WORK
Over 15 years of making complicated things happen on a specific day.
The Wesa Collective is new. The experience behind it isn't.
I’ve spent years working behind the scenes of live entertainment, events, launches, and operational projects — building the plans, systems, timelines, vendor structure, guest experience, and logistics that make the visible part possible.
The names matter less to me than the work. Here are a few examples of what that has actually looked like.
LARGE-SCALE AWARDS EVENT· LAS VEGAS
An awards ceremony with a lot of moving parts and very little room for ambiguity.
A major awards event in a Las Vegas theatre, produced for an organization whose leadership needed to be present as hosts - not buried in logistics.
Leadership should be able to host the event — not spend the night chasing logistics.
My role was event operations and coordination.
That included coordinating venue, media and vendor details, sponsor integration and deliverables, ticketing and registration needs, food and beverage logistics, production communication, staffing and volunteer structure, event materials, budgets, schedules, and the operational pieces that had to connect for the event to function.
The production team owned the show itself. My job was to make sure the infrastructure around it was built, tracked, communicated, and ready.
SCALE
1,300
attendees
30
sponsors
19
1
award categories
night
NEW EVENT FORMAT · DES MOINES
Building a first-time event from the ground up.
This was a new trivia-based event in a city I had never been to, for a venue I had never seen, with a site visit happening just two days before guests arrived.
So the work had to be built from a distance first.
I developed the industry-specific trivia content, wrote the scripts, built the full timeline, coordinated the vendors, and worked through the event operations around all of it - ticketing, sponsor commitments, player packs, prizes, raffle logistics, staffing, venue details, food and beverage, signage, guest flow, and the hundreds of small decisions that only become visible when they are missing.
By the time I arrived in Des Moines, the goal of the site visit was not to invent the event on the ground. It was to confirm the assumptions, adjust what needed adjusting, and make sure the plan still held up in the actual space.
That’s the part of event work I’m most comfortable with: taking something that has never happened before, building enough structure around it that the unknowns become manageable, and then adapting quickly when the real world finally shows up.
SMALL BUSINESS LAUNCH · VIRGINIA
Turning a craft into something people could actually buy.
King Prawn Pinstriping started with the part you can’t fake: the skill.
What it didn’t have yet was the structure around that skill - a clear offer, a way for people to understand the work, a way to request it, buy it, and remember where to come back.
I helped build that layer.
That meant shaping the business positioning, organizing the website, writing service descriptions, setting up intake forms, Square, inventory, pricing, margins, product bundles, signage, printed materials, QR-code lead capture, and the booth experience itself.
Then we took it into the real world.
The first vendor event became the test: what people stopped for, what they understood immediately, what needed more explanation, what sold, what didn’t, and how the business should adjust from there.
That’s the kind of small-business work I like - not inventing the craft, but building the structure around it so the craft has somewhere to go.
12+ YEARS · LIVE ENTERTAINMENT
Learning how much work happens before anyone sees the show.
I spent more than a decade inside live entertainment, working across client service, marketing, roster operations, internal systems, and leadership.
It taught me how many different kinds of people have to understand the same plan for something to work: artists, clients, venues, booking managers, production teams, internal staff, and vendors - all with different priorities, different vocabularies, and different versions of “urgent.”
It also taught me the rhythm of work that happens before the visible part: advancing, riders, load-in, soundcheck, timelines, client expectations, artist needs, last-minute changes, and the constant translation between creative people and operational people.
Over time, my role became less about one task and more about helping the whole system hold together - creating structure, improving processes, supporting teams, and making sure the right information got to the right people before it became a problem.
That experience is a big part of how I work now.
CAPABILITIES
The full list, if you're checking for something specific
EVENTS + EXPERIENCES
Event development · format design · venue sourcing and coordination · vendor sourcing and management · sponsor integration · guest experience design · registration and ticketing · run-of-show development · staffing and volunteer planning · signage and collateral · F&B coordination · handover briefing · post-event debrief
OPERATIONS + PROJECTS
Project management · timeline development · process improvement · workflow creation · forms and intake · documentation · stakeholder coordination · Monday.com · trackers and dashboards · logistics · vendor coordination
SMALL BUSINESS + BRAND SUPPORT
Booth + vendor-event strategy · pricing structure · inventory systems · POS setup · merchandising · signage · printed materials · website coordination · customer journey · product bundles · lead capture