Everything we experience forms a part of who we are and what we do and therefore what we offer. We rely heavily on the arts to inspire us and this is critical to us as individuals as well as a business.
Everyone at Creamer and Lloyd has their own budget for research and inspiration. On a regular basis we share on our website the best experiences we’ve had.
I played Death Cab for Cutie's album 'Transatlanticism' the other day, for the first time in years, and was struck by the beauty of the music - I've clearly never listened to it properly. There's a time and a place for everything!
This one's about the music which, of course, carries the story in place of any dialogue. The music's the hero, and it's beautiful too.
Ayanna had adapted this incredible speach given by 19th Century African-American abolitionist and women's rights activist Sojourner Truth. With her cello and voice she moved our hearts with the courage and suffering of remarkable women everywhere.
Prince was simply in another league - a wonderful performer, he engaged the crowd from minute one. I've never seen someone use the opening number as a live sound check, correcting levels and lights. Makes perfect sense.
The band, for me, that really caught the mood and the occasion was Elbow. There was a glow about their set enhanced by the sun going down and Guy Garvey's bonhomie. And their songs are getting better and better.
I didn’t see it first time round but the differences were discussed by those who did. It’s such a pleasure to witness a show, beautifully thought through and obviously still evolving.
As part of the 26 project, 26 Treasures, I’m at the National Library of Wales listening to the first recording of ‘Land of my Fathers’ by Madge Breece. Her voice is hauntingly fragile, bewildered. The X Factor this isn’t, thank god.
I don’t know another voice similar to hers. It’s like swimming in double cream, almost too good to be true. She could sing the highway code and people would stop.
Discovering new music - The Phantom Band, The Leisure Society, Caitlin Rose, Matronomy. It introduced me to the brilliant and now sadly missed legend which is Gil Scott Heron.
You can personalise the music video of Arcade Fire’s ‘We Used to Wait’ by entering the postcode of your hometown. Brilliant experimental interactivity showcasing the future of web browser technology.
Everyone is invited to draw (online) a single frame of a music video for Johnny Cash’s ‘Ain’t No Grave’. The result is a truly collaborative, ever-changing, inspiring piece of artwork.
Perfect venue and a perfect concert. You know it's good when it makes you go out and buy the complete back catalogue of Robert Wyatt!
Opening night of the London Jazz Festival.
A musician who is working so hard towards his goal of creating a sound for Bach on the soprano saxophone that is unique and unearthly. All-encompassing dedication - haven't seen anything like this for years.
Sitting in the BBC van and watching the filming of a Prom. Complex yet calm and collaborative - a complete choreography all of its own. It was like a double pleasure - listening to the concert and watching the production of it.
Apart from her staggeringly beautiful songs (and singing), one moment: Asking for some crowd participation in the form of whistling, she issued a caution, "I should warn you I am a phenomenal whistler." And she was and is.
In a haze of sunshine Grandmaster Flash proved he was still as cool as ever. Every tune elicited a roar of approval as we revisited hip-hop anthems. Left tired and happy with the grime of East London between our toes.
Flowers, feathers, a perspex baby grand, strange intimate chats with the audience and then a voice which left us reeling and heart struck.
69 and still singing and growling. He strung out sentences and beat up the rhythm. So his lyrics stumbled along almost out of sync. This was sheer artistry.
Under the dimly lit railway arches a dark eyed DJ stepped up to the central podium. Without headphones, without bravado or pretense. His set started and the crowd exploded into a mass of joyfully dancing, swaying bodies, moving inexorably to his beats.
The Edge walking on stage at the start of Muse's encore and playing the opening of Where The Streets Have No Name. A moment of pure excitement, thrill and ultimately pleasure.
Each time Michael Eavis goes walkabout he's mobbed by people. Everybody just wants to personally thank him. On walking around with Prince Charles on the opening day, as many people wanted to shake his hand as the future Kings'.
Raw and hilarious but somehow it works.
Finally! After 8 years waiting! And they didn't disappoint one bit. My feet still hurt from all the dancing!
This is what gigs should be like - the songs sounded better than on the album and the whole thing was a visual feast.
Peter Gabriel - his voice still moves me and he cares about the performance of his material which, today, seems to be a rare thing.
Glitter and Doom (new live album): ballads, stories, vaudeville, beauty. His voice ranges from iron filings to drunken crooner to the last sage on earth
A celebration of what collaboration can deliver. Wonderful as ever
Ethereal, mercurial and magnetic. Album out soon - a must buy
Here's the tender coming. This moves them on to another level. Moves folk music onto another level
On disc the sound magically changes. Seeing the band allows you to watch the magic happen
A band at the height of it's powers and yet humble and excited to be alive and at Wembly
Made everyone around him on day one seem like an apprentice. He encored with “Day in the Life”. Its opening line – “I read the news today oh boy” - on the day we heard about Michael Jackson.
The whole amazing gig. Also going through the crowd collecting requests on placards and constantly yelling, “Is anyone alive out there?”
Damon Alban breaking down at the end of “To the End”. A genuine moment of being overwhelmed. Making up with Graham Coxon, getting the band back together, looking out over 110,000 people and singing this song.
A band so pleased to be playing at Glastonbury on the Jazz World stage on Friday afternoon you wanted to be there with them. And I was!
Angry and painful but very powerful and dark
Hula-hooping her way through Slave to the Rhythm, on a pedestal, as the audience danced on stage. Naughty, glamourous, feisty, constantly chatting, changing costume and singing beautifully. This was a show.
Improvising live to short film - brave, innovative and talented