This portfolio discusses the success and outcome of our event, ‘Smoother Sounds’, a gig hosted at The Attic. The overall aim of the event was to showcase emerging artists while creating a relaxed live music experience that helped build a stronger student community. The importance of supporting local students and musicians was to ensure that emerging students with valuable live performance opportunities had a chance to contribute to Leeds independent music scene.

We promoted ‘Smoother Sounds’ through a well-rounded strategy that combined social media marketing with on-campus visibility, aiming to reach a diverse audience. We began by creating dedicated Facebook and Instagram accounts that served as hubs for event publicity, showcasing important information and updates. On these platforms, Pollyanna and I created engaging videos in which we interviewed performers about their excitement for the gig, particularly what they were most looking forward to. Questions such as “What particular bands are doing for Smoother Sounds in 2026?” were asked in the interview to engage with a young demographic, those most likely to attend our event. We also shared posts featuring photographs and short biographies of the musicians to help the audience connect with them and build anticipation for the event. In addition, we introduced ourselves as promoters through posts that established our roles in organising the event, helping to create a more personal connection with the audience while strengthening our promotional efforts. To maintain momentum, we created countdown posts in the hope of encouraging attendance. These posts prompted people to message us on social media to express interest, ask questions, or request further information.

Audience interaction was essential and included reposting content, sharing posts, commenting, and engaging through direct messages and Instagram stories. Instagram proved to be the most effective platform because it was highly visual and interactive, particularly for younger audiences aged 18–30. Compared to Facebook, Instagram’s algorithm prioritised visual content more effectively, allowing posts to reach audiences organically through hashtags and story reposts. In addition to online promotion, we focused heavily on campus engagement. Strong visibility involved displaying posters in the café bar and common areas, such as bulletin boards located in the stairwell. We also distributed flyers to students on campus and in the surrounding area. In the weeks leading up to the event, we regularly set up a table in the café bar, handing out flyers and speaking directly with students about the upcoming event. Furthermore, Pollyanna and I contacted BBC Radio in the hope of reaching a larger audience. Although we received an email regarding the possibility of discussing the event on the radio, no follow-up was carried out by the BBC. This experience showed us the importance of maintaining consistent communication with media outlets to secure promotional opportunities.

Unfortunately, despite our high expectations, ticket sales did not significantly increase through direct promotion to students. As a group, we dedicated over a month to marketing and promotion, effectively carrying out the different stages of the campaign. One possible reason ticket sales may have been lower than expected was that our event was scheduled during reading week, due to the event space being booked up. Additionally, the relevance of niche music styles and the lesser recognition of some of the performers may have reduced audience interest.

Regarding the atmosphere of the event, we needed to ensure the venue felt warm and inviting, reflecting the mood and experience we wanted to create. The Attic, a newer cultural venue with an industrial and creative aesthetic rather than a polished corporate feel, provided an intimate and welcoming environment. The lighting was dimmable, making it sensory-friendly. The venue offered clear acoustics and a bar serving local draught beers alongside a range of soft drinks. The green room also functioned as a practical space where performers, artists, and promoters could gather, change, and store equipment and instruments. The audience enjoyed a range of musical performances across different genres. However, a larger audience would have created a livelier atmosphere and increased engagement between the crowd, performers, and promoters. This had a noticeable impact on performer confidence, as limited crowd participation affected the overall energy of the evening. Despite this, audience feedback was largely positive, with many people appreciating the quality of the music provided. Overall, the audience remained engaged throughout the evening, occasionally moving and singing along to the performances.

The box office was managed effectively by Avery and Paul, with a clearly marked ticket collection and sales point located at the venue entrance. Secure storage was provided for cash and ticket stock, while regular audits were carried out throughout the evening. DIY gig posters and flyers were also displayed at the desk. Pre-event tickets were sold via a QR code linked to Gigantic, which I set up and managed effectively. On the night of the event, we sold 16 tickets at the door, while only 8 tickets were sold online. One possible reason for the lower online sales may have been the additional booking fee attached to online purchases, despite the QR system being efficient and easy to use.

All audience members were welcomed personally into the venue by the promoters. Although the gig began slightly later than planned, this was mainly due to the smaller audience size, which affected time management. Nevertheless, the box office was organised to a professional standard, reflecting our dedication and preparation. To improve timekeeping in the future, we would establish a clearer process for getting equipment into the venue. Specifically, we would arrange for more Ubers to transport the equipment to LCON, as our arrival was slightly delayed due to this issue. As promoters, we indeed arrived 40 minutes late to The Attic.

Security, health, and safety were major priorities in ensuring the event ran smoothly with minimal issues. Clear communication between The Attic and us as event organisers was essential for understanding venue procedures and ensuring everyone remained aligned regarding safety procedures, scheduling, and artist liaison. Communication methods included email and WhatsApp via a group chat that held specific group information and key details/messages. Clearly marked fire exits and emergency evacuation procedures were in place to help attendees leave the venue safely if necessary. Accessibility was also prioritised, with the venue featuring a large entrance and step-free access to ensure inclusivity for people with disabilities. First aid support was provided by the venue, with a trained staff member on site and appropriate medical equipment available if required. Crowd control barriers were positioned outside the venue to help prevent overcrowding, although the audience remained relatively small throughout the evening. Safety equipment and technical setups were carefully regulated, with lighting and speakers securely installed to minimise the risk of accidents. In addition, the bar operated under the Government’s Challenge 21 policy, with staff monitoring behaviour to reduce risks associated with intoxication and substance misuse. We also completed a detailed risk assessment, which we kept on hand during the event, outlining procedures for risks such as overcrowding and fire evacuation.

Artist liaison was primarily organised by me, Pollyanna, and Joe, all of whom dedicated significant time to communicating effectively with Leeds Conservatoire students and other musicians willing to perform at the event. Pollyanna contacted Simion and Issacc, a jazz band and solo pianist, through direct messages on social media. The artists were selected based on availability, although we aimed to include a diverse range of genres, such as jazz, reggae, and pop, to appeal to a broad and diverse audience. As most of the musicians were from Leeds Conservatoire, this linked closely back to the event’s primary goal of supporting developing artists.

The main aim of communication was to provide artists with clear information about the nature of the event so they could prepare appropriate set lists. Coin and Kann also joined as part of the reggae group set up by Alister, contributing bass and drums. In addition, I liaised with my brother, whose band, The Tangerines, performed a short set of classic songs. He was passionate about contributing additional entertainment and gaining further live performance experience. Fortunately, all performers arrived prepared with their own equipment, which demonstrated high professionalism and reliability. Managing multiple bands and a soloist required careful time management and organisation, both before and particularly on the event day. The need for flexibility was incredibly important, as minor changes, such as setting up equipment, took longer than expected.

Technical execution throughout the evening was highly efficient, and the team at The Attic, including Lily, the sound technician, ensured the event ran almost seamlessly. Sound checks were completed efficiently, and the technical team clearly demonstrated a strong understanding of equipment setup and live sound management. This resulted in smooth communication throughout the evening, particularly when performers had questions regarding technical setups. No major technical faults occurred; however, the team did face challenges balancing microphones between performers, regularly having to adjust the sound levels to suit different musical styles.

On the day of the event, Joe warmly greeted performers and helped them settle into the venue. He also managed the schedule effectively, ensuring artists knew their set times, had enough time for sound checks, and were informed of call times before performing. In addition, any artist requests, including food, drinks, or equipment needs outlined in their rider, were addressed promptly. Effective teamwork between promoters, venue staff, and performers ensured the event ran smoothly. This teamwork was demonstrated through clear communication, cooperation, and the ability to adapt quickly to any changes that arose throughout the evening. Teamwork highlighted for me the real importance of communication and adaptability, demonstrating how essential collaboration was in ensuring an event ran smoothly.

I submitted the financial outcomes, although we did not quite exceed the sales target for our event. As a group, we created and presented a comprehensive financial table outlining all expenses and profits made and where they came from. The total payout for the event space was £187, which included payment for the sound technician and the hire of the grand piano. Each group member contributed £30 towards this amount, which we had hoped to recover through ticket sales. Unfortunately, regardless of all our outreach and promotion, we did not meet our target. A clear breakdown of finances included ticket sales, venue hire payout, transportation, and paying musicians. When deciding the ticket sale price, we evaluated a scale by looking at other events in the area. Single tickets for our event cost £6.00, while group tickets cost £20.00 and early bird tickets cost £5.00. It was important to offer tickets at various price levels to accommodate the different amounts people could afford.

Overall ticket sales totalled £120, with £43 generated through online sales. Using Gigantic as our online ticketing platform proved useful, as it clearly displayed sales analytics and audience engagement. However, the event still resulted in a profit loss of £67. We had not entirely prepared for this financial loss, meaning the payments made to performers had to come from our own pockets. Each performer received £15, and although this was an unexpected expense, we needed to compensate the musicians fairly for their time and effort, although we had hoped to pay them more. Although we had carefully accounted for venue hire and technical costs involved, we underestimated the financial risk of lower audience turnout and additional performer payouts. In the future, we would probably consider adjusting ticket pricing strategies and reducing non-essential expenses if possible. As the venue, The Attic retained all profits made from drink sales, as they supplied the stock and bar service.

Overall, I very much enjoyed being part of and organising ‘Smoother Sounds’, a well-rounded and rewarding event that achieved its main aim of showcasing emerging artists. The strong and positive audience feedback, alongside the technical execution, demonstrated a high level of professionalism from everyone involved. As an individual, learning and developing my understanding of promotion and live music management excited me for potential opportunities in the future to further develop these skills within a professional performance setting.