Event Evaluation
This evaluation reflects on the planning, management, and delivery of our live music event, which aimed to create an engaging experience while supporting emerging artists.
My role focused on production and stage management, including setting up sound equipment, supporting soundchecks, and helping the event run smoothly.
It covers key areas such as atmosphere, box office, security, health and safety, production, artist liaison, stage management, marketing, and financial outcomes, supported by photo and video evidence.
Event Evidence Video
Event Atmosphere
The atmosphere of the event mostly matched what was planned in the initial concept. The aim was to create a space that moved from a relaxed, ambient setting into a more energetic and social environment, and this was achieved to a certain extent. Early on, the atmosphere felt calm and focused, with seated listening encouraged by the layout and use of sofas(Fig. 1-2). This supported the idea of a more reflective start to the night.
As the event progressed, there was a gradual shift towards a more social and engaging environment. Interaction between attendees, performers, and stallholders(Fig. 3) helped build a sense of community, which was one of the main intentions behind the event. The mix of live music, DJ sets, and art stalls contributed to this, even if the transition into a high-energy, dance-focused atmosphere was not as strong as originally planned.
The audience was made up mostly of our conservatoire peers, creating a supportive and inclusive environment, which aligned to showcase emerging talent. However, this also limited the reach of the event, as it did not fully attract a wider public audience.
The event achieved its aim of creating an inclusive and community-driven atmosphere, but the progression into a higher-energy setting and wider audience engagement could be developed further in future events. This could be improved by strengthening the transition between live performances and DJ sets to build momentum more clearly towards the end of the night. Marketing could also be expanded beyond the conservatoire to reach a broader audience, helping to increase turnout and diversify the crowd. In addition, adjusting the layout to encourage more standing and movement later in the evening could support a shift into a more energetic, dance-focused environment.
Box Office
The box office was managed from a table positioned at the venue entrance(Fig. 1), where a member of the team checked tickets and processed on-the-door sales. This setup created a clear and accessible point of entry, allowing for an organised flow of attendees.
All payments were handled digitally via a card reader(Fig. 2), with no cash taken. This reduced the risk associated with handling physical money and simplified tracking of transactions. Pre-sale tickets were also managed efficiently, with payments received via bank transfer.
A small guest list(Fig. 3) was also managed at the door, which included known individuals such as “Django +1” from Roots Magazine(Fig. 4). These attendees were identified informally, mainly through prior knowledge and recognition rather than a strict verification system. While this worked in practice due to the small scale of the event, it highlights a lack of formal guest list control, which could be improved in future events.
While the system was effective for the scale of the event, it relied on a single point of operation, which could create delays at higher capacity. Overall, the box office process was straightforward and secure, though scaling it could be improved for larger events.
Security
The green room(Fig. 1) was used as a designated space for performers and crew to store belongings, located to the right off stage, which allowed for passive monitoring of access. While this positioning made it easier to identify unauthorised entry, it relied heavily on visibility rather than controlled access, which presents a limitation in overall security.
Entry was controlled using a simple hand-marking system, where attendees were marked (Fig. 2) on entry. This provided a quick and low-cost way to identify guests and manage re-entry (Ticket Fairy, 2023). However, it has limitations, as marks can be easily copied, washed off, or fade over time, making them less reliable for security (Event Wristbands, 2020).
The venue did not provide dedicated security staff, meaning responsibility was informally shared within the team. This was manageable given the scale of the event, but it would not be sufficient for a larger audience capacity.
All transactions were handled digitally via a card reader linked to a mobile app(Fig. 3), removing the need to manage physical cash. This significantly reduced the risk of theft or loss and simplified financial tracking.
Health and Safety
Health and safety was guided by a pre-approved risk assessment, which highlighted key risks such as electrical hazards, trip hazards from cabling, overcrowding, and fire safety. These were managed through practical measures during the event.
Cabling on stage was kept tidy and taped down where needed, reducing the risk of trips. The use of a digital stage box(Fig. 1) also helped limit excess wiring on stage. Capacity was controlled at the door(Fig. 2) to prevent overcrowding, staying within the venue limit. Access was managed through ticket checks and hand marking, ensuring only authorised attendees entered.
Fire exits were kept clear(Fig. 3) at all times, and the layout of the space allowed people to move around safely. Water was available for both performers and the audience, helping to reduce the risk of overheating. The green room also provided a separate space for artists to store equipment, keeping the main areas clear and reducing potential hazards.
There were no major incidents during the event, although some areas relied on general awareness rather than clearly assigned roles, particularly in crowd monitoring and backstage access. The risk assessment was followed well, but future events would benefit from clearer responsibility for specific health and safety roles.
Production
The front-of-house setup utilised the venue’s Midas M32R(Fig. 1), providing input capacity and onboard processing to manage multiple sources. This allowed for consistent control of balance and clarity across performances, demonstrating the effectiveness of using an industry-standard digital system.
The integration of the Midas S32 stage box connected by a Cat5 cable (AES50) improved cable management, reducing stage clutter and minimising trip hazards. This reflects effective technical planning and aligns with standard live sound practices, contributing to a safer and more organised environment.
Lighting(Fig. 2), managed by the in-house engineer, added to the overall impact of the event. Direct communication with artists enabled simple colour customisation, enhancing the atmosphere and visually supporting each performance. Pre-prepared stage plots and saved mix scenes enabled efficient soundchecks and reduced setup time during changeovers. However, minor delays occurred during transitions to DJ sets, indicating a limitation in the stage layout plan.
Artist Liaison
The green room at The Attic provided adequate space for artists to relax and store equipment, contributing to a comfortable backstage environment(Fig. 1). Basic hospitality was carried out through providing water and soft drinks, with both chilled and room temperature options available(Fig. 2). While this met essential needs, the provision remained minimal and could be expanded in future to better align with more detailed hospitality riders.
Transport support was partially addressed, as members of the team assisted some artists in getting to the venue. This helped reduce potential logistical issues and contributed to a smoother arrival process, although reliance on personal vehicles highlights a limitation in planning that could be improved with more structured transport arrangements.
Accessibility was an important consideration. The main entrance was not suitable for wheelchair access, an alternative entry with the shutter and the use of a ramp(Fig. 3) enabled the artist to access both the venue and the stage. While access was successfully facilitated, this also reflects a limitation in the venue’s infrastructure, requiring reactive rather than fully integrated accessibility planning.
Stage Management
The show schedule was clearly displayed in the green room for artists on arrival (Fig. 1), with an additional copy held by the sound engineer to maintain control of the running order. This contributed to an organised workflow and ensured that the event remained mostly on schedule. Each act was allocated a 40-minute set with a 10-minute changeover, which proved effective in maintaining momentum without rushing performers.
The use of saved mix scenes on the front-of-house console significantly improved efficiency during transitions. By recalling settings established during soundcheck(Fig. 2), changeovers were reduced to basic input connections and minor adjustments. This reflects effective technical planning and demonstrates how digital workflows can support stage management in a live setting.
Backline arrangements were straightforward, as most artists brought their own equipment. This reduced the amount of setup needed from the team, with the guitar amplifier(Fig. 3) being the only additional piece of equipment we needed to provide.
Online Marketing
Online marketing for A Crescendo of a Night focused primarily on social media platforms, supported by event listing and ticketing integration. A dedicated Instagram(Fig. 1) page was created specifically for the event, separate from personal accounts, allowing for a clear and consistent visual identity aligned with the event’s branding. This page was used to post short-form content, including artist introductions, promotional graphics, and reels(Fig. 2), which helped build anticipation and communicate key event details in an engaging format.
Instagram was selected as the primary platform due to its relevance to the target audience and its alignment with how participating artists promote their own work. This allowed for natural cross-promotion, as artists could easily share posts to their own profiles and stories(Fig. 3), increasing reach organically. In addition, personal accounts belonging to promoters were used to repost content to Instagram Stories, further extending visibility within existing networks.
A Facebook(Fig. 4) event page was also created to support audience engagement and provide a centralised location for event information, including date, time, venue, and artist line-up. This platform enabled users to indicate attendance and share the event with others, contributing to word-of-mouth promotion in a digital context. The Facebook event could also be shared directly to Instagram Stories, supporting cross-platform integration.
To support ticket sales and formal event listing, the event was hosted through Not A Thing(Fig. 5), which provided a dedicated ticketing page and organiser listing. This ensured that potential attendees could easily access event details and purchase tickets in a structured and professional format. Integrating ticketing with online promotion strengthened the overall marketing strategy by creating a clear pathway from discovery to purchase.
Promotional Materials
Promotion for A Crescendo of a Night combined physical and creative strategies aimed at engaging the Leeds Conservatoire student community. Printed posters were designed in line with the event’s visual identity and distributed across designated noticeboards and high-traffic areas within the conservatoire. These locations were selected strategically to maximise visibility among students who regularly engage with live music and creative events.
Evidence of this approach can be seen in Fig. 1–3, which show posters placed on campus walls and boards. Positioning materials in these areas ensured repeated exposure to the target audience, reinforcing awareness of the event in the lead-up to the performance.
To increase engagement beyond standard poster promotion, an interactive element was introduced. A free ticket was hidden behind one of the posters, encouraging students to actively search for promotional materials across campus. This approach, documented in Fig. 4, created a sense of excitement and participation while also incentivising closer interaction with the event’s branding and information.
The visual style of the poster itself played a key role in attracting attention. Its hand-drawn, expressive design contrasted with more conventional promotional materials, helping it stand out within busy noticeboard environments and aligning with the event’s creative and community-driven identity.
By targeting relevant campus locations and incorporating an incentive-based approach, the campaign aimed to maximise engagement within a specific and accessible demographic.
Financial Outcomes
The financial performance of A Crescendo of a Night is summarised in the event settlement (Fig. 1). The event generated a total gross income of £104 from ticket sales, with a total of 22 attendees. This consisted of £75 from advance ticket sales and £29 from on-the-door sales, with ticket pricing structured at £5 standard and £3 concession.
Total event costs amounted to £219.11, with the primary expenditure being venue hire (£180) and PRS licensing (£4.11). Additional minor costs included rider expenses and merchandise production. As a result, the event operated at a financial loss, with a final balance of -£115.11 before merchandise income was considered.
Merchandise sales contributed an additional £36, consisting of stickers (£15) and posters (£21). This reduced the overall deficit slightly, resulting in a final loss of approximately -£109.11. Due to this negative balance, no profit was distributed to artists, stallholders, or promoters.
Despite the financial loss, the outcome reflects the realities of small-scale live music events, where initial events often prioritise audience development and brand visibility over immediate profit. The relatively low turnout suggests that while the event concept and programming were strong, further development of marketing strategies and audience reach would be required to achieve financial sustainability.
From a project management perspective, the financial outcome highlights the importance of balancing fixed costs, such as venue hire, against realistic attendance projections. Future events could improve financial performance through increased ticket sales, adjusted pricing strategies, or additional revenue streams such as food vendors or sponsorship.
