SHR6E037P~002 25105083 Attic Smoother Sounds Event Evaluation

by

Alister Tucker 25105083

Number of words: 1999

SHR6E037P~002 25105083 Attic Smoother Sounds Event Evaluation

Event Evaluation

Taking into account your role within the project you need to provide an individual evaluation – (2000 words), alongside film and photographic evidence of you effectively managing your event. You should explain the nature and purpose of your inclusion of all evidence and its relevance.

Your evidence should cover the following areas: at least 3 pieces of evidence in each sub category, with all evidence submitted under supporting material.

·       Event Atmosphere

·       Box Office

·       Security

·       Health and Safety (you should directly reference points outlined in your groups risk assessment)

·       Production (sound and lighting)

·       Artists Liaison

·       Stage Management

·       Online Marketing – This can include websites, social media, forums, blogs etc.

·       Promotion – This can include posters, flyers, influence mixes, videos or any other relevant promotional materials.

·       Financial outcomes – This should be presented on the settlement template provided on space.

·       Only work submitted as part of your evaluation will be counted in the word count. Photographs, video content, online marketing and promotional materials will not be counted in the word count.

·       Films should not exceed 7mins total in length and should be edited to show highlights of the event.

1. Event Evidence Video

Figure 1.1. The event line up shown on a sign board outside the venue on the night.

Video 1.1. The Nightingales (headline band), also showing some audience

Video 1.2. The Nightingales Band

Video 1.3. Jah Glory (myself) and the promoter’s band

2. Event Atmosphere

Our event was held on 9th March 2026, at 7pm at the Attic in Leeds. The atmosphere was enjoyable, peaceful and sober, as envisaged. All bands had fun (Figures 2.1-2.3) and patrons enjoyed the evening, paying attention to and interacting with the bands, despite low turn out. The guests were mainly friends of the bands so it was a good, social atmosphere. The bar staff were helpful and addressed all of our concerns. The venue was spacious with sofas available for comfort (Figure 2.4). There was a courtyard at the back although this was not used as people stayed indoors to enjoy the bands (Figure 2.5).

Figure 2.1. The Nightingales having fun on stage
Figure 2.2. Jah Glory and the promoting team’s band playing on stage
Figure 2.3. Text message from the band stating they enjoyed the evening
Figure 2.4. Spacious venue, with sofas
Figure 2.5. Outside area at the venue

3. Box Office

Online ticket sales the were sold via Gigantic Ticketing (https://www.gigantic.com/), a free site handling ticketing with a free branded website to host event listings. We used the platform to sell tickets online and sold 3 tickets at £6.30 (general-admission) and 4 tickets at £6.00 (groups). Figure 3.1 shows the remittance received from Gigantic (£43.50) whilst Figure 3.2 shows the excel spreadsheet. Figure 3.3 shows that 7 tickets were sold through 4 orders. Payment was deposited into one team member’s bank account.

The orders show that the platform works well, however tickets sales were low and advertising was probably not sufficient. In fact the venue suggested that we cancel the event due to this, but we decided to go ahead anyway.

Tickets were also sold on the door at £6.00 each. A card reader app (e.g. Sumup for iphones) was investigated to allow easy card payments on the door. However, the team were not able to download the app due to full phones. Instead, we accepted bank transfers to collect door-revenue. 15 people paid this way on the night.

Cash was also allowed, and the team ensured that sufficient change was available. One person paid in cash.

We sold 7 tickets online, 1 with cash and 15 using bank-transfer, i.e. total of 23 tickets, lower than anticipated which was disappointing. In hindsight, we should have done more advertising, investing money to reach wider audiences for a better return (see Sections 7&8).

Figure 3.1 – Gigantic Remittance online ticket sales summary
Figure 3.2 – Gigantic details of ticket sales from excel spreadsheet
Figure 3. 3 – Total online ticket sales showing 4 orders.

4. Security

Figure 4.1 shows the entrance to the Attic which has a double shutter safety system so people cannot just wander in. Figure 4.2 shows the inside of the second shutter, with a door designed for single file entry to minimise crowd surge (Figure 5.3).

The outside has two bricked areas which prevents cars from driving into potential crowds outside the venue. Figure 4.3 shows the location on a quiet, one-way street with one main entrance. Figures 4.4 and 4.5 show the venue is protected by high walls and barbed wire. Figure 4.5 shows another exit from the back of the courtyard (Figure 2.4).

Two people were stationed at the box office for security. This was located at the event entrance (wooden desk Figure 4.2). ID was inspected on entry. Bank-transfers were encouraged to avoid large cash sums on site.

A green room was the dedicated safe space to store belongings from the crew and performers.

We planned an easy-listening event to encourage a peaceful crowd to attend. No trouble (fights or drunkenness) was forthcoming. The venue would have intervened should they be needed given they had at least four capable staff on site. No security-guards were stationed at the venue which on this occasion was fine.

Figure 4.1 Entry to the Attic
Figure 4.2 showing inside of second front shutter with partition for single file entry to venue
Figure 4.3 showing the Attic location on quiet road
Figure 4.4 showing side of venue with high fence/barbed wire securing the premises
Figure 4.5 showing the back of the venue with emergency exit door and barbed wire.

5. Health and Safety

Prior to the event, we visited the venue twice for our risk assessment (Document 5.1) which discussed:

  • Injury due to poor handling of equipment. All equipment from LCM was transported to the venue by two cars, and parked at the venue door for unloading (Figure 5.1). All team members were aware of safe practice in lifting and handling equipment and there were no injuries.
  • Loud sounds. We sound-checked the bands before performance to ensure that volumes were not too high, particularly mic feedback. We were fortunate to get an in-house engineer with the hire of the venue who was familiar with the equipment, stage and room. This enabled a smooth transition through the bands during sound-check and performance.
  • Injury due to improper rigging/poor lights. The stage lights were already in place and checked by the local engineer. Sufficient lighting was provided at all times. However, as a performer I was not exposed to the stage lighting until on stage and I was shocked by its blinding effect which was dangerous as the available stage space was small for the vocalist. A lighting check during sound-check was needed but was not carried out.
  • Trip/dust hazards. The equipment and engineering desk is all patched into the wall, so cables are not exposed. The walkway and fire exit were kept clear at all times. Care was taken to ensure other items (e.g. instrument cases) were packed away when not in use.
  • Fire exit signs were visible and unblocked at all times, with extinguishers available (Figure 5.2/5.3 show different exits). There was a clear assembly point outside. All equipment had been electrically PAT tested and labelled for safety before use.
  • No under age drinking or drugs were allowed at the venue as per UK law (https://www.drinkaware.co.uk/facts/information-about-alcohol/alcohol-and-the-law/the-law-on-alcohol-and-under-18s#/overview, https://www.gov.uk/penalties-drug-possession-dealing). The venue also has a zero-drug and Challenge 25 policy. ID was checked at the door to ensure the audience was of age. No minors attended the event as this was an adults only setting.
  • First aid. At least one of our team is a first-aider. No defibrillator on site but the closest is at Tesco Express LS10 1JQ, which is 73m away.
  • Access. The venue was accessible to all and had appropriate disabled facilities. Figure 5.3 shows the accessible toilet, whilst Figure 5.4 shows the main entrance (clear of steps) and Figure 5.5, the entry way.
  • Box office (money) risks and Security/behaviour risks are discussed in Section 4.

Risk Assessment-20260110150646Download

Document 5.1: Risk Assessment

Figure 5.1 showing car access to venue to drop off equipment
FIgure 5.2 showing fire exit into back courtyard
Figure 5.3 showing fire extinguishers, fire exit onto side street and gender neutral and accessible toilet
Figure 5.4. showing front access to venue
Figure 5.5 showing accessible entrance to venue

6. Production

We were 6 (Figure 6.1). Tasks were divided, including team manager, technical, media, finance, artist liaison and H&S. I was also responsible for transporting equipment. The production team formed a band to maximise the show.

We set up at 5pm. Band sound-check ran smoothly. The venue’s PA and sound was good. Lighting enhanced the atmosphere but as mentioned in section 5, lights on stage were harsh on myself performing. Lights were not tested during sound-check probably because it was bright (Figures 6.2 and 6.3).

Doors opened at 7pm, and our band was first up later than planned due to low numbers. The event finished at 11pm.

Figure 6.1. The production team
Figure 6.2. Lighting during the sound-check
Figure 6.3. Lighting during the performance.

7. Artist Liaison

We had an event information pack (Document 7.1) and shared details regularly with all bands. We requested tech-specs and were on-hand to answer queries (Figures 7.2-7.3). We informed bands about parking (Figure 7.4). A green room was provided for artists and we offered assistance throughout the event. One band forgot cymbals and we helped retrieve these. The bands seemed to have had a good night (Figure 2.3). Artist liaison went well overall.

Merged from Advance.Schedule (1)Download

Document 7.1 Information pack (above)

Figure 7.2 conversations with artist Isaac Aylward

Figure 7.3 conversations with a band on instruments available
Figure 7.4 parking at the venue

8. Stage Management

The stage lineup was communicated to all bands (Figure 1.1) and sound-check was carried out in reverse order to facilitate smooth change overs (15-minutes). Levels were pre-set for every band.

The piano was on the left of the stage with drums and guitar to the right (Figure 8.1). Bands brought their own instruments except for the piano. We borrowed equipment from LCM (Figure 8.2a/b). There were 3 front stage monitors (left, right and centre) and two guitar amps on stage.

Some equipment (Figure 8.3a/b) was mistakenly left in my car. I discovered this on my return to Newcastle and had to arrange return the following week. In the future, a checklist for equipment should be used at the start/end of the night.

Figure 8.1 Stage set up
Figure 8.2a Equipment borrowed from LCM
Figure 8.2b Equipment list borrowed from LCM
Figure 8.3a Equipment left behind
Figure 8.3a Equipment left behind

9. Online Marketing

The event was marketed for free using our personal social media sites, including instagram and facebook (Figures 9.1a/b/c) plus the ticket sales site, Gigantic (Figure 9.2). We did not pay for advertising and this may have proved to be a mistake due to low ticket sales.

Figure 9.1a Instagram video 1: https://www.instagram.com/reel/DVqR0LcCNn9/?utm_source=ig_web_copy_link&igsh=NTc4MTIwNjQ2YQ==

Figure 9.1b Instagram video 2: https://www.instagram.com/reels/DVnvwvXCHnj

Figure 9.1c Instagram Video 3 https://www.instagram.com/reels/DVhMlo5CHSc
Figure 9.2 Gigantic ticket sales online advertising using our promotional poster

10. Promotional Materials

We promoted the event at the cafe bar using a stall with various posters (Figure 10.1) 12 to 2:30pm on Tuesday/Thursday 1/3 March 2026 (Figures 10.2 and 10.3). We put up posters around LCM and on various notice-boards. We also advertised by distributing fliers in person at the entrance to LCM, the bus terminal and Victoria market and placed fliers in various venues e.g. Oporto, Northern Guitar and Ibis hotel. We had a signboard outside the venue advertising the event to encourage passer-bys to attend (Figure 1.1). The posters looked good and were received. However, more advertising was needed.

Figure 10.1.- showing different fliers created for the event
Figure 10.3 – Promotional desk on a separate day

11. Financial Outcomes

Revenue:

In our original event costings, we planned to sell 180 tickets, as the venue holds 200 people (Figure 11.1). We had blocked 20 tickets for ourselves and bands. We planned to sell tickets at £6.30, giving maximum ticket sales of £1170.

Our planned ticket sales were rather ambitions: for our event, we only sold 23 tickets (Section 3: Box Office) giving a total of only £139.50 income, i.e. £1030.50 below the maximum ticket sales potential revenue.

Outgoings:

We spent £180 on the venue hire, £30 for the piano hire and PRS costs were £7.05 (see Figure 11.3 deposit paid, Figure 11.4 remaining invoice including PRS costs, and Figure 11.5 total payable amount/paid), i.e. a total of £217.05.

The PRS costs were lower than anticipated (£49.14 Figure 11.1) as these fees are typically calculated as a percentage of gross ticket sales (box office receipts). PRS fees are currently 4.2%+VAT (https://www.makingmusic.org.uk/resource/prs-licence-cost#:~:text=PRS%20fees%20are%20typically%20based,popular%20music%20have%20different%20tariffs.).

We had budgeted £20 for local ads and promotional activities and £20 contingency (Figure 11.1), however we used free social media advertising so we did not spend the ad money. Instead we paid two taxis, required for moving band equipment borrowed from LCM, at £11.57 (Figure 11.6 and 11.7).

We planned to pay the bands £240 (£80 each for three bands), although bands were aware that this figure may change if ticket sales were low. Following our event, we agreed to pay individual band members £15 each. The Nightingales received £75, and the Tangerines received £45. Supporting acts Isaac Aylward and Jah Glory, agreed their services for free. Total band expenditure was therefore £120 (Figure 11.2). Although not ideal, this meant that we paid the bands that we had originally agreed to pay. It was fortunate for us that the other two acts (including our group’s band) did not request further payment.

Balance:

Our maximum profit margin was £630.86 (Figure 11.1). We had considered that if half (120) tickets were sold, then the income from ticket sales alone would reduce from £1170 to £585, leaving a profit margin of £45. If only a third (60) tickets were sold, then the income would reduce to £390, leaving us £180 in arrears. To manage this cost deficit, we would need to cover this cost ourselves ie £30 each between 6. In the worst case scenario, if no tickets were sold, the maximum we would owe is £90 each. We did not envisage this scenario but we only sold 23 tickets.

Our final balance is £209.12 in arrears. Each of us (6 team members) therefore contributed £34.85 each to make up the balance.

We were lucky that we were able to make up the losses to nobody’s detriment, and it was overall, a small cost to pay for the experience of organising such an event, as this was our first time. Bar revenue was probably low so perhaps the venue was not so happy. However, the event took place on a Monday night, which does not attract large crowds at the best of times.

The Monday night booking was due to our group’s procrastination over confirming the venue as dates were initially available for the Wednesday or Thursday, but we missed these. We also didn’t check with many venues to see if our preferred dates were available. With hindsight, we could therefore have secured a better day of the week in this or an alternative venue to attract better crowds.

Figure 11.1 Original financial planning document
Figure 11.2 – final event budget (revenue, outgoings and balance)

Figure 11.3 – The Attic Invoice (deposit)
Figure 11.4 – Full Attic invoice (minus deposit see Figure 11.2)
Figure 11.5 – Attic Invoice Paid

Figure 11.6 – Taxi Receipt 1
Figure 11. 7 Taxi Receipt 2

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