The Big Reunion Music Festival
EVENTS DESIGN: THE BIG REUNION MUSIC FESTIVAL
Introduction:
The live events offer an excellent opportunity of fostering the relationship with the customers and the suppliers. In the context of the similar circumference, Bhattacharjee et al. (2009) determined that the live events like music or the film festivals have the high chances of accomplishing success due to the involvement of the celebrities. The specific types can facilitate the organisers to network with the customers and the industry experts, which can easily lead a new brand to get entangled into a partnership venture. The particular venture can enact to be an opportunity for the new enterprise to increase its exposure in the target market (Wong and Wong, 2011). By which the firms would get the reaction of its target audience. Considering the assertion of the prior context, Bradley (2013) denoted that event management when compared to the traditional professions, the report reflects that the specific area had been growing rapidly. The rising graph of the specific sector represents hundreds of the professions that have chosen the specific sector as the profession, due to its predominant nature of creating experiences. Considering the reactions of the UK populations, several organisers are switching from the traditional events to the music shows and concerts. Therefore, the current study had chosen to evaluate the popularity of the Big Reunion Music Festival, UK and the initiatives the organisers have taken to conduct the occasion.
1.0 Purpose of the Big Reunion Music Festival:
According to Lawton (2011), the Big Reunion Music Festival is held over two back-to-back weekends on every November. The statistics reflect that every year approximately 12,000 audiences descend to the east coast of the UK to join the festival. The festivals had been designed to conduct the reunion for the party seekers who plan to take the summer holidays (Shuler, 2010). The primary purpose of conducting the Big Reunion Music Festival in London is to increase the visibility of the brand. The previous statistics forecast that the customers are highly influenced by the specific occasion, thus, on the face value the show had already created a standardised benchmark. Corciolani (2014) denoted that the younger generation prefers to visit the festivals due to the celebrity influence. The celebrity endorse had been the USP (Unique Selling Proposition) of the show. Moreover, the previous research showcases that the majority of the customers are the younger generation that basically attends the program on the verge of enjoying the live rock music. In a similar manner, the event continues for three consecutive days. Therefore, the fictions like jazz music and other events had been conducted by keeping in mind the business class that basically come for the reunion purpose. Hence, there had been two purposes for the Big Reunion Music Festival. The foremost purpose of the event is to increase the accessibility of the brand and the other is profit maximisation to the optimum limit.
2.0 Theme of the Big Reunion Music Festival:
Each year the Big Reunion Music Festival selects a new theme to widespread its reunion purpose and the music selected for the concerts. In the similar context, D. Andersson et al. (2013) determined that the theme for the music festival is highly necessitated to set its target audience. The theme itself is the concept that would help the brand to filter on the set of customers and based on which the entire marketing and the operational activities would be conducted. For the coming event, the Artistic co-director David Ying and the singer Joss Stone had selected the theme of ‘Re-invention’. The famous band ‘Adam and the Ants’ had selected the theme for
‘Gratification’ for the second day, and ‘Pool-out’ theme had been chosen for the third night by the famous Storm DJ. In the framework of the present context, Kerr and May (2011) acknowledged that the ‘Re-invention’ theme would influence the audience of all age group. The existing era is exclusively influenced by the transition phase of music and has executed an affirmative gesture towards the concept. David Ying and Joss Stone had re-formulated its creative perception that highly gets aligned with the preferences of all the age groups. On the other hand, the ‘Gratification’ and the ‘Pool-out’ has been thought by targeting the younger generation exclusively. With the theme of ‘Re-invention,’ the artists are looking forward to presenting a new version of music that had not been performed earlier in the industry. The idea of ‘Re-invention’ would be represented in the full range of the 1st day of the event. The rest of the days would exclusively focus on the relishing activities where the audience would feel free to spend the individual time.
3.0 Venue of the Big Reunion Music Festival:
Step 1: Selecting the tenure of the events
Initially, the dates and time for the music festival would be set. According to Gelder and
Robinson (2009), it is essential to plan out the period in which the event would be organised. Since, the booking price of the stadium fluctuates with time. Therefore, the advance booking is required to conduct the show with the depicted time frame.
Step 2: Selection of the set
After deciding on the time and date, the indoor stadium would be selected. Since, the event is a worldwide popular show, thus, the show needs to be conducted in the renowned stadium for the verge of its face value.
Step 3: Selecting the vendors
The vendors that would be required for organising the event need to be planned out thoroughly (Vapaavuori, 2012). The musicians, caterers, logistics department, accommodations, transports, etc. needs to be appointed for accomplishing a steady success of the three days events.
Step 4: Appointing the artists
After the selection of the prior two processes, the proposal would be forwarded to the artists. The theme selection and the consideration of the musical version would be selected by the artists.
Step 5: Accommodation for the artist
Since, the program would be conducted for three consecutive days, therefore; the accommodation facilities need to be offered to the artists and its music teams. According to Stadler et al. (2013), while formulating the vendor management strategy, the supporting members of the project team would initiate the negotiation with the hotel managers.
Step 6: Assigning the musicians
In case the artists prefer not to bring its support musicians, in that situation, the PR subordinate would make an appointment with the external musician teams and provide correct details of the musical themes and the versions planned for the events.
Step 7: Identifying the right set of audience
After deciding on the theme, the brand would get to identify eh right set of audience that would be majorly interested in attending the event. For assurance, a pre- advanced booking system would be introduced, where the audiences are supposed to make the reservation with a minimal figure of the indoor space.
Step 8: The marketing activities
The advanced booking policy would facilitate the brand to identify clearly its prospective audience that would attend the event. Based on which the marketing team would acknowledge the perception of initiation the marketing activities that can increase the visibility of the festival.
Step 9: Deciding the budget
Based on the above factors the finance department would formulate the budget plan.
4.0 Event Design Plan:
Event design of the first day show:
Show timing
In the day 1, the ‘Re-invention’ theme would be conducted where Joss Stone would be performing. Therefore, the show schedule would be from 7.00 PM to 10.00 PM. The musical team would be appointed for the specific day. The reporting time for the team would be 6.00 PM.
The spacing layouts
The spacing between each row would be designed in the constructive format to reduce the maximum back brushing of the audiences. The stamp-it had been the primary issue occurring in the live musical shows. Therefore, the row layout design would be initiated after receiving an approximate idea regarding the number of audiences attending the show.
The stage decoration
Strict security would be kept on both the entry and the exist side of the stage to avoid the chances of audiences getting up on the stage. Moreover, the harness stage setting had been kept for a unique entry style of the artist.
Entry process of the audience
The audience would require showing the promo code message received on the smartphone devices after the advanced booking. After accessing the promo code, the counter crew would pass on the hard copy.
Event design of the second-day show:
Show timing
The theme of ‘Gratification’ would be proceeded with the ‘Adam and the Ants’ band. The show timing for the specific day would be from 6.30 PM to 9.30 PM.
The stage decoration
The base platform of the stage would be kept inclined, which would assist the singers and interact and connect easily with the audiences.
Entry process of the audience
The audiences had already received the hard copy on the prior tenure. However, a strict security check up would be placed to check on the personal carriers of the audiences, to ensure that none of the audience makes an entry with the outside food items.
Event design of the third-day show:
Platform decoration
On the third day, the ‘Pool-out’ theme would be conducted by the Storm DJ. The pool arrangement had been held for the audiences. Since, it is a DJ based performance, therefore, considering the concept of amusement the light and water dripping method had been kept according to the sound beats.
Soundtrack selection
The music would be ‘remix’ and the fusion of the recent soundtracks would be played.
Event timing
The timing would be from 4.00 PM to 9.00 PM.
5.0 Menu of the Big Reunion Music Festival:
Offering food items and beverages would help the brand to attract the people towards the concert. The marketing team of the brand could allow a coupon system for purchasing food from the counter (Preston and Hoyle, 2012). The people who would come to attend the concert, could not carry any food item and a bottle of water. The people would need to purchase everything from the counter by paying money instantly to the counter. In this scenario Stevens (2009) stated that the coupon system of different price could be helpful for the people to buy food items from the concert venue. There would be three different food coupon item starting from £15, £20, £25 which would help the visitors to purchase food from the counter. Visitors could get the coupon directly from the place of the concert. The beverage items like water, coffee and drink would be started from £3 to £10. The people need to buy water directly from there. There would be no coupon system for the items of beverages.
Furthermore, Sutherland (2010) added that different types of cocktail, mocktail, wine and vodka would be there to draw the attention of the visitors. The people would need to buy these items directly from the respective counter and would require to pay the preferred value of these items.
The details of food items would be detailed below:
- Platillo De Pechugas De Pollo
- Grilled lamb chops
- Roast Chiken
- Merluza con Cerveza
- Twice Baked Soufflés
- Croquetas de Zapallo o Calabaza
- Falafel o Taamia
- Ream Cheese Souffle
- Blog La Cocina del Gourmet
The details of beverage items would be:
- Rum Chocolate
- Aztec hot chocolate
- Eggonh at Zetter
- Latte Macchiato
- Cocktail
- Mocktail
- Wine
- Vodka
6.0 Music version of the Big Reunion Music Festival:
The music version has been detailed below:
- Belearic beat
- Baltimore club
- Hard rock
- Fusion and remix music
Belearic beat
The particular version of music had been introduced by keeping in mind the music composition of Joss Stone. Tkaczynski and Rundle-Thiele (2013) asserted that the specific types of music had been highly preferred by the younger generation. Therefore, the musicians had been appointed by the electric blend of music. In the particular event, some dance based music compilations termed "the sound of Ibiza," had been included to enhance the range with more aggressive and upbeat forms of dance versions.
Baltimore club
The particular version of the music is characterised by a heavy use of looped vocal instruments that is similar to the ghetto house but with a Breakbeat drum forms at around 130 BPM (Oakes, 2010). These set of samples are often of famous for the hip hop and contemporary R&B songs of the pop culture references. The Baltimore club version had been kept by considering the music genre of ‘Adam and the Ants’ band.
Hard rock
Diaz Soria et al. (2014) mentioned that Vocals related with rock and roll music are diversified. Joss Stone has a unique style as opposed to the pop music which can create the sound alike. The vocal of the singer is also where the attitude comes from. The specific singer is highly comfortable with the particular version of the music, in a similar manner, the audiences are highly waiting for the re-intervention version of the hard-rock music. Hence, keeping in mind the comfort zone of Joss Stone the arrangements for Hard Rock is made.
Fusion and remix music
The fusion and remix had been introduced by acknowledging the present music preferences of the current audience. According to Hall (2008), the audience has executed a massive repose to the remix and the fusion music created by the DJs. Therefore, on the third day, the particular music genre had been kept to amuse the crowd with the DJ music mixes.
7.0 Planned activities of the Big Reunion Music Festival:
The brand is going to organise a reunion programme for the international business delegates who would attend the concert for recollecting the past business experience. According to the opinion of Davies and Crawford (2011), the reunion concept of the business delegates would help the brand for getting further sponsorship for the event. This would be also helpful for increasing the prospect and market value of the brand. Furthermore, the other activity like sharing of music composition from the visitors would enhance the popularity of the show (Duran and Hamarat, 2014). Thus, the planned activities of the Big Reunion Music Festival would be highly successful towards the people of London.
8.0 Proposed budget of the Big Reunion Music Festival:
With the capacity of 12,000 audiences, the power of the organiser would cost between £65,000 to £150,000. The organiser would spend up to £ 35,000. For the entire vendor cost, the organiser would spend between £2500 to £ 3000. The organiser would consider both the offline and online marketing activities. Thus, the marketing expenditure would be £1500.
Conclusion:
The current study focuses on the overall event design of the Big Reunion Music Festival, London. Evaluating the study, an inference can be drawn that the organisers had to make an effective event design and venue plan to match up the standard created by the previous years’ shows. The selection of the artists and the stage presence had been the important aspects that enhance the USP of the event. The above factors facilitated the organisers to identify the target audience that is interested in participating in the event. Based on which the marketing activities would be conducted.
References:
Bhattacharjee, S., Gopal, R., Marsden, J.R., Sankaranarayanan, R. and Telang, R. (2009) ‘To theme or not to theme: Can theme strength be the music industry’s “killer app”?’, Decision Support Systems, 48(1), pp. 141–149.
Bradley, L. (2013) Sounds like London: 100 years of black music in the capital. United Kingdom: Serpent’S Tail.
Corciolani, M. (2014) ‘How do authenticity dramas develop? An analysis of Afterhours fans’ responses to the band’s participation in the Sanremo music festival’, Marketing Theory, 14(2), pp. 185–206.
Andersson, T., Jutbring, H. and Lundberg, E. (2013) ‘When a music festival goes veggie’, International Journal of Event and Festival Management, 4(3), pp. 224–235.
Davies, T. and Crawford, I. (2011) Business accounting and finance. Harlow, England:
Pearson/Financial Times Prentice Hall.
Diaz Soria, I., Blanco-Romero, A. and Canoves I. Valiente, G. (2014) ‘Emporda music festivals as tourism diversification tools’, International Journal of Event and Festival Management, 5(3), pp. 297–310.
Duran, E. and Hamarat, B. (2014) ‘Festival attendees’ motivations: The case of international Troia festival’, International Journal of Event and Festival Management, 5(2), pp. 146–163.
Gelder, G. and Robinson, P. (2009) ‘A critical comparative study of visitor motivations for attending music festivals: A case study of Glastonbury and V festival’, Event Management, 13(3), pp. 181–196.
Hall, C.M. (2008) Food and wine festivals and events around the world: Development, management and markets. Edited by Michael C. Hall and Liz Sharples. Amsterdam:
Butterworth-Heinemann.
Kerr, A. and May, D. (2011) ‘An exploratory study looking at the relationship marketing techniques used in the music festival industry’, Journal of Retail & Leisure Property, 9(5), pp.
451–464.
Lawton, L.J. (2011) ‘Introduction: Special issue on sustainability in the event management sector’, Event Management, 15(4), pp. 313–314.
Oakes, S. (2010) ‘Profiling the jazz festival audience’, International Journal of Event and Festival Management, 1(2), pp. 110–119.
Preston, C.A. and Hoyle, L.H. (2012) Event marketing: How to successfully promote events, festivals, conventions, and expositions (the Wiley event management series). 2nd edn. United Kingdom: John Wiley and Sons.
Shuler, S.C. (2010) ‘Music for lIfe: Presidential theme and variations’, Music Educators Journal, 97(1), pp. 6–6.
Stadler, R., Reid, S. and Fullagar, S. (2013) ‘An ethnographic exploration of knowledge practices within the Queensland music festival’, International Journal of Event and Festival
Management, 4(2), pp. 90–106.
Stevens, L. (2009) ‘The logic of concert keys’, Journal of Film Music, 1(4), pp. 12–15. Wong, C.H. and Wong, P.C. (2011) Film festivals: Culture, people, and power on the global screen. New Brunswick, NJ: Rutgers University Press.
Sutherland, K. (2010) ‘Food and beverage: Filtration in the food and beverage industries’, Filtration & Separation, 47(2), pp. 28–31.
Tkaczynski, A. and Rundle-Thiele, S. (2013) ‘Understanding what really motivates attendance: A music festival segmentation study’, Journal of Travel & Tourism Marketing, 30(6), pp. 610– 623.
Vapaavuori, P. (2012) ‘Nordic keyboard festival’, Early Music, 40(4), pp. 726–727.
Wong, C.H. and Wong, P.C. (2011) Film festivals: Culture, people, and power on the global screen. New Brunswick, NJ: Rutgers University Press
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