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This paper aims to explore how the entertainment economy excludes individuals and facilitates private investment, the problematic shift towards a “creative economy” and increased regulations within Sydney’s entertainment sector. It also examines how a grass-roots, rural festival can be regarded as an extension of the urban context. It discusses the alternative counterculture(s) that exist despite (or perhaps because of) increasing inaccessibility and regulation, using as a case study an activist collective created in this climate, the Marrickville Warehouse Alliance, focusing specifically on its Star Shitty River Retreat festival.

A phenomenological, mixed-method approach is used with a focus on qualitative in-depth interviews with festival organisers.

This paper demonstrates how politics, embedded within urban place, can be transported to a rural festival site. The phenomenological accounts recorded with the festival organisers, paired with key theories within the literature, demonstrate how organising committees can shape the understanding of place and politics in grass-roots festival environments.

By leaving “no trace” on the site and engaging with and contributing to the indigenous community, the Star Shitty River Retreat festival can be categorised as a type of “creative enhancement”, in which a shared environment of political and communal understanding creates a unique, yet temporary, sense of place within a rural setting.

There is limited literature on the Australian festival context. The finding that rural festival sites can be regarded as an extension of the urban context lends itself to the concept of de-territorialisation or blurring of city boundaries, reinforcing how a festival’s geographical location is of little significance when supported by “portable communities”.

This paper discusses the notion of authenticity and the role of local creatives in the place branding process based on a case study of Mtns Made, a brand for the creative industries in the Blue Mountains of Sydney, Australia. This paper aims to examine the development, implementation and management of a place brand from the ground-up and explore the implications for a situated place branding practice.

The concept of brand culture was used as a theoretical lens to view place branding. A qualitative case study approach was taken, incorporating the collection of primary and secondary documents, observation of online platforms and real-world events, field notes and personal reflection from an insider position.

The findings of this study suggest that local creatives can and have played a central role in place branding. The study also illustrates a model for place branding that centres on stakeholder participation in an ongoing process.

Local culture and creativity are largely viewed as assets for place branding; this paper draws attention to the agency of local creatives in the place branding process. This study offers three pillars of place brand authenticity and establishes a framework for place brand analysis based on a branding design strategy.