SWA22082399 SHR6E037P-002 Portfolio: Event Evaluation

SHR6E037P~002 Portfolio: Event Evaluation

Event Evaluation

For our live music management project, we produced a country music event at Headrow House, featuring three artists: Daisy Casterello, Murmuration and The Wranglers. The headline act utilised the event to launch their new single “Ghost”, positioning the event as both a live performance and promotional strategy. Our aim was to deliver an engaging live music experience. The success was dependent upon effective audience targeting, promotion and efficient managing, particularly in relation to ticket and audience access. The main target audience was students at Leeds Conservatoire and artists friends and family members. In this evaluation I will show how the planning process matched with the production of the event and how we could have improved in certain areas.

We all had specific roles so we could stay on top of all areas in the event, ensuring to outline clearly our pre-event and live-event roles. My main role for this project was social media management, promotion and box office operations. All of our individual roles were important in ensuring a successful and smooth event. It required us to work well as a team and collaborate.

This evaluation will include evidence including photos, videos and screenshots taken both at the event and in promoting it. Each section of this event will include 3 or more photos that are relevant and support the points I make. The analysis will consider core aspects of the event, including atmosphere, box-office, marketing impact and financial outcomes.

Roles and responsibilities:

My role within the project was social media management, promotion, and box office operations, both of which played a significant role in audience engagement and the delivery of the event. I was responsible for managing the events digital presence through the creation of social media pages and posts, focusing mainly on Instagram and Facebook. Alongside promotion, I played a key role in the box office on the night. This involved overseeing ticket sales on the door and managing audience entry using wristbands. The efficiency of this process was essential in ensuring a safe customer experience, and that we did not exceed our guest capacity, which was 120 people. This also allowed us to be organised, as any delays or disorganisation would have negatively impacted audience experience and atmosphere. Additionally, I also contributed to supporting tasks such as photographing the event, assisting with room decoration and ensuring that artists were comfortable and happy. While these weren’t my main responsibilities, they contributed to the overall professionalism and event atmosphere.

Event Atmosphere:

The atmosphere of the event was a strong indicator of its success, particularly in terms of audience engagement. We intended for our event to have a fun and friendly atmosphere, and although ticket sales reached 80 against a target of 120, the crowd still generated a lively and exciting environment. Video and photographic evidence from the night shows consistent audience participation, with attendees singing along, dancing, and responding enthusiastically to the performances. Showing that, despite not reaching full capacity, the quality of engagement was high and contributed positively to the live experience, which was a key strength. This supports the idea that successful events are defined by the “quality of the attendee experience and level of engagement” rather than attendance alone (Gets and Page, 2020, p.14). However, a weakness was the lower than expected audience turnout, which could have restricted the overall intensity of the atmosphere. Increasing ticket sales could have amplified this.

Box Office:

The box office performance contributed to both the financial outcome and the efficiency of audience entry. We sold a total of 80 tickets through a combination of online sales and on-the-door purchases, with tickets priced at £9 on the door and £7 online. Lucy and I both oversaw door sales, ensuring smooth and fast payments and distributing wristbands to audience members, providing an efficient method of identifying attendees going in and out of the venue. We also had a guest list, so it was important to check off people from it. I also was in charge of keeping count of audience members, ensuring that we didn’t go over the capacity. Having two people on the box office contributed to a smooth process of entry with minimal delays during peak periods.

Security:

In reflection, the security measures that we took for the event were relatively limited, as we largely relied on the venues in-house security rather than implementing additional measures as a group. While this proved sufficient, with no incidents or disruptions occurring, we could have benefited from more security, highlighting that this was a weakness in the planning process. The audience, on this occasion, were well-behaved and the atmosphere was controlled; however, additional security measures could have improved the overall risk management of the event. This reflects the idea that effective event safety requires “a systematic process of identifying, analysing and responding to risks” (Getz and Page, 2020, p. 312).

However, the use of wristbands at the door supported security by identifying paying attendees and preventing unauthorised access. We also had a green room where we and artists could keep our belongings and equipment, ensuring it was safe, with access restricted to artists only. These security measures were effective, but more extensive planning would have improved overall effectiveness.

Health and Safety:

Health and safety was managed in accordance with our risk assessment, assuring a safe environment for both the audience and performers. Some of the risks highlighted were broken glass, overheated plug sockets, trip hazards from cables and safe access to exits. We had measures in place to minimise these risks, such as keeping walkways clear, managing audience capacity and ensuring fire exits remained unobstructed throughout the event. We also made sure to not overload plug sockets to reduce the risk of them overheating, and we made sure that no glasses were brought into the event to prevent smashed glass. To do this, we made people pour their drinks from glass cups to plastic cups upon entry. Photographic evidence supports this, showing fire exits, plug sockets not being overloaded, plastic cups and more. From a critical perspective, the event ran smoothly with no incidents; however, we relied on basic precautions and venue procedures. To improve, we could have had clearer signs or dedicated safety roles.

Production sound and lighting:

The production elements of our event, including sound, lighting and setup, were well-managed and contributed positively to the show. We had an in-house sound and lighting engineer, who ensured good sound quality across all performances. A scheduled soundcheck was completed between 3:30pm and 6:15pm prior to the doors opening at 7pm. This allowed space for each act to test and adjust their levels to ensure clarity and balance across vocals and instruments, allowing artists to feel comfortable. We also had a lighting engineer who enhanced the visual aspect of the event, creating differentiation between bands. The sound and lighting production contributed significantly to a professional and enjoyable show, with all technical problems and changes handled efficiently and smoothly. This shows how important technical production in live events is, where high-quality production values are central to audience experience and perceived event professionalism” ( Chris Kemp, 2022, p. 74).

Artist Liaison:

Artist Liaison at our event was led primarily by one person, although we all contributed to supporting the artists throughout the night. Initial communication with performers was through instagram, and also we spoke to them a lot in person, which was easy as were all studying at the conservatoire. We utilised platforms like Instagram to book acts, obtain promotional images, and coordinate schedules, such as set times, load-in and soundcheck. This allowed for clear and consistent communication in the lead-up to the event and to solve minor problems like lateness. This highlights that effective music event coordination relies on “continuous communication and coordination across multiple digital platforms” (Stephen J. Page, 2024, p. 318).

On the night, artist care was managed well. We had a green room that was equipped with refreshments, including water, beer and cider, as well as facilities such as a toilet and coat hangers/storage space. This ensured comfort and kept everyone’s stuff safe. To improve, we could have had a bigger green room, as space for all the artists was limited. We were all available to assist with any artist needs; this made our event more professional and contributed to a supportive environment.

Stage management:

Stage management was well organised and contributed to a smooth running of performances. Stage management is important to “manage chaos, control pacing, anticipate problems, and keep the entire show running on track” (MoyerProinc, 2025). As mentioned before, a clear schedule was made in advance, including designated load-in times, soundcheck, and performance timings for each act. This structure was followed to the best of our ability, ensuring the event ran on time. 20-minute intervals were allocated between each artist, allowing for easy changeovers between sets. Artists brought their own equipment. Additional instruments and equipment were hired out from The Conservatoire. These preparations reduced the risk of disruptions between transitions. Overall, stage management was effective in maintaining organisation. Although, in future events, given more funding, stage management could be improved through having a stage manager.

Online Marketing

Social media has transformed how events are promoted and experienced, making it an essential ingredient for successful marketing strategies” (Esmos Recruitment, 2024). Online marketing was my main role; it was crucial because social media is the main driver of promotion, awareness and attendance at an event. We devised a marketing plan that included dates to release certain information like support acts and when to release the tickets, etc. I was responsible for creating and managing the event’s social media pages on Instagram and Facebook, which was crucial in promoting the gig. I used these platforms to share the ticket link and to post the posters and behind-the-scenes content like rehearsal footage and to introduce the artists. This helped to maintain a consistent online presence and engage with our target audience.

Additionally, I used interactive promotion strategies, including posting content from our promotional activities, such as the ticket-selling stall that we set up in the cafe bar. Engagement levels varied across different posts, with some receiving higher engagement than others, suggesting that timing and content impacted effectiveness. Overall the online marketing strategy was successful and reached a large audience. However, due to us not reaching our target audience number, it is clear that there was room for improvement. On reflection, we could have utilised paid promotion, which would have allowed us to reach a larger audience and more ticket sales. More consistent posts and sharing from everyone in the group could also have been more beneficial in audience reach.

Promotion:

Similar to online marketing, promotion was very important. We combined both digital and physical strategies to increase awareness and ticket sales. We designed and distributed posters around the Conservatoire making sure that they were visible to students and staff, positively impacting ticket sales. We also set up a ticket-selling stall in Cafe Bar, where we sold a few tickets whilst giving out brownies and treats. In-person promotion was effective because it allowed direct engagement with potential attendees, improving trust and the likelihood of ticket sales. Overall, promotion was effective in contributing to 80 ticket sales, although we could have reached a larger audience if we had broadened the distribution of posters due to the fact that we only put them around the uni and didn’t put them around Headrow House, which could have positively impacted our ticket sales.

Financial Outcomes:

The financial outcomes of the event were based on a tiered ticket pricing structure. We sold 17 early bird tickets at £5, 37 online at £7 and 26 on the door at £9. This generated a total income of £578. However, as seen in the settlement, the total costs of the event were £233.17; therefore our remaining balance was £344.83. This profit was distributed between artists and promoters. The headline act, The Wranglers, received 50% of profits (£129.31), while the support acts, Murmuration and Daisy Castellaro, received 25% (£64.66). After these payments the final promoter profit was £86.21. Overall the event was financially successful, and it covered all costs and generated income.

Conclusion:

To conclude, many aspects of our event were successful, and I have learnt a lot, and I’m now more confident in what I could improve on for future events. Our event achieved a strong atmosphere and was profitable despite not reaching the target 120 capacity. My contributions in social media, promotion and box office supported audience development. The combination of in-person and online marketing helped generate sales, while door management ensured efficient entry. Overall this was a successful event but has room for growth, and I’m excited for future projects where I can use what I’ve learnt and improve my live event management skills.

Bibliography

Getz, D. and Page, S.J. (2020) Event Studies: Theory, Research and Policy for Planned Events. 4th edn. London: Routledge.

Getz, D. and Page, S.J. (2020) Event Studies: Theory, Research and Policy for Planned Events. 4th edn. London: Routledge

Page, S.J. and Connell, J. (2024) The Routledge Handbook of Events. 2nd edn. London: Routledge

Kemp, C. (2022) Live Event Production Management. London: Routledge.

Esmos Recruitment (2024) The impact of social media on event marketing. Available at: https://www.esmosrecruitment.com/blog/the-impact-of-social-media-on-event-marketing (accessed 4th May 2026)

Meyerpro (2025) What Does a Stage Manager do at corporate events. Available at https://meyerproinc.com/what-does-a-stage-manager-do/ (Accessed 4th May 2026).