Portfolio: Event Evaluation SHR6E037P~002-DIN23085469

Evaluation of Eclypse Event Management Project

Introduction

On 25 February 2026, our student-led event Eclypse took place at Headrow House in Leeds. The concept was to combine electronic music with live performance into an intimate club-style experience, aimed at a standing audience of around 200 people interested in hip-hop, electronic music and nightlife. This report reflects on the strengths and weaknesses of the project, focusing on planning, marketing, risk management, production and post-event evaluation, while briefly referencing industry practices such as the use of artificial scarcity to influence demand.

Project context and purpose

Eclypse was designed as a platform for emerging artists while also providing us with practical experience in event management. The lineup featured Jae Depz as the headliner, alongside Greenhouse, AJ, and Emily (DJ). The target audience consisted mainly of students and young professionals aged 18–30. Headrow House was selected for its urban, underground atmosphere, which aligned with our creative vision and offered good accessibility within Leeds.

The event aimed to engage the local music community and build relationships with artists. By working with emerging performers, we created a mutually beneficial environment: artists gained exposure, while we developed skills in booking, artist liaison and stage management. Overall, the project allowed us to apply theoretical knowledge in finance, marketing, production and risk management within a real-world context.

Planning and team roles

Our six-member team worked across defined roles while supporting each other during delivery. As project leader, Dell Ding oversaw scheduling and finance (including budgeting and settlement). Luca managed creative direction and technical production, particularly sound and lighting. Maya handled press and written content, while Rachel led social media and promotion. Willard was responsible for venue liaison and logistics, and Connie focused on legal compliance and risk management.

In practice, roles often overlapped. For example, I (Dell) supported front-of-house operations by assisting Connie with ticket scanning, guiding attendees within the venue, and filming the event for documentation and promotion. This flexibility helped ensure smooth delivery and demonstrated effective collaboration.

We held weekly meetings in the three months leading up to the event, using shared documents to track tasks and deadlines. Key decisions included venue selection, artist booking and ticketing strategy. While collaboration was generally strong, some areas lacked clear ownership; for instance, merchandise planning was delayed due to unclear responsibility. Earlier role definition could have improved efficiency.

Ticketing strategy and marketing

A notable aspect of our marketing was the use of early‑bird tickets and tiered pricing to generate excitement. We issued a limited number of early‑bird tickets at a lower price, then standard tickets at a higher price once the first tier was exhausted. Instead of waiting for actual demand to exhaust early‑bird allocations, we deliberately marked the early‑bird tickets as “sold out” to create a sense of scarcity and urgency. Industry discussions describe how artificial scarcity tactics, such as listing a lower allotment of tickets and claiming they are sold out, can increase perceived demand and encourage people to buy sooner . By signalling high demand, we hoped to impress hesitant audiences and even the artists. This strategy also allowed us to raise the price for later ticket tiers, improving revenue per ticket.

However, this decision raises ethical considerations. While artificial scarcity is common in event marketing , transparency is important for maintaining trust. We should have communicated that early‑bird tickets were limited promotions rather than implying genuine sell‑outs. Our approach did succeed in boosting later ticket sales, but it may have misled some customers. In future, we could emphasise the limited nature of early‑bird tickets without implying that the event itself is at capacity.

Marketing channels included Instagram, Facebook and posters around university campuses. Rachel organised a series of countdown posts and artist introduction reels. Maya wrote concise copy emphasising the unique club atmosphere and lineup. We used hashtags and targeted adverts to reach local students, though budget limitations restricted our reach. Our marketing campaign also included a promotional mix produced by Emily that we shared through SoundCloud, giving potential attendees a taste of the music. In addition, we filmed behind‑the‑scenes rehearsals and shared them as stories to humanise the event. I took responsibility for filming during planning and on the day, providing material for both evaluation and future marketing.

Financial planning

Financial management was crucial, though our small scale limited our ability to pay artists and production staff substantial fees. We prepared a budget spreadsheet estimating revenue, expenses and potential scenarios. Ticket revenue was the primary income stream. Artist fees, venue hire, marketing and staff wages comprised the major costs. The final settlement confirmed that we incurred a modest loss rather than a profit; the event’s intangible benefits justified the expenditure. Costs were higher than expected due to last‑minute equipment rental and additional security staff required by the venue. The fake sold‑out tactic increased the average ticket price but did not fully offset increased costs.

Although the event did not make a profit, this outcome is common for student‑run events and was acceptable given our learning objectives. What matters is that we generated enough revenue to cover most expenses and gained valuable experience. In future, we could explore cost‑sharing by partnering with local sponsors or universities, or negotiate in‑kind support (e.g., cross‑promotion) with the venue or artists.

Event day

Event atmosphere

On the day, we aimed to create a welcoming, immersive environment. We designed simple stage décor to align with the underground concept, using minimal lighting and projection effects to highlight performers without overwhelming the small space. Luca oversaw sound check and balanced the levels to accommodate different acts. The artists praised the attentive sound and the energy of the crowd. Despite the small attendance relative to the venue capacity, the audience formed tight clusters around the stage, contributing to a lively atmosphere. As part of my role, I recorded performances and audience reactions, providing evidence of the event’s atmosphere for our evaluation.

Box office and ticketing

Because we used Dice, an online ticketing platform, we could implement our tiered pricing strategy easily. Rachel created the event listing and connected it to our social media campaigns. On the day of the event, we scanned digital tickets at the entrance. I assisted Connie at the door, greeting guests and scanning their tickets. We also accepted on‑the‑door sales for those who had not purchased online. A simple check‑in table with a laptop and scanner sufficed; there were no long queues due to the moderate turnout. Our presence at the door also allowed us to enforce age restrictions.

Security

Although the event was relatively small, security was still taken seriously. Willard coordinated with the venue’s security team to ensure crowd control and prevent underage drinking. Two security staff patrolled the entrance and stage area, while we maintained a visible and approachable presence at the door. We also monitored guest behaviour throughout the evening, stepping in when necessary to manage excessive intoxication or disruptive behaviour.

Our team’s visibility helped prevent issues before they escalated. I supported this by directing attendees to restrooms and rest areas, ensuring those who needed a break could easily find a quieter space.

Health and safety

Connie prepared a risk assessment in line with university guidelines. Key risks included sound levels, crowd density, trip hazards and fire safety. We ensured cables were secured, emergency exits were clearly accessible, and first aid provisions were in place. Noise levels were also monitored during the event to protect attendees.

While earlier drafts focused too heavily on listing hazards, this evaluation instead reflects on the process, recognising that risk management was integrated into planning and delivery. In future, this approach should be maintained, ensuring compliance while supporting a positive audience experience.

Production (sound and lighting)

Production needed to balance quality with budget constraints. Luca worked with the venue to use in-house sound and lighting, avoiding additional costs. During sound check, adjustments were made to manage bass-heavy acoustics, improving overall clarity. Lighting remained minimal, using existing spotlights to highlight performers and maintain an intimate atmosphere.

Although the setup lacked more advanced visuals, this simplicity supported the underground aesthetic. Feedback from both artists and attendees was generally positive, particularly regarding sound quality. Future events could explore more creative lighting where appropriate, provided it enhances rather than distracts from the performance.

Artists liaison

Artist relations were positive overall. We communicated set times clearly, provided hospitality (drinks and snacks) and ensured dressing rooms were available. Maya served as the main point of contact for artists leading up to the event, which ensured consistent information flow. On the night, I greeted artists, helped them locate the green room and captured photos and video for our records. Some artists expressed a desire for more promotion of their music before the event; in future we could schedule a series of posts featuring each artist and collaborate with them on pre‑event playlists. Maintaining good relations is crucial as artists are more likely to participate in future projects when they feel valued.

Stage management

Stage management responsibilities included maintaining the schedule, overseeing changeovers and ensuring performers had necessary equipment. Luca and Willard co‑ordinated to minimise downtime between acts. We encountered a brief delay when a performer’s USB drive was incompatible with the venue’s CDJ, causing a five‑minute break while transferring files. The incident highlighted the importance of checking artists’ technical requirements in advance. For our evaluation, the key lesson is to create a detailed technical rider and confirm it with each performer, then cross‑check with the venue’s equipment to avoid last‑minute surprises.

Marketing and online presence

Our online marketing efforts were critical for reaching the target demographic. Rachel managed Instagram and Facebook accounts, posting regular updates, behind‑the‑scenes footage and call‑to‑action posts. She engaged with commenters, responded to queries about ticket prices and emphasised the limited availability of tickets. Maya provided copywriting for posts and our website to ensure consistent tone. We also posted to local forums and event calendars to expand reach beyond our immediate networks. Despite limited advertising budget, the combination of social media engagement and word‑of‑mouth generated a respectable turnout. We learned that starting the marketing campaign earlier and diversifying channels (e.g., TikTok or Reddit) could have broadened our reach.

Promotion and evidence

We produced both physical and digital promotional materials. Posters were distributed across student union spaces, cafés and music shops, while social media campaigns were supported by a short promotional mix by Emily, offering a preview of the event’s sound. I was responsible for capturing visual content during the event and later produced an after-movie using this footage, which we shared to document the event and support this evaluation. These materials are included as supporting evidence but are not counted toward the word count.

The after-movie and photos also function as portfolio material for future events. They provide artists with content to share with their own audiences, helping to strengthen ongoing relationships.

Financial outcomes and reflection

The event resulted in a financial loss, but this can be understood as an investment in experience. Contributing factors included underestimating operational costs, over-ordering artist hospitality, and not reaching full capacity. Despite this, the overall outcome remained manageable, and the team gained practical skills, improved coordination and developed professional relationships.

Future improvements would include more structured budgeting, exploring sponsorship or partnerships, and setting more realistic sales targets. While elements of perceived demand helped create urgency, clearer communication would be necessary to maintain audience trust. The settlement template provided useful insight into cost distribution and will inform future planning.

Alignment with assessment criteria

The project demonstrated event quality through a clear concept, curated lineup and cohesive atmosphere. Technical delivery was effective within available resources, with sound and lighting meeting a consistent standard and receiving generally positive feedback.

Record keeping was thorough, including financial records, contracts, risk assessments and marketing materials, although some early drafts contained unnecessary detail that was later removed. This report focuses on evaluating decisions, strategies and outcomes rather than description. For LO2, collaboration was evident both within the team and with external stakeholders. For LO4, this report presents findings in a structured and reflective manner.

Lessons learned

Strategic honesty: creating urgency can support sales, but transparency is important for long-term credibility.

Budget realism: contingency planning and external support are essential for financial sustainability.

Task allocation: clearer ownership of responsibilities would reduce oversights.

Technical planning: confirming requirements with artists in advance can prevent issues.

Marketing lead time: earlier and more consistent promotion would improve reach.

Experience over profit: despite limited financial return, the practical experience was highly valuable.

Conclusion

Eclypse was a valuable learning experience. Despite the financial loss, the event created an engaging environment, supported emerging artists and developed our practical skills. The approach to ticket demand generated interest but also highlighted the importance of maintaining audience trust.

Through collaboration across key areas, the team delivered the project and met the module’s learning outcomes. The insights gained will inform future work, particularly in relation to clearer communication, more realistic budgeting, stronger planning structures and continued engagement with local communities.