Organization of a Large Scale Music Event: Planning and Production

Total Page:16

File Type:pdf, Size:1020Kb

Organization of a Large Scale Music Event: Planning and Production Organization of a large scale music event: planning and production Tatiana Caciur Thesis MUBBA 2012 Abstract 17.1.2012 MUBBA Author or authors Group or year of Tatiana Caciur entry 2008 Title of report Number of Organization of a large scale music event: planning and pages and production. appendices 54 + 4 Teacher/s or supervisor/s Heta-Liisa Malkavaara Live entertainment is currently one of the few vital components of the music industry as it struggles to survive in the XXI century and conform to the drastic changes on the music market. Music events occur in great amount on a daily basis and it is important to plan and produce them in the right manner in order to stay relevant and secure one‟s place on the market. This report introduces various crucial matters that require attention during event organization process, such as marketing and strategic planning, communication and promotion, risk management, event programming and capacity management, to name a few. The 5-phase project management model is applied as the base on which this thesis is built. The research is conducted by comparing the theoretical and practical approach used in the music event business. The practical approach is based on examinations and interviews with the world market leader in live entertainment – Live Nation. An additional analysis of practices used in other large and successful music events in Europe and USA is also conducted. As this thesis shows, the practical approach is often easier and less rigorous than the theory. Some of the steps in this process may be simply omitted due to being considered of little relevance by the management team, many other are outsourced to professional agencies depending on requirements (security, catering). It becomes evident how important it is to be innovative and always stay up to date with the state of the market in order to organize the most successful events. Keywords Event management, planning, production, marketing communication Table of contents Table of contents ...................................................................................................................... 1 1 Introduction ...................................................................................................................... 1 1.1 Structure of the study ................................................................................................ 2 2 Initiation ............................................................................................................................ 4 2.1 Events and concept ................................................................................................... 4 2.2 Purpose of the event ................................................................................................. 4 2.3 Marketing screen ........................................................................................................ 6 2.4 Consumer‟s decision-making process ..................................................................... 6 2.5 The structure of demand .......................................................................................... 7 2.6 Three Es Of Event Marketing ................................................................................. 9 2.7 The Five Ws of Marketing ...................................................................................... 10 2.8 Target market ........................................................................................................... 12 3 Planning ........................................................................................................................... 13 3.1 Marketing planning .................................................................................................. 14 3.2 Strategic planning ..................................................................................................... 14 3.2.1 Strategy options ................................................................................................ 16 3.2.2 Purpose, vision and mission statements........................................................ 18 3.2.3 Goals and objectives ........................................................................................ 19 3.3 Operational planning ............................................................................................... 20 3.3.1 Forecasting ........................................................................................................ 20 3.4 Capacity management.............................................................................................. 22 3.5 Location .................................................................................................................... 23 3.5.1 Site plan ............................................................................................................. 24 3.5.2 Event signage .................................................................................................... 25 3.6 Time management ................................................................................................... 26 4 Implementation .............................................................................................................. 27 4.1 Programming the event ........................................................................................... 27 4.2 Integrated marketing communication ................................................................... 29 4.2.1 Communication policy .................................................................................... 30 4.2.2 Advertising and promotion ............................................................................. 31 4.2.3 Public relations ................................................................................................. 33 4.2.4 Web page ........................................................................................................... 35 4.3 Staging ....................................................................................................................... 37 4.4 Production schedule ................................................................................................ 38 5 Event ................................................................................................................................ 39 5.1 Load in \ load out .................................................................................................... 39 5.2 Audience ................................................................................................................... 40 5.3 Performers, artists .................................................................................................... 41 5.4 Risk management ..................................................................................................... 42 5.4.1 Risk communication ........................................................................................ 44 5.4.2 Managing crowd behavior ............................................................................... 45 6 Evaluation ....................................................................................................................... 47 7 Findings and conclusions .............................................................................................. 49 References ................................................................................................................................ 53 Attachments ............................................................................................................................. 55 Attachment 1. Live Nation press release example 1 ...................................................... 55 Attachment 2. Live Nation press release example 2 ...................................................... 57 Attachment 3. The process of strategic planning ........................................................... 58 1 Introduction The phrase “times they are a-changin” belongs to the great Bob Dylan and succinctly describes the current state of music industry. Indeed it is undergoing the changes that in the end will redefine its whole concept, largely due to the destructive impacts caused by piracy. While record sales are plunging, the majority of people involved in this business, from artists to management, realized that right now the only way to make ends meet is to tour as much as possible. Live entertainment was affected by the economic recession; however, unlike other, this sector of music industry is still actively functioning. Music events become bigger and more intricate theatrical performances that aim to surprise, please and entertain the jaded public. This thesis report is dedicated to the process of organizing a large scale music event, concentrated on the stages of planning and production. The objective of this work is to pick out the most important steps to be taken during the planning and production stages and compare the theoretical and practical approaches to them. The core of this thesis is based on a 5-phase project management approach (Allen, O‟Toole, Harris & McDonnell, 2008, 163). It describes the planning and production activities passing through these 5 phases: initiation, planning, implementation, event, and shutdown. The purpose of this work is to answer the following questions: 1. How to successfully plan, promote and produce a large-scale music event? 2. How do the “book approach” and the practical approach differ from each other? The practical approach is based on the interviews
Recommended publications
  • V&A Acquires the Glastonbury Festival Archive
    V&A acquires the Glastonbury Festival Archive The V&A is delighted to announce a collaboration with Glastonbury Festival to create an archive reflecting more than 40 years of diverse and creative performance. Glastonbury Festival is the longest-running popular music and performing arts festival in the world. Set up in 1970 by Michael Eavis on Worthy Farm in Pilton, Somerset – the Eavis’s family farm for four generations - the Festival is now attended by around 175,000 people annually. It has a long and unique history of hosting music, dance, comedy, theatre, circus, cabaret and other arts and collaborating with artists, set designers and craftspeople. Many distinguished names have performed at the summer festival over the last four decades including Beyoncé, Bjork, Blondie, Marc Bolan, Coldplay, The Cure, Jay-Z, Paul McCartney, Van Morrison, New Order, Oasis, Radiohead, The Rolling Stones, Toots and the Maytals, Velvet Underground and Amy Winehouse. This eclectic archive includes a range of material, from programmes and posters from every festival since 1970, designs for the Festival identity, interviews, unseen film and photographs, correspondence, t-shirts, tickets and other memorabilia. Personal accounts and documents trace the origins of the Festival and festival maps reveal how it has grown and developed within the landscape. Press cuttings document the relationship of the Festival with the local community and stories that captured the nation. The working processes of the Festival will be captured in the archive with original backstage passes, photographs and performers’ set-lists. The archive also includes photographs that reveal the evolution of the legendary Pyramid stage since its creation in 1971 to a permanent stage – also briefly used as a cattle shed in 1981.
    [Show full text]
  • List of Available Videos
    Artist Concert 3 Doors Down Live at the Download Festival 3 Doors Down Live At The Tabernacle 2014 30 Odd Foot Of Grunts Live at Soundstage 30 Seconds To Mars Live At Download Festival 2013 5 Seconds of Summer How Did We End Up Here? 6ft Hick Notes from the Underground A House Live on Stage A Thousand Horses Real Live Performances ABBA Arrival: The Ultimate Critical Review ABBA The Gold Singles Above And Beyond Acoustic AC/DC AC/DC - No Bull AC/DC In Performance AC/DC Live At River Plate\t AC/DC Live at the Circus Krone Acid Angels 101 A Concert - Band in Seattle Acid Angels And Big Sur 101 Episode - Band in Seattle Adam Jensen Live at Kiss FM Boston Adam Lambert Glam Nation Live Aerosmith Rock for the Rising Sun Aerosmith Videobiography After The Fire Live at the Greenbelt Against Me! Live at the Key Club: West Hollywood Aiden From Hell with Love Air Eating Sleeping Waiting and Playing Air Supply Air Supply Live in Toronto Air Supply Live in Hong Kong Akhenaton Live Aux Docks Des Sud Al Green Everything's Going To Be Alright Alabama and Friends Live at the Ryman Alain Souchon J'veux Du Live Part 2 Alanis Morissette Guitar Center Sessions Alanis Morissette Live at Montreux 2012 Alanis Morissette Live at Soundstage Albert Collins Live at Montreux Alberta Cross Live At The ATO Cabin Alejandro Fernández Confidencias Reales Alejandro Sanz El Alma al Aire en Concierto Ali Campbell Live at the Shepherds Bush Empire Alice Cooper AVO Session Alice Cooper Brutally Live Alice Cooper Good To See You Again Alice Cooper Live at Montreux Alice Cooper
    [Show full text]
  • Tom Mccall's Re-Election
    Tom McCall's Re-election By Keep Tom McCall Committee Oregon GovernorTom McCall issued this eight-page press release in early September, 1970, during his successful re-election campaign. This is the first page of that statement. In it, McCall defended his decision to use state money and employees to organize a three-day rock music festival at McIver State Park, in Clackamas County, called Vortex I. McCall and his staff used the festival to avert a potentially violent confrontation between anti-Vietnam War protestors, police, and members of the national American Legion, a veterans’ organization. The American Legion had scheduled their national convention in Portland and invited President Richard Nixon to be the keynote speaker. In the press release, McCall, a former journalist, also listed numerous civil riots and violent events that occurred between 1965 and 1970 in American cities, causing deaths and property damage. As a comparison, he pointed out that the protest during the American Legion convention drew few people, was mostly peaceful, and resulted in only one broken window. Portland business owners also contributed money for Vortex I, which attracted more than 35,000 people — including many youth who were allowed to flout laws by using drugs and going naked. The idea for Vortex I was first proposed by “The Family,” a Portland-based hippie organization that helped run the festival. While historians have determined that the threat of a riot in Portland was overestimated, McCall had reason to worry. A Portland State University protest group, called the People’s Army Jamboree, planned to demonstrate against the American Legion and President Nixon, who canceled his appearance at the last minute and sent Vice President Spiro Agnew instead.
    [Show full text]
  • ANDERTON Music Festival Capitalism
    1 Music Festival Capitalism Chris Anderton Abstract: This chapter adds to a growing subfield of music festival studies by examining the business practices and cultures of the commercial outdoor sector, with a particular focus on rock, pop and dance music events. The events of this sector require substantial financial and other capital in order to be staged and achieve success, yet the market is highly volatile, with relatively few festivals managing to attain longevity. It is argued that these events must balance their commercial needs with the socio-cultural expectations of their audiences for hedonistic, carnivalesque experiences that draw on countercultural understanding of festival culture (the countercultural carnivalesque). This balancing act has come into increased focus as corporate promoters, brand sponsors and venture capitalists have sought to dominate the market in the neoliberal era of late capitalism. The chapter examines the riskiness and volatility of the sector before examining contemporary economic strategies for risk management and audience development, and critiques of these corporatizing and mainstreaming processes. Keywords: music festival; carnivalesque; counterculture; risk management; cool capitalism A popular music festival may be defined as a live event consisting of multiple musical performances, held over one or more days (Shuker, 2017, 131), though the connotations of 2 the word “festival” extend much further than this, as I will discuss below. For the purposes of this chapter, “popular music” is conceived as music that is produced by contemporary artists, has commercial appeal, and does not rely on public subsidies to exist, hence typically ranges from rock and pop through to rap and electronic dance music, but excludes most classical music and opera (Connolly and Krueger 2006, 667).
    [Show full text]
  • Road Notez 100 Monkeys June 29 Murat Egyptian Room Indianapolis a “Day-Long Celebration of the Motor City.” ? & the Mysterians W/Joey O Band Aug
    --------------- Calendar • On The Road --------------- Kid Rock is playing another hometown gig .38 Special w/Southside Johnny & The Asbury Jukes July 30 Fraze Pavilion Kettering, OH in Detroit’s Comerica Park on August 12. 10 Years ($12 adv., $15 d.o.s.) Aug. 12 Piere’s Fort Wayne The show will headline what is being called Road Notez 100 Monkeys June 29 Murat Egyptian Room Indianapolis a “day-long celebration of the Motor City.” ? & The Mysterians w/Joey O Band Aug. 13 DeKalb Outdoor Theatre Auburn Sammy Hagar and the Wabos will open CHRIS HUPE The Afters w/This Fire’s Embrace, Everyday Sunday & Spoken Sept. 10 Rochester City Park Rochester for Kid Rock, and tickets go on sale June Air Supply ($25) Aug. 6 Foellinger Theatre Fort Wayne 11 at 10 a.m. Incidentally, Rock recently donated $50,000 to Detroit charities, making Alice Cooper w/Ace Frehley Aug. 27 DTE Energy Music Theatre Clarkston, MI Alison Krauss & Union Station feat. Jerry Douglas June 9 White River State Park Indianapolis good on a promise he made in response to criticism he recently received for displaying a Alison Krauss & Union Station feat. Jerry Douglas June 10 Fraze Pavilion Kettering, OH Confederate flag onstage during performances. Alison Krauss & Union Station feat. Jerry Douglas ($29.50-$49.50) Sept. 8 Fox Theatre Detroit The first Inked Magazine Tour will feature The Damned Things as the headliner and will All Time Low w/Cartel, The Cab & We Are The In Crowd Aug. 25 Murat Egyptian Room Indianapolis Ambrosia July 14 C2G Music Hall Fort Wayne hit stages in Chicago, Detroit, Cincinnati and Cleveland in late August.
    [Show full text]
  • Linkin Park Videos for Download
    Linkin park videos for download Numb/Encore [Live] (Clean Version) Linkin Park & Jay Z. Linkin Park - One Step Closer (Official Video) One Step Closer (Official Video) Linkin Park. Linkin Park. Tags: Linkin Park Video Songs, Linkin Park HD Mp4 Videos Download, Linkin Park Music Video Songs, Download 3gp Mp4 Linkin Park Videos, Linkin Park. Linkin Park - Numb Lyrics [HQ] [HD] Linkin Park - Numb (R.I.P Chester Bennington) HORVÁTH TAMÁS - Chester Bennington (Linkin Park) - Numb (Sztárban Sztár ). Linkin Park Heavy Video Download 3GP, MP4, HD MP4, And Watch Linkin Park Heavy Video. Watch videos & listen free to Linkin Park: In the End, Numb & more. Linkin Park is an American band from Agoura Hills, California. Formed in the band rose. This page have Linkin Park Full HD Music Videos. You can download Linkin Park p & p High Definition Blu-ray Quality Music Videos to your computer. Let's take a look back at Linkin Park's finest works as we count down their 10 Best Songs. Watch One More Light by Linkin Park online at Discover the latest music videos by Linkin Park on. hd video download, downloadable videos download music, music Numb - Linkin Park Official Video. Kiiara). Directed by Tim Mattia. Linkin Park's new album 'One More Light'. Available now: Linkin Park - Live At Download Festival In Paris, France Full Concert HD p. Video author: https. Linkin Park "Numb" off of the album METEORA. Directed by Joe Hahn. | http. Linkin Park "CASTLE OF GLASS" off of the album LIVING THINGS. "CASTLE OF I'll be spending all day. Videos.
    [Show full text]
  • Using Green Man Festival As a Case Study
    An Investigation to identify how festivals promotional techniques have developed over the years – using Green Man Festival as a case study Victoria Curran BA (hons) Events Management Cardiff Metropolitan University April 2018 i Declaration “I declare that this Dissertation has not already been accepted in substance for any degree and is not concurrently submitted in candidature for any degree. It is the result of my own independent research except where otherwise stated.” Name: Victoria Curran Signed: ii Abstract This research study was carried out in order to explore the different methods of marketing that Green Man Festival utilises, to discover how successful they are, and whether they have changed and developed throughout the years. The study intended to critically review the literature surrounding festivals and festival marketing theories, in order to provide conclusions supported by theory when evaluating the effectiveness of the promotional strategies. It aimed to discover how modern or digital marketing affected Green Man’s promotional techniques, to assess any identified promotional techniques and identify any connections with marketing theory, to investigate how they promote the festival towards their target market, and to finally provide recommendations for futuristic methods of promotion. The dissertation was presented coherently, consisting of five chapters. The first chapter was the introduction, providing a basic insight into the topics involved. The second contains a critical literature review where key themes were identified; the third chapter discussed the methodology used whilst the fourth chapter presents the results that were discovered, providing an analysis and discussion. The final chapter summarises the study, giving recommendations and identifying any limitations of the study.
    [Show full text]
  • Live Music Matters Scottish Music Review
    Live Music Matters Simon Frith Tovey Professor of Music, University of Edinburgh Scottish Music Review Abstract Economists and sociologists of music have long argued that the live music sector must lose out in the competition for leisure expenditure with the ever increasing variety of mediated musical goods and experiences. In the last decade, though, there is evidence that live music in the UK is one of the most buoyant parts of the music economy. In examining why this should be so this paper is divided into two parts. In the first I describe why and how live music remains an essential part of the music industry’s money making strategies. In the second I speculate about the social functions of performance by examining three examples of performance as entertainment: karaoke, tribute bands and the Pop Idol phenomenon. These are, I suggest, examples of secondary performance, which illuminate the social role of the musical performer in contemporary society. 1. The Economics of Performance Introduction It has long been an academic commonplace that the rise of mediated music (on record, radio and the film soundtrack) meant the decline of live music (in concert hall, music hall and the domestic parlour). For much of the last 50 years the UK’s live music sector, for example, has been analysed as a sector in decline. Two kinds of reason are adduced for this. On the one hand, economists, following the lead of Baumol and Bowen (1966), have assumed that live music can achieve neither the economies of scale nor the reduction of labour costs to compete with mass entertainment media.
    [Show full text]
  • Worksheet- the Boat That Rocked (Film Trailer) Watch the Video 3 Times
    Worksheet- The Boat that Rocked (film trailer) Watch the video 3 times VIEWING 1: Write down all the words you understand : VIEWING 2: Fill in the blanks Richard Curtis, creator of Notting Hill, Four Weddings and a Funeral and Love Actually was __________ by the true story of how the _________ _____________ tried to _____ rock ‘n’ roll music from the _________ to bring us his latest comedy : __________ ________ In 1964, all anybody could ______ on _______ radio of ____ music was about _____ hours a week and this was the ________ time for British pop music. That’s the whole point of being the government, if you don’t like something, you simply make it ________ until one __________ DJ and a band of __________ took to the sea to begin __________ _______-_______ hours a day. You had the right to _______ to this music _________ you wanted… They became known as _________, loved by _________ and despised by the ____________. 22 million _____ used to ____ in every day, and then of course they got ________ status, which was even ________ VIEWING 3: Interview Richard Curtis ! What type of film is it according to Richard Curtis ? A comedy A romance A romantic comedy What’s the serious message out of this film ? ………………………………………………………………………. EE : Would you like to watch this film ? Why ? (30 words) …………………………………………..…………………………………………………..…………………………………… ….…………………………………………..…………………………………………………..………………………………… ……. Toolbox : exciting/ hilarious/ based on true events… Activity 3 : Let’s recap ! Using the trailer and your asnwers, write the synopsis (=plot) of the film The Boat that Rocked is a film by……………………………………………………………………………………….
    [Show full text]
  • Sponsorship Packages
    SPONSORSHIP PACKAGES 6 DECEMBER - TROXY, LONDON WWW.FESTIVALAWARDS.COM Annual Celebration of the UK Festival Industry THE EVENT An awards ceremony that will leave UK festival organisers feeling celebrated, indulged and inspired. A highlight of the UK Festivals Calendar, the UKFA was founded in 2002 and is now celebrating its 15th year. With over 650 festival organisers, music agents and trade suppliers in attendance, the evening brings together the UK Festival scene’s key players for a night of entertainment, networking, street food, innovative cocktails and an exclusive after party – all held at the historic Troxy in London. Recognising the festival industries’ brightest and best, previous award winners include Michael Eavis (Glastonbury Festival), Peter Gabriel (WOMAD), Download Festival, Latitude and TRNSMT. We look forward to celebrating 2018’s triumphs with this year proving to be bigger and better than ever. THE BENEFITS The Awards offer sponsors the opportunity to network with the UK’s leading festival influencers and gain extensive exposure: EXCLUSIVE NETWORKING OPPORTUNITIES With the UK festival industry’s key players in attendance, the Awards offers unparalleled opportunity to network and engage one-on-one with decision makers. POSITION YOUR BRAND IN FRONT OF THE UK’S TOP FESTIVAL ORGANISERS Last year’s shortlisted festivals are the most influential, established and recognisable in the country. The UK’s greatest influencers will be attending the event and sponsors will have the opportunity to showcase products and services to a broad prospect base. UK FESTIVAL AWARDS 2017 SPONSORS & SUPPORTERS SPONSORSHIP OPPORTUNITIES HEADLINE PARTNER SPONSORSHIP Bespoke Sponsor Packages £20,000 If you are looking for a more unique package, contact us for The Headline Partner package is designed to offer your brand details about bespoke sponsorship packages.
    [Show full text]
  • Februar 2012
    Februar 2012 The Creation of an industry Mick Upton The Evolution of Crowd Barriers E O Cees Muurling MMade by ConCom Safety V Summerdays Festival i Schweiz Johnny Jønsson En hilsen fra Helvede! Jeppe Nissen Fodbold er ikke det rene anarki Lars Hintze Crowd dynamics Keith Still 1 MOVE What’s in it? Leder En hilsen fra helvede! Morten Therkildsen 4 18 Jeppe Nissen The Creation of an industry Summerdays Festival i Schweitz Mick Upton 6 22 Johnny Jonsson Fodbold er ikke det rene anarki Det siger loven / Tillykke til... Lars Hintze 8 28 Crowd dynamics 10 30 Mötorhead i VEGA Keith Still Visti Iversen Historien om VEGA Hvad er moshing? Eva Therkildsen 12 31 The Evolution of Crowd Barriers Cees Muurling 14 Move’s Redaktion: Sofie Dahl - Layout og redaktion Eva Therkildsen - Redaktion Forslag, tips og idéer: 2 [email protected] 3 Prepared for the future of learning from history and plan ahead large scale. It is about documentation, TY TR AFE AIN or just await the next accident, and crowd psychology, crowd dynamics, S IN L G not have any contingency plans ready. management principles, expected A A N S O S Since ConCom Safety started in 2006, incidents and a lot more. You have to I O International Safety T the employees have been a part of learn from other incidents and accidents A C N I creating a culture of speaking open- in the past and bring it into your own A R T E planning. We believe that Lincoln’s I minded about what we can improve.
    [Show full text]
  • Yellow Door Chronicles and the YDC Logo Are Copyright © 2005-2009 by the Sonia Shankman Orthogenic School
    Government Heightens Meet Ryan, O’School Most “Green” Claims Rockstar Mayhem Festival Expression on Unfair Tobacco Restrictions Dorm Counselor Unsubstantiated Comes to Chicago Computer Policy Page 4 Page 10 Page 3 Page 17 Page 13 Volume 5 North Korea Threatens U.S. Issue 1 JULY 21, 2009 With Nuclear Weapons By Nick A. North Korea is boast- ing about their weapons of mass destruction. On May 25th 2009, North Korea tested their second nuclear weapon near the Kilchu area. North Korea is also holding a shooting practice in the waters northeast of Wonsan from June 25 to July 9-10, which falls within the date that North Korea said they would fire a nuclear missile at Hawaii: July 4th, Inde- pendence Day. They also told Ja- pan’s coast guard to watch guard of the Wonsan region. U.S. officials say that the A North Korean Soldier North Koreans’ never said Continued on page 3 Lollapalooza 2009 Schedule is Announced By Tommy The lineup for the 2009 Lollapalooza was an- nounced on June 18. The 3-day music festival, which will occur from August 7 to August 9 at Chicago’s Grant Park, will have two headine acts to end each day. The headline acts will per- form at the South Stage and the Budweiser Stage. The six headline acts this year will be Depeche Mode, Kings of Leon, Blue October performs at the 2008 Lollapalooza Continued on page 15 2 What is your opinion on the o’school restructuring? A lot of cool people won’t be able to work here, or will at I don’t agree with it.
    [Show full text]