Within this rationale, I will be exploring the thought process and reasoning behind the decisions we, On Cue Promotions, had made when planning our event, as well as delving into issues that arose and how we overcame them. I will also critically examine the planning, decision-making processes, and strategic considerations involved in putting together a Motown themed gig at Belgrave Music Hall. Event management requires the combination and integration of a clear creative vision with practical organisation, financial planning, marketing strategy, and risk management. This rationale aims to contextualise the event with relevant academic sources while reflecting on the professional standards required for live music, and how we plan to meet them.
Firstly, the show itself is a celebration of the music of Motown taking place at Belgrave Music Hall on February 25th. The thematic sense of the show came from our headliners – Pockets – who are an established premium function band that specialise in funk, soul and Motown. We had also chosen the theme, as we know there is a large support in the genre with events in 2025 selling out, including nights themed around Stevie Wonder and Erykah Badu. With this knowledge, our target audience was decided: students in Leeds who love to dance to the music of the past. According to Getz (2012), gigs such as these should be purpose-driven and aligned with both audience expectations and organisational goals, and as such, our event seeks to achieve two main outcomes: generate ticket revenue to cover all overheads and make a profit, and to provide an inclusive social experience that appeals to a broad demographic.
The choice to have Pockets headline came easily, after our original headliner, Hannah Rowe, had to drop out; Pockets had originally agreed to support, but given their established following around the Leeds student scene with multiple sold out shows, the decision to move them to headliners was simple. When it came to choosing our new support artists, we looked for bands which suited the established theme, but were diverse enough from Pockets to provide contrast. We decided on Chloë, an original artist at the Conservatoire, and Mikey and the Gs, a big band started at the University of Leeds; both of these acts share a similar sound to the aforementioned Pockets, but provide something unique, so that the night will not end up being repetitive. As someone established with nearly a decade of experience in the function scene and having put on many of my own sold-out shows in the past, it was easy for me to take a lead in the logistical side of things as well as the musical side.
After having the acts confirmed, the next thing to decide on was our venue. Shone and Parry (2013) argue that venue choice influences audience perception and event success to a large degree, as it affects our expectations on quality, atmosphere, and value. We knew prior to this assignment that Pockets had previously sold out venues such as Headrow House and Lending Room as the only act on, with the latter venue having a capacity of 250 people. This made the decision for us to choose a larger venue relatively simple, as our headliners had experience in filling such a venue. We had reached out to both Brudenell Social Club and Belgrave Music Hall, but ultimately ended up deciding to go with Belgrave, due to their partnership with the Conservatoire for this module and their history of having funk, soul and Motown bands in the past. Belgrave also fit well with our target demographic, with their ‘Boogaloo’ club nights boasting music of the 60s, 70s and 80s each week.
Effective time management is fundamental to successful event planning, particularly in live music when working with multiple individuals to achieve a common goal. Allen et al. (2011) emphasise that event planning should be approached as a structured project with defined phases, deadlines, and responsibilities. We took a similar approach in both the planning of the event from the outset, and in setting upcoming deadlines in the future. The plan set out from the start was to find a headline band that would fit two main criteria: having a large enough following and being able to carry themselves as a headline. Whilst our initial headliner in Hannah Rowe had to drop out, having been organised at that stage with our supports that were stylistically similar made it easy to make the change to Pockets. Similarly, we were clear on the outset that we wanted our venue to be somewhere iconic that had a large audience capacity. In Leeds, there were only two realistic options that fit the brief, and inevitably, the decision to go with Belgrave worked better stylistically and within our time constraints.
Delegation of roles throughout was crucial. According to the Project Management Institute (PMI, 2017), clear role definition reduces duplication of effort and minimises the risk of miscommunication. Whilst we all helped in each area, having a ‘team leader’ to oversee each job made things flow seamlessly when planning the event from week to week; this is something we will definitely continue to use in the weeks before our event. I took the lead in artist liaison, ensuring that agreements were in place that didn’t expose us financially but were what the bands wanted.
Financially, our costings sheet for the Motown themed night demonstrates a strategically balanced approach to budgeting that prioritises financial viability while maintaining production quality and artist welfare. The event, hosted at Belgrave Music Hall with a stated capacity of 350, is structured to minimise fixed costs while maximising potential gross income, which is projected at £3,100 based on ticket pricing and capacity assumption. The use of 50 early bird tickets priced at £5, followed by standard tickets priced at £10, reflects a common pricing strategy designed to stimulate early demand while preserving revenue potential. Early bird offers serve both as a marketing incentive and as a forecasting tool, allowing promoters to assess audience interest ahead of the event. Within our breakdown, analysis indicates that the event would cover costs with the sale of 50 early bird tickets and 86 full-price tickets, representing a relatively low threshold compared to the venue’s full capacity. This comparatively modest breakeven point reduces financial risk and supports sustainability. Venue-related costs are also notably low, with a venue fee of £180 and PRS licensing costs of £130.20 in the case of a full house. This reflects the advantage of working with an established venue that provides in-house sound and lighting at no additional cost. By utilising Belgrave Music Hall’s existing PA and lighting systems, the promoters avoided significant external production expenses, which can otherwise represent a major portion of event budgets; these decisions aim to demonstrate an understanding of cost efficiency and venue collaboration. We also made sure to agree a flexible financial structure with our bands. This hybrid payment model shares financial risk between promoters and artists while incentivising performance quality and promotional engagement.
Despite thorough planning, live events remain subject to uncertainty. Contingency planning, therefore, formed a central component of our planning for the gig. Bowdin et al. (2012) suggest that effective event management involves anticipating potential disruptions and preparing appropriate responses.
One key risk identified was financially, and specifically in regards to low ticket sales. To minimise this risk, we looked at pricing at a competitive level in comparison to similar events, balancing affordability with cost recovery. Early-bird tickets were introduced to incentivise advance purchase, guarantee an audience through the door and provide early indicators of demand – it always looks better to see sold out when going to buy a ticket online. Comparable events in Leeds typically charge upwards of £9 for student-focused nights, so we decided to choose a similar price point. As the person who handle the business side of Pockets, I was able to use the experience I had in prior headline gigs to ensure we were staying realistic in our pricing. We also plan to keep a £100 budget aside for hospitality, as it provides financial flexibility to respond to unforeseen situations that may arise during the delivery of a live event. Hospitality in this context extends beyond planned catering and refreshments and can function as an emergency resource to support artists, promoters, or operational needs at short notice. By setting aside £100 specifically for hospitality emergencies, the event budget aims to demonstrate foresight and risk awareness. This allocation will protect the overall event experience, support welfare of both ourselves as promoters and artists, and reinforce professional standards, ensuring that unexpected challenges can be managed without compromising operational stability or stakeholder relationships.
Beyond financial and attendance-related risks, contingency planning for the Motown-themed night at Belgrave Music Hall also accounted for a range of operational, environmental, and human factors that could disrupt event delivery. Audience behaviour presented another potential risk, particularly in relation to alcohol consumption and crowd management. The Motown-themed night was designed as a celebratory and dance-focused event, increasing the likelihood of high energy levels on the dancefloor. As a result, we made sure in our communications with Belgrave that there would be adequate staffing to lower this risk. Research by Berlonghi (1995) highlights that proactive crowd management strategies are more effective than reactive interventions in maintaining safety. By addressing a broad range of operational contingencies, the planning process demonstrated a comprehensive approach to risk management. This level of preparation will not only protect the event’s smooth delivery, but also reinforce professional credibility and audience confidence, both of which are essential for running an event smoothly and efficiently.
From a production point of view, we divided our planning into two segments: logistical and technical. Logistical production refers to the coordination of all physical and operational elements required to deliver an event safely, legally, and effectively. In the context of our Motown themed gig, this included artist logistics and any subsequent riders, hospitality, and health and safety management. These elements are essential in ensuring that the event operates smoothly, complies with venue and legal standards, and provides a positive experience for both performers and attendees equally. As we picked local bands to the area, we didn’t need to sort any travel or accommodation for our artists. This decision reduces financial costs, simplifies scheduling, and minimises environmental impact, while also supporting the local music community. To ensure the best care and hospitality for our artists, we made sure we would have access to the two green rooms at Belgrave Music Hall, as well as access to water backstage. Health and safety management formed a central part of logistical production planning. In our division of responsibility, we delegated Jude to take a lead on the Healthy and Safety aspects in planning. This included liaising with venue staff to review existing risk assessments, and ensure compliance with licensing conditions. Specific health and safety considerations included safe crowd movement, equipment placement, and backstage access among others listed within our risk assessment.
On a technical level, I ensured that we received the technical specifications from all 3 bands as well as the venue to give us adequate time to look over them and let the bands know of any compromises that were needed to happen well in advance, as well as to ensure all the equipment needed would be sourced. One example of these compromises is in regards to the differences in keyboard set ups between all the bands; Pockets use a Korg PA4X and a Roland Fantom 6-EX on a tiered stand, whereas Chloë specifically requested two Nord Electros on separate stands. To ensure we have a smooth running show on the night, I reached out to Chloë and explained that swapping out keyboard stands between bands would be an extra, unnecessary addition of time between sets, and as a result, Chloë has agreed to use the same tiered stand, and simply switch out the boards after their set. Another clarification needed was upon the use of a guitar amp for Chloë’s acoustic guitar. I explained that as it stood, there was only one guitar amp benig brought for the event and would recommend DI-ing but there were more than welcome to bring their own amp if they preferred. In the end, they decided that the second amp was not necessary and are going to DI the acoustic guitar, which will also provide a cleaner and more polished tone for the Front of House sound.
Likewise, Mikey and the G’s – being a big band – had stated the need for music stands and chairs for all their players; in the interest of being time efficient, Mikey has informed his musicians that they will be each responsible for bringing and taking off their own chair and stand between sets. Similarly, we found that Belgrave Music Hall are only able to provide six Shure SM58s, whereas Pockets require seven vocal mics. As a result, we’ve agreed that Pockets will bring their own microphone – an Electro Voice ND76s – for their seventh microphone, which will be used as a talkback. Likewise, slight compromises had to be made in terms of each band’s individual stage plots. Whilst there were no major compromises that had to be undertaken, minor alternatives such as amp locations had to be taken so that there would be a seamless flow on the night between sets. The direct communication between myself as part of the promoting team as well as the artists allowed to create professional relationships that will ensure a positive experience for all on the night.
Our delegation of roles left Marketing in the hands of Keigan and Alexy. Our thematic motif for the show made it easy to plan and produce our promotional materials. We wanted a promotional strategy that would be able to build awareness, communicate the event’s individual selling point, and drive ticket sales. The importance of understanding our audience is highlighted by Kotler and Keller (2016), which indicates that effective marketing begins with a clear understanding of the target audience and value proposition. Within our marketing strategy, we intend to employ a staggered release of content, to ensure our event is presented to as many people as possible. This plan includes having a distinct, vibrant poster to market our event with. Seric et al. (2020) showed in their study that a perceived consistency within marketing has a strong direct positive impact on brand trust. As such, we decided that the use of the same branded poster should be used to promote the event on multiple platforms, with a focus on Instagram and Tiktok as those are used most by our target demographic. We plan to announce the event on the 21st January, with early bird tickets going on sale the week after. The intention of delaying the ticket sales for a week is to strengthen audience engagement prior to release and increase the public’s awareness and interest. Following that initial release, we plan to post consistent forms of promotion on Instagram, Facebook and Tiktok to reinforce interest and drive excitement. This includes reels of the bands from other gigs to drive interest, as well as specific content created for this event.
The budget we assigned for marketing is modest but strategically distributed and thought out. Spending on posters (£80), leaflets (£15), and local advertising (£20) allows us to use a targeted physical marketing approach aimed at reinforcing the venue’s local presence. While digital promotion is not costed, the low spend aligns with the expectation that social media will grow the event organically through the sharing of stories and other short-form content.
This explanation of our rationale has examined the planning and thought process of a Motown-themed night at Belgrave Music Hall through the lenses of time management, production, planning, finance and marketing. I hope to have demonstrated how creative concepts need to be supported by structured organisation, strategic decision-making, and professional standards, as well as the the importance of aligning musical themes with venue identity and target audience preferences. Both logistical and technical production considerations reinforced the requirement of functional risk assessments in delivering safe and immersive experiences, while our contingency planning hopes to deal with the anticipated uncertainty of public events, and prepare flexible responses to potential risks. Collectively, these elements reflect the multifaceted nature of event management and the need to balance creativity with responsibility to ensure a smooth, safe and successful event.
Technical Specifications
Press Kit
Press release
Artist Biographies
Pockets are a premier Leeds-based five-piece band delivering a seamless fusion of funk, Motown, and disco with unrivalled energy and style. Renowned for their ability to captivate any audience, they perform nationally at events of every scale, from intimate gatherings to large venues. With irresistible grooves and electrifying stage presence, Pockets guarantee an unforgettable atmosphere where every guest is singing, dancing, and celebrating. For a night of timeless music and lasting memories, Pockets are the ultimate choice.
Mikey and the G’s is a brand new 23-piece big band that brings both classic jazz and electric imagination. Led by the charismatic Mikey Godbold, the band plays a mixture jazz, funk, Latin, and more with hits both old and new, including original takes on familiar tunes. The band brings style, energy and dance to your event, resulting in a memorable and exciting performance for all comers.
With a full band behind her, Chlöe brings to the stage a genre blend of soft folk rock, with her harmonious guitar melodies, rhythmic drums and strong vocals. Inspired by artists such as Elbow, Beabadoobie, The Beatles, and Fleetwood Mac. Currently studying at Leeds Conservatoire, she is a singer/songwriter, who’s been surrounded by music her whole life. Eager to finally make a name for herself in the
music scene, she had her debut gig in the More Than A Woman Collective Palestine fundraiser, helping raise over £700.
Artist HD Photographs
Replace these with your own HD photographs, minimum of 3.
Risk Assessment
Additional Material
[Overwrite this text with any supporting material that is relevant to the assignment. You may include additional media blocks.]
Reference List
Allen, J., O’Toole, W., Harris, R. and McDonnell, I. (2011) Festival and special event management. 5th edn. Milton, QLD: John Wiley & Sons.
Berlonghi, A.E. (1995) Understanding and planning for different spectator crowds. East Lansing, MI: Michigan State University.
Bowdin, G., Allen, J., O’Toole, W., Harris, R. and McDonnell, I. (2012) Events management. 3rd edn. Oxford: Butterworth-Heinemann.
Getz, D. (2012) Event studies: Theory, research and policy for planned events. 2nd edn. Oxford: Butterworth-Heinemann.
Kotler, P. and Keller, K.L. (2016) Marketing management. 15th edn. Harlow: Pearson Education.
Project Management Institute (2017) A guide to the project management body of knowledge (PMBOK® Guide). 6th edn. Newtown Square, PA: Project Management Institute.
Seric, M., Gil-Saura, I. and Ruiz-Molina, M.-E. (2020) ‘How can integrated marketing communications and advanced technology influence the creation of customer-based brand equity? Evidence from the hospitality industry’, International Journal of Hospitality Management, 89, pp. 1–11.
Shone, A. and Parry, B. (2013) Successful event management: A practical handbook. 4th edn. Andover: Cengage Learning.
