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Building on the theories developed by Hollander (idiosyncrasy credits), Inglis (typology of stardom), and Snyder (self-monitoring theory), we contrast the functions played by three types of innovation—incremental improvements, hybrid innovation, and radical innovation—and their potential impact on festival management. Elvis Presley is at the heart of the study, illustrating the unique attributes of radical innovation, a concept rarely seen in festival management. The nature of the innovation paradox in festival and event management is explored through a review of the Collingwood (Canada) Elvis Festival. This study contributes to the limited understanding of the varying approaches to innovation and their roles in festival development and management. It offers event managers a valuable alternative to the traditional incremental and radical innovation binary. [ABSTRACT FROM PUBLISHER]