Rationale
Event Summary
A Crescendo of a Night is a student-promoted live music and arts event taking place on Tuesday 17th February 2026 at The Attic, a 200-capacity community-focused venue in Leeds city centre. The event combines live performance, DJ sets and local art stalls to create a multi-sensory cultural celebration aligned with Shrove Tuesday, traditionally a day that marks festivity, community and renewal during the winter period. The aim is to uplift audiences, showcase emerging Leeds talent and provide an accessible creative space that moves fluidly from ambient, reflective music into a high-energy, dance-focused environment — a literal and thematic crescendo over the course of the evening.
The event features six musical acts — including Alex Milling, Kaeya, Benji’s Folk, Yuppie Supper, DJ Kham B2B DJ Benj, and DJ Subaru — alongside six independent art stalls and a pancake stand operated by Danny Reds. The combination of live music, visual art and inclusive community-led trading supports the event’s mission to foster emerging creativity within Leeds. The Attic provides an appropriate venue due to its accessible layout (including step-free entry, gender-neutral toilets and a dedicated green room), professional in-house sound system run by Sol Edwards, and a flexible stage and floor plan suitable for both seated listening and late-evening dancing.
From a live event management perspective, this project enables our team of four promoters to apply professional skills in planning, time-management, artist liaison, production coordination, logistics and marketing. Our goal is to deliver a safe, inclusive and financially viable event that reflects industry standards while also prioritising community values. This includes coordinating a detailed advance with The Attic, managing the technical and hospitality needs of sixteen performers and stallholders, and developing a marketing campaign aimed at attracting local audiences seeking affordable access to high-quality live music. Our financial model is built around low-cost tickets (£5) to ensure accessibility, with projected revenue from both ticket sales and stallholder/pancake purchases contributing to an equitable profit share among artists and promoters.
At its core, A Crescendo of a Night seeks to demonstrate how grassroots live events can be both professionally run and community-driven. By foregrounding inclusion, diversity and affordability, the event aims to present an alternative vision of what the local music industry could look like when emerging creatives are supported structurally, financially and artistically.
Time Management
Effective time management will be essential to the successful delivery of A Crescendo of a Night, particularly given the involvement of multiple performers, stallholders, and a venue operating under strict access and curfew restrictions. Our group has adopted a structured yet flexible planning approach, combining early scheduling, clear role allocation, and ongoing communication to ensure the event timeline remains realistic and adaptable.
Early Planning and Timeline Development
Planning for the event has taken place well in advance of the scheduled date, allowing sufficient time to secure the venue, begin confirming performers, and design a coherent running order. A detailed event schedule has been created and shared with artists and organisers through the Artist Briefing document. This schedule functions as the primary time-management tool, outlining arrival times, soundchecks, performance slots, and the final curfew, while adhering to The Attic’s operational constraints.
The confirmed timeline allocates access from 3:00pm, following the conclusion of a prior yoga class, allowing promoters to begin load-in and room setup. The venue’s in-house engineer is scheduled to arrive at 4:00pm, with soundchecks planned from 5:00pm, when amplified sound is permitted. Doors and the market are scheduled to open at 7:00pm, marking the transition from preparation to public-facing activity.
Developing this schedule early has allowed the group to identify dependencies such as equipment setup before soundchecks, staggered performer arrival times, and the coordination required between live acts and DJ programming.
Coordination, Communication, and Role Allocation
Time management during the planning phase has been supported by continuous communication using WhatsApp and shared Google Drive folders. These platforms are being used to confirm artist availability, distribute updated documents, and address scheduling uncertainties efficiently. For example, where some performers have yet to confirm, the group has discussed setting a final response deadline and preparing contingency options such as reshuffling set times or introducing an open-decks DJ slot if required.
Roles within the group have been defined organically as planning has progressed. I have taken primary responsibility for Production and Technical coordination, while other members are focusing on artist liaison, marketing, budgeting, and stallholder management. This division of labour allows multiple tasks to be handled simultaneously, supporting steady progress toward planning milestones and reducing the risk of last-minute delays.
Planned Event-Day Schedule
On the event day, adherence to the planned schedule will be critical due to the venue’s access limitations and fixed curfew. The provisional running order is as follows:
- 15:00 – Load-in and room setup begins
- 16:00 – Venue engineer arrives
- 17:00 – Soundchecks commence
- 19:00 – Doors and market open
- 19:20 – Alex Milling
- 20:10 – Kaeya
- 21:00 – Benji’s Folk
- 21:40 – Benji B2B DJ Kham
- 22:00 – DJ Kham
- 23:00 – Curfew
Stallholders are planned to operate primarily during the earlier part of the evening and begin shutting down ahead of the DJ-focused programming. This will allow the dancefloor to be cleared efficiently and support a smooth transition between performance formats.
Flexibility and Contingency Planning
Although the timeline is clearly structured, flexibility remains a key component of the group’s time-management strategy. Buffer periods have been built into the schedule to accommodate late arrivals, extended changeovers, or technical adjustments. Continued communication in the lead-up to the event will allow the team to respond to last-minute changes while maintaining overall schedule integrity.
Overall, the combination of early planning, clear scheduling, defined responsibilities, and contingency planning demonstrates a considered and professional approach to time management, positioning A Crescendo of a Night to run smoothly from load-in through to curfew.
Production
Technical
Coming from a production and technical background, I recognised early in the planning process that A Crescendo of a Night would require careful consideration of inputs, outputs, and system capacity due to the number of performers, varied instrumentation, and the transition from live bands to DJ-led performances across the evening. With six musical acts scheduled, including full bands and DJs, the event demanded a flexible and robust technical setup capable of accommodating multiple microphones, DI inputs, playback devices, and monitor mixes.
Initially, I explored the option of hiring a 24-channel mixing console from Leeds Conservatoire’s Performance Resource Desk, with the intention of acting as the event’s sound engineer alongside my production role. However, this approach was not compatible with the venue’s operational policies. The Attic requires the use of its in-house audio engineer and installed front-of-house system, both of which are included in the venue hire. While this removed the opportunity for me to engineer the show directly, it ultimately aligned the event more closely with professional industry practice, where promoters must adapt to venue-led technical workflows rather than imposing external systems.
The Attic’s technical provision includes a Midas M32R digital mixing console, offering 32 input channels, which exceeded the capacity of the initially proposed 24-channel desk and provided greater flexibility for managing complex input lists and changeovers. This resolution ensured that the technical demands of the event could be met without compromising audio quality or operational efficiency. My role therefore shifted from hands-on engineering to technical coordination, focusing on advancing the show, communicating requirements to the venue engineer, and ensuring that all artists’ technical needs were documented and feasible within the venue’s system.
A further technical consideration was the venue’s limited provision of backline equipment. While The Attic supplies microphones, DI boxes, cabling, and a professional PA system, it does not provide amplifiers, drum kits, or other instrument backline as standard. To address this, I coordinated with performers to gather detailed technical requirements and utilised Leeds Conservatoire’s Performance Resources to book appropriate backline equipment, including amplifiers and instruments, in line with each act’s needs. This approach ensured consistency across performances, reduced reliance on individual artists transporting heavy equipment, and supported efficient changeovers throughout the event.
Sourcing backline centrally also allowed for greater control over stage layout, power requirements, and health and safety considerations, as all equipment could be risk-assessed and positioned in advance. This decision informed both the technical advance and the running order, enabling smoother transitions between acts and minimising the risk of technical delays during the event.
Additionally, the venue’s restriction of no amplified sound before 5:00pm required precise scheduling of soundchecks and technical setup. This constraint reinforced the importance of advance planning, ensuring that line checks and soundchecks were prioritised efficiently once amplification was permitted. By addressing these technical limitations proactively, the production team reduced the risk of delays and ensured a smooth progression from the acoustic opening sets through to the later high-energy DJ performances.
Artist and Equipment Transport
Transport arrangements for both performers and equipment were coordinated in advance to ensure smooth arrival at The Attic and to prevent delays during the restricted setup window. The primary meeting point for artists was designated as the Leeds Bus Station, allowing performers to arrive independently by public transport before being collected by members of the promotion team. From there, artists were offered lifts to the venue if needed, ensuring that no performer was disadvantaged by transport limitations. In situations where group members were unavailable, Uber transport was also considered as a contingency option to guarantee punctual arrival.
Larger equipment items, including instruments booked from Performance Resources and personal gear belonging to acts such as Benji’s Folk, required vehicle transport. This responsibility was shared between Ava and Benji, who coordinated the collection and delivery of backline and technical equipment directly to the venue. This ensured that all essential kit arrived safely and on time, and that performers did not have to carry heavy or awkward items through public transport.
By combining public transport access, car-sharing, and rideshare contingencies, the transport plan supported both sustainability and accessibility. It also maintained flexibility, allowing multiple reliable routes for performers and equipment to reach the venue within the required timeframe.
Health & Safety
Health and safety planning for A Crescendo of a Night was informed directly by the group’s formal risk assessment, which identified a range of potential hazards associated with live music performance, audience management, technical setup, and catering activities. The assessment considered risks to venue staff, the public, performers, and Leeds Conservatoire students, evaluating each according to probability and severity before implementing appropriate control measures.
A key area of focus concerned electrical and technical safety, given the extensive use of lighting, sound equipment, DJ gear, and portable devices brought by performers. Hazards such as overheating lights, unsecured lighting rigs, and electrical faults were rated as high-risk prior to control measures (e.g., “lighting rig not secured correctly,” 18/36; “electric shock from portable equipment,” 18/36). Controls included ensuring all equipment was PAT tested within the last 12 months, assigning trained venue staff to handle rigging, attaching safety chains, and avoiding socket overloading. These measures significantly reduced residual risk scores, demonstrating effective mitigation. ( See Appendix-Risk Assessment)
Cable management and stage safety were also prioritised. Loose wires posed a trip hazard (initial score 15/36), especially during changeovers involving acoustic instruments and DJ equipment. The group addressed this by taping down cables with fluorescent tape and routing them away from walkways. To prevent performer congestion, stage plots were reviewed in advance to minimise overcrowding, ensuring sufficient space for acts such as Benji’s Folk and Yuppie Supper, who required multiple performers on stage simultaneously. ( See Appendix-Risk Assessment)
The presence of a food stall introduced additional hazards, including burn risks, fire hazards, table collapse, allergen exposure, and food poisoning (some scoring as high as 30/36 before mitigation). Control measures included PAT testing the portable stove, situating the stall in a ventilated area, providing a fire extinguisher nearby, clearly labelling allergens, supplying ingredient lists, and ensuring safe food storage using portable refrigeration where necessary. These procedures were essential given the popularity of the pancake stand and the high footfall around it. ( See Appendix-Risk Assessment)
Audience management risks were also carefully considered. Overcrowding and crush risks were initially scored at 20/36, prompting the team to establish controlled capacity monitoring and clear audience flow paths. Door staff were instructed to warn attendees of step hazards upon entering the venue. Accessibility and inclusion were addressed through the provision of gender-neutral and disabled toilet facilities and the implementation of safeguarding protocols such as “Ask for Angela” to support vulnerable audience members. ( See Appendix-Risk Assessment)
Noise exposure presented another significant consideration, particularly for DJs and performers working near loudspeakers. Prolonged hearing damage was rated 20/36 before controls; mitigation included providing earplugs, monitoring sound levels, and ensuring the sound engineer maintained volumes within safe thresholds. ( See Appendix-Risk Assessment)
Emergency procedures were supported by venue protocols. Fire evacuation was initially rated the highest risk on the assessment (36/36), prompting the requirement for staff to be briefed on fire exits, for smoke alarms to be operational, and for access routes to remain unobstructed at all times. First aid readiness was also highlighted, ensuring staff knew who the designated first aiders were and how to respond immediately to incidents. ( See Appendix-Risk Assessment)
Overall, the risk assessment demonstrates a rigorous and comprehensive approach to safety. By identifying hazards early and implementing structured mitigation strategies, the team ensured that the event adhered to venue regulations while prioritising the wellbeing of performers, staff, and audiences. This proactive planning reflects professional standards within live-event management and underpins the safe delivery of A Crescendo of a Night. ( See Appendix-Risk Assessment)
Finance
The financial planning for A Crescendo of a Night was structured around confirmed venue costs, settlement projections, and statutory licensing requirements. All financial decisions were grounded in verified documentation, allowing the event to be budgeted and delivered according to professional standards for small-scale live music events.
Venue Hire and Contractual Commitments
The Attic confirmed a hire fee of £180, which included access from 4pm–11pm and the provision of an in-house sound engineer. A £30 non-refundable deposit secured the booking, with the remaining balance due after the event. This arrangement ensured cost certainty while reducing upfront financial exposure. By incorporating sound engineering within the venue hire, the event avoided additional staffing costs, supporting an efficient and controlled expenditure structure.
PRS Licence and Legal Compliance
As the event involved public live performances with paid admission, it fell under the PRS for Music Popular Music Concerts Tariff LP. The tariff specifies a charge of 4.2% of gross receipts, subject to a minimum of £16, applicable when admission is charged for live popular music.
(PRSPPL Tariff LP, 2023)
For this event, PRS charges were calculated at £36, as documented in both settlement sheets. Ensuring the licence was budgeted from the outset supported legal compliance and reflected ethical industry practice by guaranteeing appropriate royalty payments to songwriters and rights holders.
Ticket Revenue and Additional Income Streams
Ticket prices were set at £5 advance and £6 on the door, creating an accessible price point while generating sufficient revenue to support the event’s operational costs. Two settlement outcomes were modelled based on attendance levels.
Non-Sellout Scenario (100 tickets sold)
- Total Gross Ticket Sales: £500
- Event Balance after deductions: £134
Additional Income:
- Pancake stand profit – £72
- Artist merchandise profit – £30
Total event profit before distribution: £236
Sellout Scenario (175 tickets sold)
- Total Gross Ticket Sales: £875
- Event balance after deductions: £509
Additional Income:
- Pancake stand profit – £120
- Artist merchandise profit – £55
Total event profit before distribution: £684
Expenditure and Cost Control
The event maintained a low and consistent expenditure structure, with total costs recorded at £366 across both scenarios.
These included:
- Venue Hire: £180
- PRS Licence: £36
- Print Materials (posters + tickets): £30
- Merchandise Production: £15
- Catering (pancake ingredients): £55
- Artist Hospitality: £30
- Miscellaneous Costs: £20
(Full breakdown shown in the costing sheet)
The ability to hold expenditure steady irrespective of audience size reduced financial risk and created a favourable break-even threshold.
Profit-Sharing and Settlement Model
To reflect the collaborative ethos of the event, profits were shared equally among 15 participating performers, promoters, and stallholders.
Non-Sellout Profit Share
Total remaining balance: £166
Share per participant: £11.06
Sellout Profit Share
Total remaining balance: £614
Share per participant: £40.93
This approach is common in grassroots and DIY live music events, where financial accessibility and shared ownership are prioritised above fixed artist fees.
Financial Risk Management
Multiple strategies helped ensure the financial sustainability of the event:
Low Fixed Costs
Core expenses remained at £366 regardless of attendance.
Diversified Revenue
Food and merchandise income strengthened the financial position in both settlement scenarios.
Staged Payment Structure
A low deposit reduced upfront commitment while securing the venue.
Accurate Licensing Compliance
Using the PRS tariff prevented retrospective costs or legal issues.
Documented Cost Tracking
All expenditures and revenues were recorded in formal costing and settlement sheets, enabling transparent financial evaluation.
Together, these measures demonstrate a considered, ethically aligned, and professionally structured financial plan suitable for a community led live music event.
Marketing and Publicity
The marketing strategy for A Crescendo of a Night will focus on cost-effective promotion within Leeds’ student communities, supported by cohesive branding and targeted social media activity. All visual content will follow the style established in the event’s EPK to maintain consistency across platforms and printed materials.
A total of £30 has been allocated for marketing (as outlined in the costings sheet), so the approach prioritises low cost, high impact methods.
Physical Promotion
We will distribute posters and flyers in key student areas including Headingley, Woodhouse, and Hyde Park locations with strong footfall from Leeds Conservatoire and university students. Posters will also be placed in cafés, rehearsal rooms, and communal spaces frequently used by young musicians and creatives. Word-of-mouth promotion within the Conservatoire community will support this outreach.
Digital and Social Media Promotion
Instagram will be the primary digital platform due to its effectiveness for arts based promotion. Scheduled posts will include artist spotlights, teaser graphics, and short videos using the event’s established branding. My music Instagram page, already set as a business account, will be used to run a small, tightly budgeted targeted ad campaign aimed at Leeds-based users with interests in live music and local arts.
A key aspect of our social media strategy will be peer amplification. We plan to ask friends and fellow Conservatoire students to repost promotional content on their Stories. Instagram’s repost feature makes this process seamless and significantly increases reach by allowing content to be shared directly to a user’s Story while maintaining original attribution (“Instagram Repost Feature Guide,” n.d.).
Conclusion
A Crescendo of a Night represents a comprehensive application of live event management principles within a real-world context. Throughout the planning process, our team has demonstrated the ability to balance creative ambition with professional practice, integrating artistic vision alongside logistical, financial, and operational considerations. The event’s structure progressing from reflective live performances into high energy DJ programming reflects a considered approach to audience experience and programming flow.
From an organisational perspective, the project has strengthened my understanding of production coordination, technical advancing, and the importance of adapting to venue-led workflows. Developing detailed schedules, technical documentation, and contingency plans has reinforced the value of preparation and clear communication when managing multiple performers and stakeholders. The financial model further demonstrates how grassroots events can remain accessible while operating sustainably and ethically.
Health and safety planning has been integral to the project, ensuring risks associated with live performance, catering, and audience management are identified and mitigated appropriately. This proactive approach aligns with industry standards and supports the safe delivery of the event.
Overall, this project highlights how student-led live events can be professionally structured while remaining community driven. A Crescendo of a Night aims not only to deliver a successful event, but also to model inclusive, ethical, and sustainable practices within the live music industry.
