After this, we decided to start delegating specific roles to each member, which proved highly beneficial for effective time management. Each member understood their role and what was expected of them, allowing tasks to be completed more efficiently. Oliver was writing the gig proposal, Toni was designing a moodboard for the promotional material, Tommy was communicating with the venue, Kurtis and I were sourcing the artists’ tech specs and information, and Matthew was handling finances. This parallel working structure significantly reduced the overall time needed to complete the project compared to if everyone were working on the same task together. In addition, assigning roles increased accountability because each task had a designated person responsible for it, deadlines were more likely to be met, and progress was easier to track. If issues arose, the group knew exactly who to contact, which saved time and prevented delays.

Once Toni had finished designing the moodboard, our group reviewed our progress and realised that we were ahead of schedule, having completed our delegated tasks earlier than expected. Rather than leaving this extra time unused, we made a collective decision to use it productively by having all group members design bits and pieces of promotional material. By working on the promo simultaneously, we were able to generate multiple design ideas in a short period of time instead of relying on just one person. This ensured no time was wasted waiting for feedback or revisions before moving forward. Once everyone had completed their designs, we compared the posters as a group and discussed the strengths of each one. This allowed us to select the strongest elements and choose the best overall design efficiently. We also created posters for both support acts, which were better suited to their respective audiences. In the end, everyone contributed great ideas, and our promo was of much higher quality as a result of this collaborative effort.

Production

Finding the technical specifications for each of the artists performing at our gig was a straightforward process, which greatly helped our project run smoothly. One key reason for this efficiency was that our Live Music Management group included at least one member of each band performing. As these members were familiar with the requirements, we provided all the necessary information about the required equipment, setup, and technical needs very quickly. This eliminated the need for lengthy research or back-and-forth communication with the artists, which made the process much simpler and more reliable. Additionally, sourcing the required equipment posed no difficulties because our group already owned everything the bands needed.

My group will be using my car to transport any necessary equipment from the conservatoire to Hyde Park Book Club, as it is the most practical and reliable option available to us. Having access to a personal vehicle allows us to move equipment efficiently without relying on public transport, which could be impractical due to the size and weight of certain items. This ensures that all equipment arrives safely and on time for setup. Using my car also helps us maintain control over the handling of the equipment, reducing the risk of damage during transit. In addition, having a dedicated vehicle means we can make multiple trips if required and adjust our schedule if any last-minute changes occur. Fuel costs have also been considered to ensure fairness.

On the day of the show, a member of our group will be in each of the bands, which is great for clear communication so they can be well looked after before, during, and after the event. Bands will be provided with information about arrival times, set lengths, soundcheck schedules and venue info in advance, which will help everyone involved feel prepared and confident ahead of the day. We will make sure the bands are welcomed on arrival and shown where to unload equipment, set up on stage and store personal belongings safely. We will also provide bottles of water in the green room to make sure all performers are well hydrated. After performances, we will assist with pack-down and loading equipment. Any lifts that need doing will be done by me, which is more than okay, as every band is based in Leeds. With this plan, we aim to create a supportive and organised environment that helps everyone perform at their best.

When organising this event, my group completed a full risk assessment to ensure the well-being of both the audience and performers. This allowed us to identify potential hazards and put appropriate control measures in place. One of the main risks identified was the need for effective first aid procedures. To address this, we checked that trained first aiders would be present at the venue and checked what the venue’s first aid procedures were. All group members were informed of the procedures to follow and who to notify in the event of an accident or medical emergency. Another significant risk considered was indoor temperature, mainly due to the heat generated by large crowds and stage lighting. We plan to check that the venue’s air conditioners and heaters are in working order, with easy access to doors and windows for the audience. Free access to water will also be arranged to reduce the risk of dehydration, as well as towels for the artists on stage. Venue overcrowding was the third major risk highlighted in our assesment. To control this, we are adhering strictly to the venue’s maximum capacity of 160. Staff members will be monitoring crowd numbers and movement to prevent congestion. We have also gathered Hyde Park Book Club’s risk assessment to use alongside our own, to check our event planning aligned with the venue’s safety requirements, which helped us avoid overlooking key safety issues and put appropriate control measures in place, contributing to a safer and co-ordinated show.

Contigency Plans

When organising this gig, my group developed several contigency plans to assure the event could still run smoothly if unexpected issues occured. Planning for potential problems in advance allowed us to reduce disruption and respond calmly and professionally if challenges arose. As Pooja Agnihotri says in her book, 17 Reasons Why Businesses Fail, “Not having a contingency plan or never performing risk analysis and mitigation activities is like not having an insurance plan for yourself.”

One major contigency we considered was the possibility of venue closure or last-minute unavailability. In this situation, we identified alternative local venues (such as The Fox and Newt, Wharf Chambers and The Fenton) that could potentially host the event at short notice with a cheaper venue hire then Hyde Park Book Club. We have clear communication methods to quickly inform artists and audience members of any changes via social media, the WhatsApp group and direct contact with the bands. Ticket holders would be updated immediately with new details or refund options if rescheduling was necessary.

Artist cancellation was another key risk addressed in our planning. To manage this, we ensured flexibility within the running order, allowing set times to be adjusted if one band was unable to perform. Sourcing new bands at short notice would be easy as our group includes other bands (such as No Good Loud, Clazzers and Ludvik Langholm) that included only members based in Leeds and the use of my car insures that we have easily accesible, alternate transporation methods if needed. Maintaining regular communication with the bands leading up to the event helps reduce the likelihood of unexpected cancellations.

Potential equipment failure was also carefully considered, as technical issues could significantly affect the quality of the performance. To minimise this risk, all equipment will be tested prior to the event, and spare cables, microphones and stands will be available on the day via the Leeds Conservatoire Equipment Desk. As the bands already own most of the equipment being used, replacements can be sourced quickly if required.

Finance

During planning for this event, we carefully justified all financial decisions to ensure the gig remained affordable while covering essential costs. Our overall approach focused on minimising unnecessary expenses, managing financial risk and creating a fair arrangement for both the promoters and the artists involved.

The ticket pricing structure was set at £5 in advance and £8 on the door. This decision was based on research into similar local and student-run gigs, making sure the price was accessible to our target audience while still allowing us to generate sufficient income. This price range gives us a goal of 42 tickets to break even which we believe to be very doable. We estimate that we will sell 80 tickets which gives us an estimated net profit of £270 with potential to reach £942 if we sell out. The lower advance price also encouraged early ticket sales, helping us better predict attendance and cash flow, while the higher on the door price incentivised advance purchases. We have also purchased a virtual card machine that allows us to do quick contactless payments which reduces cash handling, lowering the risk of loss or theft.

Transport costs are kept to a minimum by using my car to move equipment from the conservatoire to the venue. This was the cheapest and most practical option available, avoiding the need to rely on taxis or buses. By using a personal vehicle, we significantly reduced transport expenses while keeping flexibility with timings.

Artist deals were structured to be as fair and financially sustainable as possible. All money made from the event will be split 50/50 between the artists and the promoters. This split arrangement reduces upfront costs and financial risks while ensuring artists are rewarded directly based on turnout. It also encourages mutual promotion as both parties benefit equally from ticket sales, however this was less of an issue in our case as half the promotion team are in the bands.

Funding for the event relies primarily on ticket income rather than external funding. To battle this, marketing costs were kept low by focusing on social media promotion, digital posters and audience engagement through the bands’ existing fanbases. Any printing was carefully limited to our conservatoire print limits to stay within budget.

Marketing and Publicity

When planning the promotion for our event, my group focused on combining digital and physical marketing methods to maximise visibility while remaining cost-effective. A mix of real and social media promotion creates a strong consistent promotional strategy that ensures we reach the full range of our target audience.

Social media promotion plays a central role in our marketing strategy. We plan to use platforms such as Instagram and Tiktok to promote the event through regular posts, stories and countdowns. Content will include event announcements, lineup reveals and reminders leading up to the show. Each band will be encouraged to share posts across their own social media channels, allowing us to reach more fanbases and significantly increase audience engagement. Social media also allows us to interact directly with potential attendees through comments, shares and messages.

Digital and physical posters were another key aspect of our publicity plan. Digital posters have been designed for online sharing and were optimised for social media pages. We are first announcing the gig on the 8th of Janurary, ahead of the 19th ticket release day to ensure excitement builds. Physical posters will be printed and displayed around the various university campuses aswell as local venues, shops and noticeboards. This ensures visibility among students and local music fans who may not be reached through social media alone. Additionally, we have created separate posters for each band, using their respective imagery and branding. This allowed each artist’s identity to be clearly represented while maintaining overall event branding. These individual posters will be shared by the bands themselves a bit closer to the gig then the main poster, helping the promotion feel authentic, staggered and tailored to different audiences.

To add depth to our promotion, we plan to conduct short band interviews. These interviews will provide audiences with insight into each artists’ style, influences and expectations for the show. Sharing this content online will help build a stronger connection between the bands and the audience, making the event feel more personal and engaging. We also have been in contact with a music photographer who creates a magazine on the local music scene and the artists who bring it to life. She would love to capture the performance for the magazine which further improves audience engagement and outreach. As Simon Sinek, marketing expert, says “People don’t buy what you do, they buy why you do it”.

Conclusion

Overall, the planning and organisation of our event has been highly successful, demonstrating a professional and well-thought out approach to live music promotion. From the inital concept to the detailed planning, each stage of the process was carefully considered to ensure the event is both creatively strong and practically achievable. By working collaboratively and communicating effectively, our group was able to meet all requirements of the project while maintaing a clear artistic vision. One of the key strengths of our planning was effective time management. Early decisions about communication methods, venue selection and role delegation allowed the project to progress smoothly and remain on schedule. Having direct links to each band made sourcing technical specifications quick and reliable, while access to equipment and transport through personal resources reduced costs and logistical complications. These measures help create a professional environment that supports strong performances and positive relationships with artists. Health and safety planning was another area in which our preperation proved successful. Completing a detailed risk assesment while working alongside the venue’s own documents ensured potential hazards were identified and controlled. Our contingency planning further reflects the thoroughness of our group. By preparing for venue issues, artist cancellation and equipment failure, we reduced the likelihood of disruption and ensured the event could adapt to unforseen challenges. This proactive approach demonstrates professionalism and an understanding of the unpredictable natue of live events. Finally, our financial planning and marketing strategies show that the event is both sustainable and well promoted. Fair ticket pricing, low-cost transport, balanced artist deals and targeted marketing methods allow us to maximise attendence while managing financial risk. Overall, the succesfull integration of creative vision, practical planning and teamwork highlights the effectiveness of our approach and confirms that our planning process has been both successful and appropriate for delivering a high-quality live music event.

Artist Biographies

TONII – Tonii is a singer-songwriter and producer who blends nostalgia and futurism through live electronic performance, creating the perfect songs to cry dance to. Inspired by Griff, Imogen Heap and Charli XCX, she balances electro pop with transcendent harmony. Tonii crafts immersive sonic soundscapes that transport her listeners – building something entirely her own, both emotionally and sonically.

DEFF60 – Deff60 is commited to making tunes of MAXIMUM POWER, 100% VELOCITY and TURBO OVERDRIVE

SHOTBUNGULLET – ShotbunGullet are live hardcore junglists who highlight the performance side of electronic music, fusing traditional instruments with electronics.

Artist HD Photographs

Risk Assessment

Additional Material

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References

Sinek, S. (2018). Start With Why. [online] Start With Why. Available at: https://simonsinek.com/.

Agnihotri, P. (2021). 17 Reasons Why Businesses Fail: Unscrew Yourself from Business Failure.