Business Plan: Lils’ Live Lighting

Executive Summary / Elevator Pitch 

Lils’ Live Lighting would be a specialist live event lighting company that delivers custom lighting designs and operations for music performances, festivals, and touring acts. This is because I have a huge interest in what goes on backstage and have tons of experience working on lighting in the past. Our mission would be to elevate the live experience through bold, immersive visuals that combine the latest lighting technology with creative flair. We would offer sustainable, scalable, and artist-led solutions tailored to each client’s vision.
We would tactically be based in the UK’s thriving live music scene and target artists and organisers who value striking visuals, reliable service, and a personal approach. Our vision is to become a trusted name in independent and festival-based lighting, known for creativity, reliability and innovation. We aim to serve as a dependable partner for up-and-coming artists and seasoned tour managers alike, bringing not just technical skill, but artistic collaboration to the stage. Our team brings tons of experience combining both musical and concert expertise.

Product / Service Description:

Lils’ lighting offers full spectrum lighting services, including:

• Design and Pre-visualisation: Using tools like Capture for 3D rendering and show planning.
• Equipment Hire: Moving heads, LED fixtures, strobes, control desks (Avolites, MA), truss, and rigging.
• Programming and Operation: Live show execution by experienced techs.
• Creative Consultation: Collaborating with artists, directors, and stage teams.
• Technical Support: Setup, safety, troubleshooting, and crew coordination.

Packages are different to suit various scales and budgets, from small theatre musicals to multi-stage festivals. We would also offer niche services like wireless DMX for mobile stages and low-profile rigs for intimate venues with limited ceiling height. Additionally, we would offer extras like time-coded shows, remote triggering, and custom scene libraries for repeatable performances. Our team can design one-off shows or provide templates for clients to tour with, giving flexibility depending on the client’s capacity.

We aim to create an ecosystem of reliable tools and artistic flair, delivering experiences that align with the aesthetics and energy of each performance. Lils’ Lighting would have good ability to adapt quickly, working fluidly with last-minute changes or experimental setups as we understand that in live entertainment, flexibility and trust are just as important as innovation.
 
The Market:

Target audiences:
– Independent and huge UK music festivals
– Touring musicians and small-to-mid-size venues (200–2,000 cap)
– Event production agencies and concert series
– Musicals and theatre productions

The UK live music industry has more than 30 million people in 2023. As events compete for attention, lighting has become essential for atmosphere and branding. For many performers, the visual identity on stage is as vital as sound quality. Clients increasingly demand bold visuals, tight coordination, and sustainability, all of which Lils’ Lighting would deliver. As more events livestream or record performances, professional lighting becomes critical not just for the audience, but for content creation and social media.

Additionally, with the increasing popularity of hybrid events and livestreamed performances, lighting becomes a big component for multi-platform success. Good lighting is necessary for high-quality visuals for video and photography, which can then be used for social media marketing, press kits, and future promotional materials. This adds another layer of commercial value to my businesses’ services.

Market Research:
Good operators are scarce and overbooked, meaning there’s more room in the market for another business. There’s a strong need for flexible, enthusiastic teams that can work across genres from dance and hip-hop to indie, folk, and experimental performance. The growing popularity of immersive events and themed environments also creates more demand for layered, creative lighting solutions. My business would also aim to be adaptable and flexible to meet the demands of any situation that a client would ask of. This convergence of demand and values opens space for a lighting service that’s creative, eco-friendly, and budget-aware.

Lils’ Lighting has also looked at insights from artists and stage managers who are annoyed with unreliable crews or generic lighting setups. In response, our business would put communication and detail at the centre. We aim to be a collaborative extension of each show’s vision, whether that’s high-energy strobes for drum & bass, subtle washes for acoustic acts, or reactive visuals for DJs.
 
 
Competitor Analysis:

Main competitors:
– Colour Sound Experiment: Strong for large-scale events, but expensive.
– Enlightened Lighting: More theatre-focused, less adaptable for music.
– Liteup Events: Solid kit, but lacks personal service.

Lils’ Lighting stands out through:
– Flexibility: Modular pricing and packages
– Creativity: Strong design-first mission
– Sustainability: LED-first, paperless ops
– Relationship-building: Repeat clients see familiar faces and consistent quality

We also bring a human touch to collaboration—encouraging feedback, iteration, and working alongside choreographers, and visual directors. Our team would stay up to date with trends such as kinetic lighting and generative visuals, to stay relevant across all scenes.
What also would set us apart is our focus on emerging talent. While competitors are geared toward either budget or premium markets, Lils’ Lighting operates for any scale show, providing high-end results so we are perceived as approachable and we can reach more clients. We position ourselves as teams to artists, not just vendors. In additions, I think my experience as a musician contributes to me being knowledgeable of what lighting works for different genres, sounds and set ups.

 
Operational Requirements:

A small warehouse will keep:
– Gear storage and maintenance
– A planning/meeting office
– Some vans for transport

We’ll use Lightwright and Vectorworks for planning, and platforms like Notion for logistics. Freelancers will boost capacity during peak seasons that would fall around May to September time. As bookings grow, we might introduce mobile, portable programming kits to design shows remotely or during venue build days.

We intend to develop a sustainable operational culture from day one. This includes recycling old gear where possible, offering carbon-conscious shipping options, and encouraging greener rider expectations. We’ll also explore solar and battery options for certain rigs, and digital tools for remote collaboration with artists. This will allow us to reach a larger demographic for those clients looking for a more sustainable company to work with.

Resource Requirements Start-up costs:
Lighting gear: £40,000
Control consoles: £10,000
Rigging/truss: £8,000
Power: £6,000
Safety gear: £1,500
Vans: £12,000 

Team:
1 Lighting Designer/Creative Director
2 Full-time Technicians
1 Logistics/Bookings Manager
Part-time Finance/Admin
Freelance pool for techs and ops

We would recruit from music universities and offer mentorships to junior techs, supporting talent and community building. We also aim to offer training workshops and community open days to welcome a whole new board of people. Ongoing partnerships with different universities will create routes for paid apprenticeships, providing career starters with meaningful industry access. This community approach ensures long-term sustainability and brand goodwill.

Marketing and Promotion Plan:

Branding will be clean, bold, and design-led. Promotion channels include:
Website and portfolio
Instagram/TikTok presence: Behind-the-scenes, stage transformations, synced light shows
Event presence
Email marketing: Targeting venues, tour managers, and promoters
Referral incentives: Discounts for client referrals
Partnerships: Music schools, small venues, and production crews

We may also collaborate with videographers for bundled content and lighting packages. Content creation would be central, not just marketing the service, but showcasing the artistry and collaborative spirit of our team. We would use visual storytelling to build brand loyalty and position Lils’ Lighting as a go-to for thoughtful, forward-thinking production.
Future plans include branded merchandise and interactive lighting experiences for events like open studios, which act as both demos and promotional tools.

Costs for the initial investment:

Equipment: £40,000
Van lease: £6,000/year
Rent: £10,000/year
Marketing: £2,000
Insurance/legal: £1,500

Annual costs:
Staff: £45,000
Maintenance: £5,000
Fuel/transport: £4,000
Freelancers: £10,000

Rates:
Small shows: £500–£1,200
Medium festivals: £2,000–£6,000
Tour packages: £10,000+/month
 
Flexible pricing includes deposits (30%), package deals, retainers, and tiered options. Future income may include licensing show files or design templates. Additional revenue could come from running workshops, publishing lighting design content, or offering remote programming and troubleshooting services for international clients or venues outside our physical reach.
 
Timeline and Future Development 

Year 1:
Launch website and brand
Secure 15–20 test projects
Build core client base
Establish operations (forms, systems, feedback loops)
Create content library for marketing and pitching

Year 2:
Grow gear inventory
Expand team and freelancer pool
Take on tours and regional festivals
Launch junior training track
Test bundled services (e.g., lighting + AV)
Develop partnerships with visual artists and projectionists

Year 3:
Scale to national recognition
Add pixel mapping, media servers, and custom effects
Explore international partnerships
Launch digital learning content and merch
Open in-house design/content studio for R&D
Attend international festivals and expos to grow reach
We would stay future facing, investing in tech and talent to push visual storytelling forward. Our long-term goal is not just to be a supplier, but being creative to help shape how live experiences feel, look, and evolve in an increasingly visual world.
 
Bibliography:
UK Music (2023). Here, There and Everywhere Report. https://www.ukmusic.org
Association of British Theatre Technicians (ABTT). (2023). https://www.abtt.org.uk
Health and Safety Executive (HSE). (2023). Event Safety Guide. https://www.hse.gov.uk
PLASA – Professional Lighting and Sound Association. https://www.plasa.org
Chauvet Professional Lighting Products. https://www.chauvetprofessional.com
MA Lighting Consoles. https://www.malighting.com
Wix Website Builder. https://www.wix.com

Group Work Reflection and Evaluation:

While our in-class seminars during the second semester didn’t focus too heavily on the business plan writing or EPK development, they provided valuable context by exploring broader aspects of music industry operations. We looked at the range of roles involved in the industry as a whole and discussed in small groups what each role would do and why they are necessary. We also looked at the roles involved within live events, from artists to promoters, crew to designers and this helped clarify how a lighting business fits within the wider ecosystem. We spent a lot of time thinking about how businesses operate behind the scenes and what kind of teamwork goes into a live show or tour.

In several lessons, we applied business thinking to a variety of music-related examples, such as merchandise brands, tour logistics, independent labels, and event planning. We talked about and looked into what it would be like for live performances and gigs at different venues. These tasks encouraged me to consider aspects like brand identity, market gaps, and financial viability. Though these weren’t directly linked to our final business plans, they helped build general entrepreneurial thinking. I used some of these frameworks to sketch out early versions of my businesses value proposition, which evolved over time into the full plan.

Outside of class, to have more group work, I collaborated with my friends George and Zayn. We sat together multiple times to go through our work and gave each other feedback on tone, layout, clarity, and strategy. George helped me spot weak spots in my initial pitch, especially around pricing tiers and operations, since he’s quite hypothetical he was able to envision my business and give feedback accordingly. On the other hand, Zayn gave input on how to make my design section clearer and more compelling.

These informal peer sessions helped shape my plan a great deal. We each brought different strengths to the table and it allowed for a few different insights into each of our assignments so we could refine them as much as possible. I think the best parts of my plan like the modular pricing and emphasis on artist-led design mainly came from those conversations. We also discussed marketing styles and target audiences, comparing ideas about branding and online presence. They helped me actually be able to layout different aspects of this business and tweak the sections that didn’t make as much sense.

Through this small group work and the more general classroom context, I gained confidence in making practical decisions for the business. I learned how to balance creative ambition with clear messaging and strategy. These discussions, even though they were more casual, reflected the collaborative nature of actual business planning, something that felt especially relevant as the business I planned has a huge emphasis on collaboration is a range of aspects. Overall, the group work helped me refine both the tone and structure of the Lils’ Lighting business plan.