says Blum. “Afterwards, we sat in the stadium and watched the dismantling. Since then, it’s been our ritual – to get together after every stadium show, look back on what we’ve put our heart and soul into for several months, and be proud of it.”
“We’ve managed to maintain our DNA over all the years, despite the many changes,” says Rosa. “Someone said to me at an industry meeting (we’d all had a few drinks) that it was amazing how well-received Gadget people still are, how nice we are. I had to laugh, but it was a great compliment.”
That humbleness shines through in another story that Nora Fuchs tells, a tale that speaks to the simple drive that keeps Gadget, its employees, and the five main partners on the straight and narrow. “We are all up for anything at our events – Christof places the rubbish bins correctly on the festival site when necessary, and Eric drags PA around,” she says. “And we shred the ground with Trash Heroes – always in the spirit of events that we plan for so long throughout the year, so that everything turns out just as we imagined.”
“I still see it as a major goal to be the first port of call for domestic and foreign artists who want to grow and develop in Switzerland”
Or of a simple yet humorous bet between Wyss and Kramer – one that was faithfully, and professionally, honoured. “When I started at Gadget, I had my own band, and Gadget already had a record label,” recalls Wyss. “I had a bet with Eric about my budget and turnover in the live department – I won, so Eric had to release my band’s album on Gadget Records and book a couple of support and festival shows for us, too! The album was not very successful, but it was a lot of fun to release it and play some amazing shows.”
Forward Thinking
What then of the future and ensuring that the next 30 years are as productive and pleasurable as the last? There are corporate events to explore, new marketing opportunities, and content creation in the entertainment environment areas of growth on the periphery of Gadget’s core business in which they have intensified their activities. (“Our market is constantly evolving and becoming increasingly dynamic,” says Rosa. “We want to pick up on this.”)
Ambitious developments are afoot, but Gadget’s principals are keen not to lose sight of the qualities that have got them this far – and made them such a respected, trusted player. “I still see it as a major goal to be the first port of call for domestic and foreign artists who want to grow and develop in Switzerland,” says Stadler. “We want to be an empathetic and trustworthy company, both for our employees and our artists,” says Wyss, adding that this will be key in keeping the company successful in a “crazy and very competitive business.”
Ultimately, the plan is to continue a steady evolution, adding expertise where possible and striving to do their best – with artists, partners, employees, fans, and the music they’re so passionate about. “I hope we enjoy many more years,” says Kramer, “as I’m so proud – we have a fantastic team with great dedication, without whom this journey would not have been possible.”
Looking back, it’s impressive to see what they’ve achieved and a testament to what can be done by simply working hard, believing in your- self, and following your passion. “After finishing school, I had the dream of owning my own company in the entertainment industry. I still get to live that dream today,” says Kramer. He makes it sound like he’s barely worked at all.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.