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Assignment Guidelines
SHR6E037P~002 Portfolio: Event Evaluation TEMPLATE
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.
Introduction
In this assignment, I will provide an individual evaluation alongside graphic evidence of me effectively managing the event. I will explain the purpose of the inclusion of all evidence and its relevance present in this portfolio.
With the event that we put on, we opted to put on a hard rock gig at the Key Club in Leeds, which was booked for Sunday the 15th of March.
We picked the venue out of a list of five venues, which we thought would suit the nature of our event:
– Key Club
– Santiago Bar
– BOOM Leeds
– Oporto
– Lending Rooms
Tom Harte said he already had a direct contact with the Key Club, so we thought it would be a great opportunity to put on a gig there as it is famed for hosting hard/heavy rock bands (the key club, 2026).
With the promotional group that I was involved with, we each split the workload of managing the event into these individual roles:
Myself – Lighting Operator during the event & General project manager
Oliver Hargreaves – Finance
Tom Harte – Key Club Main Contact & Artist Rep
Brynley Martin – Social Media
Luke Hannay – Poster Design
We decided to adopt a name for our promotions group to be called “Riot Circuit Promotions”, as hard/heavy rock is related to rebellion and rioting (Dan Hancox, 2017).
With my role as production lead, I regularly had to get my fellow group members to be proactive with the planning behind the event, and I often had to be the one who would initiate getting things started to promote the event more.
Event Evidence Video
Please upload your video to panopto and embed it in the panopto block below.
Event Atmosphere
Overall, the event atmosphere was positive but since we only sold 31 tickets the venue felt a bit empty. The Key Club’s venue capacity is 300, which meant that the venue was only 10% full.
We were expecting a lot more people to come (roughly 100), but it did not work this way because the bands weren’t as helpful with promoting the event as we thought they would be, resulting in lower ticket sales.
Programming
When we booked the bands for the event, they each had their own unique genres:
Headliner: Student Slasher Film – Midwest Emo
3rd Support: New Damage – Post Punk
2nd Support: How Do You Plead? – Metal/Rock
1st Support: Janata – Heavy Psychedelic Rock
I programmed the schedule to feature bands who are more popular towards the end of the event, with the smaller support acts being the first to play on the schedule. This way of programming builds audience energy and maximises profits for the artist and the venue (Anton Shone, 2004).
Box Office
Key Clubs very own staff were on the box office selling tickets, however we had to pay for this so we could have probs done it ourselves to save money. We sold five tickets on the door, which with a price of £8 gave us a £40 profit. All Payments were done via online or contactless payments, so no cash involved or utilized in this event.
Security
We only hired one security member, as it is usually recommended for an event to have one member of security per 100 people (Melanie Kirycuk, 2026).
The artists green room was kept open all the time because there were four bands occupying it in a cordoned off space, away from the general audience area.
During the day, all artist’s had their own responsibility to keep their belongings safe by themselves, so we were not liable for any items being lost.
Health and Safety
Health and safety is important to be upheld at live music events. As there was only 31 external audience members that came to the event, the risks of health and safety within the audience were lowered.
Also, as the in-house sound engineer was there producing the event, they made sure that sound levels were well monitored to reduce hearing damage.
The Key Club in Leeds operates a “safe space” policy, aiming to be an inclusive venue with a zero-tolerance approach to harassment or discrimination, frequently reiterating this through venue safety guidelines (the key club, 2026).
Production
I decided to do lighting for the event, as there was no dedicated engineer for it, and I had previous experience of doing it elsewhere at other venues.
We were originally thinking of getting one of my friends to do sound engineering for the event, who would be happy with a £25 payment instead of a much more expensive rate of about £135 for an in-house sound engineer. I thought he would be suitable for the event, since he had a lot of previous experience in producing all kinds of bands of many different genres, so I had a lot of confidence in him to produce a good event.
However, on the day somehow there was a mis communication between myself and Tom Harte in the main group chat on WhatsApp, as it turned out that when we arrived to load in at the venue, there was already a sound engineer there setting up for us at the venue, which meant the sound engineer who was with me (called Will Uttley) had made a pointless trip to Leeds, which he was mildly annoyed at.
On the other hand, having the in house sound engineer for the event meant that the event ran a lot smoother than if my friend came in and did the sound within a venue he was unfamiliar in, so it was probably worth it paying for the more experienced sound engineer.
The sound sounded pretty good, and the experienced sound engineer that we paid for worked since there were swift changeovers in a tight schedule, which they were able to deal with at ease.
What I learnt from this scenario is that communication is key. Tom Harte should have contacted the venueprior to the event date to specify on whether they had an in-house sound engineer for the event or not. The confirmation from the venue would have cleared up any uncertainties and would have saved the sound engineers time and money from making a pointless trip.
Artist Liaison
The main artist representative (artist liaison) for this event was Tom Harte, who nominated himself to do this role for the event. There wasn’t any rider stock available as we did not need to provide the bands with that for the event, because they weren’t big enough. Also, the sound engineer was already there for the changeovers on stage, so they dealt with it very easily by themselves, without needing much help from the artist rep/stage manager.
Stage Management
For the gig, the line-up was:
Student Slasher Film – Headliner
New Damage – 3rd band playing
How Do You Plead? – 2nd band playing
Janata – 1st band playing
We used the backline, but free of charge – as key club already had drums, bass amp, guitar amp and mics and stuff like that. All the bands shared the same backline.
When I made the schedule, I made it so that there was a 15 min changeover between each of the acts, to ensure there was enough changeover time. I’ve seen many other events have 15 min changeover times between bands, so I thought this would be doable.
I opted for the headliner band to play for 50 mins, the last support play for 40 mins, and the first two supports to each play for 30 mins. This is to give the later bands playing more time as they are more popular.
Online Marketing
We didn’t have a main Instagram page for our promotion group, however we asked bands to promote the gig on their own band accounts, which helped by a fair amount.
We had a problem with Student Slasher film and New Damage not posting our event on their Instagram pages, as they only managed to post it a week before the event was going to happen, which was not ideal for us as it hindered our reach to people buying our tickets for the event.
Guidance on adding media to show.
Promotional Materials
As Student Slasher Film already had 1794 followers (Instagram, 2026) on Instagram, we thought that they could bring a big enough crowd into the venue for us to potentially break even. Tom Harte (the lead contact for Student Slasher Film) said that his band would probably bring in about 50 people for the gig, which we thought would be doable.
On top of this, we also thought that the support bands would bring in a further 40 people total, as Luke Hannay said that New Damage were able to sell out Hyde Park Book Club, which would surely be able to give us positive profit in ticket sales.
With my role as general project manager, I came up with the idea of going into the café bar and putting up a sign whilst sitting at a table saying ‘get a ticket and get one cookie for free”.
Poster Design
With the posters that we made, we had 2 poster designs, which were made by myself and Luke Hannay. When I was designing the poster, I just used a free online Canva template, and filled in the correct information in for our event, like the relevant text and an additional QR Code.
When Luke Hannay made his design, he took about 2 weeks to make it, and when he did eventually get round to finishing it, the group didn’t like it as much. When I saw this, I put a black version of the student stasher logo over his one, and I added in a QR code by myself, as we asked him to do this exact thing. After a period of two weeks I just did them by myself cause we needed to move on to get the event promoted in a timely manner.
At the top of the poster I made, I put up the tagline at the centre top saying “Presented to you by Riot Circuit Promotions…” which leads on with the band’s logos underneath that tag line.
We printed off a lot of these posters and stuck them around Leeds Conservatoire and the surrounding areas.
Guidance on adding media to show.
Financial Outcomes
In total, we were expecting the bands to give us about 100 ticket sales, which would mean we would make £300 in profit (to break even, we would have had to have sold 50 tickets).
However, as seen in the settlement spreadsheet, our costs were £321, where we made about £211 of that back, meaning we had a loss of £110.
We had to pay about £18 each back to the promoter, as seen in the Invoice.
Bibliography
Crescat (2025). Programming. [online] Crescat. Available at: https://crescat.io/glossary/programming [Accessed 5 May 2026].
Hancox, D. (2017). The Brixton Riots and Music. [online] daily.redbullmusicacademy.com. Available at: https://daily.redbullmusicacademy.com/2017/04/brixton-riots-feature [Accessed 5 May 2026].
Kirycuk, M. (2025). Event Security Guide 2026 – The Brewery. [online] The Brewery. Available at: https://www.thebrewery.co.uk/blog/event-security-guide/ [Accessed 7 May 2026].
Shone, A. and Parry, B. (2004). Successful Event Management: a Practical Handbook : Shone, Anton, Parry, Bryn: Amazon.co.uk: Books. [online] Amazon.co.uk. Cengage Learning EMEA. Available at: https://www.amazon.co.uk/Successful-Event-Management-Practical-Handbook/dp/1844800768 [Accessed 6 May 2026].
Student Slasher Film (n.d.). Instagram. [online] www.instagram.com. Available at: https://www.instagram.com/studentslasherfilm/ [Accessed 5 May 2026].
The Key Club (2017). SAFETY | The Key Club. [online] The Key Club. Available at: https://www.thekeyclubleeds.com/safety [Accessed 7 May 2026].
