Live and Local
Simply put, you are planning a low cost event, putting live music into venues over a four hour period. The aim is to showcase live music to venues and the public whilst generating employment for artists and event teams as well as up skilling volunteers.
The four main roles that make up the team to put on a Live and Local event are: Event Manager, Publicist, Curator and Production Manager. The whole team does not need to be engaged for the duration of the planning stage of the event, but will be needed to produce a successful event. We recommend you will need three months lead in time. The Live Music Office is here to help mentor you through the process and will be happy to discuss any event you wish to produce.
The Event Manager is responsible for the creation and development of the event and for managing the event and its outcomes from start to finish. The role includes devising the event concept, planning the logistics and coordinating the technical aspects before launching the event.
Using the Live and Local methodology template the event manager will have all the required documentation to put on the event. Use the Event Planning Document as your master planning information hub.
Live and Local works with and alongside larger, pre-existing festivals and events i.e. a ‘host’ event. Creating a partnership with the host event and negotiating inclusion of your event in their overall marketing and publicity allows you to option on their broader connection to the community. The host event has to be secure and be reassured that your event will not hinder or poorly reflect on their name and assurances should be given. You’re offering an enhancement at no cost to the host event.
Whether your event is in two venues or twenty venues it is important to establish a realistic budget.
Use the Event Master Budget template to plan the events income and expenditure. Seek funding from local councils, apply for grants or approach private enterprise such as hospitality associations or individual venues. Utilise the Sponsor Agreement template to organise the events contributions from your funding groups.
Main expenditure cost for the event will be:
- Wages – Event Manager , Publicist, Curator and Production Manager
- Artist Fees
- Production equipment hire and backline hire
Pay all the outstanding invoices and receive any outstanding income to allow for the budget to be balanced.
Location & Venues
It’s best to identify an area with a small footprint that has a number of available venues – pubs, clubs, cafes and restaurants. Usually one street is good so you can condense the event and build a feeling of activity throughout the event.
It’s good to have one or two venues that already host live music, you can then branch out to other venues that are in close proximity to build the event around. The event should be at no cost to the venues unless they wish to sponsor the event. The aim is to expose the venues to live music, with best practise principles and showcase live music to new and existing customers. Thus making it attractive for the venue to continue programming live music as part of their normal business.
Once you have identified and agreed with the venues to be part of the event, complete and supply them with the Venue Agreement to be signed and returned.
Engage the Team
Source, negotiate and engage the essential members of the team-
- Production Manager
Recruit and manage volunteers for the event
Determine a timeline for all members of the team to work to to deliver their areas of the event.
Liaise with Local Authorities
Council, regulatory bodies and the police all need to be informed and hopefully partnered with, to gain support for the event. As the music is being placed in existing venues there should be no disruption to the area. Live and Local aims to not change normal business practices so there is no need for road closures or event infrastructure, its aim is to be “business as usual” incorporating live music.
Liaise with Artists
Once the curator has booked the artists to perform at the event the event manager can supply them with Artist Contractsto be signed and returned.
Closer to the event, request the artists send their stage plot and inputs lists, it would be a good idea to send the Artist Stage Plot/Inputs List document, which will explain what you require from them. This will need to be provided to your production manager so he/she knows the technical requirements of each performance.
The event manager is responsible for producing and maintaining the documentation for the event and securing any required permits or licences needed. If venues included in the event do not hold an APRA public performance licence, a temporary licence to cover the event is easily obtained. More information on APRA AMCOS licences can be found by clicking here.
Issuing Venue Contracts, Artist Contracts, Artist Worksheets, Venue Worksheets and completing the Operations Manualall are tasks to be completed by the event manager when the information is available.
Coordinate the event debrief with members of the event team to discuss the overall outcomes.
Arrange for Event Surveys to be sent out to the Artists, Venues and Event Staff/Volunteers. Issue volunteer participation certificates to all event volunteers.
Collate event report, surveys, media report and final budget and distribute to all related stakeholders.
It’s important that not only the event but all the sponsors, artists, venues and partner organisations get good exposure through the event. Engaging a good publicist on a short-term contract and delivering them a strong brief about the event, including the target market, budget and the event’s purpose is essential.
The publicists aim is to create and action an effective publicity and marketing plan to engage the public and gain good cross media exposure for the event.
Post event the Publicist will need to deliver a report on media placement, media reach and any media partnerships that may need maintaining.
The curator should be someone who has strong contacts in the creative community where you plan to hold the event. Having a well known curator who has a good public profile and can be a focus of media stories to help publicise the event would an advantage but not essential.
The curator’s role is to work with the event manager to identify what type of artists and how many performances are required for the identified venues. Having a site inspection will allow the curator to identify what will work in each of the venues. Two to three acts performing at each venue is ideal and won’t overstretch the production or artist’s budget.
An essential member of the team engaged to coordinate the technical aspects of the show. The production manager will need to assess the event venues and identify the required equipment to deliver the show. This can encompass production rental, power supply needs, backline hire, pick up and delivery. On the day of the show they will manage any problems and coordinate show logistics for the artists.