Summary Of Event

‘Romy Taylor & Friends’ Presents: Human Nature single release show, at Brudenell Social Club, 17th March, with support from Lauren Mikki and Emma Coates

This event will consist of three live band acts, with myself headlining, to celebrate the release of the title track of my upcoming EP ‘Human Nature’. In the following paragraphs, I will explain in detail how we arranged the planning process in this event, providing sources and the appropriate use of research to validate the decisions we made individually and collectively within the group. 

I teamed up with students Bradley Cobb, James Morris, Jethro Holmes and Nathan Thomas, making our promotional team a group of 5. This was a deliberate choice since I was aware that amongst them, they had sound engineering, production and stage rigging experience. In my past experience, I have sold out two of my own headliner shows managing event production, marketing, scheduling, communications and so forth. Linking these strengths together was essentially our first part of the plan for a successful event: a team playing to their strengths

Time Management

• Roles and Reponsibilities

From our first discussions and brain-storming sessions, there was a natural inclination for myself to make the artistic, creative decisions of the project, as well as communications with the venue, potential support artists and other staff involved like photographers, videographers… etc. Brad’s inclination was to administrate the decisions made, and troubleshoot these, as well as organising information and keeping track of these decisions. Jethro, James and Nathan strengths lied in production and live engineering. This includes stage rigging, lighting, sound engineering and so on. Our final roles and responsibilities were these:

Brad + Romy – Event Managers

James, Jethro, Nathan – Production

Romy – Publicity, Marketing, Artist Liaison,Treasurer

Brad, Nathan – Accounting

We also agreed that due to the DIY nature of this project, it is important everyone takes a lead role in marketing. It will be our duty as a collective to promote the show on all of our social media and distribute physical promotional content like posters and leaflets across town. In terms of hospitality, we will collectively fund beverages for the green room.

• Scheduling

We adapted the timeline from starting the project up until the day of the event into a Gantt chart, which “are simple to understand and easy to construct and are a powerful visual tool for managing projects”. (Kumar, P. P. 2005)We all had access to this and could update this when we needed to:

I created a space in my calendar that included solely the dates and times of what I would be uploading to social media. Included in this was the number and piece of content I would be uploading, within the months of January into March the promotional period.

Apart from our own time-management, it was essential that apart of the advance we make a DOS schedule, including enough contingency time between load-in, sound-checks and set times while adhering to curfews.

• Comunication

The groups main form of communication was via a WhatsApp group-chat, where we would set meetings, and sending files, links and high-quality images were easy to send back and forth.

We spoke to the venue via email and kept track of communications by bcc’ing the team in, as well as keeping all responses in the same thread:

Other conversations were held via Instagram DMs, since the artists, sound engineer, photographers, and videographers were people I could access immediately on that platform, therefore much easier and quicker to communicate with.

Technical

• Tech Specs

Through communications, we collected each of the artists the Brudenell’s tech specs. This was to ensure that as the headliner and promoter, we can provide the appropriate backline as well as foresee any issues relating to the specifications of the venue, and what can be resolved if needs are not met.

By looking at the tech specs and input lists, all three bands are using the entire backline except Emma Coates who does not require a keyboard. Click track shall be sent to the artists IEMs on the left channel, and the right channel includes tracks, synths and backing vocals which are set to go out of FOH. Two sends are also included for reverb and delay, which for different songs these shall be emphasised to create different levels of atmosphere.

As the main headline band, we will be supplying the backline which includes full drum kit, guitar and bass amps and keys.

• Lighting

James will be managing lighting and stage design, using the software Capture to design a 3D render of Brudenell’s stage, including its lighting fixtures. Here is an example below:

This allowed James to create lighting designs for each of the tracks on the setlist and will give the event a higher production value, especially for an independent event at a grassroots venue in Leeds:

“The convergence of enhanced production values, state-of-the-art technologies, and superior amenities creates an event that is not merely attended but experienced in its entirety. This elevation of the experiential quotient in an event resonates profoundly with attendees, which gradually draws them into an immersive world of engagement, interaction, and lasting memories.” (Allied Market Research, 2023).

Logistical

• Transport of equipment

The band and I will be providing the backline. Since I am the headliner as well as the promoter it is my duty to provide this on the day. This includes providing a 5-piece drum kit and guitar amp that all bands will use. For this event, we agreed it would be most efficient with time and expenses that James be the designated driver for DOS, since he owns a car. We will be parking at the venue which is free for performers and staff, which also saves us the need to pay for parking external to the venue. After the show, we will drop off the equipment at James’ house, which is only a few minutes away from the venue. We will hire our equipment from Leeds Conservatoire 12pm DOS and return the next day.

• Artist Travel

All artists are Leeds based and within walking distance of the venue. Since my band and I will be providing backline, all they would need are themselves and their instruments.

Hospitality

• What we will provide

Between the three bands there will be a total of 19 people. For this we will provide 1×40 Kirkland bottled water and 2×12 beers, in total adding up to our £30 rider budget. From direct conversations with the artists, there are no intolerances or allergies that us as promoters should be concerned about.

Health and Safety

• Risk Assessment

Health and Safety Executive states:

Under the Management of Health and Safety at Work Regulations 1999, the minimum you must do is:

–              identify what could cause injury or illness in your business (hazards)

–              decide how likely it is that someone could be harmed and how seriously (the risk)

–              take action to eliminate the hazard, or if this isn’t possible, control the risk (Health and Safety Executive, 2025)

It is imperative that as promoters we are to carry out a risk assessment and identify potential issues in the venue prior to the event. We visited the venue on a Monday evening and carried out an examination of the space. Below is an example of what we found:

As seen in the risk assessment we carried out, it was important to take into account even the smallest of details and assure to the highest probability that we would have a solution to any accident or inconvenience that we may encounter the day of the event.

Contigency Plans

• Back-up venue

From our initial conversations about venue options, we agreed that the Wardrobe would be good as a back up option, and following this, Wharf Chambers (see pros and cons list in Additonal Information)

• Back-up artists

In case there are any last-minute artist dropouts, we have friends and artists Eve Buckley, Emily Trease or Ozkat. Depending on how much time they would have to prepare for this, we would only request as a duo or a three-piece.

• Equipment failure

If James’ car malfunctions, we agreed Bradley (my bassist and event manager) would serve as driver back-up for the day. Uber XXL would also be a possibility to transport the drum kit although that would surpass our transport budget. If any other equipment fails i.e guitar amps, guitars, keyboards… The supporting bands would allow us the use of their instruments. Our homes are only a 5-minute drive away from the venue meaning we would have access to an amp and keyboard alternative.

• Financial risks

We will be handling money on the door and at the merch table, so it was necessary to foresee potential issues arising and the solution to prevent these. Sheykin suggests key factors to consider:

–              Budget overruns or unexpected regulatory fines.

–              Low ticket sales or sponsor withdrawal.

–              Negative media coverage or social media backlash. (Sheykin, H. 2025)

With this information we identified issues relating to our event and found respective solutions for these.

Finance

• Ticket Price

To decide the ticket price, we looked at my past headliner shows and how we could increase ticket prices, sales and therefore make a profit more efficiently. We organised a costings sheet on Excel to visualise these changes:

We decided these prices by calculating a realistic outcome based on an estimate of advance tickets sold vs. tickets sold OTD. With our target market being students aged 18-24, it was important to research this bracket. Eventbrite states “11% of 16–24-year-olds purchase their ticket on the day… A lot of events see a lot of last-minute activity (in general up to 20% of sales but in some cases nearly 50%)” (Eventbrite, 2024). Looking at my last headliners there was a 50% increase in sales between the two, with the first selling 100 and the second 150. With this information, we can estimate an average of 225 ticket sales. Within this includes paying guests, which is unlikely to affect the majority of attendance figures. Concluding this, our estimate gross would be £2074 with a profit of £634.

As we are aiming for a sell out show, it is also important to highlight our estimate, maximum and minimum gross if this were to happen:

• Licensing

The venue will be paying for PRS licensing after the event has taken place, which is 4.2% of ticket sales. This will the only licensing we will need to account for.

“If members play at a small licensed venue that is licensed under our Gigs and Clubs scheme, we pay a set royalty for each reported event. This is shared between all PRS writers whose work is performed at the event.”(PRS, 2025) This works as a part of Brudenell’s operating license.

• Expenditure

Above we have our estimate expenditures for the event. Since we are hiring the space out as an independent promoter, Brudenell discounted hire price from £450 to £250, meaning we could allow the performing artists a higher fee. Venue rep as well as sound engineer will be accounted for after the event has taken place by the venue.

• Artist deals (contract)

We additionally laid out simple, straightforward contracts for each artists including myself, including all relevant information since “they lay out exactly what everyone expects, from when the doors open to how the money gets split […] Making sure these agreements are clear and fair from the start is key to a successful event” (Andreeva,G. 2025). These shall be forwarded to the artists prior to the show.

• Marketing costs

We will print the bulk of the posters and flyers using the Conservatoire printers, therefore saving on funds that we would otherwise use for an external graphics printing company. Although, I have researched into Instagrams ad schemes and which campaigns would be suitable for our show. We can use the “Boost” option for Instagram posts, which places top performing posts on users feeds more frequently as well as use geo-targeting ads to reach audiences in the region (Bloomerang, 2025).

• Funding
  

Options to access potential funds could be applying for the Early Career Promoter Fund, which “recognises the vital role independent promoters play in supporting the talent pipeline across England” (PRS, 2025) and offers grants up to £3,500. Alternative, more competitive options could be Arts Council England which are for a broader selection of projects and “supports a range of activities across the arts, museums and libraries – from theatre to digital art – reading to dance, music to literature, and crafts to collections.” (Gov.uk, 2025)

Marketing and Publicity

• Content creation

Our main social media platform for promoting the gig shall be Instagram. That is where I engage most with my followers and my audiences. To do this efficiently, I researched how often I needed to post content and which kinds would be most effective. According to an analysis on over 19M posts and 32K Instagram stories, it is necessary to post 2-3 types of content a week (Monique, T. 2025) to maintain and grow online audiences. It was also found that reels served best for outreach to new followers whereas photo carousels met higher engagement (Lang, K. 2024). To apply this to our plan, I made a schedule that I shared with my colleagues which includes the main pieces of content, which around this I will post short form content on my stories around these, to keep engagement:

Each main piece of content will be uploaded on Sundays at 6pm, which is the time Instagram indicates my followers are most active:

Between each upload, we will also interact with Instagram stories, by resharing content, reminders, mood boards, and teasers relating to the gig as well as my planned releases.

We chose the Thursday 29th of January as our show announcement date, this is due to pay day generally being the 28th of each month. As well as this, announcing mid-week means that we will get the initial engagement from followers, but as we repost and share throughout the weekend, that first piece of short content on Sunday the 2nd will tie into the gig announcement, once again boosting the event on peoples time lines.

Our aim in this online marketing campaign is to consistently appear in my followers feed, by posting at a regular rate, resharing, and reposting each piece of content, and have the headliner show be the main focus on my page. The team will also be invited on to collaborative posts, which serve as a tool “to cross-promote your content and reach out to each other’s followers” (Feedbird, 2023)

• Visuals

“Human  perception  is  mostly  visual.  Over 90% of the daily processed information comes from visual receptor” (Manic, M. 2015)

With each piece of content, it is important to make the message we are trying to communicate immediate and effective, so that everything we upload leads to higher engagement and reach. Visuals also help to communicate the thematic elements and atmosphere of our show with our audiences. This is reinforced by my visual brand as an artist and how I intend to tie this together with the concept of our event.

“Perceptions are what contribute to the formation of this brand image, and they include not just ideas and values but also feelings and attitudes […] it is still important to shape it by developing and effectively expressing a good and strong brand identity and cultivate trust” (Cheța, A. 2025)

The way I will take this into practice will be via snippets of live performance videos, songwriting ideas, mood boards, photoshoots, acoustic sessions with my band, vlogs, etc… all things that express my identity as a musician and as a person thus my visual brand.

Below is the final design of the poster:

• Promotion

In the past, our most effective method of attracting audiences to our shows have been word of mouth and utilising Leeds Conservatoire as a vessel for promoting our shows. Ways of doing this have been posters and flyers placed throughout the building, the use of the digital screens in the Café Bar and the online education space ‘Life’.  Another effective method is booking out a table in university, to be able to speak to students directly, informing and reminding them about a show.

For this event, we incorporated a raffle prize draw to further incentivise ticket sales. “Consumers with raffle experience had a greater propensity toward purchasing for entertainment and impulsive reasons compared to those who did not have this experience” (Lee, I., Kim, D.K., Ha, J., & Choi, C. 2022). In this raffle we have included three prizes: Free merch (T-Shirt), £10 drinks voucher for HPBC and a free pre-order of the EP on CD. This would not only encourage general sales prior to doors, but also draw more attention to the releases, building curiosity and anticipation for the headliner show.

Furthermore, distributing posters in shops and venues across Leeds is another free form of promotion. Shops like Blue Rinse, Pop Boutique, Hyde Park Book Club, Wharf Chambers and of course Brudenell itself, allow artists to utilise their spaces for posters.

Artist Biographies

Headliner: Romy Taylor

Main Support: Lauren Mikki

Lauren Mikki fuses ethereal vocals with a literary-inspired lyrical depth, shaping an indie-soul sound beyond genre. Influenced by Laufey, Clairo and Olivia Dean, she has earned plays on BBC Radio 6, a Spotify Fresh Finds UK&IE feature, and BBC Introducing’s praise as ‘one of the most exciting artists in the uploader’.

Artist Portfolio/Achievements:

Recorded:

– 3x Track Of The Weeks BBC Introducing Leeds & West Yorkshire 

– BBC Introducing Live Session and Interview

– BBC Radio 6 Music plays

– Spotify Fresh Finds UK&IE playlist placement

Live:

– BBC Introducing stage at Live At Leeds festival

– Cross The Tracks fringe event with Global Soul

– Leeds Jazz Festival

– Supported Mica Millar at The Wardrobe

– Played Lawrence Batley Theatre

First Support: Emma Coates

Leeds singer and saxophonist Emma Coates weaves jazz and folk songwriting to create her unique, intimate sound, taking inspiration from the likes of Men I Trust, Adrianne Lenker and Snowpoet. Along with Tom McEwen (guitar), Nika Ticciati (bass) and Louis Berthoud (drums), she creates deeply personal storytelling, exploring feminine identity and growth, complimented by the delicate and airy tones of her voice and band. Her debut EP ‘Borrower’ was released in October 2025, with acclaim from BBC Introducing and Amazing Radio.

Risk Assessment

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Additional Information

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Reference list

Allied Market Research (2023). Live Events Industry Market Size, Share, Trends | Forecast 2032. [online] Allied Market Research. Available at: https://www.alliedmarketresearch.com/live-events-industry-market-A156718 [Accessed 8 Jan. 2026].

Andreeva, G. (2025). Concert Contracts Demystified: What to Watch for in Venue and Artist Deals. [online] Xtix. Available at: https://xtix.ai/blog/concert-contracts-demystified-what-to-watch-for-in-venue-and-artist-deals [Accessed 8 Jan. 2026].

Chețan, A. (2025). Visual Promotion in the Music Industry: Examining the influence of visual branding and brand communication on music perception. Adrian Chețan, p.P.39.

Feedbird (2023). How to Use Instagram Collab Posts to Drive User Engagement | Feedbird. [online] Feedbird.com. Available at: https://feedbird.com/blog/how-to-use-instagram-collab-posts-to-drive-user-engagement [Accessed 8 Jan. 2026].

Health and Safety Executive (2022). Managing Risks and Risk Assessment at Work. [online] Health and Safety Executive. Available at: https://www.hse.gov.uk/simple-health-safety/risk/index.htm [Accessed 8 Jan. 2026].

Kumar, P. (2005). Effective Use of Gantt Chart for Managing Large – ProQuest. [online] www.proquest.com. Available at: https://www.proquest.com/docview/220442584?pq-origsite=gscholar&fromopenview=true&sourcetype=Scholarly%20Journals [Accessed 8 Jan. 2026].

Lang, K. (2024). Data Shows Instagram Reels are Best For Reach — But Not Engagement. [online] Buffer: All-you-need social media toolkit for small businesses. Available at: https://buffer.com/resources/instagram-reach-engagement-analysis/ [Accessed 8 Jan. 2026].

Lee, I., Kim, D.-K., Ha, J. and Choi, C. (2022). Raffle marketing: Focusing on purchase orientation, conspicuous consumption, postpurchase satisfaction, and repurchase intention. Social Behavior and Personality: an international journal, 50(10), pp.1–12.

Manic, M. (2015). Marketing engagement through visual content. Bulletin of theTransilvania University of Braşov. Series V: Economic Sciences, 8(2), p.57.

PRS (2025a). Early Career Promoter Fund. [online] PRS for Music Foundation. Available at: https://prsfoundation.com/funding-support/funding-for-industry-professionals/early-career-promoter-fund/ [Accessed 8 Jan. 2026].

PRS (2025b). Reporting live performances. [online] www.prsformusic.com. Available at: https://www.prsformusic.com/royalties/report-live-performances [Accessed 8 Jan. 2026].

Sheykin, H. (2023). A Comprehensive Guide to Understand and Manage Event Risk – Read Now! [online] Financial Models Lab. Available at: https://financialmodelslab.com/blogs/blog/event-risk?srsltid=AfmBOoq_GiKYU5QdKvdpf5kYg9MWyS8NEQVEJ6z3pST0AMJKAbC66nkL [Accessed 8 Jan. 2026].

Thomas, M. (2024). How Often Should You Post to Instagram? [online] Later Blog. Available at: https://later.com/blog/how-often-post-to-instagram/ [Accessed 8 Jan. 2026].