• Summary of event

On the 17th March 2025, we will be putting on the event ‘Romy Taylor and friends presents: Human Nature Single Release Show’ at the Brudenell Social Club. The event will celebrate the launch of Romy Taylor’s new single, which will be released on the night of the event. Our main goal for this event is selling out, creating a great start for our promoting careers.

The theme for the night will be a woman-fronted night of live music that seamlessly blends jazz, folk and pop. Opening the night will be Emma Coates, a Leeds based singer and saxophonist weaving together a mixture of jazz and folk. As main support we have Lauren Mikki, another Leeds-based singer bringing more of an indie soul sound with insightful lyrics.

• Time Management

Back in May when we decided our modules, I joined a group with Romy Taylor, Brad Cobb, Jethro Holmes and James Morriss. We formed this group of people as everyone has gig experience around Leeds, as well as some having experience promoting gigs and dealing with lighting, rigging and sound engineering.

As a group, we decided to put on a single launch for Romy, as this was an event that she had planned to put on this year anyway. Romy’s first headline show at Oporto was on the 16th of October 2024 and the most recent one at Hyde Park Book Club was the 8th of April 2025, meaning that it will have been 11 months since the last one. She has been the support act for many gigs during that period and still maintained a consistent crowd. Both previous shows have been sold out with capacities of 100 and 150, and we believe that we can take the step up to sell out Brudenell with a capacity of 400.

We initially decided our roles within this project, which are as follows:

-Event managers – Brad and Romy

-Production – James, Jethro and Nathan

-Publicity, artist liaison, treasurer, payments – Romy

-Hospitality/ Marketing – Everyone

-Accounting – Brad and Nathan

Romy is an event manager, due to the project being based around her and her brand, she should have the final say on areas such as marketing and publicity. However, we thought having another leader with a different skillset would be beneficial for decision making, so Brad was appointed the other role of event manager. The production section is split between James, Jethro and me because this was a particularly large area to cover. James has previously worked in stage pyrotechnics and wanted to take the role of managing the lighting for the gig. Both Jethro and I have experience with live sound, so Jethro was doing the stage plotting and I was doing the input lists and mic choices. Both Brad and I have some experience working with finance, so both decided to do this. We knew that playing to our strengths would help us work together as a team and help us to plan the event with as efficiently as possible.

After weighing up different venue options, we decided that Brudenell Social Club was best suited to the event we wanted to put on.

The reason we chose Brudenell was because much our target audience are students and alumni, who predominantly live around the Hyde Park area, which Brudenell is in walking distance of, so more people are likely to come to the gig. Brudenell also has an amount of history to it, and has a great reputation for putting on bands of a very high standard.

Nathan, the owner of Brudenell, also stated that one of the main reasons audiences return to the venue because there is a “degree of trust”(BBC, 2017) in Brudenell’s choices of bands that play there.

We typically used the second hour of the seminars to make team decisions, so it was very important for us to all be there when possible. We kept up communication using a WhatsApp group chat and planned additional meetings. In the situations where one person couldn’t attend the meetings, we would make sure they were connected on a video call so no-one missed any information. These meetings were used to make overall decisions on the project, as well approving emails before they were sent off to third parties, to ensure that everyone was happy with the message and tone and that it presented the group in a professional light.

We put together lists of everything we needed to complete after every weekly session. This is so we could plan as much as possible, while leaving extra time for any contingencies or changes in plans. There were some factors that we knew could take much longer than others, so got these out of the way early into the year. For example, communication with Nathan and Sammy from Brudenell took an extended period of time, with us having to wait a long time for responses at times. We managed to work with this, by starting the communication early on, with a date now agreed – 17th March 2026.

• Communications

This was the initial email that was sent to Nathan from Brudenell on the 7th of October.

At this point, we had discussed the available dates that we could do for the gig. To determine this, we looked at the Leeds Conservatoire calendar to see when most students are likely to be in Leeds, so on either side of enrichment week. We also kept the dates far away from assessment weeks, so students are more likely to want to go to gigs on a night out.

We were offered the 3rd ,4th ,8th ,17th and 18th of March within the period we requested. We decided the 17th was best out of these dates. From look at the two previous headline shows, we gathered that Tuesday was a great day to hold it with students being more likely to have committed to work or other activities later in the week.

After we received full confirmations from the supports, we sent over artist contracts to them to fully confirm both the lengths of sets and payments. We also sent the same to the videographer Ellie Salt to confirm the length of recordings. We also clarified details of the recordings, such as having certain recordings in portrait – which is much better for social medias such as Instagram and Tiktok, as opposed to landscape recordings being much better for YouTube. Ensuring there is good footage of the gig means that people that couldn’t attend the gig will see the high production quality and be much more likely to come to future events, either with Romy as an artist, or with any of us as promoters. According to a study by the University of Southern California, “live recordings can significantly increase an artist’s credibility, as they provide tangible evidence of talent and professionalism.” (Rebeccaamoore, 2025)

• Production

• –Technical

Lighting

On our site visit to Brudenell, we gathered information on the lighting fixtures and positions. We also gathered more specifics of measurements of the stage dimensions, meaning that a 3D render could be made of Brudenell’s stage using the software Capture. This allowed for James to create lighting designs for each song within Romy’s set, which will be communicated with the sound engineer beforehand, likely on the day.

By enhancing the performance with lighting designs, it will gain a higher production value, helping this event stand out against other gigs in grassroots venues.

According to Allied Market Research, “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, 2025)

Below is Romy’s colour pallet which she has provided. It involves colours such as greens and browns which tie into the theme of the single – Human Nature. Using these colours, James has modelled some lighting sets for individual songs. Having an individual colour palette can make the night more memorable.

• –Logistical

All three of the bands are Leeds based, meaning that everyone will be able to get to the venue easily, whether by walking or taking a short Uber ride.

The backline will be transported by James in his car, to be more time and cost effective. Brad also has a car and is on standby to drive in case of equipment failure.

• –Hospitality

We have allocated £30 for the rider for the performers. This will include alcoholic drinks and bottled water. The venue provides two green rooms with sofas and fridges to make it comfortable for the artists. There are multiple places to get food nearby, including pies being served within Brudenell itself, and others such as Hyde Park Shawarma and Pitza Cano.

• Health and Safety

• –Risk Assessment

On the 5th of December, we conducted a site visit to Brudenell to conduct a risk assessment.

After asking a member of staff, we were allowed around the stage and performance space. We focused on checking that the electrical components had up-to-date PAT tests and that the fire extinguishers were up to date. We looked for more additional potential hazards and took notes and photos of each one.

The activities with the highest score included the exposed cable line on the stage. As shown below, there was a gap in the stage where cables are sent through to the on-stage monitors. We gave this a Probability score of 4, meaning likely, because it is very exposed, and a severity score of 4 also, because it can cause injury to the foot or leg. This gave the hazard a total score of 16 by multiplying the scores together. As a remedy, we are going to check if this gap is going to be covered by the monitors, or tape that can be used to cover cable lines. As this is likely the case, this would decrease the probability down to just 1, making the total just 4.

Health and Safety Executive state: “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”

(GOV.UK, 2025)

• Contingency plans

As our main plan of contingency for the event, we have contacted Belgrave and pencilled out the same date – Tuesday 17th March. This means that if something was to go wrong involving the venue, we can hold the gig at Belgrave instead. Belgrave was our second choice for initially deciding the venue we wanted the gig to be held. This is due to the 300-person capacity, which we believe that both Romy and the supports can fill it out and build a great atmosphere for a headline show.

Belgrave is also located in the city centre, which may be more convenient for people that live closer to the city centre. Belgrave is also particularly convenient for much of our target audience – students because of the various student discounts for drinks, making it much more affordable.

We also have two backup performers who can fill the support slots in the case of one a support act dropping out at late notice. The two artists are Eve Buckley and Emily Trease. Both artists and their bands both fit the theme of the night- a woman-fronted night of live music, that seamlessly blends jazz, folk and pop .

• Finance

We had to gather a number of costs to calculate a budget for both income and costs. This process began in November when the venue had confirmed the date with us. We identified all the costs and jointly agreed the assumptions we would make on likely income based on different scenarios.

The venue hire is costing us just £250. The standard price for the venue hire is £450, however we were offered a discounted rate for local artists. This cost also includes the venue rep and the sound engineer, so they will not be additional costs.

We have decided to pay the artists with a flat rate, instead of doing it based on ticket sales. This ensures that the artists all get paid fairly regardless of the success of the gig. The rate for the headliner is £500, main support £225 and opener £175.

The rates we have chosen are higher than usual for gigs of this size, because we believe that grassroots artists should be paid these amounts whenever possible, especially due to how difficult it is to make money as a young musician. “Adequately valuing young artists(and artists in general) is important and will positively impact the future talent pipelines, economic growth and the sustainability of our economy.” (Rising, 2023)

We have calculated a realistic outcome using estimates comparing the number of advance tickets sold against tickets sold on the door. According to Eventbrite’s study, “a whopping 56% of people paying £1-£10 per ticket booked on the day of the event or on the door, while a further 8% booked the day before.” Our target audience for our gig is students aged 18-24, and the study states that “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)

Another study shows that “the average time between ticket purchase and show date is down 26 percent from 2022 to 2024″(Eventbrite, 2024), with the pandemic being a major factor, as there were many gigs and event being cancelled so people would rather not book in advance in case of the event being cancelled or their own plans changing.

Taking these into account, and also using sales statistics from Romy’s previous headline shows – between 150 tickets being sold at Hyde Park Book Club and 100 being sold at Oporto, there was a 50% increase between the headliners – we can estimate that there will be a minimum of 225 attendees at the show, and that 34% will buy tickets on the door. This was calculated using the average of 56% and 11% due to our price range, and our target age range using Eventbrites’s statistics. This makes out for our estimated gross income to be £2074, shown in the table below.

This figure 225 is a calculated estimate from Romy’s previous headline shows, however one of our goals is to fully sell out the gig. Due to the consistent increase of attendees at both headline gigs and support gigs, and in increase in her monthly listeners across streaming services, we believe that this is entirely possible.

The table below shows the maximum gross profit from the gig. The maximum possible gross profit from a sellout would be £3,720.00. This is including 20 guest list tickets and 20 cheap list tickets being sold at £6, and all the rest being sold on the door to reach this figure.

However, it is better for us as promoters to receive more advance tickets.

The table below shows the estimated revenue in a sellout, which is a more realistic estimation, the potential gross would be £3,244 in a sellout with 238 tickets being sold in advance and 122 being sold on the door.

We also constructed a break-even chart to determine the amount of tickets needed to be sold both on the door and in advance, regardless of the proportion. For example, if there were 100 advance sales, 55 tickets would need to be sold on the door, to make enough to break-even. This is helpful for us, because on the day of the gig, we can look at the advance ticket sales and determine how many door sales would be needed to break even, as well as working out how close the final sales are compared to our estimations.

Additionally, 4.2% of the income of ticket sales are paid to PRS by Brudenell, which is then distributed to all of the performers.

The PRS website states, “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 part of Brudenell’s operating license.

As Romy and all the band members are PRS registered, they will all be reimbursed by PRS when logging the submission after the gig, which is a legal requirement for the venue to pay.

Brudenell is running the box office themselves and looking after the cash from the door, meaning it will be kept locked and inside the venue, minimising any risks involving the money.

Artist contracts were sent out to the artists once they had confirmed with us, as pictured below:

Marketing and Publicity

The date of announcing the gig is going to be Thursday 27th January, leaving just over 6 weeks between the announcement and gig. This is planned to be around payday, where people are more likely to buy gig tickets.

Posters are going to be put up around the conservatoire from the day of announcement, as well as put up around Leeds in various places such as vintage clothes shops. This has the potential for Romy’s audience to branch out much more than students or people that are already involved within the music scene. Below is the finalised gig poster:

It is important to come up with marketing strategies to attract as many people as possible. These strategies are put in place to attract as many people as possible, while creating something memorable that they are likely to either post about or tell other people about.

We have planned to set up a stall in the conservatoire cafe bar one week before the night of the gig with a raffle where people who purchase a ticket get entered into a raffle. “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, et al,2022)

The prizes available are as follows:

First prize – free merch (t-shirt)

Second prize – free CD

Third prize – £10 coffee voucher

The winners of these prizes will be announced on Romy’s social media in the days approaching the gig. This means that all of these people that have purchased a ticket will also have to follow Romy on Instagram, which boosts her following, broadening her audience so that more people are likely to hear about the gig. Additionally, having all these new followers means that they will hear about future gigs, music releases and merch. Especially recently as social media has become much more prevalent in the music industry.

A study from 2021 states that “Instagram is the most used platform overall and that advertising through Instagram is the most beneficial action if one chooses to engage in social media advertising” (Vilppula & Ketola, 2021)

Artist Biographies and Photographs

Romy Taylor

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

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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Reference List

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BBC, 2017. Guess what? Not every music venue is under threat. [Online]
Available at: http://www.bbc.com/news/entertainment-arts-38718754

Eventbrite, 2019. Event Ticket Sales Statistics: When Do People Buy Event Tickets?. [Online]
Available at: https://www.eventbrite.co.uk/blog/when-do-people-buy-event-tickets-ds00/

GOV.UK, 2025. Risk Assessments. [Online]
Available at: gov.uk

Lee, I., Kim, D.-K., Ha, J. & Choi, C., 2022. Raffle marketing: Focusing on purchase orientation, conspicuous consumption, postpurchase satisfaction, and repurchase intention. [Online]
Available at: https://www.ingentaconnect.com/content/sbp/sbp/2022/00000050/00000010/art00005

PRS, 2025. Report live performances. [Online]
Available at: https://www.prsformusic.com/royalties/report-live-performances#:~:text=How%20we%20calculate%20royalties?,Live%20concert%20service

Research, A. M., 2023. Live Events Industry Market Size, Share, Competitive Landscape and Trend Analysis Report, by Event Type (Music Concerts, Festivals, Sports, Exhibitions and conferences, Corporate Events and Seminars, Others), by Revenue Source (Ticket Sale, Sponsorship, O. [Online]
Available at: https://www.alliedmarketresearch.com/live-events-industry-market-A156718#:~:text=In%20addition%2C%20these%20financial%20reinforcements,atmosphere%20of%20anticipation%20and%20excitement.

Rising, 2023. Why you should pay young artists. [Online]
Available at: https://www.rising.org.uk/blog/why-you-should-pay-young-artists

Sinclair, A., 2025. rebeccaamoore.com. [Online]
Available at: https://rebeccaamoore.com/the-benefits-of-recording-live-performances-for-your-portfolio/#how-does-recording-live-performances-enhance-your-professional-image

Vilppula, S. & Ketola, J., 2021. Surviving as an artist in the era of social media. [Online]
Available at: https://www.diva-portal.org/smash/record.jsf?pid=diva2%3A1528947&dswid=2869