‘Smoother Sounds ‘will be an exciting evening of entertainment immersing listeners in the power and creativity of songwriting skills developed by young musicians. This evening of entertainment will take place on Monday 9^th March 2026, and friends and family will be in for a treat having an opportunity to relax, unwind and,catch up, while dancing to the upbeat sounds.  The event will focus on highlighting an extensive range of talent through a collaboration of Leeds Conservatoire ensembles.  Featuring: ‘The Nightingales’, (Jazz quintet, established by Saxophonist Simeon Lord. His childhood was heavily influenced by the expertise of Michael Breckner; and; he now uses his stage presence to the full by reciting personal anecdotes about his musical journey). ‘Jah Glory’ (Reggae mixed with production showing influences from Gregory Isaac’s, UB40, and Bob Marley). Alongside singer and songwriter ‘Isaac Aylward’. (His spotlight performance is focused on blending pop, synth pop, blues, jazz, comedy, and folk). These performances will encourage our musicians to showcase some of their own compositions demonstrating several Instrumental strengths through accompanying and playing or singing solo. This will be clarified through lots of well-established musical techniques taught by expert tutors at the Conservatoire specialising in specific genres.  

 The Attic in Leeds is our choice of venue, associated with providing creative and focused environment, offering a sense of community. As a result, this clarifies our intentions which is catering to the audience’s needs by making them feel involved as much as possible and being welcoming. With this in mind, we will use lighting to create an inviting, warm space by using a selection of decorative gold sparkly lights.  This lounge style encourages socialising and a relaxed feel evoking a traditional and inclusive atmosphere to guests as they enter. Similarly, enhancing engagement before the style and mood of each song is announced. As seen in Figure one, the dark green tones featured on our poster symbolise the importance of musicians working together by how they can distinguish between different sounds and effects.  Therefore, our brand easily stands out as it highlights essential information, while allowing the public to listen and get a feel of styles prior to the concert.   

 Figure 1: Poster advertising our event which will be published to guests from late January. A social post will be attached  

“A fusion of musical characteristics will clearly convey the influence which occurred bringing Jazz to life in Jamaica through the emergence of reggae in the early 1960’s“. (Trippett, P. 2024). This symbolises how Jamaican music can be illustrated as a primary vehicle for cultural expression, allowing time for improvisation. .  The reasoning for this is to create a clear differentiation between sounds paying attention to culture and background within the music industry. “It is important to reiterate that music is a universal language, meaning fewer known languages and musical genres still involve a noticeable amount of energy and emotion connected by the artists.” (Foundation, L. 2022.) 

This can be seen through a variety and combination of three music genres which will tie in well with elevated audience interest offering more variety in sound. This program will include catchy pop sequences and choruses, alongside consistent bass ostinatos creating a sense of momentum and joy. Whereas, reggae has a rich history and is symbolic of Jamaica in the early 1960s. As a result, vocal led interaction and a strong amplified sound will be used to fill the venue illustrating connection through captivating beats. (Movement, J. 2025).  

 The theme of love will be symbolised around each musical style, which will evoke a sense of warmth, reflection, and uplift through the delivery and approach of lyrics.  This will capture a sense of authenticity, allowing the audience to connect deeply with the artists’ intentions and personal stories.  

  Time management:  

My project group combines musical strengths from different fields including classical music, production, and Song writing which brings together a unique set of skills through which we can delegate different tasks to each other to complete based on our individual strengths.  In between weekly lessons we maintain a reliable source of communication through WhatsApp which also proves to be a very accessible way of saving files and images relating to discussions. This ensures that we use time efficiently to the best of our ability, so every stage of the event planning process runs smoothly and effectively.  This begins by being certain about fitting in our concert schedule around the venues opening times. We will arrive at 4pm and assist in loading any equipment belonging to the musicians, following the guidance of our risk assessment. This allows enough time to ensure that all Instruments arrive and are set up prior to the start time, alongside, having time to eat and stay hydrated in between the tech run and starting act. 

Event schedule:  See below.

The actions I am taking include constantly being reliable and punctual within each session, consistently being engaged in discussions, while always trying to be aware in case I need clarity on information ranging from stage manoeuvres, health and safety regulations and artist specifications. Therefore, it is essential to prioritise everyone’s strengths so that we can use the skills that come most natural to us individually. This leads to an ongoing creative skill of feeling comfortable completing tasks but also showing willingness when help is needed.  This is particularly illustrated through the planning promotion stage of our event where roles were assigned equally between musicians within my group. I have utilised project management skills by applying my knowledge and expertise of classical music performance to this project.   My weekly ensemble lessons and rehearsals support my role in the following range of ways: Implementing regular rehearsal days and knowing what repertoire to look at. These skills are transferred over to my duties as a promoter as I aim to supply musicians with all relevant information including time of the event, venue, date, agreement of setlist, and accessing artist technical specifications/ biographies and HD photographs 

To collaborate successfully, actions have been taken efficiently during the beginning of our planning process, including deciding a reasonable price range and choosing a venue that is in close proximity to Leeds city centre. This makes the venue accessible to audience members, with good transportation links.  

We visited The Attic and agreed it works perfectly for our needs providing a well-established PA and lighting system, crucial in making our event stand out. The Attic is “a distinctive and small venue, creating an intimate atmosphere.  Known for a low range of lighting, keeping the focus where it matters. This is matched clearly with a carefully tuned sound system and a bar serving local favourites. It is a venue audiences come for one band but leave with three new obsessions”. (Tourist, C. 2025). Following the confirmation of this venue decision we informed the instrumentalists performing as quickly and concisely as possible confirming our rationale for the decisions made. By communicating in a timely and efficient manner this will be an effective way of collaborating ideas and findings within a certain time schedule. 

 I contacted Simeon, a second-year jazz musician to check his availability and outline a clear overview of the event. We arranged to meet in person where I found out more about his band and musical interests, including how he set up his own band. I also had the opportunity to watch him perform in collaboration with the Leeds Philharmonic Chorus back in June 2025, where he delivered a professional and engaging performance. Through the actions above we communicated efficiently and clearly with the instrumentalists we wanted to involve, meeting in person where possible. “Clear, responsible communication is now in shape across a formal manner, meaning payments are discussed clearly in a substantial amount of time.  I realise vague messages do not give the musicians enough information to decide whether the event will be worth it for them to learn music in time up to a high standard”.  (Etoroma, E. 2020).  

Overall, my role in promoting this gig is to ensure that all musicians have an equal performance time of half an hour alongside a balanced amount of acknowledgement and applause in between acts.  This will be established through a high amount of audience participation. For example, letting the performers decide if they want to add an encore at the end. Singing will be encouraged so that the evening will include the joys of listening but also joining in. Ultimately, highlighting a main purpose of our event which is outlining successes and achievements relating to our musicians’ ambitions and career goals. This is a pivotal aspect in organisation as it will help us to apply our knowledge of gig promotion and timekeeping in the future.

Production: 

We aim to provide a clear breakdown of essential production components including technicalities, logistics, hospitality alongside health and safety covering as many bases as possible to ensure that the event runs safely and smoothly. Firstly, to prevent any hazards, our musicians and bands will have plenty of time to work together across a technical rehearsal and sound check to clarify sound levels; alongside running through transitions between acts ensuring equipment is moved safely and securely into the green room where water and snacks will be kept. We will also work with the venue and instrumentalists to ensure that all musical equipment has up to date electrical service checks and PAT tests. “We understand it is a legal obligation that all electrical systems are maintained to prevent danger. Meaning, a competent person must inspect the instillation regularly in any public place that people work”. (Anderson, A. 2025). Therefore, to prevent any danger or electrical faults, my job as a promoter is to ensure that the venue supplies spare leads in case any appear to be faulty, and having access to a technical person on site to support with any broken equipment. As clarified in the risk assessment, we are aware of certain probabilities relating to injuries caused, meaning wires should only be touched if advised. After the sound check we will spend time experimenting with lighting and effects to enhance the mood by representing a selection of soft glowing lights and visuals. Red will clearly acknowledge passion and a climax in the music. Whereas green corresponds well with our brand linking to musical ambitions. Figure 2 bellow illustrates a selection of gold and silver LED lights which will be situated around the stage; bringing lots of magic and ambience throughout the event.  (Booth, Sleek. 2025). This will bring across a sense of reassurance among the performing musicians ensuring they are part of a relaxed atmosphere get a before the actual gig takes place. 

Figure 2: Stage image

   ‘An idea we will keep on track with is monitoring our audience across the gig and respond accordingly if a drop in engagement suddenly occurs’. (Ruch, D. 2021).   To maintain the uplifted feeling by the end of the night, I will go on stage to everyone who has helped and supported our event, whether it’s the audience, behind the scenes staff, transporting equipment, selling tickets, working behind the bar, sound and lighting crew, as well as thanking the venue manager. We would like to recognise everyone’s efforts including our lecturer Simon Beddoe who has guided us through all our promotional requirements. 

 “Health and safety is a vital issue for working musicians in both the workplace and when travelling to and from gigs”. During our visit to The Attic, we inspected the fire doors and exits for safety and accessibility in emergencies. Most commonly relating to noise, stage cables, are safely taped down, electrical sockets, and slippery floors, and no smoking signs. (Union, M. 2024). These elements can be controlled by being aware of the venue’s safety procedures, following staff rules, and having contact with the relevant first aid lead if needed. The purpose of clear signposted entrances and exits means it will be more convenient handling heavy equipment as easy as possible. Additionally, the audience will be allowed to purchase drinks at any time during the concert as a way of controlling the crowd at the interval. This reinforces elements of safety as we will be adhering to bag searches, ID checks, as well as proof of tickets; operated by a bouncer who works externally to the venue. It is fundamental, that we keep all ticket money secure and obtained as we adhere to our duties during the evening and tidying at the end. 

Contingency plans:  

Our original aim was to highlight an eclectic range of musical styles featuring pop, jazz, reggae, and classical. As a pianist myself, I felt it was right to incorporate a set of Piano classics to differentiate between the upbeat and energised sounds. This would create a more relaxed and impressionistic feel to the evening where self-expression is represented through a mixture of sound variations. It is proven that “listening to music is often enjoyable, profound, and joyous but also good for us by improving memory and boosting overall wellbeing”. (Pentreath, R. 2023). A slight alteration has occurred as the pianist we had in mind is not available to perform. However, this links to our new aspiration of promoting pop spotlighting lots of well-known covers alongside self-composed songs. This is beneficial as each set list will be presented clearly with a grand piano situated centre stage, so a sense of pureness and emotion is captured through sounds, see Figure 3. “The piano is able to communicate the subtlest universal truths by means of wood, metal, and vibrating air”. (Music, M. 2020).   

Figure 3: The Attic’s Grand Piano.

 We still aim to create a sense of bonding between everyone, highlighting togetherness.  The impact of sound will immerse everyone in a collective, and shared experience provoking a powerful and memorable atmosphere. This links to my duties as a promoter reinforcing how live performances hold a unique kind of magic, where a shared sense of excitement and enthusiasm is embodied within the audience. (Beast, M. 2024). 

My classical music studies mean I am normally used to performing and rehearsing for concerts in a more intimate environment, and while I am new to promoting concerts, working with sound engineers, lighting desks, and other technical equipment, I am willing to keep an open mind learning and developing new skills. This leads on to being aware of any potential problems and risks which may occur before the performance commences. For example, it is possible that we get notice outlining that some musicians are no longer able to play.  In this situation, we will advise that one of the other instrumentalist has a choice to play for half an hour solo, or one of us promoters can step in instead showcasing our specialism. Prior to this, we will allow the other groups a longer performance time, providing an agreement is set on extra songs. One of my roles is to ensure that the piano is in tune properly, as it has higher chance of note fluctuations the more it is moved around. This will be overcome by advising Isaac to bring his own keyboard if preferred. Additionally, another potential risk is not making a sufficient amount of money of ticket sales, which will mean a need to discuss an alternative method of payment for our musicians. Luckily, this can be overcome easily by allowing enough time to promote and advertise our event by clearly informing and expressing the structure of the evening and assessing revenue as ticket purchases are made.

Marketing and publicity

We are taking time to consider a range of realistic methods of marketing and fundraising surrounding the Conservatoire. Ideally, a useful selling point is to set up a prize draw by creating a fun spin the wheel post acknowledging who the winner is, where information can be circulated and shared efficiently. Another role of promotion is advertising posters, engaging our community by introducing our event at the beginning of a couple of lectures, and contacting our student union who can advertise our poster on the screens in the cafe bar. The idea of verbally advertising our event is a fundamental way in connecting our ideas and insights to people who are interested, so the overall feel of what the event will bring is anticipated by word of mouth. This approach provides details about setlists and how this may match well to degrees and pathways the students we have spoken to study, as well as encouraging students to support peers performing.   For example, visual footage will include filming an interactive behind the scenes video getting to know our musicians and what they are most looking forward to. To add, a ‘day in the life video’ will capture key tasks we aim to complete on the run up to our gig.  A main point of observation; is creating a unique selling point to Leeds Conservatoire students and staff who may be interested in a night out celebrating the success of the performing musicians. Therefore, my aim is to create strategic marketing plans spreading the word of our event through a mixture of digital uploads alongside designing posters, so a high percentage of people are engaged and aware of our ideologies and reasonings. 

Finance: 

 In this instance, we have decided to sell all tickets at (£6.50), with a potential gross of £1,170 meaning that if we sell 1/3 of the tickets, we will make £390. Between the three artists, it is safe to agree on an insurance payout of £80 for each artist, leaving us with £150 left to pay to the venue. Ideally, if we sell £535 worth of tickets, it will fill around half the room meaning we can pay 15% of total earnings instead of the insurance deal.  The venues maximum capacity is 200, allowing us to take into consideration the number of musicians, lighting and sound specialists, alongside front of house staff before reaching a maximum amount of ticket purchases. (City council, L. 2024).  

Multiple options are available for purchasing tickets making it accessible for everyone. We believe it’s important to consider people’s lifestyles and careers. Therefore, anyone is welcome to come and buy tickets on the door with options to pay either cash or card. For those, who like to book events in advance, the option to access tickets via a link or scan a QR code can be found on our posters providing a quick and easy method for people.  

Conclusion: 

To conclude, my findings and input for promoting a live music event in my final year are indicated by several strengths maintained through my higher education studies, completing a music degree in classical piano. My collaboration for this module is reinforced by daily activities I undertake balancing piano performance and academic writing. Ranging from consistent practice routines, organisation, and advertising social choir events. My current role as a social trustee for the Leeds Philharmonic chorus inspires me to experiment with a range of marketing ideas reaching out to a larger audience demographic. From this, I am thoroughly enjoying being involved and immersed in completing tasks as a promoter, as it is uplifting sharing my pleasure of music with the audience. This conveys that creating a broad sense of entertainment will be central to the audiences participation and enjoyment.

We realise that there can be uncertainty over audience numbers for various reasons Therefore, will clarify our intentions clearly bringing across a meaningful event and thought-provoking experience where we can get a strong insight to our performer’s backgrounds and career leading to how the context, music atmosphere, and experience can be memorable in many ways.  (Cohen, S. 2014).  

Artist Biographies

Isaac Aylward

Emerging in 2021 from Leeds, United Kingdom, Isaac Aylward blends pop, synth pop, blues, jazz, comedy, and folk into his songwriting

Based in Leeds, I’m a pianist and songwriter with lyrics conjured from the ‘everyday’. Ideally, you’ll leave my shows with a chorus in your head, and some sentiment about how its okay if your train’s late, becuase you’re worth more than that

Born in 2004 in Bedfordshire, my Dad taught me piano at an early age, something I’ll forever be grateful for. Since then I’ve been mainly self-taught with the exception of a piano tutor around the time of my GCSE’s (Which were rudely interrupted by the pandemic). I’ve spent the last 4 years at Leeds Conservatoire, where I’ve honed in on both my songwriting and playing abilities,

I feel very lucky to have had the chance to play at the Wardrobe, in Leeds, during the 2025 LCSU Showcase. This opportunity arose after joining the upcoming prog-rock band ‘Darling?’ who trusted me with some wicked synth lines, as well as supporting piano and organ parts. This year I also joined ‘Metora Cliffs’, who feature colourful prog, keytars, big riffs and catchy hooks! We’re headed to the heats of ‘Metal 2 The Masses’ this year, where we’ll be competing to play at the metal festival, Bloodstock.

I’m hugely excited to see my songs leave the practice rooms and head to the stage in 2026, particularly ahead of my performance at The Attic, Leeds, on 9th March!

The Nightingales:

Simeon Lord:
Jazz Saxophonist Simeon Lord comes from a childhood rich with the music of many genres. He is heavily influenced by saxophonist Michael Brecker. Simeon always ties together his performances with personal anecdotes from his life, one where he has moved around much, yearned to help others and continues to make very poor Dad-jokes!
Simeon attended the Royal College of Music’s Junior Department before moving to Leeds where he is studying at the conservatoire. Past performances include playing at the Royal Albert Hall and the 606 Club, with more recent endeavours round venues in Leeds (The Attic, Casa, Northern Guitars, Belgrave Music Hall and Headrow House).

The Nightingales is a jazz quintet sprung into being by the established bandleader Simeon Lord. The musicians met at the local conservatoire, all with a desire to explore earlier works within the jazz idiom.

Various individuals have played with the group, though it consistently features Daniel Harrod on piano, an established player on the Leeds Jazz scene and Simeon’s choice pianist having played together at the Royal Albert Hall and 606 Club, as well as Katherine Loftus who’s gorgeous vocal tone is reminiscent of jazz in the 1920s.

Jah Glory:

Jah Glory writes, sings and creates Reggae music linked with a Caribbean influence. His traditional Reggae style adds a unique voice to create uplifting and catchy songs with a new, clear lyrical content. Nurturing his passion to create music, he began his exposure by performing stage shows Guyana branch of the Twelve Tribes of Israel during their yearly celebrations. His first single ‘Injured Earth’ was played regularly on the radio in Guyana since 2010 in the early morning Inspirational Hour and this was followed by ‘Don’t call my after 9’. Both songs were officially released in 2014 inspiring the UK open University to commission ‘You Can Do It’ to promote Amerindian – community best – practice in the rain forests during the fight against climate change. ‘Jah Glory’ enjoys free – styling, for which he has a natural talent, and has built up a good local following in Newcastle Upon Tyne where he currently resides.

Artist HD Photographs

Risk Assessment

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Reference List

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