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English language Visionary Marketing Podcasts

English language Visionary Marketing Podcasts

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  • SaaSpocalypse Now! And The Value Drain

    SaaSpocalypse Now! And The Value Drain
    Oct 23 2026
    Mike Hadjadj, a retail and SaaS expert, has just published a book (in French) called SaaSpocalypse. Every year, he supports two to three hundred start-ups as a mentor, advisor and investor, mostly in the retail sector. In his own words, he isn’t predicting the end of software vendors, but he does see their value being hit hard by the changes AI is bringing. I interviewed him to understand what this shake-up means for vendors, their customers and the whole SaaS ecosystem. SaaSpocalypse Now! And The Value Drain Mike Hadjadj presenting his book SaaSpocalypse (in French) at the Visionary Marketing offices in October 2026 TL;DR With SaaSpocalypse, Mike Hadjadj isn’t predicting the end of software vendors. He’s saying the price of software is now negotiable.French e-commerce giant La Redoute rebuilt a €360,000-a-year tool in 48 hours using AI.Three factors can shield a SaaS vendor, namely urgency, value and stickiness.Big vendors are not spared. Some retailers have halved their Salesforce budget, or even cut it to a third.Gartner is looking in the rear-view mirror, while Mike is watching the 2027 contract renewals.His advice to vendors is simple. Talk to your customers now and ask them why they pay. SaaSpocalypse Now! or How to Build a SaaS Without Coding M.H. The book started with a chat at my physio’s. I’d had an accident and needed rehab. He’s a bit of a geek and told me he was setting up a new business line without buying any software or paying for a single SaaS subscription. Using Base44, a tool owned by Wix, he’d rebuilt a small CRM, a training tool and a small accounting and invoicing package himself. That intrigued me. I run La Retail Tech, a community that has been going for four and a half years, with lots of content and around 3,000 members. Our community platform was grossly outdated. It had stopped evolving and every small request was sitting in a support ticket for three weeks. We Dreamed It, and AI Delivered I don’t sleep much, so I gave it a go and I spent a few hours talking to an LLM, asking it to rework parts of the site and give it a modern look. I ended up with a front end, which I showed my team after the weekend. They recognised the site they’d been dreaming of. We had almost launched a tender, complete with requirements definition and technical provisos. That meant bickering over compromises with the team, because not everything is possible. With AI, everything is crystal clear. I talk and hey presto! It’s done. SaaSpocalypse Now! Mike Hadjadj during a demo for his community, La Retail Tech. Image by Optimalways I’ve kept going since the book came out. The front end is done and I’m now tackling the back end. The agent kept misunderstanding me, so I found another agent that handled my agent, which I talk to on WhatsApp. It knows my whole environment, runs the tests and writes very detailed prompts that I just copy and paste. I can’t code, and neither can my physio. So the question isn’t whether people can do it. It’s about who will still pay, for what, and where the value sits. That’s one of the book’s main stances. A French E-commerce Giant Rebuilt a €360,000-a-Year Tool in 48 Hours M.H. The other trigger was meeting French e-commerce giant La Redoute at an event. They used a visual product discovery tool, created by an Israeli start-up. The tool worked very well. Other French retailers used it too, such as Monoprix and Castorama, but you could tell it was nearing the end of its life. They were all looking for a replacement and asking me if I knew of one, before launching a tender. La Redoute put two people on it for 48 hours, with AI. They studied how the tool worked, rebuilt it, tested it and released it. The copy is better than the original, because they could tune it to their own environment, something that a software vendor seldom allows. La Redoute was spending €360,000 a year on the tool, now they don’t. SaaSpocalypse Companies of All Sizes Are Following Suit Digging deeper, I found out that companies of all sizes, including large ones with the right skills, are already going after commoditised tools that aren’t core to the business. If the tool falls over, it’s no big deal. The savings are huge. When I talk about value destruction, it’s because the rebuild cost nothing like the old price. Two days, two people, a bit of maintenance, updates, testing and tokens. There’s simply no comparison. A small part of the value shifts to in-house skills, and some is bought externally, at a very different price. Most of it is destroyed. There’s also a whole industry around SaaS spending. Agencies, consultancies, integrators and, above all, start-ups, which means funds and fundraising. If the pie shrinks, all of that ecosystem will be hit. Urgency, Value or Stickiness, What Protects a Software Vendor? M.H. I’ve been supporting start-ups for a very long time, as a mentor, an advisor, in incubators and accelerators, and as an investor ...
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    21 Min.
  • Future of Work: Making the Office Worth the Commute

    Future of Work: Making the Office Worth the Commute
    Sep 28 2026
    What if the future of work were about giving people a rela benefit for getting back to the office? On Thursday 24 September, the first International Workplace Summit (IWS 2026) took place at the Campus Cyber in La Défense, Paris. The audience was made up of corporate real estate directors, workplace and facility managers and HR heads from all over Europe, all there to tackle what sounds like a simple question. What needs to change in the way we design and run workplaces? It is anything but an academic question. Since Covid, the way we behave has changed, and society is shifting faster than ever. People now like to talk about a BANI world (brittle, anxious, non-linear, incomprehensible). The acronym is a blatant overstatement, but there is some truth behind it. The years before 2010 were fairly stable, and since then one disruption has followed another at breakneck speed. What we still need to give young people is a future worth working for, not just doom and gloom or a sales pitch for the latest tech. Here is my take on that morning in La Défense. IWS 2026: Making the Office Worth the Commute Future of work? On Thursday 24 September, the first International Workplace Summit (IWS 2026) was held at the Campus Cyber in La Défense. Artificial intelligence is at the heart of the future of work. We have been writing about it on Visionary Marketing since 2016, long before large language models came along and sparked something close to mass panic, helped along by the tech giants who keep telling us chatbots are about to wipe out humanity. IWS 2026: what does the future of work look like? And will the office be worth the commute? These predictions are overblown, as Forrester’s J.P. Gownder told us a few months ago. Still, something is clearly going on, and the IWS morning gave us three takes on it which, put together, paint a pretty full picture of the future of work. First a diagnosis, then a tech pitch, and finally a vision. And God knows we all desperately need such a vision. Future of Work at The Campus Cyber A pet project of Emmanuel Macron’s, the Campus Cyber opened on 15 February 2022 in La Défense. It sits in the Eria tower, easy to spot thanks to its petal-like shape, and is home to some 1,800 people, including teams from ANSSI, France’s national cybersecurity agency. Around a third of the building is made up of collaborative spaces open to the whole sector, where big corporations, start-ups, government agencies, schools and research labs rub shoulders. The interior was designed by Projective Architecture, which took care of client-side project support, space planning and design and build on some 208,000 sq ft (19,300 m²) of the tower’s 280,000 sq ft (26,000 m²) and 13 floors. That includes the restaurants, a library, event spaces, a showroom and terraces. A Former Labour Minister’s Diagnosis at IWS 2026 The former French Labour Minister, who spent earlier stints at Danone and 3DS, brought out a graphic novel on the subject in 2025 with journalist Mathieu Charrier and artist Nicoby, Travailler demain (“Working Tomorrow”, in French). She asked the audience to “zoom out” from the workplace for a moment and look at the decade ahead. As she sees it, four waves are hitting us at once. AI, going green, demographics and our changing relationship with work. Fopremer French Ministry of Labour Muriel Pénicaud at IWS 2026 sharing her views about the future of work. Three numbers show how big this is. According to the IMF and the OECD, AI will affect 50 to 70% of jobs in developed economies over the next ten years, and by “affect” she means “destroy, create or transform”. The World Economic Forum reckons two thirds of the jobs our kids will do don’t exist yet. The third figure is the least known and the most striking. Since the late 1980s, the OECD has been tracking how long the skills students pick up in vocational higher education stay useful. A generation ago, the answer was thirty years. Today, it is apparently two. Muriel Pénicaud draws the obvious conclusion. The old model of studying first and working afterwards is dead, and we will all be learning for the rest of our lives. Mind you, I have a feeling the best people have always worked that way. Is it really that new? IWS 2026 host Lionel Cottin with Carole de Crozet and Jérôme Galletti. 10 trends showing us a desirable future of work What Is Really New What is genuinely new is who bears the brunt. Earlier waves of automation targeted factories. This one is aimed first at white-collar workers, back-office functions, finance, HR, marketing and middle management, which she calls “the glue that holds companies together”. She sees an opportunity here, getting rid of the drudgery, and a risk, losing sight of why our work matters. A large teaching hospital in Montreal shows how this can play out. It brought in AI to handle its logistics and saved around 25 to 30%. Instead of pocketing the money, management put that ...
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    18 Min.
  • AI and Creativity: a 2026 update

    AI and Creativity: a 2026 update
    Sep 10 2026
    It’s back to school and back to the blog too for the 31st time since 1995, and today’s topic will be AI and Creativity. The idea is to deal with the topic of artificial intelligence, not from a technical perspective, but from a more philosophical one, drawing both on my digital and artistic backgrounds. In 2026, the fourth version of my programme entitled “Content Creation in the Age of AI” will be delivered to all the students of the Omnes Education Group. A previous video was recorded in 2024 on that subject, and a serious refresh was needed. I have therefore gathered enough hindsight to learn more about the impact of AI, especially on music and the creative arts. And I decided to focus on just three things, to avoid getting lost in too broad a subject. First, the seeming popularity of AI artists on streaming platforms like Spotify, taking the example of an act called Breaking Rust. Second, the Stanford GSB study on visual arts and the impact of AI on creators. Third, my own thoughts and conclusions based on the above. Has AI Stifled Creativity? A 2024-2026 Perspective AI and Creativity and manufactured popularity, because such things exist as well. In 2024, I asked myself the question, “Will AI stifle all creativity?” as part of my Shift24 programme designed especially for Omnes Education Group. This programme cannot be shared online, but my colleagues at Omnes were kind enough to let me publish this wee piece for the benefit of my readers and followers, and I wish to thank them warmly for this as well as their renewed support these past four years. In this video dedicated to ‘creativity’, drawing on Merriam-Webster, I distinguished innovation from invention and chose to focus on the latter, specifically in music, a topic not yet covered in earlier courses. I then illustrated this with Suno, which could churn out up to 900,000 pieces of music a day as early as 2024 (far outpacing Bach’s 1,128 compositions over a 65-year lifetime). Hence, I shared a song I had generated myself, “The Dying Cyberspace.” I won’t say that I’m proud of this song, but at least I had great fun generating it, and it was instant gratification. All this was raising questions related to the value of musical creation, the risk of creative stagnation, and the thorny issue of intellectual property, since these AIs are trained on centuries of human-created music. So far, nothing new under the sun. Almost every other journalist must have written the same story for the past three years. However, I thought it lacked a bit of perspective. I then tempered the novelty of the phenomenon by pointing to historical precedents: Gershon Kingsley’s “Popcorn” (1969), Zoe Keating’s loop-based compositions (one example amongst many others), and Google’s Project Magenta as far back as 2016. These are mere examples. I decided to keep it short, but there has been no shortage of technology-backed creativity in music these past 50 years or more. Think of the late Klaus Schultze and his pals from Ash Ra Temple, Tangerine Dream, Kraftwerk, and all the so-called Krautrock school of thought to start with, not mentioning the new wave movement from the 1980s. I also cited Wim Mertens, Philip Glass, Laurie Anderson, and German artists like Nils Frahm, who blended electronic and acoustic elements long before GenAI. The real difference today, I argued, is one of scale: such tools are now in everyone’s hands. Be it to create music of the ilk of the Dying Cyberspace or more ambitious AI-produced work like this entire fake Pink Floyd album, which didn’t sell as well as The Dark Side of the Moon or Wish You Were Here. Somewhat courageously, I concluded at the time that AI wouldn’t replace musicians but would become just another instrument in the creative toolkit, with real innovation coming from how humans use these tools. Since music remains fundamentally about human expression and emotion, I thought rather optimistically, if not naively, that AI music didn’t mark the end of musical invention but rather the beginning of a new chapter. Such were my thoughts from two years ago, now is the time to move forward and take a look at what happened in 2025-2026. As exmplained above, I focused this new research on three things. First, the seeming popularity of AI artists on streaming platforms like Spotify, taking the example of an act called Breaking Rust. Second, the Stanford GSB study on visual arts and the impact of AI on creators. Third, my own thoughts and conclusions. Breaking Rust Breaking Rust: a Spotify hit Let’s start with Breaking Rust. Breaking Rust is an AI country act which hit number one on the Billboard Country Digital Song Sales chart in November 2025, on Spotify. The numbers are seemingly enormous: over 2 million Spotify monthly listeners, and over 3 million streams in under a month. The project is credited to Aubierre Rivaldo Taylor, even though very little is known about him. Rivaldo Taylor is ...
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    19 Min.
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