Dear Editor,
Reflecting on yesterday’s CPL T20 halftime show, there are several lessons to be learned from both an event management and branding perspective. While the concept held promise, the execution fell short in several areas, especially concerning how the Carib Beer brand was represented.
Firstly, the floor branding: At no vantage point in the stadium could fans or viewers effectively see the Carib logo or the Carib trucks that were supposed to represent the teams. It was a missed opportunity. A simple, elevated 3D stand with branding would have provided much better visibility for both stadium attendees and television viewers. This lack of clarity made it seem as though there was little thought put into the visual impact. The branding could have been spread out strategically across the field for maximum exposure, rather than giving off a disjointed, last-minute feel. A lot of money was spent to print that half-flower design, but it was ineffective in its delivery and, unfortunately, not money well spent after seeing the show.
From an event logistics standpoint, the way the branding materials were brought onto the field could have been more streamlined. Having four people maintain and pull out the materials in a tight, cohesive manner would have created a more polished effect. Instead, the dragging and removal of materials felt rushed and sloppy, diminishing the professionalism that a brand like Carib should aim to project.
Moving on to the Taylor Swift-inspired segment: while the concept had potential, the execution was again problematic. The performers were not properly centered, and their placement lacked coordination. Simple changes, such as having performers enter from multiple points in the stadium and move in sync, would have elevated the performance. What was most needed was to focus attention on the artist in a way that was visible and impactful for all vantage points within the stadium. Instead, the artist was obscured from a large portion of the crowd by the petals, diluting the overall experience.
A highlight, however, was the dancing gold performers, which captured the vibrancy of Caribbean culture. Yet even here, there was room for improvement. While the dancers were in sync with the rhythm and energy of the Caribbean, the costumes were monochromatic and repetitive, failing to capture the full depth of the region’s rich and diverse aesthetic. Additionally, the quality of the outfits began to fall apart halfway through the performance, which reflected poorly on the overall production. This is an issue that could have been easily addressed by focusing on fewer but higher-quality elements. Sometimes less is more, and refining rather than adding would have enhanced the impact.
Lastly, the treatment of Guyanese artists was a significant concern. These artists, many of whom are internationally recognized within their own communities, were relegated to a corner, barely seen. Whether intentional or not, the optics of this segregation were damaging. Artists like Timeka Marshall, Vicadi Singh, Tony Cuttz, and Carlvin Burnett, who hold significant cultural importance, deserved better positioning and more prominent representation, especially in their home country. In contrast, Trinidadian artists received better staging, which further highlighted this disparity.
The overarching issue is that this event felt foreign—as though it was trying too hard to appeal to a Guyanese audience without truly understanding the market. Carib, as a Trinidadian brand, has missed the mark in Guyana repeatedly, and this halftime show was another example. There is a disconnect between what the brand thinks will resonate and what actually engages the local audience.
To close on a constructive note: there’s still time for Carib to reconnect with its roots in Guyana. One of the brand’s strongest periods was its involvement in Mashramani, where it was a standout feature. By re-engaging with this national event, Carib could rebuild brand equity and authenticity in the local market. This, combined with a more thoughtful and collaborative approach to event execution, could help the brand regain its footing. In conclusion, I’d rate this show a B+ for concept but a C for execution. There’s so much potential for growth, and I strongly recommend more engagement with local creatives to better understand and celebrate Caribbean/Guyanese culture authentically.
Sincerely,
Nicholas Yearwood
Strategic Brand Planners
