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.
Event Evidence Video
Event Atmosphere
The energy was incredibly high at the event. We were expecting quite a small crowd at the beginning of the night as we had a less well known band on at the start. However, it was a lot bigger than expected (see Figure 1). Throughout the night, the crowd grew immensely. The audience engagement levels were continuously high, with participation indicating a successful night. When our headliner came on stage the energy was amazing; all of the songs were covers that people knew so it got everyone dancing and singing along as you can see in the pictures provided (see Figure 2). A notable peak of the night was when some members of the band also came down to the audience which was a great addition to the already high energy (see Figure 3). With the extra time and effort that we put into communicating with the sound engineer on the night, we ended up with high quality sound which significantly enhanced the experience for the audience. Although we didn’t have any planned lighting arrangements, it still intensified some great moments. We didn’t get any complaints from guests or staff working the night, the venue was impressed and happy with the outcome.
Box Office
The box office that we had was positioned outside of the entrance to the venue making it easy for both pre-ticketed and walk-in attendees. Two people were located at the box office (refer to Figure 1) to ensure a continuous flow throughout the night, preventing any congestion, therefore working really well at peak times. We had a card reader at hand for people buying tickets on the door although we also accepted cash (see Figure 2). I think that the manual pricing input was convenient for flexible pricing that could’ve arose due to discount codes, however the risks that were introduced because of this were: human error because of potential incorrect typing, and slower transactional times. Luckily we didn’t run into any problems due to these risks but next time, perhaps a pre-programmed system could be more efficient. The event advance with the contacts of the promotion managers was at the box office for quick access to support if any problems arose. There were wristbands to give out to people arriving that clearly identified paying attendees while preventing any unauthorised access. We also had a sign to let people know that the event was being filmed and photographed and that it was being used for an assignment at Leeds Conservatoire (refer to Figure 3). There was also a light box behind the box office so we adjusted the words that were on it to actively increase ticket sales by enticing any potential new-comers to buy a ticket. We had 37 people buy tickets on the door at the event, so the light box could be considered effective and useful. Overall, the box office kept the night flowing efficiently by preventing any problems that could have risen.
Security
For security, we had multiple things in place to make sure everything was secure and safe combining access control, ID verification and ticket validation. This would reduce any chance of unauthorised entry. We had a colour-coded system for wristbands (see Figure 1), yellow for backstage access, blue for general access and striped for under 18 general access. This allowed for quick visual identification, and helped prevent any further congestion at the box office by returning attendees. We had two security guards, one at the box office checking IDs for legal and safe guarding reasons (such as legal drinking ages) and audience wristbands (see Figure 2), and the other at the backstage door checking backstage access wristbands (see Figure 3). At the box office, we had an app to scan the QR codes of the tickets to make sure that everyone’s was different and none were replicas. We also had the security guard by the box office hold a clicker to count how many people were coming in and out of the venue, in case of a fire emergency. The security was proven strong and effective as there was no unauthorised access, however we could have introduced a bag checking system to enhance safety by reducing the risk of prohibited items being brought to the event.
Health and Safety
All the fire exits were clear of any obstructions which allowed for any potential evacuations (see Figure 1). Cable covers were used to secure any loose wires across the stage (se Figure 2), therefore reducing the risk of trips and falls especially in high traffic areas, such as at the top of the stairs. The colour of them being bright yellow was used so they were visible even in dim lighting. Caution signs were placed near any spillages or wet floors to alert attendees of hazards (see Figure 3). We had some of the members of the groups in the audience to keep an eye out for any spillages and to respond to any emerging risks. All wires were removed or adjusted to ensure the performers safety by allowing safe movement on stage. This is particularly important for live music events where movement and low lighting increase the chance of accidents. Throughout the night and between acts, the stage was checked to ensure no cables had come out of place. However, to be more on top of things, we could have set up scheduled safety checks throughout the night to create a more proactive approach to hazard identification.
Production
A full soundcheck was conducted by the sound engineer for each band, making sure that everyone was happy with the balance of instruments and sound quality before the performance. This helped to avoid any technical issues during performances. Getting this perfect was essential because the artist getting to confirm their monitor levels and the overall sound makes them feel more confident on stage, therefore performing to their fullest, resulting in a better audience reaction. We had one mishap with the sound engineer as he thought the doors opened later than planned, which resulted in having to push the door opening time back ten to fifteen minutes. We were honest with the audience waiting at this time and gave them updates every five minutes; we didn’t get any complaints regarding the wait. After this, clear communication about times and sound levels with the sound engineer was maintained throughout the night (see Figure 1). We didn’t set any lighting requirements, allowing for a more simplified setup. While this helped reduce complexity, it could have limited any potential to enhance atmosphere, that could have lead to a better audience experience. Bands were arranged logically, based on the stage size and the number of performers as we needed to consider spatial efficiency and performer movement. A key challenge of the night was accommodating a 23 piece band. However, I layered staging technique was implemented, including the use of chairs, which ensured visibility of all performers and functional use of limited space. This was one of the things we struggled with the most but by working with the team we adapted and solved the problem. Figure 2 & 3 show the bands setting up and sound checking.
Artist Liaison
Please embed your artist liaison evidence in the file block below
Every member of our group introduced themselves to each member of each band (see all figures), establishing a friendly but professional stand point. By doing this we created a trusted and positive environment for the artists. Bands were informed of: the running order, what would happen throughout the day and night, and our expectation of their performances and timings. We did this to make sure everyone was on the same page and well prepared for the night ahead. This reduced any confusion or delays during the event. Artists were informed about the stage arrangement and space to allow them to prepare accordingly. Performers were informed of their access to food and drink. By supporting their needs and considering artist welfare, we have contributed to their overall mood, enhancing performance quality and artist satisfaction. We maintained an approachable presence from start to finish to facilitate a safe environment for communication. One thing that could have created further organisation could be to print out detailed running orders and event schedules for each band, giving them something to refer to all night.
Stage Management
The stage layout was organised based on the stage size and its limitations, and the numbers of members in each band. Due to the challenge of having a 23-piece band, adjustments were required to make sure all performers were comfortable and visible. Decisions regarding stage setup were made via conversations with ourselves, the venue manager and the sound engineer (see Figure 1). By talking this through with the venue staff, it improved the practicality and realism of what we could do to effectively utilise the space. A clear pathway was continuously maintained for performers to enter and exit the stage safely (refer to Figure 2). This was incredibly important as we had artists coming on and off the stage mid-performance with their instruments. Effective cable management contributed to a safe space for performers to move (see Figure 3). Adjustments to the stage layout were made on the night. Although the stage set up was effective, this could have been further improved with some pre-planning and communication with the venue staff before the event date instead of last minute decision making.
Online Marketing
A regular and up-to-date posting scheduled was maintained to help promote the event (see Figure 1). This helped to build anticipation, keep sustained audience engagement and enhance visibility of the event. We introduced incentives, such as prizes for reaching 150 tickets sales, to motivate audience participation. This created a sense of urgency and competitiveness but also fun collective involvement. This helped sell tickets, likely encouraged through gamification, however I believe if we could have reached a bigger audience with the news of prizes, it would have had a bigger effect. Videos of previous performances by the headliner was spread across our social media’s to build credibility and generate excitement. The use of visual content supported experiential marketing as it allowed potential attendees to anticipate the live aspect of our event atmosphere. We decided to use a multi-channel marketing approach, so we also promoted on the headliner’s website (refer to Figure 2&3). This helped us extend the news of our event to an already existing fanbase and by utilising this audience, increased exposure and highlighted the event’s value. All of these strategies were aligned with the objective of extending our audience reach and there for increasing ticket sales. One thing I believe we could have improved in this section of our event, was putting aside some of our earnings for some paid advertisement as this could have helped us sell more tickets and up the attendance at our event.
Promotional Materials
Our target audience was students and individuals already engaged in music and performance environments. Posters were spread across Leeds Conservatoire and Leeds Playhouse (see Figure 1). These locations were chosen specifically due to the audience we wanted to reach which was music students and art attendees. We believed putting posters up in these places would reach an audience with pre-existing interest in live music. We set up a promotional table in University (refer to Figure 2) that was used to engage with potential attendees directly, provide information about the event and actively encourage ticket sales. A vinyl prize was displayed which played as a visual incentive to attract attention which created a sense of exclusivity and reward, influencing people to buy a ticket to win. The vinyl chosen was a Motown record, ‘Innervisions’ by Stevie Wonder. A discount code was also created for close friends and guest list (see Figure 3). This was made to encourage early ticket sales and to utilise existing social networks for promotion. The word-of-mouth strategy did increase sales for us as it was effective to get friends and family to attend. Some downfalls included: there was a limited reach beyond immediate networks, and we had no clear tracking of how successful our methods worked. To improve these we could have put some of the posters up in the venue as this would attract individuals interested in music that we don’t know, and to keep track of how successful each method was could be to count how quickly tickets sold before we announced that there would be a price, compared to after. This would show us if the incentive encouraged people to get a ticket.
Financial Outcomes
As you can see in our settlement, we managed to sell 209 tickets in total. We sold out our ‘early bird’ tickets within a week, which covered the cost of venue hire and giveaway prizes. Including our audience, support bands and guest list, there was around 260 people at our event to watch the headline band, which was incredible. For the future, I believe that perhaps selling a portion of, or all of the tickets, on an alternative platform, could be more beneficial for us as we would be more likely able to keep a bigger percentage of the revenue.
