This event is a small-scale live music showcase featuring reggae and jazz, chosen to appeal to a wide and multi-generational audience. The aim of the event is to create an inclusive and enjoyable live music experience that celebrates these genres while encouraging strong audience engagement in an intimate setting. 

The event will be held on 9 March 2026 and will feature a lineup of three bands: The Nightingales, Jah Glory, and Isaac Aylward. The event is titled “Smoother Sounds.”

The target audience includes local music lovers aged around 18–45, as well as older audiences who already have an interest in jazz and reggae. The event will take place at The Attic, a venue with a capacity of approximately 200 people, which makes it ideal for creating a lively atmosphere while still being financially manageable.

Choosing a smaller venue helps keep costs under control and also ensures the space feels full and energetic, rather than empty. The Attic was selected after group discussions and venue research (see Appendix 1) and offers several practical advantages, including the availability of a grand piano, which supports the jazz performances and removes the need for additional equipment hire.

The event will be managed using clear project management methods, including effective time planning, budget control, risk management, and coordinated production planning. Promotion will focus mainly on digital marketing and artist-led promotion to reach the target audience productively and cost effective .

Time-Management:

Effective time management is essential when working in a group on a live event project. To ensure tasks were completed efficiently, the group divided responsibilities into five key roles: Event Manager, Production, Marketing/Publicity, Hospitality/Artist Liaison, and Finance/Tickets. As the group consists of five members, each person was assigned a clear role, allowing tasks to be managed independently while still contributing to the overall project.

The roles were allocated as follows:

• Event Manager: Lilly Baars
• Production: Naphat (Paul), Joseph Gallon
• Marketing/Publicity: Lilly Baars, Pollyanna Pierpoint
• Hospitality / Artist Liaison: Alister Tucker
• Finance / Tickets: Avery Rochford

Communication within the group was primarily managed through WhatsApp, as it allowed for quick updates and easy sharing of files and links. Weekly progress updates were shared in the group chat to ensure that all members remained informed and aligned with the project timeline.

The Gantt charts included below illustrate the timeline of the project planning process (Appendix 2). These charts show clear monthly targets across key stages of the project, including planning, research, venue contact, marketing, ticket release, and sales follow-up. Using Gantt charts helped the group track progress, manage deadlines, and maintain an organised approach throughout the planning period.

To help the project run smoothly, we established clear decision-making processes and set agreed deadlines. Tasks were planned in a logical order, with key steps such as confirming the venue via email completed before starting any marketing activities.

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Production:

Technical and Venue Specifications

Once the venue was contacted, a venue technical specification was requested (see Appendix 3) to identify what equipment and facilities were already available and what would need to be sourced externally. This information also included details such as venue access, parking availability, technical specifications, and venue dimensions, all of which are essential for effective production planning.

Contacts:

The venue technical specification provides key contact information, including email addresses, phone numbers, and the full venue address, allowing clear and efficient communication with venue staff throughout the planning process.

Venue Specification:

The venue specification includes most of the technical equipment required for the event, such as microphones, DI boxes, a mixing desk, and lighting equipment. However, the venue does not supply certain backline equipment needed by the musicians, including bass amplifiers, guitar amplifiers, and a drum kit. As a result, this equipment will be sourced from Leeds Conservatoire. Transportation of the equipment will be arranged via Uber, allowing it to be delivered directly to the venue on the event day.

Venue Dimensions:

The venue floor plan provided in Appendix 3 outlines the internal layout of the space, including the location of fire exits, the bar area, and main entrances and exits. The floor plan also includes detailed measurements in millimetres, allowing the production team to accurately assess space requirements for staging, equipment placement, and audience flow.

Merchandise and Box Office:

As the event does not include merchandise sales, a merchandise or box office area is not required. Additionally, the venue does not charge any fees for merchandise sales, which supports cost efficiency should this be considered for future events.

Catering:

The venue does not provide in-house catering or artist catering as part of its rider. However, there are several food and drink venues located within a five-minute walk of The Attic, including North Bar Aire Park, The Tetley, and the Leeds Dock area, offering convenient options for both artists and audience members.

Marketing Support:

The venue will also promote the event through its own social media channels, which helps increase visibility and audience reach while reducing marketing costs. This support allows the event to benefit from the venue’s existing audience base.

Logistical:

We will provide the artists with all major backline equipment, including a bass amplifier, guitar amplifier, drum kit, and grand piano, so that artists do not need to transport large or heavy equipment themselves. This approach helps reduce logistical challenges and ensures a smoother setup on the event day. Artists will only be required to bring their own personal instruments, allowing them to arrive and be ready to plug and play for the performance.

The equipment will be collected from the studio counter and transported to the venue using an Uber van, which allows for safe and efficient delivery of all equipment directly to the venue.

In terms of artist transportation, the venue is located close to Leeds Conservatoire, meaning artists can walk to the venue or use a low-cost Uber, helping to keep artist-related expenses to a minimum. Artists travelling by car will have access to paid parking located across Sheaf Street, Hunslet Road, and Cudbear Street, providing convenient parking options near the venue.

Hospitalisty:

Artist welfare is an important part of delivering a professional live music event. The artists will be supported by providing access to a private green room at The Attic. This space is located backstage and offers private access directly to the side of the stage, allowing artists to prepare and relax away from the main audience area.

The green room includes the following facilities:

• Sofas and armchairs
• Desk space
• Full-length mirror
• Wi-Fi
• Upright piano
• Acoustic guitar
• Kettle
• Small fridge

If artists require any additional support during the event, they can contact a designated member of the group, who will be available to respond immediately and assist where possible. The artists will also be looked after by providing complimentary water and light snacks throughout the event..

The venue is also fully accessible, with wheelchair access and accessible toilet facilities. For artists who require wheelchair access, the venue provides a ramp located stage left, allowing safe access to the stage area. In addition, the venue toilets include baby-changing facilities, ensuring the space is inclusive and suitable for a wide range of needs.

Health & Safety:

Our group completed a risk assessment (see Appendix 4) to evaluate potential hazards within the venue and ensure the safety of artists, staff, and audience members. The assessment considered a range of risks that could realistically occur during event setup and the live performance.

The main risks identified included:

• Falling from a ladder
• Poor lighting
• Hitting head on low structures or equipment
• Exposure to dust or insulation
• Electrical hazards from exposed or loose cables

Each risk was assessed using a risk scoring system, where the probability (P) and severity (S) of each hazard were rated. These scores were then multiplied using the formula P × S to calculate the overall risk level. The highest risk score identified was 16, which, according to the assessment guidelines, indicates that improvements should be made within two to three months.

To reduce the identified risks, the following control measures were put in place:

• Falling from a ladder: Use a stable, approved ladder and ensure it is positioned correctly on a flat surface.
• Poor lighting: Use torches or temporary lighting during setup and breakdown.
• Hitting head: Ensure staff move carefully during setup and make others aware of low ceilings or equipment.
• Dust / insulation: Wear appropriate personal protective equipment (PPE) such as gloves and face masks when required.
• Electrical wires: Avoid direct contact with cables and ensure all wiring is safely secured and managed.

These control measures help minimise risk and support a safe working environment throughout the event.

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Contingency Plans:

To ensure that our event runs smoothly in the event of any issues, I have created a contingency plan to prevent and manage potential problems.

1. Artist Delay or Cancellation:
   • Sometimes, accidents may happen to artists, which can cause delays or cancellations. In such cases, the running order of the artists may need to be changed. For example, if our headliner informs our group in advance, we will make an announcement to the audience to keep them informed. Other artists will then perform first while we wait for the headliner to arrive. Set times for the other artists may be extended, and additional break time with background music can be added if necessary.
2. Technical Equipment Failure:
   • Before the live performance, during the soundcheck stage, all equipment will be thoroughly tested to prevent equipment failure. If any issues occur during the performance, such as a cable malfunction, backup equipment will be readily available. One member of our group will work closely with the venue’s technical team to ensure efficient communication and resolve any technical issues promptly.
3. Health and Safety incidents:
   • In the event of a health and safety situation, the venue and event organisers will follow the established procedures. Our group has been briefed on the location of emergency exits and first aid kits. We will also work closely with venue staff to resolve the situation as quickly and safely as possible.
4. Over crowding or Crowd Congestion:
   • Audience capacity will be continuously monitored to prevent overcrowding, which could lead to dangerous situations. Entry will be controlled and monitored at the venue doors, and queue will be temporarily stopped if capacity limits are reached. Entry will resume once the number of audience members inside the venue returns to a safe level.
5. Late Audience Arrival:
   • if most of our audiences arrive late, The show could be a bit of delay to gain more audiences. Music background will be played to maintain the atmosphere while waiting most of the audience to arrive.
6. Electrical issue/ Power failure:
   • Every music equipment including everything related to the electricity will be tested before using in the show. In case if there is any power issue during the show, the show will be paused immediately to prevent the electrical shock hazard that can happen to artist, staff or audiences.
7. Early Audience Arrival:
   • If audience members arrive before the event staff, they will be welcomed into the venue and background music will be played to maintain an enjoyable atmosphere. Bar services will be ready to serve drinks, and all preparations, such as soundchecks, will be completed even if early audience members arrive.
8. Fire Alarm activation:
   • If the fire alarm is activated, venue staff will follow the fire evacuation procedures in accordance with venue policies. Venue staff will lead our group, audience members, and all personnel to the nearest fire exits to ensure everyone’s safety.
9. Lost Property:
   • If a lost item is found, it will be handed to the venue staff so that it can be kept in a safe place. An announcement can be made during a break or at the end of the show to inform the audience.
10. Artist or staff injury:
    • First aid procedures will be followed in the event of an injury, and venue staff will be contacted immediately. If necessary, emergency services will be called.
11. Entry Issue or Online ticket not working:
    • In some cases, ticket scanning systems may fail or experience technical issues. To avoid delays, tickets can be checked manually by verifying reference numbers, or a printed guest list can be used as a backup.
12. Over Running Set Times:
    • Over Running Set Times: All the shows will be timed perfectly to prevent delay or finish early. performance will be shorten in case some of the shows perform over time to ensure the event finish on schedule otherwise It can cost an extra charge.
13. Audience Misconduct: Any bad behavior will be handled by the venue security or moreover this could be handled by the police to ensure that everyone in the venue is safe and still keep the enjoyable moment.

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Finance:

1. Budget Planning/Costs: There are five main costs associated with this event: venue hire, transportation, artist fees, equipment fees, and music licensing (such as the PRS license). As we have a limited budget, we are aiming to minimise costs wherever possible. According to our costing chart (see Appendix 5), the venue hire costs £180, and the PRS licence costs £49.14. Other expenses, such as crew and PA staff, are already included in the venue fee however, we paid an extra £30 for a grand piano fees at the venue.
2. Ticket : We will use Ticketpass as the ticket distribution platform, with ticket prices set at £6.50. The venue has a capacity of 200 people, and if all tickets are sold, the event will generate a gross revenue of £1,300. One member of our group will bring a card reader to accommodate walk-in customers purchasing tickets at the door. Upon entry, audience members’ hands will be marked to indicate admission, helping to prevent unauthorises entry or ticket fraud.
3. Artist Deals: The potential gross revenue for the event is £1,170. If one-third of tickets are sold, revenue would total £390. In this scenario, an agreed insurance payment of £80 per artist (three artists) ensures a minimum payout of £240, leaving £150toward venue costs, with organisers contributing the remaining balance if required. If all tickets are sold, revenue would reach £1,170. Under the 15% profit-sharing agreement, each artist would receive £175.50. After venue costs, £433.50 would remain for the organisers. Once ticket sales exceed £535, the 15% profit-sharing model becomes more beneficial for the artists and will replace the insurance payment, ensuring fair compensation regardless of event performance.0
4. Funding: The funding for this event comes from our own budget, which is shared equally among the five group members. As there may be additional costs identified in the future, the exact total expenditure cannot yet be confirmed. No external funding sources are being used, as we aim to avoid incurring any debt.
5. Marketing/Promotion:
   • For marketing and promotion, we will use a combination of offline and online strategies. Offline promotion will include printed posters (see Appendix 6), which will be displayed on the Leeds Conservatoire notice boards, around the areas where group members live, Clarence Dock in Leeds, and at the venue itself. Displaying posters at the venue will help attract local audiences and encourage returning attendees who are already familiar with the space.
   • Online promotion will be carried out through social media platforms, including Facebook, Instagram, and TikTok, as well as the Leeds Conservatoire website. One member of our extended group, who has experience in marketing, will assist with planning and managing promotional content.
   • We will also aim to involve the Jazz Society and Reggae Society, inviting members who may be interested in attending the event. Our target audience primarily includes students, and if paid Instagram advertisements are used, they will be targeted toward students living in nearby accommodation and attending universities in the local area.
   • Additionally, we will design a logo for the event to create a strong visual identity and help audiences recognise and remember the event.

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Appendix 1

Appendix 2

Risk Assessment  ( Appendix 4)

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Artist Biographies

The nightingales:

The Nightingales is a jazz quintet sprung into being by the established bandleader Simeon Lord. The musicians met at the local conservatoire, all with a desire to explore earlier works within the jazz idiom. Various individuals have played with the group, though it consistently features Daniel Harrod on piano, an established player on the Leeds Jazz scene and Simeon’s choice pianist having played together at the Royal Albert Hall and 606 Club, as well as Katherine Loftus who‘s gorgeous vocal tone is reminiscent of jazz in the 1920s.

Simeon Lord: Jazz Saxophonist Simeon Lord comes from a childhood rich with the music of many genres. He is heavily influenced by saxophonist Michael Brecker. Simeon always ties together his performances with personal anecdotes from his life, one where he has moved around much, yearned to help others and continues to make very poor Dad-jokes! Simeon attended the Royal College of Music’s Junior Department before moving to Leeds where he is studying at the conservatoire. Past performances include playing at the Royal Albert Hall and the 606 Club, with more recent endeavours round venues in Leeds (The Attic, Casa, Northern Guitars, Belgrave Music Hall and Headrow House).

Issac Aylward:

Based in Leeds, I’m a pianist and songwriter with lyrics conjured from the ‘everyday’. Ideally, you’ll leave my shows with a chorus in your head, and some sentiment about how its okay if your train’s late, becuase you’re worth more than that

Born in 2004 in Bedfordshire, my Dad taught me piano at an early age, something I’ll forever be grateful for. Since then I’ve been mainly self-taught with the exception of a piano tutor around the time of my GCSE’s (Which were rudely interrupted by the pandemic). I’ve spent the last 4 years at Leeds Conservatoire, where I’ve honed in on both my songwriting and playing abilities,

I feel very lucky to have had the chance to play at the Wardrobe, in Leeds, during the 2025 LCSU Showcase. This opportunity arose after joining the upcoming prog-rock band ‘Darling?’ who trusted me with some wicked synth lines, as well as supporting piano and organ parts. This year I also joined ‘Metora Cliffs’, who feature colourful prog, keytars, big riffs and catchy hooks! We’re headed to the heats of ‘Metal 2 The Masses’ this year, where we’ll be competing to play at the metal festival, Bloodstock.

I’m hugely excited to see my songs leave the practice rooms and head to the stage in 2026, particularly ahead of my performance at The Attic, Leeds, on 9th March!

Jag Glory:

Jah Glory writes, sings and creates roots Reggae music and hails from Georgetown, Guyana, part of mainland South America, but directly linked to the Caribbean influence. His style takes on board the traditional reggae vibe adding a unique voice to create uplifting and catchy songs with a new, clean, clear lyrical content.
Nurturing his passion to create music, he began his exposure by performing stage shows for the Guyana branch of the Twelve Tribes of Israel during their yearly celebrations. His first single ‘Injured Earth’ was played regularly on the radio in Guyana since 2010 in the early morning Inspirational Hour and this was followed by ‘Don’t call me after 9’ playing between 8 and 9am. Both songs were officially released in 2014 inspiring the UK Open University to commission ‘You Can Do It’ to promote Amerindian- community best-practice in the rainforests in the fight against Climate Change. ‘Jail Dem!’, a song against corruption, created a strong underground following since its release prompted the Guyana Government to ban all of his songs on the local airwaves.
Since then Jah Glory has been working closely with lauwata Amaha Selassie, the renowned
instrumentalist and is due to release his first song- packed album in 2017. Jah Glory also enjoys free- styling, for which he has a natural talent, and has built up a good local following in the UK Newcastle upon Tyne where he currently resides.

Artist HD Photographs

The Nightingales:

Issac Aylward:

Jah Glory:

Additional Material

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Poster:

Message to musician: