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Rationale
The planning process began in October 2025. As we were required to put on the gig between February and march, the date that stood out to us was February 17th as this is both pancake day and the carnival period before lent. Our thinking behind this was to use the holiday to our advantage for promotion and add extra reason for people to buy tickets. This formed the basis of our idea. Our plan is to create an event similar to a festival that would have a variety of acts, stalls and food. This is a strong way to cater to a much wider audience than what a typical gig would attract.
We initially emailed Headingly heart on October 21st,
After this communication we decided it wasn’t a good fit for the event. One of the reasons was the cost. Including sound checks and setup/ pack down we would require the space from 3pm until 10pm. This would make the total cost £238 with an added £50 late penalty. As the capacity was 150 including bands and staff, that would require us to sell a lot of tickets for a space that would easily get very crowded with the stalls as well. They also were not available on February 17th which ruins the entire concept.
When considering locations there were a few things we needed to account for. we required a venue with plenty of space to be able to accommodate a crowd for the music played and also for the stalls that would be positioned around the audience. This already limited our options in terms of venue. We considered the lending room as it is a cost effective venue considering the size which fits well with our needs. It is also located in a very convenient location as it is close to the major universities and many bars. We eventually decided against the lending room as one of our artists require wheel chair accessibility which the lending room is not suitable for. This lead us to look further.
We eventually decided on the Attic. When considering the pros and cons the main downside is its location as it isn’t in the city centre or near student residents. From previous experience though, it generally still manages to pull in a crowd despite this, It is a genuine nice space to be in. The attic has a reputation for supporting young folk and roots talent which is perfect for our line up. The size of the room and interior aesthetics are also much more in line with our requirements as it has a capacity of 200 and would be easily be decorated for our theme. The price was also at a very reasonable £180.
On November 26th, We emailed the Attic our proposal
Soon after this on December 8th we paid the deposit
One thing we had to consider was the implications for providing food at the gig. As I work in a kitchen I have the mandatory food handling training. The idea is to have pancakes that aren’t typical such, as a pizza pancake or burger pancake, also with a verity of sweet ones. This would require prep before the gig and a cold place to store it like a cool box. After emailing the attic about this to figure out what we would need they responded with this:
As they aren’t able to provide any facility for the cooking we will get everything ourselves. we will use paper plates and wooden knives and forks as cutlery, we will also be able to provide a hob and utensils. Having an extra way to achieve a profit like this is very useful and will help make a difference in ticket sales as a precaution. That’s why we intend to keep ticket prices low to encourage more people to come and be more likely to spend more money inside. Catering also implicates the risks involved which I will talk about later.
After confirming the venue we moved onto artists. We wanted to have a variety of different acts to keep the event interesting especially as it is quite long. The idea was to start off lower energy and then crescendo through the night ending on high energy DJ sets. Alex milling starts off with an ambient set which celebrates alternative music styles and sonic arts as well as being a gentle start to the event. Then the next act is a Kaeya who is a folk singer song writer and adds another style to the mixer. This a middle ground between Alex milling and the next artist Benji’s folk which is put together by one of our group members, This is a larger band continuing the slow rise in energy. To finish off will be 2 DJ sets featuring 2 of our group members Benji and Kham. We initially attempted to secure other DJ’s. we tried dj Subaru but he was not available. We decided to fall back on the contingency plan of just using benji and kham. This means we can maintain cost effectiveness whilst not skimping on artist budget. This rise in momentum will hopefully keep audience retention as opposed to too low or high energy throughout the gig.
In case of any artist dropping out we have back up options such as Ava in our group, or longer sets. There are a lot of people at our disposal between us. In case of the venue dropping out our best option would be Hyde Park book club as we had a prior conversation with them, before deciding against it because of the staircase and room size. It is still wheelchair accessible but only by the back entrance so not ideal.
food safety – hygiene bins, ventilation, training, prep hygiene, labs, refrigerators
site visit – safety of minors, anti social behaviour, health and safety, fire safety, equipment safety pat checks,
rider – bottled water –
goal of project
Alex and kaeya both confirmed their availability on December 12th which allowed us to begin thinking about tech specs and running orders for the day.
running order:
We will begin Load in at 3pm to allow us to set up and decorate the room as well as allowing the stall holders to begin setting up. At 4pm the sound engineer will arrive. we will test the decks as that is the “last act” at 5pm then Benji’s folk will soundcheck and have more time as they are a large group 5:15-6pm, then at 6pm kaeya will sound check and then Alex milling will at 6.30pm. This allows for some extra time as contingency before doors open at 7pm. Alex’s set will begin at 7.20pm, kaeya at 8:10, benjis folk at 9pm and then back to back DJ sets at 9.40-11. We will then load out everything we brought and help pack down stalls aiming to be in bed by midnight!
Production and tech:
The attic is equipped with a very substantial desk, PA system and on stage monitors swell as providing microphones though we are also going to bring our own from uni facilities as contingency. From previous experience the Attic does not always provide a very experienced sound engineer which will have to be accounted for in timings which is why we left some extra time during sound checks. We are only requiring artists to bring their own specific instruments. As we aren’t using and amp for any band this greatly reduces what we will have to provide on the day. All of the set up are very easy and will hopefully save time in change overs. this also reduces the need for pat testing any equipment besides the food apparatus. Though the attic provides microphones and di boxes we are still going to bring ours swell as contingency. As a lot of gear overlaps we won’t require very much. 2 sm58’s, 2 sm57’s, 2 di boxes, 1 c414 and 1 audix d6. Pioneer cdj’s will also be provided by benji for the dj set.
Though we are not paying the stall holders for the event they along side the artists will get an equal split of the rider. There are 6 stall holders including a food stand ran by us. Having stall holders is another good way of expanding our reach further than just people with musical interest. It also expands the amount of people we will reach due to their own advertising much like with artist in a regular gig.
To market and advertise our gig we want to use a variety of approaches. The main one is physical tickets which will be made by benji. We want to utilise word of mouth for a lot of our sales. The idea is that giving someone a physical ticket and information about the event is more likely to stick in peoples minds than a fleeting social media post. Benji also wants to make posters as well to put around uni and other notable locations in Leeds. As well as this we will do joint posts on instagram for general people and Facebook for our personal contacts. Neither of us have a following on any other platforms. The posts will most likely consist of an announcement post just to make people aware (possibly a story), an artsy teaser, and video of us explaining it and then reminder posts for the days running up to it and on the day. This should bring in the most people we have at our disposal. We decided to wait to do the promotional run in order to not be over shadowed by the holiday/ festive period. we will begin mid January as our gig is during half term it we be important to get it on peoples radar at that time.
- Finance
As the venue hire is £180 and capacity is 200, we will be selling tickets at £5 on the door and for advance. After paying artists and extra costs we would require 73 full priced ticket sales to break even. We do have a guest list of one per person aimed for friends and family of people featured in the event. That is why we will be selling food and merch to utilise people who have already bought tickets. Merch gives the go goers a physical thing to remember the night by which will help with future promotion. Hopefully having all entry costs at £5 will give extra incentive to go to the event and also just simplify it as from experience ticket prices can be confusing and unclear.
We will be spending an added £55 on ingredients for food and an added £45 for merch posters and tickets due to prior purchased equipment being available to us. The pancake amounts currently are estimates and the actual number that will be made is rough but around 100. The pancakes will be at 3 different price ranges the highest being £4 the burger pancake which includes meat the pizza pancake at £3 and the standard sweet one at £2. Along side the badges and stickers priced at £1 and £2 we could make around £105 profit. We benefit from the fact that the attic doesn’t serve food and considering the duration people will likely get hungry as the gig goes on/ after drinking, I would say the pancakes are likely to be a success.
Rider expenses will be used mostly on water and other soft drinks and some alcoholic to be inclusive to any non drinkers and will be available to all stall holders as well as artists. We have set aside £30 for this.
An extra £20 has also been put aside as a contingency for any unexpected costs.
Technical Specifications, Costing and Timings
Press Kit
Press release
Artist Biographies
Alex Milling – Establishing himself in the north of England, Alex Izaak milling (age 22) has carved a unique corner into the thriving experimental improvised and DIY scene in Leeds. Specialising in electroacoustic composition, contemporary improvised music, sonic art and immersive exhibitions, Milling is constantly exploring. The relationship of sonic architecture and the impact it has on the relationship between the ‘performer’ and the ‘perceiver’. With a plethora of tools including electronics, vocals and guitar, Milling pushes the role of technology in improvised music and sonic with the aim for complete synergy between equipment and artist.
Artist HD Photographs
Kaeya – “Sparkly drag-paint indie folk loser” kaeya will take your heart and squeeze until you have heard what he has to say, Its hauntingly captivating trust.
benji’s folk- a shifting ensemble for beloved melodies, protest chants, and foot twitching ostinatos. “to turn tears to laughter”, “this time with four strong singers”
Risk Assessment
A comprehensive risk assessment has been undertaken to identify and mitigate potential risks associated with venue hire, live music performance, and catering. Audience safety is a primary consideration, with capacity managed in line with the venue’s limits and clear access maintained to all fire exits throughout the event. Slips, trips, and falls are mitigated through careful cable management, prompt cleaning of spillages, and clear walkways. Although no external bouncer is in place, a minimum-security approach is supported by seven event staff members and venue staff presence, with responsibility for first aid held by trained venue personnel. Antisocial behaviour is mitigated through clear communication of expected conduct and staff awareness throughout the event.
Technical and production risks associated with live music and DJ performances have been reduced through a simplified setup. All electrical equipment used in the event will be PAT tested, including a hob used for food service, with remaining equipment already compliant with venue standards. Equipment will be positioned securely on stage and adjacent to the mixing desk, avoiding audience-accessible areas and reducing the risk of accidental damage or injury. The absence of guitar amplifiers further reduces technical complexity, stage volume, and the likelihood of equipment failure. Sound levels, particularly during the DJ sets, will be monitored and maintained at respectful levels to minimise the risk of hearing damage and noise complaints. Fire safety procedures, emergency lighting, and evacuation routes have been reviewed and are clearly marked, with venue staff responsible for emergency decision-making should an incident occur.
Catering and food safety risks have been carefully considered due to the provision of hot, pre-prepared food. Food will be prepared by the organiser, who holds the required food safety training, ensuring compliance with hygiene regulations. All food handling will follow strict preparation hygiene protocols, including the use of designated preparation areas, appropriate handwashing practices, and the avoidance of cross-contamination. Allergens will be clearly listed and communicated to attendees to reduce the risk of allergic reactions. Refrigeration will be used where required to maintain safe food storage temperatures, and hygiene bins will be provided and emptied regularly to maintain cleanliness and prevent pest attraction. Adequate ventilation will be maintained throughout the event, supported by the use of an air purifier to ensure safe conditions in both food preparation and audience areas.
Contingency planning includes clear procedures for power failure, technical shutdown, or artist-related delays, with responsibility for emergency coordination held by venue staff. Overall, the identified risks are considered low to moderate and have been effectively mitigated through planning, staff training, simplified technical design, and close coordination with venue management, ensuring a safe and well-managed event for performers, staff, and attendees.
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Reference List
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