SHR6E037P~001 FRE21083178 Portfolio: Event Planning.

Rationale

On Cue Production is a live music event production company linked to The Leeds Conservatoire. As third-year students, we have been tasked with utilising our relevant skills to host an effective live event. The venue has been chosen and confirmed as The Belgrave Music Hall in Leeds, and the date has been booked for 25th February 2026. Our aim for this event is to deliver a high-quality musical experience that meets the expectations of the local audience attending and to ensure we adhere to the terms of Belgrave’s event advance (See Appendix 1). To define how we will achieve these aims, here is a breakdown of the rationale into it’s different components that will be discussed in this portfolio;

Initial Research On The Type Of Event
Time Management For Event Delivery
Production (Technical And Logistical)
Marketing And Publicity
Technical Specifications/Financial Planning
Contingency Planning And Risk Assessments

Initial Research

During the brainstorming process, we researched different venues to host our event, including The Belgrave Music Hall and The Brudenell Social Club. Both venues are local and well-known music venues in the Leeds area.

Having made some initial contact, The Belgrave Music Hall was chosen because it was proactive and timely with its communication, and because it was closer to main transport links and the university’s student area. The group prioritised these criteria because the rationale requires the event to meet the needs of the local population whilst working with a venue with strong links to the university. Given these factors, the Belgrave Music Hall was chosen.

Additionally, Leeds Conservatoire has a strong relationship with the venue, and we were able to attain a discount for the event, which was a significant advantage, allowing us to allocate a larger budget for our event. After choosing the venue, it was important for our group, ‘On Cue Productions’, to consider the type of event we would be hosting.

Our group shared a mutual love of jazz and wanted to host a fun themed night featuring local jazz artists. Our lead Project Manager had connections to local artist Hannah Rowe and the function band Pockets, which formed the foundation of our initial idea. Due to logistical setbacks and communication breakdowns, the initial idea proved infeasible. Therefore, we had to consider alternative options, and we evolved our idea into a Motown Night featuring three acts, headlined by Pockets and supported by Mikey & M’Gs and Chloe. These acts have been confirmed and are able to perform at the event.

Our initial research into local venues revealed that themed nights were popular among the audiences. RollingStone mentions that “Simply hiring a band or a DJ is no longer enough. Audiences crave immersive experiences as Pine and Gilmore’s (1999) concept of the experience economy suggests that consumers value memorable experiences over passive music listening. Our Motown event aligns with this theory, as we will be offering not only a live music experience but an immersive cultural and nostalgic experience. Venues are responding with themed events” (Kice Akkawi, 2024). Although our initial idea evolved into a Motown event, our themed event concept served as the foundation and aligns with Belgrave’s current list of themed events. “Swiftogeddon” and “Brazil Carnival” (Belgrave Music Hall, n.d.). Additionally, research into live music suggests that audiences increasingly value themed events that offer a sense of occasion and collective identity, rather than standalone performances (Packer and Ballantyne, 2011). Within popular music contexts, themed nights have been shown to enhance emotional engagement and audience satisfaction by framing performances within a recognisable cultural narrative, a factor particularly relevant to our event night on the Motown theme.

With this set of Motown themes, we conducted a SWOT (Strengths, Weaknesses, Opportunities, and Threats) analysis to identify our strengths and potential pitfalls as a group, as shown in (Appendix 2). Strategic planning tools such as SWOT analysis are widely used within the music and events industries to assess market positioning and operational readiness. Research published in the Journal of Music Business Research notes that while SWOT analysis has limitations, it remains effective when applied as a way of reflecting upon the event being chosen, as long as it is supported with knowledge about audience data , particularly for small-scale live music events and emerging promoters (Behr, Brennan and Cloonan, 2016). To summarise, the strengths of a Motown event include a strong brand that is well known in the local area, broad appeal to a diverse demographic, and suitability for social media promotion and marketing. This offers a number of opportunities, such as promoting similar events in the future, increasing social media exposure, and, of course, building an initial relationship with Belgrave. Some weaknesses we may need to mitigate are not maximising promotion, which would impact sales; a lack of creativity in the song line-up, which would lead to audience dissatisfaction; and a potential for poor performance quality if the artists are unsure of the material.

Evaluation: As Getz and Page (2019) discuss in event design, it is essential to ensure that the design of an event is not only creative but also provides a meaningful experience for the consumer. Whilst our initial idea was built upon our strengths as musicians, it may not have been a successful event without Hannah Rowe being the lead act, due to her previous successful jazz nights, which sold out at local venues in Leeds, including Belgrave. Considering that a different event design was important, we opted for a Motown theme. Research in this area revealed that the Leeds Grand Theatre is hosting a Motown night in January and is nearly sold out, suggesting popularity and a willingness to pay a premium price (£35) (Leeds Heritage Theatres, n.d.). This could indicate a demand for a Motown event at a more affordable price that would fit within a student’s social budget (£61 per month) (Murray, 2025).

Time-Management

Before considering time management, it was essential to allocate roles within On Cue Production to ensure a successful and well-organised event. We considered each other’s strengths, and the following roles were allocated: Antonio – Artist Technical Specification, Stage Plot, Hospitality Press Kit, Teyla – Venue Technical Specification, Production (Hospitality, Health & Safety, Staff), Venue Liaison, Jude – Financial Planning, Event Scheduling, Alexi – Project Management Chart and my role as lead of marketing and publicity, this role aligns with my strengths in marketing as seen in my high quality assignments, where I have applied theoretical knowledge to create and promote our design and brand. Time management is a crucial part of building a successful event; the success of allocated job roles is significant, as they enable us to utilise our individual skills to stay on top of the planning and organisation. Ahmad et al. (2012) discuss how prioritisation, activity planning and making a visual representation are essential skills for delivering an event; however, the basic element of time as a resource is also crucial for an event team to be aware of. The Gantt chart (see Appendix 3) breaks down the various activities and priorities our group needs to manage effectively; if executed well, it should lead to a successful Motown event. Multiple components must be carefully scheduled so that team and individual roles come together to complete often complex, time-critical activities.

Key information for our event

Running order: 1st- Chloe, 2nd- Mikey & The G’s, 3rd- Pockets

Set lengths: Chloe (30 minutes), Mikey & The G’s (45 minutes), Pockets (1 hour and 15 minutes)

Soundcheck timing: Pockets (15:00-16:00), Mikey & The G’s (16:00 – 17:00), Chloe (17:00-18:00)
Changeover duration: Doors open 6:30- 1st Chloe (15 minutes), 2nd Mikey & The G’s (30minutes), 3rd Pockets

Curfew and closing time: Curfew (22:00) Closing Time (22:59)

All of this key information can be found in more detail in (Appendix 1).

Production (Technical And Logistical)

Producing this event has taken months of meticulous planning and thought to ensure we deliver a safe and successful event.

We have given careful consideration to the following areas:

Equipment Movement (load-in/load-out). We have been in regular contact with key personnel at Belgrave to discuss the logistics of setting up our band’s equipment and the event’s curfew. This can be viewed in (Appendix 1).

Venue Layout (stage, FOH desk, Box office). The venue has supplied us with an event advance, which details all the crucial information we need to know about the venue, for example, stage dimensions, included equipment, location of the load bay and key Staff that are contactable on the night of the event.
Staff Roles (promoter, box office, artist liaison) As previously stated our roles have been decided and carefully distributed to our skillset, as well as the lead marketer and publicity specialist, I will be in charge of operating the box office, this role will require me to check peoples tickets, respond to any quires the audience may have in regard to the performance.
Band Access (Parking, Green Room, Storage). All the bands have been informed of the logistical arrangements for the performance day, including: how to leave/enter Belgrave, how to load/unload their equipment, where to store valuable items, and where to wait prior to their performance slot. This is illustrated in (Appendix 1).

Backline Sharing It has been agreed with all the bands to share a backline. This will consist of: one microphone and mic stand, one drum kit, two guitar amps, one bass amp, two Nord Electro Keyboards, two keyboard stands, one sustain pedal, one music stand, and two DI boxes.
Wet Weather Working (WWW) Belgrave has issued us with a (WWW) document detailing what to do in case of any water spills: contact the site manager to assess the situation and put up a slip hazard sign. (See Appendix 7).

All of these aspects have been developed into a comprehensive Risk Assessment (Appendix 7). The risk assessment covers the safety of not only the audience but also band members, technical crew, and staff employed at the event. It takes into account basic health and safety covering fire, slips, trips and falls, as well as manual handling. Other, more specialist areas of risk include allergens, loud noises, ventilation, and crowd control. Once remedial steps have been assessed and put in place, all of the risk assessment falls within acceptable control measures (Appendix 7). Alongside this risk assessment, a financial costing sheet is included, showing that the financial risk of putting on this event is minimal due to the potential revenue, which would mitigate any uncalculated additional financial costs.

Marketing, Branding and Publicity

Marketing and Publicity – This should include a breakdown of the marketing approaches you will utilise to promote the event. To ensure consumers are aware of our event and that it’s well attended, we need to incorporate a comprehensive promotional strategy into our marketing content. Whilst in the brainstorming phase, as a group, we agreed we needed a lead marketing theory to guide us through marketing and publicising our event most effectively. We decided on the ‘Nostalgia Marketing Theory’. Amazon Ads defines Nostalgia marketing as “… a marketing strategy that takes the power of nostalgia, emotional connection, and the comfort that comes from a throwback to reach consumers” (Amazon Ads, n.d.). Although nostalgia marketing is an effective way to foster an emotional connection with our audience, it can also pose limitations, particularly for younger audiences who may lack a cultural memory of this era. This risk has been mitigated by incorporating contemporary visual designs onto our social media platforms. This form of marketing is called integrated marketing communication theory, which showcases a consistent theme across all our social channels and allows us to adapt it to suit different demographics as needed. (Fill and Turnbull, 2019) Together with our nostalgia marketing theory, we will foster a sense of belonging, helping our target audience feel connected and valued, encouraging their emotional investment in our show. We will implement these strategies into our branding. The nostalgic sounds of Motown will be the face of our brand, enticing people to buy tickets. We are targeting this campaign at people aged 40 and above, as they are most likely to respond to nostalgia-based marketing, given their familiarity with this genre and the likelihood that it will prompt them to reminisce with a rosy retrospection. Additionally, we recognise another demographic that would be interested in our event: students. The reason we will be targeting students in our campaign is due to the recent increase in vintage aesthetics within this demographic: “Younger consumers are actively embracing and fueling a retro revival across several product categories, from fashion and beauty to music…”(Kavilanz, 2024), this quote shows how a resurgence in this aesthetic for a younger audience could benefit the popularity of our event because of this recent revival, furthermore Pulse Advertising mention that “Platforms like TikTok, where retro songs and memes often go viral, have trained users to blur the line between past and present” (Pulse Advertising, 2025) because of the large student population that engage with social media sites like TikTok (Madrio, 2023), we will be posting regular content across all of our social media pages in the form of posts, posters and clips, this will be a beneficial way to promote our event in Leeds, maximising our potential audience. As the Lead marketer/branding designer, I have created two posters on Canva, both clearly reflecting our Motown theme, using colours synonymous with Motown. Poster 2 was chosen by the group for promotional materials. (See Appendix 4.)

In addition to the approach above, the group produced a thumbnail image and a promotional bio for the Belgrave events website (Belgrave, n.d.). This is a standard promotional approach used by Belgrave, and all events are promoted in this way. Regular customers of events at the Belgrave are aware of this method and routinely buy tickets through Dice, the promotional ticket-selling site. Each band supplied a Press Kit to key personnel at Belgrave for review of suitability (Appendix 8). Although our press release is effective for this venue promotion, its impact could be further enhanced and adapted for future events through targeted distribution, which could be offered to other music-related ventures. (see Appendix 8).

Technical Specifications/Financial Planning

Whilst planning this event, we have had to be in constant contact with all the acts and key members of staff from Belgrave involved in our show (see Appendix 8). To ensure the production runs as smoothly as possible, we have created multiple spreadsheets and documents to visualise and ensure everything is in order for our event. These include:

Event Advance/Schedule
The Technical Specifications for both venue and artists. (TS)
Costings Chart

Belgrave provided us with their event advance, which included all the key information needed prior to the event, such as stage dimensions, the location of the load-in bay, stage equipment, lighting, and other policies we need to be aware of. (See Appendix 1).

For our event, we have made a schedule for the day that includes all the key timings as mentioned previously. It is pivotal to stick to this schedule as closely as possible, “… as this will make sure that everything is kept well-organised and running smoothly” (Freenow, 2025).

We have also created a detailed costings chart that will serve as a financial planning tool, allowing us to estimate our potential income (Appendix 5). By comparing ticket prices with other events at Belgrave and discussing band fees, we decided on our ticket price. This approach reflects standard practices within the live music industry, where budgeting tools are used to minimise financial risk and assess event viability (Behr, Brennan and Cloonan, 2014).

After receiving Belgrave’s (TS), we created our own, compiling all the equipment our band possesses/provided by Belgrave, along with what is required. This spreadsheet makes it easy to cross-reference the equipment. It has been discussed with the bands to share a backline to avoid disruptions and keep changeovers to the allotted time. (see Appendix 6)

As mentioned, we have created a costings chart that details all costs and profits associated with staging the event. (See Appendix 7). In addition to the costing chart we created, Belgrave issued us with a formal invoicing notice that explains all the invoicing information, which is seen in (Appendix 9). Reviewing and responding to this invoice will ensure that all financial obligations are transparent and accounted for within our costing chart, reducing the risk of unforeseen costs.

Creating the costing chart lets us avoid overspending, stay on budget, and plan how to allocate funds to stage the show; these are all essential steps to ensure we make a successful return on our event (Clear Event, n.d.).

Reference List

Ahmad, N.L., Yusuf, A.N.M., Shobri, N.D.M. and Wahab, S. (2012) ‘The relationship between time management and job performance in event management’, Procedia – Social and Behavioral Sciences, 65, pp. 937–941. [Accessed 21 January 2026.

Amazon Ads (n.d.) What is nostalgia marketing? Why is it important? Available at: https://advertising.amazon.com/en-gb/library/guides/nostalgia-marketing [Accessed 14/01/2026].

Behr, A., Brennan, M. and Cloonan, M. (2016) ‘Cultural value and cultural policy: some evidence from the world of live music’, International Journal of Cultural Policy, 22(3), pp. 403–418. [Accessed 21/01/2026].

Belgrave Music Hall (n.d.) Events. Available at: https://www.belgravemusichall.com/events/ [Accessed 14/01/2026].

Clear Event (n.d.) Ultimate guide to event budgeting. Available at: https://images.g2crowd.com/uploads/attachment/file/1450863/ClearEvent-Event-Organizers-Ultimate-Guide-to-Event-Budgeting.pdf [Accessed19/01/2026].

Fill, C. and Turnbull, S. (2019) Marketing communications. Available at: https://books.google.co.uk/books?hl=en&id=6oyfDwAAQBAJ [Accessed 21/01/2026].

Freenow (2025) Event scheduling basics: how to make an event schedule. Available at: https://www.free-now.com/uk/business/blog/event-scheduling-basics/ [Accessed 19/01/2026].

Getz, D. and Page, S.J. (2019) Event studies: theory, research and policy for planned events. 4th edn. New York: Routledge. Available at: https://www.taylorfrancis.com/books/mono/10.4324/9780429023002 [Accessed 21/01/2026].

Kavilanz, P. (2024) ‘Why retro gadgets like Walkmans and Polaroids are Gen Z’s new obsession’, Bagable. Available at: https://www.bagable.com/p/in-this-warehouse-sits-a-treasure [Accessed 15/01/2026).

Kice Akkawi (2024) ‘Live music in 2025: the state of the industry’, Rolling Stone. Available at: https://www.rollingstone.com/culture-council/articles/live-music-in-2025-the-state-of-industry-1235205347/ [Accessed 14/01/2026].

Leeds Heritage Theatres (n.d.) A night to remember – Motown show. Available at: https://leedsheritagetheatres.com/whats-on/a-night-to-remember-motown-show/book/874801/ [Accessed 13/01/2026].

Madrio, Y. (2023) ‘24 statistics proving the power of Instagram in higher education’, Pepperland Marketing. Available at: https://www.pepperlandmarketing.com/blog/higher-education-instagram-statistics [Accessed 18/01/2026].

Murray, J. (2025) What do students spend their money on? Save the Student. Available at: https://www.savethestudent.org/money/student-budgeting/what-do-students-spend-their-money-on.html [Accessed 13/01/2026].

Packer, J. and Ballantyne, J. (2011) ‘The impact of music festival attendance on young people’s psychological and social well-being’, Psychology of Music, 39(2), pp. 164–181. [Accessed 21/01/2026].

Pine, B.J. and Gilmore, J.H. (1998) ‘The experience economy’, Harvard Business Review, 76(6), pp. 18–23. [Accessed 21/01/2026].

Pulse Advertising (2025) Nostalgia marketing: why millennials and Gen Z are driving a cultural revival. Available at: https://www.pulse-advertising.com/resources/social-media-news/nostalgia-marketing-cultural-revival/ [Accessed 18/012026].