Smoother Sounds

This portfolio discusses my involvement in organizing a jazz and reggae night called ‘Smoother Sounds’, featuring musicians from both Leeds Conservatoire and the local community. A kaleidoscope of sound, the evening will explore the theme of love as the pinnacle of the night. Weaving colours, sounds, and culture into one experience is the uniting force of a wonderful evening. As a classical musician studying voice, I seek to explore live music management to expand my understanding of the complexities involved in organizing a live event. Subsequently, I developed my interests in working with artists, bands, and individuals from diverse backgrounds and musical experiences, as well as those from other courses. The project stems from my communication with musicians from both inside and outside of the conservatoire, and a group member from the Caribbean who is associated with reggae music and has a band. The artists who will be performing are ‘The Nightingales’ – Jazz, ‘Jah Glory’ – Reggae, and a solo from ‘Issac Aylward’ – Jazz. The jazz influences are highlighted through classic romantic balladry, swing, and timeless melodies. The setlist includes ‘Have you met Miss Jones? (F) RB1’ and ‘Beautiful Love (D-) RB1’, which are two timeless classics. Herbie Hancock once said, “Jazz speaks of life; it has the power to make you feel what love feels like,” which perfectly encapsulates our theme for the evening. From a different angle, reggae music is rooted in a soulful, rhythmic, and bass-driven style communicating its powerfully spiritual messages, determined by a cultural movement. ‘Front Door’ – Gregory Isaac is a masterpiece about heartache and love, alongside other classics. “Reggae music has always been about love, unity, and standing strong through hard times.” – Jimmy Cliff. Love becomes the theme for the evening, combining songs from each band’s set list, identifying colors, sounds, and rhythms we are drawn to. To bring emerging artists and talented musicians together. Each artist submitted a set list in advance with set lengths of 30–45 minutes, helping us to clearly outline the structure of the event.

The group is established in four weeks. I need to contact venues swiftly, as event planning is a pivotal step in the event planning and preparation. The Attic (200 cap venue) replies to me the quickest, offering me gig slots between mid-February and March as needed. They allow the event to span between 4 pm and 11 pm, giving us lots of time for setting up and exiting, including soundchecks and changeovers, permitting us time to work at a steady pace without rushing, reducing the risk of an accident. The internal deadline is the end of November, but due to scheduling problems, the venue isn’t booked until early January. Joe, a group member, is initially interested in a night at the Key Club featuring a hardcore metal band. Although it is a safe choice, the venue generally caters to only one style of music – hardcore and metal. ‘The Attic feels like a hidden Leeds gem buzzing with live energy.’ To manage my time consistently, I dedicate roles to group members. Alister is on finance; Joe and Paul are on production; Pollyanna is on organisation of musicians; I help to contact the venue; and Avery organises relevant shared documents with files needed, like the tech spec, risk assessment, and press kit. Having dedicated roles allows me to complete tasks with precision, which consequently makes me more organised. My role starts off managing the organisation of finding venues, which quickly turns into completing the risk assessment and picking up Alister’s finance role.

I regularly discuss ideas and information on a WhatsApp chat, which helps me stay aligned with new and recurring ideas and updates (e.g., contacting the venue, set-list ideas, arranging meetings, and planning a visit to the venue to have a look and complete the risk assessment). WhatsApp is a beneficial point of contact in discussing how to effectively manage my time and delegate tasks, creating a visual timeline of key milestones for each stage of planning. Additionally, meetings are kept consistent (in lesson settings and via WhatsApp) with focused objectives, for example, spending valuable time working on the costing chart to ensure time is used effectively. At points we spent too long discussing minor details instead of finalising technical requirements. This was mitigated by summarising decisions and next steps to ensure clarity, and rehashing decisions important for keeping us focused. Reflecting on my progress as frequently as possible allows me to adjust deadlines and redistribute tasks if needed, particularly when evaluating people’s strengths.

Finance, an important part of our project, is primarily organised by Alister. This was noted in a costing spreadsheet looking at fixed and variable costs. Due to Alister being in a personal crisis, Pollyanna and I take over some of this role, helping where needed. As an individual, I take time to pay the £30 deposit to the venue (The Attic), which is completed via direct debit. Subsequently, the remaining amount is paid on the performance day. The venue cost/fees are £180 + 4.2% + £30 for the hire of the grand piano, and I also have a sound engineer for the evening, which surpasses even more expensive venue costs I have received from other venues. We plan the ticket price to be in the region of £5–£8, keeping them affordable. Ticket affordability helps to lower financial barriers, increasing the potential for young people and those on low incomes to enjoy the gig. Further, this increases attendance, ticket sales, and engagement, highlighted by the attendance statistics of a small-scale live music event. We discuss a reduced ticket price for group bookings to the event, again to incentivize people to buy tickets. If the potential gross sales add up to £1170, and we sell 1/3 of the 200-person venue capacity, we make £390. As three artists are performing, and I agree to an insurance payout for the artist, this allows me to have £150 to pay back the venue. In this perhaps unideal situation, the artist benefits and makes 20.5% of the profit each, with the venue requiring over half of the profit made. The £210 payout to the venue, if we were to pay people on a percentage rate of around 15%–20% and we sold the same 1/3 tickets, allows us to make a profit of £433.50. This is more ideal as we can pay the artist 15% rather than the more challenging insurance deal. While this is more ideal for us, most bands/artists benefit from an upfront fixed rate, giving them more security. Ethical pay for musicians means being paid fairly and transparently for the full value of their creative/performance work. Key principles include Musicians receiving money that clearly reflects the value generated, from ticket sales, sync licencing etc. likewise payment splits should be transparent so that artists understand exactly what they are due and how money flows from consumers to creators, Fair Trade Music International (2025). I investigate relevant funding, including the Musicians’ Union and the Arts Council England, which offer financial support. The Musicians’ Union offers financial assistance and advice for musicians and live performances (‘The MU represents and advises musicians working across the music industry. From the individual music sector to touring abroad and advice for music users, I’ve got you covered.’ (Musicians’ Union, 07th January), while Arts Council England provides funding to support creative projects and improve access to the arts. While I am aware that receiving a grant for our gig isn’t possible, looking into funding helps me to understand available financial support, improve my budgeting knowledge, and prepare me for applying for funding in the future for larger-scale or personal projects.

In consideration of production, including technical, logistical, hospitality, and health and safety elements, I ensure that I work within the remits of production guidelines while dividing up tasks. I managed to obtain a venue technical specification outlining what is provided and the required health and safety requirements, such as fire doors, venue space, exits and entrances, where wires and equipment are placed, and venue capacity. Furthermore, Joe collected information regarding the number of vocal mics needed, instruments per band, and the difference between a jazz and reggae setup, important information to consider when instigating soundcheck efficiency and communication with the engineer. When carrying out a health and safety evaluation of the space, I complete the health and safety document. I enjoy filling it out as it helps me to critically think about the different hazards that could occur in a building, which is useful not only for this assignment but for future work. Likewise, Paul put together a visual document of the stage plot, including instrument placement, monitor positions, and cable runs. With an enhanced understanding of the space, we can minimize trip hazards that may occur, resulting in faster and more efficient changeovers. Further skills are learned in how to prepare for real-world challenges, ensuring laws and safety rules are followed. Under the Health and Safety Work Act 1974 and Management of Health and Safety Regulations 1999, all event organisers are required to conduct a mandatory risk assessment, identifying hazards, the severity of harm, and implementing control hazards (HPC, n.d.). There are no issues with the technical specification, as it clearly outlines the venue’s facilities in relation to the stage, mixing, lighting, and front of house, PA system, mixing desk, microphones, and accessibility. I find the information regarding wheelchair accessibility particularly informative, as it ensures suitable access arrangements for all.

I aim to reduce risk by adapting clear signage and audience information, clearly emphasizing areas such as the stage entrance door, etc., that could be hazardous. I create or use signage in a colour and format that is easily visible to everyone. We aim to have security both outside and inside the venue to lower the risk of incidents, further assisting crowd management upon entrance and exit of the gig. Noise level control is considered, and protection awareness is emphasized. Although the musicians play music with low ambient sound, considering it’s a gig, noise levels could be high. I ensure high levels of safeguarding and make sure to consider the well-being of all attendees, staff, and performers. This is regulated by clearly identifying and appropriately responding to concerns or potential incidents. To ensure safety, anyone under 18 must be supervised by an adult due to the licensed bar on site selling alcoholic beverages. (I) Holding an alcohol and beverage license allows me to deepen my understanding of the safety requirements for selling alcohol to underage people. Under the Safeguarding Act 2017. policies are crucial in protecting individuals and ensuring their rights are upheld. Additionally, legislation improves and raises awareness for essential and effective safeguarding practices in society (Safeguarding Vulnerable Groups Act 2006). In addition to safeguarding, The Attic holds performance rights and responsibilities, PRS and PPL for the music. PRS and PPL obligations are covered under the venue’s music licence, ensuring that both composers, songwriters and performers are compensated for the public performance of their work.

The venue provides a bar with its own drinks and retains the profit made. We choose not to provide food to guests to minimise allergy-related risks, as it would be difficult to manage individual dietary requirements, creating higher liability and safety risks for me as the event organiser. When planning an event, it’s important to understand that: allergic reactions can occur quickly and unpredictably; people don’t always know their triggers until exposed; severe reactions require emergency response readiness (NHS, 2025 Allergies). A green room stocked with allergen-free snacks and beverages is provided to enhance their experience. Furthermore, we plan to use both Alister’s car and UberX to transport equipment to and from the venue. While Simeon’s band doesn’t require transport, I still include it as an option. We also aim to provide musicians with a comprehensive outline of the evening’s agenda (written up by Joe), including key information such as access arrangements, transportation, and a scheduled time check. 

I investigated different types of marketing, including visual and audio content, and when considering the press release and the design of the posters, I discovered how vital it is to consider the age range of attendees for the gig. I have identified the audience for the gig as 18+, clearly highlighted in the marketing visuals. This age restriction is distinctly displayed through my marketing efforts. When a potential customer scans the barcode on the poster, they are directed to the booking site, which contains relevant information about the gig and other key details (including cancellation & refund policy, no-show policy, terms & conditions, privacy policy). As previously noted, the ticket prices clearly reflect the audience type, the amount they are willing to spend, and the market value of tickets sold at other gigs in The Attic and surrounding Leeds venues. As I am responsible for organizing the ticket links, I’ll oversee the sales and report back with frequent confirmation screenshots. Initially, I decided to use ‘TicketPass’ as my preferred ticketing website because I was drawn to the fact that the website supports charitable causes with a key focus on accessibility and sustainable practices. Unfortunately, when it comes to creating the tickets, the platform is overcomplicated, with a need for excessive supporting information before creating a ticket. Consequently, I’ve decided to sell the tickets on ‘Gigantic’, which is a user-friendly website that The Attic also uses for ticket sales. Finally, I set up social platforms (e.g., email, Facebook, and Instagram). When considering social platforms, I choose ones with an established function and an outreach system that includes affordable paid promotional ad features. The pros of these social platforms include large audience reach, direct customer interaction, mobile-friendly platforms, analytical insights, and multiple formats for content creation.

A contingency plan is a way of identifying changes that may need to be made if the plans do not proceed as expected. Backup performers are essential if someone cancels at the last minute. I step in to provide backing vocals whilst Pollyanna is on keys for Alister’s band ‘Jah Glory.’ Likewise, if either ‘The Nightingales’ or ‘Issac Alyward’ were to cancel, I plan to sub them out with my friend April’s contemporary jazz/pop band, who is a good option as she has a 40-minute set in place. Time delays are common and are considered to account for any potential changes; the group will be at the venue from 4 pm. While the performance doesn’t start until 8 pm, the time allows for setting up (including sound check, technical gear checks, agreeing on emergency signals if something goes wrong, and run-through of intros, count-off, and endings for solos and visual cues, etc.). Additionally, set lists can be used to manage overruns and flexibility if a song needs to be cut or changed. Likewise, I’d buffer in extra time for sound checks. The Attic may be a performance space new to people, so allowing time to adjust the EQ and volume, and understanding the acoustic changes that may occur with the size and shape of the room, allows performers to feel confident in the space. Moreover, there may be a need for spare cables, microphones, and leads on site. Linking the input channel list shows how preparation supports efficiency and flexibility during the set up. While The Attic aims to provide basic technical equipment, it is within my best interest to assume I need to bring extra cables, etc., to mitigate problems that could occur if something doesn’t work. Avery and Joe helped to create an artist’s equipment list referencing the venue’s provided one.

In the higher price of The Attic, a sound engineer is included. While illness is not likely to happen, if it were to occur, Paul and Joe would take over the reins of the sound engineering as they currently study production. I might encounter challenges where the venue doesn’t allow us to use their PA system; in this unlikely event, our gig would end up having to be live acoustic sets. If ticket sales decline and we do not sell as many as hoped, we have a clear procedure in place. Our gig still goes ahead as planned. We might not reach our goal income; however, the bands will still perform. I maintain a high level of hospitality while providing an excellent performance experience, already having held prior conversations with bands and soloists about a potential reduced payout due to lack of ticket sales. While there are many reasons tickets don’t always sell, I hope that by maintaining my marketing strategy, our gig proceeds as planned. Although I can’t control the weather conditions for the night, as it’s an indoor venue, there is no significant impact on the evening.

Buffering extra time for the load-in and load-out of instruments is essential in reducing accidents and injuries. A clear evacuation in the event of a fire or emergency is a significant factor in this. Fire safety and evacuation plans must show how there is a clear passageway to all escape routes, marked escape routes that are as short and direct as possible, an emergency door that opens easily, emergency lighting, all employees trained to know how to use the escape route, and a designated safe meeting point for staff (UK Government (n.d.) Fire safety and evacuation plans, GOV.UK). Alister will take responsibility for incident management. The idea is to designate someone who has the most experience in the gig/event scene, and as for Alister, this stems from having practical knowledge about how to manage incidents at an event. There would be someone on-site who is trained in first aid, a qualification that would be vital since we’ve placed a lot of importance on the safety of our audience. I hope to become first aid trained in the future, offering me increased opportunities to work in the live music industry.

WhatsApp continues to be a functional way of staying connected, and being able to communicate in real time allows for updates to be shared quickly within the group (e.g., musicians being held up, extra equipment to be brought to the venue, soundcheck delays, illness). Finally, I have a post-event review plan in place to assess any issues or developments needed. Identifying opportunities for improvement allows future events to run smoothly, presenting knowledge of what was and wasn’t successful. Following this specific evaluation method would look like audience feedback, team debrief, and performer feedback regarding communication, hospitality, and sound. In addition, it’ll help to improve the event quality, save time and money, build a stronger audience, strengthen team performance/work, and increase spend on social ads. “After each experience, you grow up, you get enriched with something, and you don’t know how you’re going to be in six months, you don’t know what you’re going to want, what you’re going to need.” Tautou, A. (n.d.) The experience gained in organizing ‘Smoother Sounds’ has provided me with a stronger foundation for further event planning, and I’ve developed skills in working across genres, engaging with the audience, and managing diverse teams, which have made me interested in pursuing opportunities in event production and collaboration. I am especially interested in projects that foster inclusivity, culture, and ambition.

References/Bibliography

• Cliff, J. (n.d.) ‘Reggae music has always been about love, unity, and standing strong through hard times.’ [Quote]
• Fair Trade Music International (n.d.) Equitable streaming
• Hancock, H. (n.d.) ‘Jazz speaks of life; it has the power to make you feel what love feels like.’ [Quote]

• HPC. (n.d.) Health and safety risk assessment for event organisers.
• NHS (n.d.)Allergies. Available at: https://www.nhs.uk/conditions/allergies/?utm_ (Accessed: 18t January 2026).
• Musicians’ Union. (2026) The MU represents and advises musicians working across the music industry. 07 January.

• Tautou, A. (n.d.) ‘After each experience, you grow up, you get enriched with something…’ [Quote]
• UK Government. (n.d.) Fire safety and evacuation plans. GOV.UK.

Files: All relevant documents

included in the drive –

Tec spec

Attic equipment list (1)

Input channel list

Master PDF

Risk assessment

Stage plot

costing spreadsheet

Advanced schedule (1)

Artist tec spec

Attic venue spec

Costings (1)

Merged from Advanced schedule (1)

Venue pack

Access + Marketing + Catering

Contacts + Load in curfews

Photos

Safe space notice

Spec + dimensions

LMM Questions

Organisational template 2017 – 18

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