Introduction and Rationale

Eclypse is an immersive club‑style live‑music event conceived by a group of final‑year students at Leeds Conservatoire. Scheduled for 25 February 2026 at Headrow House in Leeds, the event aims to blend underground electronic music with live performance and strong visual branding. Headrow House, a converted industrial mill, offers a 200‑capacity standing space with an in‑house PA system, lighting rig and dedicated bar, making it ideal for an up‑and‑coming promoter’s debut. The brand name “Eclypse” plays on astronomical imagery: a fusion of light and shadow that mirrors our fusion of genres and communities.

The project’s twin motivations are professional development and community enrichment. It allows our team to translate classroom lessons into practice, learning everything from budgeting and contract negotiation to technical production and marketing. Simultaneously, the show provides a platform for local talent and helps knit together Leeds’ student scene with its wider nightlife.

Event Concept and Purpose

The night will showcase an emerging headlining hip‑hop artist, Jae Depz, supported by local acts Greenhouse (electronic duo), AJ (singer‑rapper) and Emily (DJ). We aim to attract a mixed audience of students and young professionals (18‑30), building on the city’s rich live‑music culture. By curating high‑energy performances, immersive visuals and an intimate venue, we hope to deliver an underground yet polished experience.

This event also acts as a test‑bed for our fledgling promotions collective, Eclypse Events. Should the night succeed, we plan to develop the brand further, possibly expanding into regular nights or collaborative workshops. Even if we break even, the skills and contacts gained will be invaluable.

Team Roles and Responsibilities

To manage the workload, each team member takes the lead on a specific domain but collaborates on major decisions:

• Dell Ding – Finance and Schedule: budgets, ticketing, payment timelines; produces running orders and liaises with platform providers such as DICE or Skiddle. Manages deposit payments to artists and venue.
• Luca Bryant – Creative Direction and Technical Production: brand identity (logo, fonts, colour scheme), poster design, digital assets; coordinates sound and lighting requirements; liaises with venue technicians and external hire suppliers.
• Maya Bullock – Press and Copywriting: drafts press release, artist bios and marketing copy; coordinates press kit; manages media enquiries and artist quotes.
• Rachel – Marketing and Social Media: designs multi‑platform campaign across Instagram, Facebook, TikTok and Twitter; schedules posts, runs targeted adverts; reaches out to influencers and student societies; coordinates with Headrow House for cross‑promotion.
• Willard Uttley – Venue and Logistics: arranges site visits, liaises with venue managers on sound check and load‑in/out logistics; handles equipment hire and hospitality; ensures guest comfort and accessibility compliance.
• Connie – Legal, Risk and Compliance: drafts contracts and riders; handles public liability insurance and licensing; completes risk assessments; ensures safeguarding and equal‑opportunities compliance.

Timeline and Project Management

We started planning in early October 2025 to spread tasks over several months and avoid clashing with coursework. A high‑level timeline is summarised below (some dates approximate):

• Early October (7–31 Oct): brainstorm concept, agree on venue shortlist and team roles, estimate preliminary budget.
• 1 Nov: visit Headrow House; inspect PA, lighting and accessibility; negotiate hire fee/minimum spend; pencil‑book the date.
• 15 Nov: confirm artists and negotiate fees and hospitality riders; draft contracts.
• 20 Nov: pay 50 % deposit to headliner and AJ; pay venue deposit.
• 1 Dec: finalise branding; design teaser animations and initial social media assets; build pre‑sale sign‑up form.
• 10 Dec: craft long and short press releases; compile artist bios and highlight reels; gather quotes.
• Mid‑Dec: finalise press kit; design posters and digital banners; organise file structure on cloud drive (press release, photos, biographies, logos). Launch teaser campaign on 14 Dec.
• 17 Dec: official announcement on social platforms; open pre‑sale sign‑up; share event page with a call‑to‑action.
• 19 Dec: release pre‑sale tickets at £12 (10:00) and general sale at £15 (12:00) via DICE/Skiddle; schedule price tiers to encourage early purchase.
• Dec–Jan: run ongoing campaign: targeted ads, influencer collaborations, weekly content updates; hold weekly team meetings (switching to bi‑weekly in January) to track ticket sales and adapt marketing tactics.
• Early Jan: complete draft risk assessment and adjust after feedback from venue and tutor; confirm volunteers and security staffing; hire first‑aiders.
• 10 Jan: finalise technical hire and visuals; confirm external engineers; finalise artist contracts and pay any remaining deposits.
• End of Jan: pay remaining artist fees and venue costs; finalise run‑of‑show; confirm hospitality supplies; plan final push in marketing.
• 10 Feb: hold production meeting with all performers and crew to confirm stage layout, technical specs and call sheets; share contact lists.
• 24 Feb: load‑in day; conduct sound check, lighting rigging and stage decoration; run through visuals and full rehearsal; hold safety briefing.
• 25 Feb (Event Day): set up from 14:00; doors open at 20:00; follow run‑of‑show (support acts at 21:00–22:30, headliner at 22:45–23:30, closing DJ set 23:30–00:30); break down and clear the venue by 01:30.
• 26 Feb: de‑brief with venue; settle outstanding payments; collect sales data; reflect on successes and areas for improvement.

This timeline allows us to book essential elements early, keep marketing consistent and build in contingency. Regular check‑ins help catch emerging issues before they become crises.

Production and Logistics

Delivering a professional show requires careful planning of technical and operational details:

• PA System: Headrow House’s house system provides subwoofers, monitors and a mixing desk. We will coordinate with the venue engineer to tailor EQ and monitor mixes for both live hip‑hop vocals and electronic DJ sets. A full sound check on 24 Feb ensures smooth transitions between acts.
• DJ Equipment: We will hire 2× Pioneer CDJ‑3000 and 2× CDJ‑900 media players, plus a DJM‑900NXS2 mixer. A Serato controller and extra USB sticks will serve as backup. This redundancy ensures DJs can adapt their preferred software/hardware on the night.
• Microphones and Instruments: Two wired Shure SM58s for vocals, a wireless headset for the MC, DI boxes for any keyboards or guitars, stands and pop filters. Spares will be available in case of failure.
• Lighting and Visuals: We will augment the venue’s moving heads, washes and strobes with additional LED bars arranged in a hexagon motif referencing our brand. A 60‑inch screen (or projector) behind the performers will display custom animations (e.g. circle‑dot patterns, hexagon visuals) synced to each set. We will hire a dedicated visuals operator to manage cues in real time. A haze machine (subject to venue approval) will enhance lighting effects.
• Stage and Backline: A 4 m × 2 m platform will anchor the headliner and DJ booth. An additional table behind the booth will hold controllers and laptops. Cable management will be enforced with tape and ramps to prevent tripping. We will also allocate a quiet green‑room space for artists with hospitality supplies.
• Communication: We will provide two‑way radios for the stage manager, front of house and security. Staff will be briefed on emergency protocols and shown floor plans highlighting fire exits and first‑aid points.
• Hospitality: Performers will receive rider packs with bottled water, soft drinks, sandwiches, fruit and towels. Alcohol will be limited to a modest allowance in line with venue policy. We will arrange travel reimbursements and coordinate taxi pickups; the venue’s green room will store hospitality items.
• Accessibility: Headrow House’s lift ensures step‑free access to the event space. We will reserve seating areas for guests requiring chairs, and ensure clear signage for accessible toilets. Although a sign language interpreter is not needed, we will display captions for MC announcements on screen if feasible. We will also advise our team on inclusive language and behaviour.
• Security and Crowd Management: The venue provides a licensed security team, but we will hire additional guards to ensure one at the entrance (for ID checks), one near the bar (monitoring crowd density), and one near the stage (preventing stage invasions). Two first‑aiders, one male and one female, will be on site from 20:00–01:00. Our front‑of‑house volunteers will manage the cloakroom, sell any merchandise and answer attendee questions.
• Contingency: To mitigate technical failure, we will carry extra cables, microphones, DI boxes and USB drives; we will also have a spare laptop with DJ software. In case of artist cancellation, we will maintain relationships with local DJs (e.g. DJ Moqe) who could fill gaps on short notice, and prepare extended sets for the support acts. If severe weather or transport strikes affect attendance, we will consider streaming the event via a ticketed livestream and proactively update ticket holders via email and social media. We will adjust marketing spend if pre‑sales lag or pivot to a small after‑party if capacity is reached early.

Run‑of‑Show

A detailed schedule ensures the night flows smoothly:

• 24 Feb (Load‑in/Rehearsal): Stage crew transport gear to Headrow House from 14:00; set up DJ decks and lighting; adjust PA monitors; run sound checks for each act and test visuals; verify all cues work. 17:00—briefing on safety protocols; distribute wristbands to crew and artists; confirm call times.
• 25 Feb: Doors open at 20:00; a playlist sets the mood while attendees are checked in via DICE/Skiddle scanning. Emily warms up the crowd from 21:00 to 21:40. AJ and his MC perform from 21:45 to 22:15, followed by Greenhouse at 22:20 to 22:40 with live vocals and visuals. After a quick changeover, Jae Depz delivers his 45‑minute headline set from 22:45 to 23:30. Luca or another guest DJ closes the night from 23:30 to 00:30 with a mix of house, techno and hip‑hop to ease the crowd into departure. Break‑down begins at 00:30 and the team will leave by 01:30.
• 26 Feb: Final de‑brief with venue management; collect ticket sales, bar takings (if applicable) and gather feedback; begin drafting evaluation report.

Marketing and Publicity Strategy

To attract a full house, we will implement a multi‑channel campaign built around our visual identity and target audience.

Branding and Visual Aesthetics: Our logo uses minimal lowercase sans‑serif typography with a circle‑dot motif and hexagon pattern. Colour palette contrasts neon blue, magenta and black to evoke a futuristic underground vibe. Three artwork variants will support different platforms: a hexagon version for stories and TikTok animations; a circular version for announcement reels; and a clean text poster for print and press.

Press Kit: Maya will draft two versions of the press release. The long version emphasises how Eclypse brings high‑quality music to the city centre, highlighting Jae Depz’s mix of grime and drill and the rising local stars on the bill. The short version condenses key information for ticketing platforms. The press kit will include:

• Artist bios with key achievements (Jae Depz’s EP “Night Mode” hit one million streams; Greenhouse opened for SHERELLE and Ben UFO; AJ performed at Belgrave Music Hall; Emily holds a residency at Voyage).
• High‑resolution photos (at least three per artist) for media use.
• Quotes from artists about performing in Leeds and at Eclypse.
• Contact details: a professional email (info@eclypseevents.co.uk) and social media handles.

We will host the kit on a shared drive with clearly labelled folders for press release, images, bios and logo assets. Journalists can access all materials via a single link.

Social Media: Rachel will create an integrated campaign across Instagram, Facebook, TikTok, Twitter and Threads. Key tactics include:

• Teaser Phase (14–17 Dec): Post “coming soon” animations and abstract visuals hinting at the eclipse theme. Collect email addresses through a sign‑up form for pre‑sale access. Use countdown stickers and polls to engage followers.
• Launch Day (17 Dec): Publish the lineup graphic, share a caption emphasising quality, diversity and limited capacity, and provide ticket links. Encourage artists to share announcements on their channels.
• Ticket Drop (19 Dec): Remind followers of pre‑sale and general sale release times. Utilise Instagram and Facebook event pages with reminders. Maintain urgency by emphasising early‑bird discount.
• Ongoing (Dec–Feb): Post weekly artist spotlights featuring short biographies, behind‑the‑scenes footage of rehearsals or visual production, and interactive content such as story polls (“Which merch design do you prefer?”). Release TikTok videos showing glimpses of the venue, sound design process and choreography of visuals. Repost user‑generated content using hashtag #eclypseevents to build community. Tweet updates, share relevant music releases and retweet supportive messages. Use Threads for less formal conversation (e.g. song recommendations or event day tips). Create shareable GIF stickers for Instagram stories (e.g. hexagon icons) to increase organic reach.
• Paid Advertising: Invest in Meta Ads (£200 budget) targeted at 18–30 year‑olds in Leeds with interests in hip‑hop, electronic music, clubbing and nightlife. Deploy video teasers and carousel ads showing different aspects of the event (artists, visuals, venue). Monitor metrics like click‑through rate (CTR), cost per click (CPC) and conversion rate; adjust the creative or targeting weekly based on performance. Use TikTok Spark Ads if our organic content performs well.
• Influencer and Partnership Outreach: Encourage Rachel’s contacts with large social followings to share posts around pre‑sale and general sale. Collaborate with Leeds University Union societies (DJ & Electronic Music Society, Hip Hop Society) to share event details through newsletters and dedicated social posts. Ask Headrow House to promote the event on their platforms and display posters in their bar and restaurant. Offer a limited number of discounted group tickets to these partners to encourage participation.
• Traditional Marketing: Print 200 A3 posters and 500 A5 flyers using the clean text artwork. Post them in music shops, cafés, student halls and selected bus stops across Leeds. Consider handing out flyers at popular club nights or hosting a small pop‑up DJ set on campus to generate interest.
• Monitoring and Adaptation: Rachel and Maya will track key metrics: number of sign‑ups, ticket sales by date and price tier, social media engagement, website traffic, and email open rates. Weekly meetings will review results and adjust messaging or ad spend. For instance, if pre‑sale numbers lag, we could release a short behind‑the‑scenes video or offer a flash discount to mailing‑list subscribers. If TikTok engagement is high, we will prioritise more short‑form video content.

Financial Plan

While the event’s artistic vision drives us, financial viability is essential. Our budget is cautiously optimistic but realistic. We estimate revenues and costs as follows:

Revenue Projections:

• Ticket Sales: With a 200‑person capacity, selling 50 pre‑sale tickets at £12 and 150 general tickets at £15 yields £2,850. If we hit capacity, we may add a small after‑party for an extra fee, subject to venue approval.
• Merchandise: We plan to produce limited‑edition T‑shirts and tote bags featuring the Eclypse logo and hexagon motif. Estimating 30 items sold at £15 each adds £450. We will offer pre‑orders to gauge demand and avoid unsold stock.
• Bar Commission: While Headrow House retains bar revenue, we might receive a small commission if a minimum spend is exceeded. We will not depend on this for budgeting but will track bar sales to evaluate the partnership.

Expenditure Breakdown:

• Venue Hire / Minimum Spend (£1,200): Deposit of 25 % due at booking (£300); balance due a month before event. This fee covers exclusive use of the space, bar staff and basic utilities.
• Artist Fees (£775): Jae Depz (£325 inc. booking fee and VAT), AJ (£200), Greenhouse (£150), Emily (£100). We pay 50 % deposits upon booking and the remainder by 30 Jan. We will provide a simple contract for each artist outlining payment schedule, performance time and rider.
• Technical Hire (£500): Additional lighting (LED bars, DMX controllers), microphones and a visuals operator; includes delivery and engineer support from a local supplier.
• Production Staff (£275): Sound engineer (5 hrs × £30/hr), lighting operator (5 hrs × £25/hr), stage manager (our team covers; we only pay a nominal fee for external staff).
• Security and First Aid (£315): Three guards for five hours at £15/hr each; two first‑aiders at £12/hr each. The venue may provide one guard; we cover the extra.
• Hospitality and Rider (£200): Food, drink, towels and taxi allowances (about £10 per artist) scaled to six performers.
• Marketing and Promotion (£350): Poster printing and distribution (£100), social ads (£200), influencer fee (£50), with an extra reserve for emergency final‑week push.
• Insurance and Licences (£150): Public liability insurance, PRS/PPL licensing if not covered by the venue, and a Temporary Event Notice if needed.
• Miscellaneous and Contingency (10 % of total costs = £376): Funds for unanticipated expenses (e.g. last‑minute equipment repair, extended venue hire, emergency accommodation). This cushion is critical for risk management.

Total projected expenditure is around £4,141, while projected revenue is £2,850 from ticket sales and potentially £450 from merchandise. This leaves a shortfall of around £841–1,291. To address this gap, we will:

1. Seek sponsorship from a local brand (energy drink, clothing line or tech company) in exchange for logo placement on marketing materials and on‑stage branding. Even a £500 contribution would significantly reduce our deficit.
2. Consider raising the general ticket price to £17 or adding a VIP tier (e.g. £25 for early entry, meet‑and‑greet or exclusive merchandise).
3. Apply for a small grant through the Leeds Conservatoire Students’ Union or local arts council.
4. Negotiate discounts with suppliers or reduce optional spending (e.g. fewer LED bars) if needed.
5. Personal contributions: as a last resort, team members may underwrite remaining costs, although we aim to minimise this.

We will conduct a break‑even analysis three weeks before the event and adjust pricing, capacity or marketing spend accordingly.

Risk Assessment and Contingency Planning

A robust risk assessment underpins the event. Key hazards and mitigation measures include:

• Overcrowding and Surges: Manage capacity at 200; monitor door entry with clickers; use barriers around the stage; communicate maximum capacity to bar staff. Security will enforce one‑in, one‑out once capacity is reached.
• Drug and Alcohol Misuse: Enforce ID checks; provide free water; display “drink responsibly” messaging; train bar staff to recognise over‑intoxication; empower security to eject intoxicated individuals; maintain a visible first‑aid station.
• Fire/Emergency: Keep exits clear; test fire alarms pre‑event; brief staff on evacuation procedures; ensure unobstructed access for emergency services; display illuminated exit signs.
• Trip and Slip Hazards: Tape down cables; keep floors clear; use non‑slip mats near bar; restrict audience from backstage; check stage surfaces before each act.
• Sound Levels and Hearing Damage: Cap volume at 100 dB; provide free ear plugs at the bar; display warnings about loud music; encourage artists to cooperate with the sound engineer.
• Artist Cancellation: Include cancellation clauses in contracts; hold only deposits until final confirmation; cultivate a pool of backup performers; prepare extended sets and DJ mixes. If the headliner cancels last minute, we will offer partial refunds or reschedule tickets, maintaining transparency and goodwill.
• Technical Failure: Hire professional engineers; test all equipment; carry spares; keep a spare laptop; allocate contingency budget for emergency rentals.
• Low Ticket Sales: Begin marketing early; use pre‑sale sign‑ups to gauge demand; increase ads or release discount codes if needed; collaborate with student societies to boost attendance; explore sponsorship to offset costs.
• Budget Overrun: Track expenditures weekly; adjust spending; prioritise essential items; avoid last‑minute hires; negotiate flexible terms where possible.
• Medical Emergencies: Hire first‑aiders; maintain a fully stocked kit; designate a quiet area for recovery; coordinate with security to contact emergency services if needed.
• Harassment and Discrimination: Enforce a zero‑tolerance policy; train staff to identify and address harassment; provide safe reporting mechanisms (e.g. anonymity boxes or private contacts); remove offenders; support victims.
• Weather and Travel Disruption: Monitor weather forecasts; advise artists and attendees on travel plans; encourage performers to arrive early; communicate updates via email and social media; consider partial refund or digital streaming if severe events occur.

We will review the risk assessment with our tutor and venue management two weeks before the event and incorporate any recommendations. All staff will attend a safety briefing on 24 Feb.

Evaluation and Reflection

After the event, we will evaluate success on several metrics:

• Attendance and Financial Outcome: Compare actual ticket sales and merchandise revenue against projections. Analyse the ratio of pre‑sale to on‑door sales; track bar commission if applicable.
• Audience Feedback: Conduct short surveys at the door (via QR code or paper forms), asking about satisfaction, favourite aspects and suggestions. Monitor post‑event social media comments and direct messages.
• Operational Performance: Assess whether the run‑of‑show adhered to schedule; identify any technical issues and how they were resolved; gauge artist satisfaction through follow‑up conversations.
• Marketing Impact: Review engagement metrics (follower growth, impressions, comments, shares), ad performance (CPC, CTR, conversion rate) and email analytics. Identify which channels yielded the highest conversion and which creative assets resonated most.
• Team Development: Each member will write a reflection on skills developed (e.g. budgeting, negotiation, creative design), challenges faced and solutions found. We will discuss communication effectiveness, leadership roles and time management.

Conclusion

This expanded plan for Eclypse reflects a comprehensive student‑run event management process. We have developed a concept that celebrates underground music culture while prioritising professionalism and inclusivity. Through careful division of roles, early planning, realistic budgeting, targeted marketing and thorough risk assessment, we aim to deliver a high‑quality experience for artists and attendees alike. Beyond the night itself, we hope to build a blueprint for future events and demonstrate that with passion, collaboration and strategic thinking, students can successfully bring ambitious creative projects to life.