SHR6E037P – HAN23085781
RATIONALE
My group and I have decided to host an electronic music gig at Hyde Park Book Club , front ran by genre pushing local talent – TONII. With support from ShotgunGullet and DEFF60 we wanted to showcase the diversity of sounds which can be found when combining both electronic sounds alongside organic classic instruments. We aim to utilise TONIIs pre existing aesthetic to further this gig , using the Frutiger auero style we are attempting to give this gig a strong identity which aligns with what the headliner envisions.
TIME MANAGEMENT
This ambitious project requires many moving parts , to ensure all runs smoothly from the inception of the idea to the day of the gig there have been operations put in place. After the first two sessions it became abundantly clear that we needed clear structure if we were to succeed , up until this point , our efforts had been passionate however lacked the required direction to utilise it to its full strength. To combat this I created a list of jobs and a deadline to get them done by. I then assigned each job to a member of the team. Tailoring each job to every team members strengths. For example , I know Toni understands the headliners vision better than anyone else can so therefore I gave her the job of creating posters and the overall aesthetic of the gig. Alongside this I gave Ollie and Lucas the responsibility of collecting the tech specs due to his reach over all three bands playing on the night.
Before we had the gig confirmed I created a draft advance schedule to ensure all parties had at least a vague understanding of what had to be done on the day. This show advance included all information I had access to alongside all ideal timings for the day. Having this all in one place and ready to send to the venue was vital in us securing the venue when we did. This brings me onto the next thing which I believed will ensure we stay on track which was getting in contact with the venue. and finalising a date as early as possible. The date we chose was Feb 19th. Giving us a relatively close deadline ensured the project stayed at the forefront of everyone’s mind. I believe this is what enabled the group to stay focused and on task for the majority of the project.
We also created a GANT chart to help us visualise all of our roles within the project. This also gave us the required timeline we needed to stay on track within the build up of the gig. One thing I noticed about the GANT chart is certain roles and responsibilities are not divided evenly amongst team members , this could cause tension between team members and result in a break in the team and therefore we would not be able to put on this gig to the best of our ability. To prevent this outcome from occurring we have given the team members with less jobs before the gig more after. This distributes the workload more and allows for a fairer work environment.
PRODUCTION
The three artists all have very unique technical requirements for their individual shows , and although there are lots of different instruments the bands require . I decided to focus on what things they have in common with each other. The thought process behind this was to eventually create a master technical specification for the show. This would work alongside everyone’s individual riders however I believe it gave the production team the required insight to untangle the web which was the three separate tech specs. Having a master copy which shows what equipment artists can share has helped us bring down the amount of equipment we have to hire and then transport to and from the venue. Minimising risk of equipment breaking , minimising the risk of issues during changeover of acts and ensuring a smooth show.
LOGISITICS
Logistically , this show is relatively simple. All acts live within a 10 minute walk of the venue and are therefore sorting their own transport to and from the venue. An issue we stumbled across was due to the possible bad weather seen as the show is in the middle of February , transporting not only our own equipment but also rented equipment is not just a safety hazard its also an expensive mistake if we end up getting caught in a downpour. To ensure this doesn’t happen I will create an emergency funds pot in the budget. This can be used to taxis or other forms of transportation in case of bad weather. Another logistical issue we have found is the transportation of cash to and from the venue. We have decided that no one will be left alone with the cash and there will always be at least two people supervising it. We also will not walk anywhere and have accounted for these taxis within the budget. We have discussed utilising the people who drive within the production team for lifts to and from the venue. However due to insurance issues we have not found it financially viable to insure the vehicles. Luckily uber has all their cars insured to the necessary standard.
There is also the option for artists to utilise the venues green room overnight if they would feel more comfortable collecting their equipment during the day. Although this is safe , there is no guarantee from the venue on theft and the venue cannot beheld liable within the case theft or loss of equipment.
HOSPITALITY
All acts who perform on the night are entitled to a tech rider which is as the production team have made it our top priority to adhere to. As the production team we understand that if the artists are not looked after properly the show will fall apart at its core. So to stop this from happening we will ask for hospitality riders 4 weeks in advance , giving us as much time as possible to retrieve every item on the rider. I have also had a clear communication line throughout this whole project with the venue representative Isabelle. This gave me easy and ample opportunity to enquire about hospitality at the venue , for example there is a green room and storage space provided alongside access to the bar for refreshments , there’s also a space to load in around the back however minimal space for parking. But due to no party using a car to get to and from the venue , this rendered itself mute.
RISKS
While creating the risk assessment , I thought it would be useful to cross reference ours with Hyde Park Book Clubs house risk assessment. In doing so , it was my belief that no stone would be left unturned and all risks would be assessed. However , upon receiving the risk assessment I noticed it was not only 3 years old but also lacked significant detail. From this point we understood it was our responsibility to create the assessment. A risk we take very seriously is drug use. We understand that around the culture of electronic music there is a sub culture which partake in recreational drug use , because of this and our audience members safety being our upmost priority we have put in place measures to mitigate the possible use of drugs. These being a discussion with the venue highlighting what measures are already in place and how we can benefit from those. The venue has security who is trained in spotted the tell tale signs of drug use therefore the responsibility of that fell onto them. One thing we can do to mitigate drug use however is ensuring all members of the promotion team have access to a phone in case of an emergency. Another risk we had to mitigate was the threat of injury. This comes up many times during the rise assessment in different ways so to counteract this we have ensured a member of the promotion team is qualified in first aid , I have my St Johns ambulance first aid training and understand the venue offers the same support so I would never have to use it however to mitigate risk of further injury it is useful to have.
CONTINGENCY
For this show it of a high priority to have many contingencies in the case anything goes wrong , I will highlight two of the contingencies which we chose to develop and put in place. These being in case of artist dropping out / unavailable on the day and instrument breaks. In the case of a support act dropping out we will assess how we are doing on ticket sales and this will indicate how we move forward. If we are low and are not selling enough tickets then we will use our access to the space page and connections at university to find another band to fill the slot. The reason for this is because if a support artist drops out , even if they only sold 15 tickets , their audience are less likely to go to the gig. Therefore we if tickets are low it will have to be a high priority to find a replacement for the gig. If the headliner is unavailable and cannot attend the gig then we will push up the running order. Depending on how much notice we get then using the methods mentioned previously we will find a new support however if it is day of and TONII drops out then we will push up the running schedule. Making DEFF60 our headliner with SHOTBUNGULLET as solo support with a longer set. This has been discussed and all parties are aware of it. DEFF60 have a full headline set ready to play and SHOTBUNGULLET also have an extended set ready to play if we are needing to push out the event.
The second contingency I will highlight is instrument breakage. Firstly to mitigate this happening , all instruments and equipment are fully PAT tested and up to the correct standards , in doing this we minimise the risk of instrument failure on the night. However , even though all equipment is up to the correct standard this doesn’t fully erase the issue as on the night damages can occur and things can break in a natural way. The contingency for if these events occur is to bring a spare of everything we can (jack leads , XLRs , strings) , all acts have also been encouraged to bring backups for anything they need on stage in the case of an instrument breakage. To further this we also have arranged load in and soundcheck to be in line with the university’s opening hours for equipment hire , therefore if a vital irreplaceable bit of equipment gets broken , it can be replaced.
FINANCE
A financial decision we made was to have two different prices for on the door sales and in advance sales. These being £5 and £8. Although the difference between these prices seem small , that ‘small’ saving can attract people to locking in early to buying a ticket. Our goal is to get people to buy a ticket , as much as attendance to the gig is highly important promotion company look for numbers and venues require the guarantee beforehand that you will sell tickets. Putting the advance ticket sale as cheaper creates an illusion as if they don’t get their tickets now they will not save money therefore locking in more sales earlier. Another financial decision we made was staffing the event ourselves therefore having no staffing fees. We will have two people on the box office at all times looking after cash and the sound engineer is already agreed to and paid for within the venue agreement. If we get to 3 weeks before the event and we are still under 50% capacity sold then we will begin doing flash sales and discounting tickets even more. We have left room in the budget for even if we sell out at £4 a ticket then we will still make enough profit to split between all parties involved.
Splitting the money has been a discussion which we undertook and from it we found the best decision to be splitting it 4 ways between the three acts and the promotion team and then allowing each ‘team’ to split evenly amongst their members. After also being at the hand of promoters who have an uneven and unfair split between artist we wanted to ensure that we could offer everyone the right compensation financially as we know how important it is for young working artists in the industry to be treated with respect and dignity. Any change in this pay could be dictated by acts dropping out / money needing to be paid back to production team members who may of paid for things themselves. All promotion team members have been instructed to get a receipt of things they got on the night in the hopes that once the event is finalised they can be rein burst.
MARKETING
The marketing for this event has consistently been at the forefront of our minds. Having a clear and exciting vision has been the driving force behind most of our decisions as a group. One of the reasons we have had such success with the stylistic vision of the event is due to our utilisation of the pre existing aesthetic of TONII. Using this bold , blue , 2000s art style has catapulted our creation of posters and other marketing material. As a group we understood our headliner has an already cemented style within the music scene and has created her own community within a corner of Leeds , therefore we wanted to harness that rather than take away from it. We didn’t want our creative vision to overcrowd and pollute what we were really trying to sell. Our headliner. In doing this we hope to appeal to TONIIs pre existing fan base to pull in tickets. When it comes to social media , we have gone an unorthodox route and not created an instagram account for the promotion company. Seen as we are brand new , with no followers and no previous posts of successful gigs in the past it can come across as unprofessional and could hinder our opportunities to sell and book further gigs. Therefore will be using Instagrams new joint post feature and post the gig using all three band accounts. In the hopes to reach as wide an audience as possible.
Alongside this , a benefit of having TONIIs aesthetic is her consistent use of a rich royal blue. Colour theory is something which has existed in marketing for years however over the past three years there has been a common theme amongst most big ‘pop culture moments’ these being they use a specific distinct colour to market everything. I have recently noticed this in the A24 film Marty supreme and their use of orange but not too long ago in 2024 this can be seen with the ‘brat green’ on Charli xcxs album BRAT. Understanding all of this and how these specific colours have been used to create a cult like fanbase underneath these projects ,we decided to put a lot of our marketing focus around TONIIs rich royal blue. As you can see within the posters they all have a common theme and utilise a similar colour palette. This has given our event a distinct and professional identity which we were able to showcase to venue representatives and I believe this made us better candidates for the event.
The schedule for the show has been a topic of discussion due to us not wanting to announce the event to early and lose momentum but also not too late and not have enough time to sell tickets. We discussed the option of announcing it alongside the new year however understood that the post may become lost throughout the many new years and Christmas posts on social media. After doing research into our audience members social media habits , we have found that posts and events slow down during the month of January. Wanting to capitalise on this quiet period we decided to announce the event on the 8th of January , with this in mind we then needed a date to release tickets. Using cultural evidence like Christmas and new year , it is a common understanding that people are in a more vulnerable position financially coming into the new year. Therefore we wanted to release the tickets closer to the end of January in the hopes to benefit from people getting their first pay checks of the year.
Conclusion
With just over a month until the show , I can reflect upon the work we have accomplished as a group and am happy with the overall product. Although we have not completed the show and there is still work to be done , I believe our time management so far has been organised and well utilised. The proof for this in our GANT charts and multiple job lists and role delegations , these made us consist and efficient with the free time we had and allowed us to complete tasks with time to spare. Alongside this our ability to work as a team with open group discussions and consistent communication the entire time has been a great asset. Although with a group of 6 it may be assumed that ideas would get listen the voices however we kept it a priority to maintain a fair and open space for ideas within the group. One thing I believe could of been done better was the disparity in job delegation , although this was resolved and caused no major issue , I believe it could of been avoided completely and this is something we will aim to work on the future.
APPENDICE
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Staff, C. (2024). We asked a colour analyst about Charli XCX’s ‘Brat’ green. [online] Crack Magazine. Available at: https://crackmagazine.net/2024/04/colour-analysis-charli-xcx-brat-green/.
Freestone, C. (2025). What exactly is ‘Marty Supreme Orange’? [online] Harper’s BAZAAR. Available at: https://www.harpersbazaar.com/uk/a69818641/marty-supreme-orange-explained/ [Accessed 7 Jan. 2026].
Langit, A. (2025). Frutiger Aero and the Nostalgia for Early 2000s Digital Aesthetics. [online] Grafis Masa Kini. Available at: https://grafismasakini.com/article/frutiger-aero-and-the-nostalgia-for-early-2000s-digital-aesthetics/en.
Reddit.com. (2017). Reddit – The heart of the internet. [online] Available at: https://www.reddit.com/r/NoStupidQuestions/comments/6nkv2o/why_do_door_tickets_always_cost_more_than_advance/ [Accessed 7 Jan. 2026].
Kavanaugh, P.R. and Anderson, T.L. (2008). Solidarity and Drug Use in The Electronic Dance Music Scene. The Sociological Quarterly, 49(1), pp.181–208. doi:https://doi.org/10.1111/j.1533-8525.2007.00111.x.
Schwartz, D. (2020). Bad Deals Are Baked Into the Way the Music Industry Operates. [online] VICE. Available at: https://www.vice.com/en/article/bad-deals-are-baked-into-the-way-the-music-industry-operates/.
FOLDER WITH DRAFT POSTERS / ADVANCES / BEHIND THE SCENES WORK
