The vision

As a group we decided early on to put on an event in the Main Room of Brudenell Social Club as a release party for Romy Taylor’s single “Human Nature”. Aiming to sell out the venue and bolster artist reputation while establishing a strong start to our promoting career.

During our first meeting we discussed venues, immediately gravitating towards Brudenell Social Club as it was deemed an appropriate sized venue for Romy (Who is a member of our group so was already confirmed on the lineup) This venue was chosen because the majority of the student population, our target audience, live in The Hyde Park area (Murray, 2022). This is within walking distance of Brudenell which is important as it puts up less barriers to entry. Belgrave Music Hall was considered and while it has a high level of specification and similar capacity to Brudenell it doesn’t have the same reputation, but was still saved as a contingency. We decided against Headrow House as it didn’t match Romy’s brand as well as having a capacity too similar to Hyde Park Book Club.

This date was chosen because it falls in a relatively quiet period of the month where university work isn’t due and Easter break is the following week.

We also discussed artists, needing congruent styles while not being too similar, with pull in the Leeds area. We decided on Lauren Mikki as main support and Kindelan with Emma Coates, Oz Horner and Eve Buckley as a contingency. We ended up with Kindelan being unavailable so instead asking Emma Coates. Working to promote female fronted bands also works to support diversity in the music industry.

Venue Hire –

Brudenell would typically cost £450 to hire however we were allowed a discounted rate of £250 as Romy is a local artist. We also acquired venues tech specs as well as mic list to base our planning off.

Work Division –

To make this a reality we divided work based on individual strengths:

I am a currently a freelancing sound engineer around Leeds working primarily at Oporto, Headrow, Belgrave which puts me in a position where I have a high level of knowledge regarding sound and event structure and can use that perspective to inform decisions, making me an ideal internal team lead, especially managing a larger 5 person group and keeping everyone accountable for work.

Romy has experience putting on events that have been successful in the past such as selling out both Oporto and Hyde Park Book Club, proving she is effective at marketing as well a great liaison between artists and the venue. Keeping this within a singular inbox makes communications easy to keep track of. Romy is also acting as secondary team lead, primarily dealing externally with the venue.

James has experience working events as crew working primarily in lighting and visuals, working on the Apex stage at Creamfields multiple years running making him ideal to deal with a lot of the production aspects especially visuals such as projectors and lighting.

Nathan and Jethro are both gigging musicians as well as producers so also have a high working knowledge of tech so went on developing the production.

While we assigned roles there was a lot of overlap between aspects of the planning as well as constructive criticism to improve on parts as we went. Everyone in our group has experience within events from artist to staff which we’ll use to inform the direction and ensure it is carried out to a professional level.

Software

We opted to use google docs to collaboratively build up the requirement documentation for this event. We chose this platform for the “Real time editing” (Google Workspace, 2025) feature which allows multiple users to edit at the same time and update instantaneously. I created this and populated it with all the documents we would need so what we need to fill out could be easily visualised.

Excel also has this feature and contains maths functions that update as the figures change, streamlining the calculations (Microsoft, 2025). Once I made the advance I ensured each subsequent document was in a similar style so all the documents were cohesive together.

Production –

Technical –

After receiving tech specs from the artists we compiled an input list and made sure it matched the gear available to us. Brudenell has a plethora of mics shared between two rooms which is plenty and provides enough equipment for when there is a large event on in both the main and community room. Our sound engineer (Yoanna) has personal mics which gives her choice in what to use for this event, she knows how they react, which can lead to a more comfortable engineer and a better sound.

Drum shells will be provided by the headliner while breakables will be provided by respective artists. The microphones on the kit will not change over the course of the event and can be left setup. Use of clip on and boundary microphones were deemed most ideal for this as they don’t require stands, keeping a consistent sound for the engineer to manage. using mics available at Brudenell we devised an input list, allowing for the greater tonal control and contingency such as two kick and snare inputs. In a larger venue like this overheads will be miked which provides options to the engineer as well as allowing us the highest quality source material for a multitrack which can be used for promotional material for future events.

Other instrumentation will be shared across bands as instrumentation is very similar between acts such as bass amp, guitar amps and keyboard stands. Keeping things like DI’s consistent for keys and bass will also ensure minimal cabling is on the stage and will be safer to perform on as well as look more professional.

The DiGiCo Quantum 225 mixing console is capable of recording a multitrack output of up to 48 channels by connecting a laptop through USB B (DiGiCo, 2021). According to our input list, we are only using 22 inputs which is well under this amount so will be suitable.

Stage layout –

Our stage setup is based around the headliners preferences with supporting artist using the headliners equipment, so positions will be kept the same with the exception of the bass amp for the opener being on the opposite side as the other two acts to make appropriate use of the stage otherwise stage left be empty. This means the only movement of equipment will be between the opener and main support. In which a keyboard is also added. which will be stored at the rear of the stage ready to quickly be moved. Minimising movement helps the sound engineer keep organised and helps the event keep to schedule. The layout also minimises movement of monitors across the event.

Monitoring –

In our stage layout for both supports there is monitoring for each performer which allows individual mixes and ensures everybody is able to be comfortable on stage with suitable sound for each performers needs.

The headliner makes use of IEM’s for drums, bass, guitar, keys and vocals. This allows for enhanced personalised mixes and being able to hear a click without extra noise on stage which allows the sound engineer greater freedom in mixing FOH. It is important that IEM lines are appropriately labelled and left in a suitable place for the musicians. Auxiliary members (Saxophones, BV’s) still require monitors which have one for each group, (Although a spare monitor will still be on stage right if required). Drums will also still have a monitor which will provide only low end to make up for IEM’s uneven frequency response, shown in this graph, (RTINGS, 2017) to feel the kick and bass while performing.

Lighting –

Separate lighting engineer who will be hired in. Typically a sound engineer will do this role but at a lower standard than having a dedicated engineer as they often only have knowledge to a very basic level. A colour pallet of earthy tones as well as direction and cues for how various songs should appear visually. During our visit we documented the positions and model of each light on the fixture which allowed us to visualise the space using CAD lighting software. Romy Taylor’s setup makes use of a click track meaning the engineer can sync the lighting to the tempo of the song enhance the experience further. This is important as it engages more of the audiences senses that just hearing and elevates the show above that typical for a grassroots venue.

Logistical –

Money has been allocated in costings for the movement of gear from uni to Brudenell which avoids using Uber which will be more expensive, with most drivers don’t allow the movement of large gear like drums. The car park for load in of instruments is found on the advance which will be sent to artists before the event.

Artist contracts were sent out to clearly define the length of set and payment amount and timing. This allows clarity in what is expected of the artists and allows time to raise any concerns before the event which can be taken into account and keeps us to schedule with our noise curfew at 11pm and final band projected to finish at 10:45.

The same was also done for videographer Ellie Salt which outlined payment as well as details of the desired content, stating orientation and video length which is important for creation of media for platforms such as TikTok and Instagram which appear “vertically 9:16″(Adobe, 2025), more suited for short form content e.g “30 second snippets” while platforms like Youtube are better suited to longer form content e.g a full song which suite “landscape 16:9” (Podcastle, 2025)

Hospitality –

Artists will provided with a rider of bottled water and alcoholic beverages as well as long sound checks with ample time to ensure high quality monitoring. The headliner contains a mixture of IEM’s and floor monitors with lots of individual mixes to dial in so will need a lot of time.

Security will also be monitoring green room access so musicians can safely leave instruments, cases and any other valuables securely.

Health and safety –

undertook a risk assessment in accordance with government guidelines (Health and Safety Executive, 2015), which was carried out on a day with no event occurring in either room, we captured a walk around video to reference in the creation of this assessment.

The main concerns we had were gaps in staging which are a potential trip hazard, outdated PAT tests which result in electrical failures and loose roof tiles which could potential fall especially with regular low frequency shifting them over time, other concerns were addressed in our risk assessment.

We addressed concerns by creating a score of severity x probability before and after mitigation techniques with the score ideally being lower and definitely being below 10.

Contingency

Began communications early as we knew how inconsistent Brudenell was at replying ended up going in and talking to them, in our gantt diagram we factored in until December to get the venue confirmed to allow us to gather a risk assessment before Christmas.

In the event of venue closure or cancellation we had the same date pencilled in with Belgrave which would have been roughly the same price to hire if we make use of a student discount. If this was no longer available we would have to move the date of the event and work this out with Brudenell.

In the event of an artist no longer being able to make it we have alternative options outlined earlier. While this isn’t ideal and would cause added stress this likely wouldn’t affect the outcome of the event.

Long soundchecks are provided to artists in case of gear failure, allowing time to source alternative equipment from either Leeds Conservatoire or an artists house, of which we will have a car ready to go, keeping the event running on time.

We have our sound engineer of choice but Jo but Dan Clifford is a backup with a secondary backup of the in house engineer but that means we will have less security in knowing they will do a good job.

Finance

Costings –

Around 155 tickets required to breakeven with venue hire £250 which is inclusive of the space, use of PA and lighting, a sound engineer and box office. Very reasonable price for such a renowned venue artist payment structure incentivise marketing ads misc

Used estimated income to allow artists fair payment while still allowing us to remain profitable as promoters in a realistic scenario. £175 opener, £225 main support £500 headliner was deemed appropriate, while still allowing a decent profit margin after all other costs.

Expenditure rationale

Estimated earnings –

Tickets are priced at £8 advance and £10 on the door which is fair because it step up from previous show at HPBC (priced at £6 advance £8 doors) at a larger venue with a higher quality of production and higher costs.

This graph shows the amount of tickets required to breakeven from costs which total to £1,440. The estimated proportion of door to advance sales of 34% comes an average of statistics from an Eventbrite study which states “56% of people paying £1-£10 per ticket booked on the day of the event or on the door.” Our target audience of students aged 18-24, were also included in this study, Eventbrite state: “11% of 16-24 year olds purchase their ticket on the day… A lot of events see a lot of last-minute activity (in general up to 20% of sales but in some cases nearly 50%)” (Eventbrite, 2019) An average of these two figures gives 34% which is a rough estimate but can help inform income. This graph indicates we will break even at around 150 sales as well as 20 cheaplist (99 advance sales 51 door sales)

While we aim to sell out (which would result in a net income of £3,244). it is important to make a conservative estimate to visualise revenue potential. Romy’s first headliner show at Oporto sold out at 100 tickets and second headliner at Hyde Park Book Club sold out at 150 tickets which is a 50% increase, projecting this forward indicates attendance at around 225 people which is healthily above the breakeven threshold. A higher level of marketing as well as a “renewed interest in face-to-face engagement” (Allied Market Research, 2023) indicating that more people would be willing to attend an event than 1-2 years ago when these headliner shows took place.

Of these 225 estimated there are 148 advance sales and 77 door sales then we will have a gross income of £2,074 which would leave us with £634 profit, indicating a high chance of being profitable as promoters from this event.

There are also smaller costs such as

• Marketing such as art design / graphic design
• A PRS fee of 4.2% is taken from ticket sales but paid back out to artists. (Musicians Union, 2023) artists should be PRS registered. The venue will register setlists.
• Booking fee on ticketing sites but are paid by the recipient on top of the ticket price.

Financial risk planning –

While Brudenell are hosting box office it is still important to recognise financial risks to ensure their service is up to standard as well as protecting merch revenue which we will be manning and accepting cash for. This aims to prevent loss primarily through theft of goods or instruments and entry without a ticket.

We can also make use of grants to subsidise expenses and increase the chances of being profitable such as:

PRS – “Early career promoter fund, managed by PRS Foundation and supported by Arts Council England and the Department for Culture, Media and Sport (DCMS) provides up to £3,500” (PRS Foundation, 2025). Supporting the booking, programming and promotion of gigs, concerts, club nights, showcases, tours and other performances as well as the costs associated with those activities 

Arts Council England – Support for grassroots music

“Jointly funded by the Department for Culture, Media and Sport and Arts Council England, designed to help secure the sustainability of the grassroots music sector. 

Grant’s between £1,000 and £40,000, for projects up to three years in length.

We are eligible for these grants and they are currently still active, however it is important not to have to rely on these as they may not be approved and the promotion should ideally be self sustaining.

Marketing and publicity

We can use this information to inform the online platform where the event is marketed and inform the social media campaign which will be the primary way this event is publicised, instagram is the main platform for promotion of this event, with 30.8% of users being between 18-24 and a further 30.4% being between 25-34 (Khoros, 2024). This platform is most inclusive of our target audience and consistent posting from the headliner and supports will expose the event to as many potential attendees as possible. 3-6PM Sundays, Mondays and Tuesdays are the best times for Romy to post on social media to gain maximum viewership. The content posted will vary as it gets closer to the event, ranging from excerpts from “Human Nature” from solo to whole band. As it gets closer to the event local press: LSR, Roots Mag, LSCU, Girls Got Guts Podcast and Content Nausea. Will further be posting announcements and interviews supporting this event. Romy will also experiment with paid advertising on Instagram to see if this increases viewership.

The event will also be visible on Spotify (similar to this by local band Flat Moon) as well as ticketing sites to further increase viewership away from Instagram.

(See appendix for concise marketing plan)

The event is to be announced on the 29th January as our student target audience will have their target loan to spend which is due early January while leaving time for more promotional material and buzz around the event.

We have opted into Brudenell’s in house marketing which consists of a social media reach combined of over 145k as well as flyers and banners advertising the gig within the venue and likely which will play a large role in bringing in a new audience especially in such a historic and respected venue.

We will also flyer around Leeds Conservatoire in high traffic such as the walkway to facilities, the lift and cafe bar as well as other spaces such as Jumbo records or University of Leeds where our target audience tend to be using a poster we designed ourselves. We will also host an in person stall in the cafe bar promoting the show with physical tickets and winnable prizes such as merch and free tickets.

This is to consistently expose the event to as many people within the intended demographic as possible to enact the funnel marketing model which functions on the principal that a small amount of people that are exposed to promotion will go on to eventually be converted into attendees (Skyword, 2020).

Closing notes

Overall we have set ourselves up well for this event and each member of the group has contributed to a high level to make it happen, we are looking forward to this and the challenges it may present going forwards.

Artist Biographies / Artist HD Photographs

(Headliner) – Romy Taylor

(Main Support) – Lauren Mikki

Lauren Mikki fuses ethereal vocals with a literary-inspired lyrical depth, shaping an indie-soul sound beyond genre. Influenced by Laufey, Clairo and Olivia Dean, she has earned plays on BBC Radio 6, a Spotify Fresh Finds UK&IE feature, and BBC Introducing’s praise as ‘one of the most exciting artists in the uploader’.

Artist Portfolio/Achievements:
Recorded:
– 3x Track Of The Weeks BBC Introducing Leeds & West Yorkshire 
– BBC Introducing Live Session and Interview
– BBC Radio 6 Music plays
– Spotify Fresh Finds UK&IE playlist placement
Live:
– BBC Introducing stage at Live At Leeds festival
– Cross The Tracks fringe event with Global Soul
– Leeds Jazz Festival
– Supported Mica Millar at The Wardrobe
– Played Lawrence Batley Theatre

(Opener) Emma Coates –

Leeds singer and saxophonist Emma Coates weaves jazz and folk songwriting to create her unique, intimate sound, taking inspiration from the likes of Men I Trust, Adrianne Lenker and Snowpoet. Along with Tom McEwen (guitar), Nika Ticciati (bass) and Louis Berthoud (drums), she creates deeply personal storytelling, exploring feminine identity and growth, complimented by the delicate and airy tones of her voice and band. Her debut EP ‘Borrower’ was released in October 2025, with acclaim from BBC Introducing and Amazing Radio.

Risk Assessment

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Appendix

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Promotional plan:

• 29th January – Announce gig with poster and begin flyering in mentioned places, supports to begin posting on relevant social media pages
• 1st Feb – Post of “Human Nature” single played solo intimately with gig mentioned on Instagram, TikTok and Facebook
• 5th Feb – Another piece of content pushing event
• 8th Feb – Three piece version of “Human Nature” pushing event
• 15th Feb – Post with single cover to establish themes for event
• 22nd Feb – Live post of three piece outro of song pushing event
• 1st March -Reinforce artist brand, establish professionalism of gig
• 8th March – Post full band performance promoting event
• 10th March – Cafe bar in person promotional activity.
• 15th March – Talking to audience on social media promoting event, personal / intimate
• 17th March – Gig day! last minute promotion showing how excited we are

Reference List

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