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Rationale

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Summary of event 

Our event is ‘Garage Takeover’ hosted at Headrow House, Leeds, taking place on 25 February 2026. The aim of the event is to showcase contemporary UK garage music within a venue that is a part of Leeds’ nightlife culture and already attracts people interested in alternative and underground music. The event is designed to attract a target audience of 18–30-year-olds, particularly students who are active participants in Leeds’ nightlife and fans of UK garage and club music. We also wanted the event to feel welcoming and accessible

In addition to appealing to established garage audiences, the event also aims to attract individuals who may not typically attend garage-specific club nights. This is achieved through accessible ticket pricing, strong visual branding, and targeted marketing that can clearly communicate the atmosphere, quality, and cultural relevance of the event. The intention is to introduce new audiences to the UK garage scene and demonstrate the value of the event experience, while also helping people feel confident about buying a ticket even if they are unfamiliar with the genre. 

Headrow House was selected as the venue due to its strong reputation for hosting similar music events and its 350-person capacity, which is appropriate for our audience demand and budget constraints. Access to a venue hire discount through Leeds Conservatoire further supported the financial viability of this choice and allowed us to hire Headrow House at an affordable price. This made it possible to allocate more of the budget towards artists and marketing, rather than venue costs alone. Alternative venues, including Belgrave Music Hall, were considered during the planning process. However, Headrow House was ultimately chosen due to its closer alignment with the underground music scene and atmosphere that the event aims to create. 

Both Belgrave Music Hall and Headrow House work closely with Superfriends, a well-established events and promotions company within Leeds’ music scene. Communication with the Superfriends team during the planning process further reinforced confidence in the venue choice, as they are recognised locally for their contribution to the city’s nightlife and live music infrastructure. Having their support and guidance helped us feel more confident in our decision-making and planning process. 

Leeds was identified as an ideal host city due to its established garage scene, large student population, and vibrant nightlife, all of which contribute to a strong potential audience base and commercial viability. As a group of Leeds-based students, and as the event organisers, we have an in-depth understanding of the local nightlife landscape, audience behaviour, audience wants and needs, and promotional networks. Hosting the event locally also reduces costs associated with travel, accommodation, and equipment hire, while increasing the likelihood of ticket sales through personal and professional networks. Leeds has a reputation for supporting independent promoters and grassroots venues, which aligns with the event’s aims of showcasing emerging talent and contributing positively to the local music economy. 

The resurgence of UK garage within UK club culture has played a significant role in shaping the concept of this event. Over recent years, UK garage has experienced renewed interest among younger audiences, particularly through social media and club culture. This revival has been driven by both established artists returning to prominence and emerging DJs who reinterpret classic garage sounds for contemporary audiences, making it a relevant and exciting genre to programme. 

The decision to centre the event around UK garage reflects an awareness of current industry trends and audience demand within the live music and nightlife sector. Club events offer lower financial risk compared to large-scale live concerts, while still providing valuable opportunities for audience engagement, artist development, and brand building. They also allow promoters to build a recognisable brand over time. 

Headrow House’s position within Leeds’ nightlife further supports the event’s rationale. The venue is recognised as a cultural hub for alternative and underground music, making it an appropriate setting for a genre that historically exists outside mainstream commercial club spaces. By situating the event within a venue that already attracts a culturally engaged audience, the likelihood of both ticket sales and positive audience reception is increased. 

Time Management and Project Planning 

The event was managed using a backwards planning approach, ensuring that all critical deadlines were met well in advance of the event date. This method allowed sufficient time for artist booking, marketing, and production planning, while reducing the risk of last-minute operational issues. Backwards planning is commonly used within the live music industry, as it supports structured decision-making and helps organisers stay organised throughout the process. 

Key milestones included: 

• 13/11/2025 – Offers sent to artists 

• 16/11/2025 – Event artwork created 

• 17/12/2025 – Event promotion launched on social media and pre-sale tickets released 

• 18/12/2025 – Meta (Instagram/Facebook) advertising campaign launched 

• 19/12/2025 – Early bird tickets released at 10:00 

• 19/12/2025 – Press release distributed to newspapers and magazines 

• 23/12/2025 – Leeds Magazine published an article promoting the event 

• 05/01/2026 – Risk assessment completed at Headrow House 

This structured timeline ensured a consistent promotional build-up while allowing sufficient time to respond to unforeseen challenges. It also ensured that tasks were evenly distributed across the planning period, avoiding excessive pressure closer to the event date and helping the group manage stress more effectively. 

Responsibilities within the organising team were clearly allocated to reflect professional industry practice. Roles included artist liaison, marketing and publicity, financial management, and production coordination. Artist liaison involved issuing formal offers, negotiating fees, collecting technical requirements, and coordinating arrival times. Marketing responsibilities included content creation, scheduling posts, managing paid advertising campaigns, and liaising with press outlets. Financial management involved budget creation, monitoring expenditure, and assessing financial risk throughout the planning process. 

Project management tools such as shared calendars, cloud-based documents, and group messaging platforms were used to maintain consistent communication and record keeping. This ensured that all organisers had access to up-to-date information and supported accountability across the team. 

I think communication has worked very well within the group overall. We set up a WhatsApp group chat, which became the main place for daily communication, quick updates, and decision-making. We also held regular Zoom video calls to talk through specific parts of the planning process in more detail. Our most recent call focused on marketing in the lead-up to the event, which helped ensure everyone was clear on their responsibilities. 

Production Planning 

Technical Production 

Several technical challenges were identified during the production planning stage. Communication issues with artists, including missing contact details for Jae Depz, delayed the process of advancing technical requirements. This highlighted the importance of early confirmation of artist contact information and reinforced the need for clear communication channels in professional event management. 

The event also had a limited load-in window between 22:00 and 23:00, leaving little margin for error when setting up equipment and conducting technical checks. This required careful scheduling and close coordination with venue technicians to ensure that all equipment could be installed and tested efficiently within the time available. 

Additionally, there are no stage barriers at Headrow House. While this supports a more intimate club atmosphere, it also requires additional consideration regarding crowd management and performer safety. These risks were addressed through liaison with venue security and the implementation of appropriate control measures within the risk assessment. 

Another risk we identified was slips, trips, and falls in various areas of the venue, some of which could be made worse by weather conditions. As a group, we carefully looked over the venue to identify all possible risks, including flooring, staircases, cables, and entry points, to ensure these hazards were considered and managed properly. 

Logistical Planning 

Artists are travelling from different locations across the UK, requiring careful coordination of arrival times to ensure the running order is maintained. Clear communication of set times and arrival expectations was essential to minimising delays and ensuring a smooth event flow on the night. 

The event organisers are local to Leeds and will travel to the venue by foot, public transport, or car. Equipment planning involved clearly defining responsibilities between artists and the venue. Artists will provide personal items such as USBs and headphones, while the venue will supply the PA system, DJ decks, and mixers. This division of responsibility reduces the risk of missing equipment and avoids unnecessary duplication. 

One aspect of the planning of this event that I felt was particularly important was creating a contract for our headline act, Jae Depz. This ensures that everyone is clear on the expectations and rules of the event. The contract protects both the artist and us as the promoter. It includes conditions, financial information, deposit terms, cancellation policies, licensing information, billing and programming, advertising and promotion policies, technical equipment requirements, security, catering, and guest list information. The contract was signed by the artist’s management team and returned to us, which gave us reassurance moving forward. 

Hospitality 

Artist hospitality was planned in line with industry standards and budget limitations. Basic riders were provided, including drinks, fruit, and towels. Artists were granted access to dressing rooms from 22:00, allowing adequate time to prepare before their performances. Providing appropriate hospitality helps artists feel supported and respected, which contributes to positive working relationships. 

Health and Safety 

Health and safety considerations were addressed through a formal risk assessment. Identified risks included a non-functioning lift, the absence of a cloakroom, and potential weather-related hazards affecting audience arrival. Certain areas of the venue will be clearly marked to reduce congestion and minimise trip hazards, especially in darker areas of the club. 

Relevant legislation informing the event includes: 

• Health and Safety at Work Act 1974 

• Management of Health and Safety at Work Regulations 1999 

• Licensing Act 2003 

These regulations guide crowd management, fire safety procedures, and the duty of care owed to staff, artists, and attende 

Contingency Planning 

A range of contingency plans were developed to mitigate both operational and financial risk associated with the event. Contingency planning was an essential part of the overall project, as live music events are subject to unpredictable factors such as artist availability, technical issues, and external circumstances beyond the organiser’s control. By identifying potential risks early, we were able to reduce the likelihood of serious disruption and ensure that the event could still run smoothly if issues arose. 

In the event of unexpected venue closure, ticket holders would be informed immediately via email and social media platforms. This would allow information to be shared quickly and clearly, minimising confusion and dissatisfaction. Where possible, refunds would be issued or a rescheduled date offered in line with ticketing platform policies. Clear communication with audiences was prioritised to maintain trust and protect the reputation of the event brand, especially as this is our first event. 

If an artist were to cancel at short notice, a local replacement DJ would be sourced to maintain the event schedule and overall musical quality. Leeds has a strong pool of local DJs within the garage and club music scene, which makes it possible to source suitable replacements quickly. This approach reduces the risk of programme gaps and helps ensure that audience expectations are still met, even if the original lineup changes. 

In the case of equipment failure, backup USBs and essential cables will be available on site, and venue technicians will be present throughout the event to resolve issues efficiently. This reduces downtime between sets and limits disruption to the audience experience. Having technical support available is especially important for a DJ-led event, where equipment reliability is crucial to the success of the night. 

Financial contingencies were also incorporated into the planning process to account for unforeseen costs or reduced ticket sales. A cautious approach was taken when allocating the budget, and contingency allowances were built in to cover unexpected expenses such as additional staffing, last-minute technical needs, or marketing boosts closer to the event date. 

Within our artist contract, clear cancellation terms were included to protect both the artists and us as promoters. In cases of cancellation less than 30 days before the performance, artists are entitled to 50% of the agreed fee. If the event is cancelled 14 days or less before the scheduled date without the approval of the artist, artists are entitled to the full agreed fee for their performance. These terms reflect industry standards and ensure that artists are treated fairly, particularly given the financial impact that short-notice cancellations can have on performers. 

We wanted to make sure our policies were fair and prioritised both our artists and our customers. By being transparent and professional in our contractual agreements, we aim to build trust and long-term working relationships with artists, which is essential for future events. 

Any loss or damage to the artist’s equipment once at the site of engagement is the direct financial responsibility of us, the promoter. To minimise the risk of this occurring, we have planned for proper transportation of equipment, secure storage at the venue, and a clear technical specification shared with all parties in advance. These measures help ensure accountability and reduce the likelihood of disputes or unexpected costs. 

Finance 

The financial plan for the event was designed to remain cost-effective while maintaining professional standards throughout all areas of delivery. Budgeting was approached carefully to ensure that essential costs were covered while avoiding unnecessary expenditure. Key areas of expenditure included: 

• Venue hire: £240 

• Artist fees: Agreed individual payments 

• Hospitality riders: £25 

• Artwork: £30 

• Marketing: Budget allocated to Meta advertisements 

Ticket pricing was structured across multiple tiers to encourage early sales and generate early cash flow, which is important for covering upfront costs such as venue hire and marketing. The ticket tiers were as follows: 

• Pre-sale: £5 

• Early bird: £6.50 

• Standard: £8 

• Final release: £10 

This tiered pricing strategy was designed to reward early commitment from audiences while gradually increasing ticket prices closer to the event date. A conservative approach was taken when assessing the break-even point, with planning based on achieving approximately 60–65% capacity. This reduced financial exposure and ensured that essential costs could be covered without relying on a sold-out event. 

Investment in paid social media advertising was justified as a strategic tool for increasing visibility, targeting relevant demographics, and improving ticket sales efficiency. Meta advertisements allowed us to specifically target 18–30-year-olds in Leeds with interests in garage, club music, and nightlife, making the marketing spend more effective. 

We created a detailed budgeting spreadsheet to keep track of all costs. This included venue hire, artist costs, marketing costs, artwork costs, and additional expenses such as wristbands, which will be used on the night to identify ticket holders and allow re-entry. This system helps prevent potential conflicts at the door and supports smoother crowd management during the event. 

We also made space in the budget for artist travel costs, although these were initially estimated. After the event, artists will be asked to provide receipts for their travel expenses to ensure accurate reimbursement. This approach balances fairness for artists with financial control for the event organisers. 

When planning ticket release strategies, we aimed to stand out from other events in Leeds by offering competitive pricing. The early bird ticket price of £6.50 and pre-sale price of £5 were intended to attract interest and encourage early commitment. However, we did not sell many pre-sale tickets. On reflection, this may have been overly ambitious, as we are not yet a well-established or trusted events company in Leeds. As this is our first event, audience confidence may not yet be strong enough to support pre-sale ticketing. This is something we would reconsider and potentially revise for future events. 

Marketing and Publicity 

Social Media Marketing 

Instagram was the primary marketing platform for the event, as it aligns closely with our target audience and allows for visually engaging promotional content. Initial posts introduced the event brand and concept, helping to establish a clear identity and communicate the atmosphere of the night. This was followed by artist spotlight content, which helped build familiarity with the lineup and increase audience interest. 

Collaborative posts between Eclipse Events and the artists were used to maximise reach by exposing the event to multiple audiences. This strategy was particularly effective in expanding visibility beyond our immediate network and tapping into existing fan bases. 

Video content proved especially successful, with one post by Emily Jackos receiving 355 likes, demonstrating strong audience engagement. This highlighted the importance of dynamic and visually engaging content when promoting club events. Additional content is planned closer to the event date to build anticipation and encourage last-minute ticket purchases. 

We have also created an extensive list of social media content ideas to maximise promotional success. These include short-form video content for TikTok and Instagram Reels, such as interacting with members of the public and asking what they want from a night out, followed by explanations of how our event meets these expectations. Through researching current TikTok trends and social media themes, we curated over 30 content ideas to be released in the lead-up to the event, ensuring consistent and varied promotion. 

Physical Promotion 

Physical promotion will include posters displayed at Leeds Conservatoire, independent shops, record stores, cafés, takeaway venues, and selected toilet spaces where legally permitted and with owner consent. This approach helps target audiences who may not engage heavily with social media and reinforces the event’s presence within the local community. 

For artwork, we experimented with Adobe After Effects to create a strong visual brand for the event. The design was kept simple and easy to understand, with clear information and consistent visual motifs across posters and flyers. This consistency supports brand recognition and helps the event stand out in a competitive nightlife environment. 

Evaluation

This project provided valuable insight into the strategic and operational challenges involved in planning a live music event at a professional level. One of the key strengths of the project was the alignment between the event concept, venue choice, and target audience, which supported both artistic aims and commercial viability. 

The planning of this project provided insight into the strategies and challenges involved in organising a club night. As someone with very little prior knowledge of garage music and the Leeds scene, researching similar events, discovering emerging artists, and learning about relevant venues was particularly valuable. This process represented a significant learning experience and helped broaden my understanding of local music culture. 

I believe a key strength of the project was the strong alignment between the chosen event concept, target audience, and venue choice. This combination supported our artistic vision while also contributing to the commercial viability of the event. 

We faced several challenges related to communication delays between team members, artists, and managers. Experiencing these issues highlighted the importance of early information gathering and effective contingency planning. In future projects, this would be prioritised earlier in the planning process. 

This project was also an opportunity to understand the legal and practical importance of risk assessment and risk management. Completing the risk assessment with Andrew at Headrow House revealed many considerations that I had not previously been aware of. However, I felt confident in my ability to contribute effectively due to prior research into health and safety legislation and reviewing example risk assessments from similar music events. This ensured that the safety of all participants could be prioritised. 

Professionally, this project enhanced our group’s skills in budgeting, production planning, communication, and marketing strategies. We gained valuable experience that can be applied to future event planning. Personally, the project increased my confidence in managing live music events and improved my understanding of industry expectations, policies, and professional standards. In future events, gaining earlier confirmation of technical requirements and allowing more time for press engagement would further strengthen the planning process. 

Technical Specifications

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Press Kit

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Press release

Replace this example with your press release as a PDF.