The House of Edits Meets Kalaluha: Vaibhav Bharadwaj's Double Life

Some people keep a day job and a side project. Vaibhav B. Bharadwaj keeps two front-line jobs and lets them sharpen each other. He is founder and CEO of The House of Edits, a multidisciplinary creative agency, and Creative Director at Kalaluha, Bengaluru's live event production company. Understanding how the two roles interlock explains a lot about why Kalaluha's shows look and communicate the way they do.

What The House of Edits is

The House of Edits is not a narrow studio. Its services run across digital marketing, branding, video production, social media, design, web development and corporate communications. Its client base is equally wide: businesses, education, real estate, entertainment and public personalities. An agency with that spread solves a different communication problem every week, and its founder accumulates something priceless: pattern recognition across industries. What makes a real estate brand trustworthy, what makes a public personality relatable, what makes an education client credible: all of it becomes transferable craft.

Behind the agency is an engineer. Vaibhav holds a B.Tech in Computer Science Engineering with a Cyber Security specialisation from Presidency University Bengaluru. It is a background that treats systems, structure and security as first principles, and it surfaces in how his creative operations run: organised, repeatable, built to scale.

What Kalaluha asks of him

At Kalaluha, Vaibhav's brief covers creative direction, visual branding, event marketing, audience engagement, sponsorship communication and digital campaigns. Live events compress everything an agency does into a brutal timeline: a show is announced, a campaign must peak at exactly the right moment, and the deadline is printed on the ticket.

The agency muscle maps directly onto the event brief:

• Branding practice becomes show identity: each production needs a visual world of its own
• Video production becomes announcement films, aftermovies and reels
• Social media becomes the audience engagement engine that fills venues
• Corporate communications becomes sponsorship decks and partner messaging
• Web and digital work becomes the campaigns that carry ticket links

The exchange runs both ways

Kalaluha gives back as much as it takes. Live events are the most unforgiving test bed in the creative business: the campaign either fills the venue or it does not, and results arrive with a date attached. Working on productions like the sold-out Shreya Ghoshal All Hearts Tour, the Hiphop Tamizha home edition at NICE Grounds or Hip Hop Kannadigaru at The Leela Palace teaches lessons about urgency and audience psychology that no retainer account can.

There is also scale. Kalaluha has staged close to thirty productions since 2023 and sold more than 3.5 lakh tickets. Communicating to audiences of that size, across languages and genres from devotional to hip hop, stretches a creative director in ways that make every other brief feel manageable.

The double life, in other words, is not a compromise; it is the whole point. The agency makes the creative director versatile, and the shows make the agency founder battle-tested. See where the two worlds meet at Vaibhav's team page, look at a campaign-heavy production up close at Hiphop Tamizha in Bengaluru, and browse the finished visual record in the gallery.