Introduction

Our live event ‘Intertwined’ is a showcase of local Leeds talent and friends that we believe captures some of the best talent of the local indie-folk scene. We seek to elevate the ‘acoustic gig’ and create an engaging but intimate event through the ‘Round’ arrangement where the musicians circle each other and the audience is at eye level. All sections of our event planning reinforce this goal of having an inviting, cosy and intimate live music experience.

Time-Management

We have considered our project’s long term life cycle (Allen et al, 2019). We specifically chose Thursday March 12th date to give us 2 months from January to market the event on social media and build interest which is detailed on the later section on marketing. This also gives ample time for acts to rehearse and plan for the unconventional ‘round’ acoustic setup. To complete the project life cycle, we plan to gather and post edited footage from the gig on our social media to capitalise on the event. If we were to continue this project, we could use this to further market another event.

Justification of timings on the day:

We were restricted by the venue’s requirement of no sound before 5 PM. As a result, we requested an earlier setup time of 3 PM to arrange as much as possible beforehand. The sound engineers also charged an extra hourly rate, so we booked them from 4 PM. Since our acts have small to medium band line-ups, we decided they could load in before the soundcheck together, as conflicts were unlikely.

3 PM: Arrival to set up furniture and stage layout.

4 PM: Artist load-in alongside the sound engineer.

This allowed time to bring in specific gear needed for soundcheck including the Bass amp, 2 guitar amps, a Nord Keyboard and potentially any pedalboards

As the sound curfew lifts form 5PM, Soundchecks would run from 5PM-7PM.

We scheduled 35-minute sound-checks in reverse performance order.

This approach follows standard industry practice in live sound engineering (Matthews, 2007), whereby sound-checking in reverse minimises changeover delays by allowing the first-performing act to complete their soundcheck last and retain their full stage and front-of-house setup for the start of the performance. Additionally, drawing on established ideas in live event sound checking (Matthews, 2007), the allocated 35-minute soundcheck duration was matched to the complexity of the technical requirements. In our case, the setup is relatively simple, consisting of a predominantly acoustic line-up, with the only notable exceptions being direct inputs from the lap steel guitar and the Nord keyboard. Although the drum kit required 7 mic inputs on the I/O sheet, these follow standard microphone placements and remain unchanged throughout the event, meaning they did not necessitate extended soundcheck time. Furthermore, the drums would have already been line checked from 4PM so 35 minutes per soundcheck maximises the time new instruments can be setup and most importantly for the acts to get comfortable with the unconventional ‘round’ layout for the band.

In more detail, if a line check (moving some mics for acoustic instruments and inputting new instruments takes a maximum of 15 minutes) that gives the act 20 minutes to get comfortable with the environment and run 3 to 4 songs which is a reasonable amount of time comparing it other similar festival style/folk events/line-ups (Allen et al, 2019). In addition to this there is a 5-minute extra time in between sound checks allotted to account for slight delays and changeovers which ensures we’re about to promptly open doors at 7PM. The two support acts each have a 35-minute slot to perform while the headline acts have 45 minutes. They each have a 10-minute changeover time between them. We believe this time is a good balance between giving the act time to setup on stage and keeping the attention and excitement of the audience. It also gives time for the audience to buy drinks, supporting the venue or use the toilet.

Lastly, the headline set is scheduled to end at 22:45 while the hard sound curfew is at 23:00. This is to allow for any potential encores the headline act may have which is common for ‘headline’ gigs of this style (Allen et al, 2019). While ideally it would be best to sound check earlier in the day and leave some redundancy in time, we are limited by the venue hard noise curfew times. Despite this, we believe we have planned the most efficient load in and sound check schedule given the circumstance.

Production

Technical

The biggest technical challenge of this gig is the ‘Round’ setup (as illustrated in the stage plot). The ‘Round’ is an unconventional and engaging band setup inspired by Eva Kiss’s The Attic performance (Kiss, 2024) and the Tiny Desk sessions (NPR Music, 2024)

We recognised and wanted to capitalise on the growing appeal and demand for more intimate performance spaces, particularly those that place musicians at eye level with the audience, creating a closer, more immersive experience. Tiny Desk, for example attracted 603 million views in 2024 and demonstrates strong engagement with our key demographic range (73% of viewers being aged 18–45) (National Public Media, 2024). This highlights the clear appetite for intimate style events where the audience and performer are closer. Close enough to notice minute details in the musicians.

In addition, we looked to the MTV Unplugged series as a key reference point, specifically Nirvana’s iconic MTV Unplugged in New York performance from 1994 (Tures, 2025) which directly influenced Eva Kiss’s The Attic set (Kiss, 2024). Building on these inspirations, we aim to expand the concept into a three-act live gig, bringing instruments closer to the audience and creating a more intimate, immersive musical experience. As a result, this stylistic direction influenced our specific technical choices. Some players in each band would switch between violin, trumpet, backing vocals (BVs) and cello. To facilitate this and mitigate any awkward changes in mic positioning we had dedicated channel for violins, cello and trumpet

We also decided to have a one master patch to cover all 3 acts. This is characteristic of a festival style (sharing channels and overlapping inputs) (Gibson, 2020). This is ideal, as limited changeover time between the three acts requires minimal or no re-patching.

The stage plot includes four monitors; however, these are intended primarily as a backup if a player in particular can’t hear themselves, as we anticipate potential bleed issues. The venue’s sound manager has advised that similar acts have successfully monitored using the main PA alone.

Due to using the floor rather than the stage for the ‘Round’ setup, space is limited. The stage plan also highlights equipment and space usage for all three acts, with minimal instrument movement between sets to also streamline changeovers. Amps and powered equipment are intentionally placed on the right side to consolidate power drops, reducing clutter and trip hazards at the centre of the performance area. Furthermore, the drums have been mic’d with a 7-mic setup. This may seem like overkill for an acoustic style event although, this was intentional to give control to artists when recording their sets to mix the drums rather than actually for amplification. A direct inspiration from the mic setup in Nirvana’s MTV unplugged session (Tures, 2025)

An important consideration with the layout being so close to the audience is that it causes a risk of instruments (guitars, bass, keyboards, mic stand) being knocked over or even drinks being spilled. To mitigate this, we will have a clear boundary of reflective tape with small fairy lights surrounding the ‘round’ to clearly show the boundary between audience and stage.

Logistical

Our vision for the event is well within the style of cosy, folk, whimsical, acoustic, warm, reflective, nostalgic and organic. A key factor to achieve this type of atmosphere is the environment as Live music and spacial factors (furniture and decor) have a joint effect on emotional perception (Jiang, Meng and Ji, 2021). As a result, we aim to furnish with comfortable seating (blanket covered sofas, bean bags, pillows on seats, rugs), leafy house plants and warm lighting with lamps. This supports sustainable practice as it shows an awareness of, “reducing their environmental footprint (waste, transport, energy) while maximising social benefits” Allen et al (2019). It is sustainable as we plan to furnish the venue using a majority of our own furniture rather than buying single use items.

We would also transport these items ourselves, loading in from the rear entrance of the Attic as detailed on their ‘Venue Spec’.

Furthermore, our venue choice is sustainable as it is less than 100m to key bus routes in Leeds and walking distance from the city centre. To further encourage sustainable transport to the venue, in the days prior to the event we would market on our social media ‘POV’ content of ‘how to get to the venue’. This is both useful and relevant as it embodies the ‘independent’ nature of the event; audience members can see exactly who is organising the event making it more personal.

Hospitality

When approaching the artist for tech and hospitality riders, many returned with detailed tech requirements but nothing in terms of specific hospitality requirements. In spite of this, we would still like to provide as much as we can to make the artists comfortable. As detailed in our advance, each member of each artist band is entitled to one complimentary drink from the bar. Additionally, free water will be provided in the green room. We will also provide clean hand towels that the artists can use.

Health & Safety

In keeping with the Misuse of Drugs Act 1971, we will be running a Zero-tolerance approach to possession, supply, or use of illegal substances.

To maximise seating capacity the stage will be used for seating with sofas, bean bags and chairs. As the stage is a raised platform this raises health and safety in the form of trip hazards. To mitigate this, we would place reflective tape at all the stage boundaries and stairs/steps. A person equipped with a flashlight at the stairs will be there at all times to guide guests up to the stage with care.

In accordance with the Health and Safety at Work etc. Act 1974 and the Electricity at Work Regulations 1989, “all portable electrical equipment brought onto site for live music events must be maintained in a safe condition”. To demonstrate compliance with these duties, any electronic equipment that any acts bring (Guitar/Bass Amplifiers, pedalboards, keyboards etc.) will be required to be have a valid Portable Appliance Test (PAT) certificate issued within the last 12 months by a competent person.

Contingency Plans

In the event an artist cancels or doesn’t show up on the day, a contingency plan should be followed.

Artist Cancellation/No-Show:

Pre-Event:

First and foremost, clear cancellation clauses in contracts making financial penalties clear (no pay for the gig if cancelled within 3 weeks) act as the primary mitigation for cancellation. If a cancellation occurs within 3 weeks, a replacement act from our roster of 10+ other Leeds based artists may be contacted to fill in. Marketing material on social media would be updated as soon as this replacement act is confirmed.

On the day:

In the extreme event an artist doesn’t show up on the day of the gig a contingency protocol is followed. All relevant staff (Venue Managers, Stage Managers, artist liaisons, etc.) should be immediately informed via a reliable communication channel (dedicated chat groups) to coordinate the response. Next, we would Inform the audience about the change as soon as possible via all available channels once it is agreed on from all relevant staff and make the necessary adjustment i.e. (a backup act or an adjustment of schedule, an earlier ending time). To mitigate this: travel and timings for all acts to be at the venue at least 30 minutes before doors open should be clear. Notices on all relevant group chats about up-to-date traffic information and public transport disruptions may also help to mitigate delays.

After the event, measures of compensation to the audience members such as partial refunds or discounts for future events may be considered.

Sound Equipment Failure:

Another key area of failure is the sound equipment. Similarly, if any failure occurs, communication with the attending sound engineer would be the priority in finding replacement equipment or an appropriate solution. Our detailed tech specs and requirements also act as a mitigation for any technical failure as it accounts for everything the acts may need on the day. Due to the nature of our event being mostly acoustic setups with acoustic instruments, in the extreme event of total sound failure we could easily revert to a fully acoustic and intimate setup. This would be at the artist discretion and only after communicating with them.

Seating Capacity

In the event that audience demand exceeds available seating, the event will operate as mixed seated and standing. Door ushers will inform attendees on entry that seating is limited and allocated on a first-come, first-serve basis. Standing areas will also be clearly identified to maintain safe access routes (fire exits etc) and comply with capacity limits. Priority seating will be offered where reasonably practicable to those with access needs. The maximum seated capacity would is 125 but the maximum seated/standing capacity would be 175 (accounting for the reduced floor space) so this extra 50 acts a standing buffer.

Finance

Our goal is to not make a profit but to uplift local Leeds talent. This event is classified by the Musicians’ Union as a “casual engagements for musicians performing on stage” which are defined by “independent self-producing artists with no third-party management, record label financial backing or representation”. Current standard rates are for a venue below 200 capacity is £189.55 per musician (Musicians’ Union, 2025). Our target demographic is students so our goal is to make the tickets as affordable as possible while paying the musicians. We are only seeking to break even. Although our estimated revenue is £1000 (dependent on seating 125 at £8 for online tickets) the majority (60%) is going towards the artists (split equally 3 ways). This is obviously well below standard MU rates but we believe it is a fair distribution of finances given it is independently run with no external investment. Furthermore, £75 has been allocated to act hospitality, showing a consideration for artist care.

We estimate 125 seated ticket sales which is calculated from a max capacity of 175 (reduced from 200 to account for reduced floor space) from the venue. Communicating our plan for the ‘Round’, they highlighted that on similar setups before this has reduces the seating capacity as it takes up floor space. Taking this into account we predicted a lower than maximum 125 seated prediction, which is appropriate given the 2 month of promotion and the collective followings of the all three artists. 

Furthermore, to reduce waste and to take advance of a digital dominant industry (Shone & Parry, 2019) all our tickets will be used through the platform ‘Fatsoma’. This was chosen as it is most value from other competitors especially at lower priced events such as this. For example, a direct competitor ‘Eventbrite’ has a fee of 6.95% + £0.59 per sold ticket. With our estimated tickets sold this is a total fee of £143.75 (Eventbrite, 2025), losing 14.4% of total ticket revenue. In comparison, ‘Fatsoma’ simply has a flat 10% booking fee on total revenue from tickets sold (Fatsoma, 2025). This same fee applies to tickets sold at the door and is cheaper than Eventbrite.

Marketing and Publicity

Our Marketing and Publicity strategy is a hybrid approach of both physical and online approaches.

Physical

One approach is a themed marketing table at our own school LCOM. This effective as it enables direct, face-to-face engagement with our target demographic, students. A physical presence is more memorable than digital promotion alone and allows us to build personal connections. However, a key limitation is that it is time and resource intensive, with reach restricted to those physically present, and its effectiveness can be influenced by footfall, timing, and table staff availability. On this table we would distribute our posters which we plan to design with original artwork and print ourselves. This creative touch also reinforces our brand as an ‘Indie’, ‘whimsical’, ‘folk’ event. This would be distributed is all the ways that don’t incur a fee which is around the LCOM school and also at The Attic Venue itself as per the Venue Spec.

Online

Our Primary mode of marketing would be through social media. We would leverage each group members different follower basis to reach a wide range of circles within the school but also the wider community. Content would develop over 2 months prior to the gig on the 12th March. Content on a dedicated event page would be characteristic of online trends in live music. Posted on ‘TikTok’ and ‘Instagram’ content would be delivered on a mix of short form video content, ‘Carousels/photo collections’ on Instagram, stories and ‘Reels’ (Instagram, 2020). Instagram carousels and Reels will introduce each act artist interviews, artist stories/ ‘deep-dives’, behind the scenes event planning, showcasing the artists music over viral hooks, rehearsal clips of the artists and interactive Q&As to engage the audience.

The venue and each artist will be tagged alongside each group member’s accounts to encourage sharing. Cross-promotion with local influencers, student groups, and the artists’ personal accounts will further extend reach. A visual aesthetic of ‘whimsi-goth, folk, nostalgic’ would be consistent on all content to create a recognisable brand. Instagram and TikTok are particularly effective for this type of indie gig because, marketed alongside our original artwork, it creates visually engaging short-form content that encourages sharing and interaction with followers. This content would always be funnelled to a ‘Call to Action’ in the form of a link leading to our ‘Fatsoma’ page to buy tickets.

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Artist Biographies

Zoe Cure:

Singer-songwriter Zoe cute tethers herself to a world that’s raw, intimate, and unafraid of imperfection. With delicately deep vocals, haunting melodies and lyrics that ache, her artfully crafted songs explore all things felt and invisible; from universal grief to personal joy and the spaces therein. Inspired by the likes of Laura Marling, Adrianne Lenker, Radiohead and Neil Young, Zoe’s musical world is a reflection of steady growth into confidence and a willingness to find strength in vulnerability.

Nico Paul: 

Canadian-born, Leeds-based singer/songwriter Nico Paul explores simple yet poetic lyricism, combined with intricate instrumentation and rich vocal harmony. . Ranging from cathartic chamber pop to desolate, introspective folk, his debut EP “What is Lifted” dissects the intimate relationship between grand fantasy and harsh reality. Perfect for meditative listening & walks in nature. For fans of Leonard Cohen, Weyes Blood, and Sufjan Stevens.

Aaron Brooks:

Aaron Brooks is an alternative/indie folk artist based in Leeds. Focused on a blend of abstract evocative lyricism, distinctly gentle but rhythmic fingerpicking and emotive vocal performances, their music reaches to capture a complicated but universal range of human emotions.

Artist HD Photographs

Zoe Cure

Nico Paul

Aaron Bookes

Risk Assessment

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Reference List

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Bibliography:

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Musicians’ Union (2025) Casual Stage Rates – live engagement rates of pay [online]. Available at: https://musiciansunion.org.uk/working-performing/gigs-and-live-performances/live-engagement-rates-of-pay/casual-stage-rates (Accessed: 7 January 2025).

National Public Media (2024) Tiny Desk Concerts Audience Demographics [online]. Available at: https://www.nationalpublicmedia.com/sponsorship/tiny-desk-concerts/ (Accessed: 8 January 2026).

NPR Music (2024) beabadoobee: Tiny Desk Concert [online] YouTube. Available at: https://youtu.be/qHNUeBK8k7Q?si=e20fzOjXY7X3M6Jt (Accessed: 8 January 2026).

Tures, S. (2025) MTV Unplugged in New York (originally 1994) [online] YouTube. Available at: https://youtu.be/pOTkCgkxqyg?si=1z4HkSUtM4vGnzeL (Accessed: 8 January 2026).

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UK Government (1989) Electricity at Work Regulations 1989. London: HMSO.