SHR6E037P~001 GLA23085876 Portfolio: Event Planning

Event Overview & Rationale

Eclypse Presents: Garage Takeover is an anticipated live UKG event scheduled for Wednesday, 25th February 2026, at Headrow House. This event is the result of collaborative planning and marks the launch of Eclypse Events, an independent collective that delivers genre-specific live music experiences within the UK grassroots sector. It is designed as a late-night club concept showcasing garage and bass-driven electronic music, thoughtfully tailored to the venue’s capacity and target audience.

We have embraced a DJ-led concept in response to contemporary practices in electronic music promotion and the evolving ways audiences engage with nightlife. Rather than emphasising a single headline act, our focus will be on creating continuity through multiple DJ sets throughout the night, ensuring sustained energy and flow. This approach corresponds to the experience of electronic music audiences, who often view live events as part of a larger night out, where the overall atmosphere takes precedence over individual performances. In a post-pandemic context, DJ-led events entail increased economic and operational risks, underscoring the importance of careful planning and realistic event scale (Marshall and Whitfield, 2024).

Headrow House was selected for its reputation as an established local venue and for its experience hosting club nights. Its in-house sound system, lighting, and technical staff uphold an efficient, financially sustainable production model, reducing the need for external hires while maintaining professional standards. This choice reflects the broader pressures faced by grassroots promoters, as rising production and staffing costs necessitate a more sustainable procedure for event organising.

The lineup for Garage Takeover has been carefully curated to balance emerging and established artists across the UK garage and bass scenes, featuring Jae Depz, Emily Jacko, AJ., and Leeds-based GREENHOUSE (See Appendix 1). This selection reflects a shared curatorial philosophy within the group, aiming to support scene development and establish credibility without depending too heavily on commercial popularity.

From a planning perspective, the event is viewed not just as an academic project but also as a professional live-music operation. The planning procedure involved structured decision-making around the event format, venue selection, scheduling, and scale, guided by realistic assessments of production requirements, finances, marketing, and risk. In this way, Garage Takeover operates not only as a live music event but also as a practical demonstration of the organisation and professional judgement required to stage an event in the current UK grassroots environment.

Time Management & Project Management

The time and project management for Garage Takeover adhered to an industry-standard workflow that began with backward planning from our fixed event date of February 25th, 2026. We initiated the planning phase in October and November 2025, focusing on early decisions that prioritised tasks and mitigated operational risks. The team viewed time management as an active process, sequencing tasks intentionally rather than executing them in isolation.

During the initial planning phase, SMART objectives were defined to control scope and timing (Boogaard, 2023). We articulated the venue selection as a specific, time-bound objective to be completed by October 2025. Delaying this decision could disrupt artist bookings and budget allocations. The team evaluated alternative venues, such as Belgrave Music Hall, but ultimately selected Headrow House within the set timeframe due to its in-house technical provisions and manageable operational costs. Finalising the venue early ensured the objective was achievable within the available planning window and aligned with the event format.

The preparation for booking artists became the first measurable dependency. In October 2025, the team created a spreadsheet to assess potential artists against specific criteria, including genre compatibility, highlight performances, agency, and their most recent Leeds performance (See Appendix 2). This approach allowed us to measure progress by confirming bookings rather than relying on informal expressions of interest. We issued formal offers via email on November 13th, 2025, establishing a clear deadline to keep booking discussions focused. By prioritising the artists, the team supported realistic scheduling and informed subsequent decisions on artwork, marketing, and ticket pricing.

Once we confirmed the bookings, we designated artwork production as a fixed and time-bound objective, completing it on November 16th, 2025. This strategic sequencing minimised the risk of rework and ensured consistency across all marketing channels. The team launched marketing campaigns along a staged timeline. Promoting presale tickets and social media content starting on December 17th, 2025, providing a measurable baseline for audience engagement. Paid advertising on Meta began on December 18th, 2025, allowing the group to evaluate initial responses before committing more resources. Early-bird tickets were released at 10:00 AM on December 19th, 2025, serving both as a time-sensitive incentive and a way to boost early cash flow.

We incorporated press outreach into our overall timeline instead of treating it as a separate task. By distributing press releases on December 19th, 2025, we garnered coverage in Leeds Magazine on December 23rd, 2025. This external validation proved beneficial during the early sales phase and helped to sustain our marketing momentum.

To prevent production planning from being pushed to the last stages, the team also planned it in parallel with marketing. On January 5th, 2026, we completed a formal risk assessment at Headrow House following a review of the technical requirements. Addressing this objective early ensured that health and safety considerations informed final event preparations rather than being tackled reactively.

Applying SMART principles to time management enabled the team to prioritise tasks effectively, set clear deadlines, and measure progress against tangible outcomes. This methodology facilitated effective sequencing, reduced uncertainty, and allowed for coordinated workflows across the group. The use of documented timelines and spreadsheets reflected our professional planning, record-keeping, and consistent time management.

Production Development

Technical Production

Production planning for Garage Takeover was structured to deliver a professional-standard event while remaining aligned with the operational realities of a grassroots venue. Technical decisions prioritised reliability and cost control rather than overproduction.

The event will utilise Headrow House’s in-house PA and lighting systems, as detailed in the technical specification (See Appendix 3). This approach ensures full compatibility with the venue infrastructure and reduces costs associated with external equipment hire. The DJ setup consists of four Pioneer CDJ-3000 players and a Pioneer DJM-900NXS2 mixer. Equipment will be networked via an eight-port gigabit switch using Cat5e or Cat6 cabling, with firmware updated before the event. Each player will be connected using both digital and analogue signal paths to provide redundancy in the event of signal failure.

Monitoring will be provided via two high-powered booth monitors connected to the mixer’s booth output, with sub-bass reinforcement to ensure accurate low-frequency monitoring. The DJ booth will be positioned on a secure LiteDeck table with a minimum height of 100 cm to withstand movement during performances. Access to the booth will be restricted to artists, their representatives, and authorised crew to minimise risk.

Sound will be delivered through a multi-speaker system operating in stereo throughout the event, as mono playback is unsuitable for this genre. An in-house sound engineer will be present from load-in through load-out to oversee system performance and respond to technical issues. Lighting will be delivered using the venue’s in-house rig, with programmed state changes occurring at least every minute to maintain visual energy. Where available, ShowKontrol may be used to synchronise lighting changes with DJ equipment. Optional production enhancements, including high-end strobe units, have been identified as scalable additions dependent on ticket sales.

Load-in and soundcheck are scheduled between 22:00 and 23:00, immediately prior to doors opening. The shared DJ setup enables efficient changeovers throughout the night, supporting uninterrupted programming from 23:00 until the 03:00 curfew.

Logistics & Scheduling

Load-in and soundcheck are scheduled between 22:00 and 23:00, immediately before doors opening, as outlined in the event advance (See Appendix 4). Doors open at 23:00, with continuous programming structured around agreed set times: Emily Jacko from 23:00 to 00:00, AJ. from 00:00 to 01:00, Jae Depz from 01:00 to 02:00, and GREENHOUSE from 02:00 to 03:00. The event will comply with the venue curfew of 03:00.

The shared DJ setup minimises changeover time and reduces technical risk during transitions. Front-of-house flow, access routes, and staffing positions were coordinated with venue management to support smooth audience movement throughout the night.

Hospitality & Artist Care

Artist care has been approached as a professional obligation rather than an informal courtesy. Dressing room access will be available from 22:00. With Jae Depz being the only artist providing their rider, hospitality requirements are minimal, including bottled water, alcohol-free drinks, fresh fruit, and basic snacks (Appendix 3). Ice and cups will be provided in the dressing room.

Glassware is restricted to the green room only. We, as promoters, will supply towels. No merchandise sales are planned, reducing congestion and staffing demands (See Appendix 4).

Health & Safety

The completed risk assessment supports health and safety planning. Security staff will be positioned at the venue entrance, backstage access points, and key audience areas. Fire extinguishers will be in place and compliant with local regulations. No special effects, risers, or additional staging will be used. Restrictions on photography and video recording will be enforced in line with artist agreements. Full details are provided in the risk assessment documentation (See Appendix 5).

Finance & Costings

Financial planning is centred on efficiency and risk management rather than maximising profits. This approach symbolises the unpredictable nature of promoting small-scale live music events. All economic decisions relied on break-even calculations, cash flow understanding, and shared responsibility among the six members of Eclypse Events.

The total projected cost for the event is £987, which includes both fixed and variable expenses. Fixed costs cover venue hire at £200 plus £40 VAT, artist fees, and core travel and rider costs. The total for artist-related expenses is £555, which includes performance fees, travel, and rider provisions for all booked artists. Once contracts were signed, these costs became non-negotiable. Recognising the importance of careful income forecasting and early budgeting.

Variable costs are kept to a minimum and concentrated on necessities. Marketing expenses include £150 for Meta advertising and £30 for artwork and digital content. Operational materials cost £12 for wristbands needed for access control on the night. Since these variable costs are discretionary and scalable, we can adjust spending based on ticket sales. We did not include any external production hires or additional staffing, as sound, lighting, and engineering are included in the venue hire. This dramatically reduces our financial risk.

To minimise upfront financial risk, we divided fixed costs evenly among the six promoters. Each promoter contributes about £165 to cover core expenses. This shared-cost model reduces personal financial risk, spreads the burden, and allows the event to go ahead without relying on ticket sales.

The only source of income for the event is ticket sales. Tickets are sold on three platforms: Resident Advisor, DICE, and Fatsoma. We have three different price tiers to meet audience expectations and encourage early purchases. Early-bird tickets are £6.50, general release tickets are £8.00, and final release tickets are £10.00. Based on our projections, we expect to make £2,991.50 from selling 323 tickets. We break even at approximately 128 tickets sold, a realistic target below full capacity.

At full capacity, the event is projected to generate a gross profit of approximately £1,404.50, equating to around £234 per promoter once shared upfront costs have been recouped. This surplus is not treated as a primary objective but as a financial buffer against volatility within the grassroots sector. Planning for profit in this way allows the event to cover unforeseen costs, mitigate financial risk, and support reinvestment in future Eclypse Events projects. All economic and costing information is included in a spreadsheet (See Appendix 6).

Marketing & Publicity Strategy

Target Audience & Positioning

Based on platform analytics and local scene awareness, a well-defined audience profile served as the foundation for the marketing strategy. Leeds residents aged 18 to 30 who actively participate in UK garage, bassline, and late-night club culture make up the primary target audience. This audience typically discovers events through social media rather than traditional advertising. Research indicates that the UK Gen Z population spends an average of 10.5 hours a day online. As a result, a large percentage of marketing initiatives targeting this generation are also carried out online (IBTM World, 2022).

Instagram analytics from the @eclypseeventsuk account indicate that 84.6% of total views (See Appendix 7) were generated by non-followers, demonstrating effective reach beyond the collective’s immediate network and into wider genre communities. Posts featuring artist imagery and lineup announcements performed best, with individual pieces achieving between 2,600 and 6,900 views (See Appendix 7). This confirms that the audience responds most strongly to recognisable artists and concise event messaging rather than abstract promotional content.

Emphasis was placed on lineup credibility, genre clarity, and alignment with Headrow House to meet the expectations of established club audiences.

Marketing Channels

Instagram was prioritised as the primary marketing channel due to its dominance within electronic music discovery and nightlife. Over the 90-day campaign period (22 October to 19 January), the account generated 22,765 total views (See Appendix 7). Posts accounted for 79.8% of total views (See Appendix 7), drastically outperforming reels and stories, which informed the decision to focus resources on high-quality feed content.

Once organic engagement was established, a controlled £150 Meta advertising budget was added to increase reach. This spend was targeted geographically and by interest, focusing on users in Leeds with demonstrated engagement in club culture and electronic music. The limited reliance on paid ads reflects a risk-aware approach, ensuring marketing spend remained proportionate to projected ticket income.

In addition to Instagram, accounts were created on Facebook, TikTok, and YouTube (See Appendix 8) to expand the digital footprint. However, these platforms were treated as secondary channels. Facebook supported event visibility and listings, while YouTube was established as a future-facing archive for long-form content. As the event date approaches, Maya Bullock and I plan to post more TikTok content, focusing on short-form engagement such as artist clips, countdown content, and behind-the-scenes footage.

To support sales, a hoo.be link (See Appendix 8) was placed in the Instagram bio, consolidating ticket links across RA, DICE, and Fatsoma. This reduced the delay between discovery and purchase and enabled users to access all ticket platforms from a single call to action.

The event’s reach was further expanded through amplification via artist networks, strengthening its legitimacy and integrating it into existing local scene pathways.

Press & Assets

All marketing assets were created collaboratively and managed using a shared Google Drive to ensure consistency. Promoter Luca Bryant was responsible for creating the final artwork and visual assets (See Appendix 9), as he was the only team member with access to Adobe Creative Cloud. The rest of the team contributed through collective feedback and refinement, ensuring that the final visuals aligned with the event’s branding, genre positioning, and audience expectations.

In addition to digital promotion, we are implementing physical marketing strategies to increase local visibility. Posters will be printed and distributed with permission throughout Leeds Conservatoire, and we are also seeking approval from the University of Leeds for additional placements on campus. We are reaching out to independent local businesses to support wider poster distribution across the city and reinforce the event’s presence beyond social media.

Leeds Magazine published a formal press release, which provided third-party endorsement during the early ticket sales period (See Appendix 10). Furthermore, Gryphon News at the University of Leeds confirmed plans to promote the event, extending our reach into student media networks.

Contingency Planning

We developed a contingency plan by assessing risks based on likelihood and impact, ensuring our responses were appropriate for the scale of the grassroots event. Our goal was to manage any disruptions without compromising safety, professionalism, or the overall delivery of the event.

One identified risk was venue cancellation, which we considered a low-likelihood but high-impact scenario. To mitigate this risk, we established a backup plan with Belgrave Music Hall, a comparable venue that has the necessary technical setup and audience profile. This venue will serve as a viable alternative if Headrow House becomes unavailable, depending on its availability and any adjusted operational terms.

To address the possibility of an artist withdrawal, particularly regarding headliner Jae Depz, we leveraged our relationships with the artist’s booking agent. If the headliner is unable to perform, our plan allows us to quickly secure a replacement from the same agency and within the same genre, ensuring programming consistency. This strategy minimises delays and keeps replacement costs within a similar range. For support artists, we identified potential replacements based on interest expressed after the event announcement, creating a network of alternatives that fit within similar price points and genres.

To prevent technical failures or equipment issues, we prioritised using in-house DJ equipment at Headrow House. Should any equipment malfunction or become unavailable, we can hire or borrow compatible equipment from Belgrave Music Hall. Any last-minute technical failures will be discussed directly with venue management to determine shared liability or cost coverage.

We also recognised low ticket sales as a potential risk, especially in the current live music climate. Our financial model aims to mitigate this risk by keeping production costs lean and scalable. If ticket sales fall short, we will proceed with the event at a reduced margin rather than cancel and use post-event evaluations to identify any marketing or scheduling issues.

To prioritise health and safety contingencies, we have implemented measures such as pre-event venue walkthroughs, fire exit inspections, employee ear protection, and the use of white gaffer tape to mark stage edges. Additionally, we have agreed in advance with venue staff on crowd control, intoxication, and emergency protocols to ensure we meet our duty of care obligations throughout the event (See Appendix 5).

Evaluation & Reflection

This project demonstrated the effective use of industry research, structured planning, and collaboration within a grassroots live music context. Research on audience behaviour, venue operations, and financial risks in the UK live music sector informed our decisions regarding event format, scale, and delivery. These insights led to a DJ-led structure, reliance on in-house production, and a cautious financial model designed to remain viable under varying market conditions.

The team’s development followed Tuckman’s stages of group development (West Chester University, 2024). In the initial forming phase, we established a clear structure and direction, which facilitated efficient decision-making related to venue selection, artist booking, and production scope. Although we experienced some limited storming during discussions about creativity and workload, these issues were resolved through regular communication and clearly defined responsibilities. As planning progressed, we moved into the norming stage, characterised by shared problem-solving, routine check-ins, and mutual accountability. By the time we reached the performing stage, our workflows had become self-directed, with coordinated progress across production, finance, and marketing, all while adhering to deadlines.

Key strengths of the project include realistic budgeting, an evidence-based marketing strategy and a strong press release (Appendix 11). Challenges included responding to uncertainties in ticket sales and balancing workloads alongside external commitments. Overall, the project demonstrates professional readiness, showcasing skills in negotiation, scheduling, risk awareness, and clear communication within the live events environment.

Reference List

Boogaard, K. (2023) How to write SMART goals. Atlassian. Available online: https://www.atlassian.com/blog/productivity/how-to-write-smart-goals.

IBTM World (2022) How to Engage Gen Z When Planning Events | IBTM World. www.ibtmworld.com. Available online: https://www.ibtmworld.com/en-gb/blog/event-management/engage-gen-z-events.html.

Marshall, L. and Whitfield, M. (2024) ‘I Felt Like a Normal Human Being’: Professional DJs’ Experiences of the COVID-19 Lockdowns. Popular Music and Society, 47(3), 275–294.

West Chester University (2024) Tuckman’s stages of group development. West Chester University. Available online: https://www.wcupa.edu/coral/tuckmanStagesGroupDelvelopment.aspx.