music festival assignment

Music Festival Project Management Coursework

Executive summary.

A one-day music festival is arranged to take place in Greenwich Park. The project will start on March 28, 2011, and end on June 5, 2011, with the festival taking place on June 4, 2011. The estimated number of attendees is 10,000 people. The current report outlines the details of the project, the tasks, stakeholders, division of roles and responsibilities, and potential risks of the project.

Stakeholders

The stakeholders are individuals or organizations involved in the project, and/or those whose interests are directly influenced by the project’s success and completion (PMI Standards Committee and Project Management Institute, 1996). The key stakeholders in a project of planning a one-day music festival in Greenwich Park are the following:

• UK music promoter – the sponsor of the project.
• Team A – a project management team responsible for the planning process for the music festival.
• Subcontractors – various subcontractors who will be hired during the duration of the project to perform the task involved.
• Customers – the attendees of the festival.

Business Needs

The initiation of the project is based on the business need of the promoter, where the authorization of the project is driven by the tickets’ sales revenues, which are estimated at the maximum capacity of the venue -10,000 people, and the determined ticket price – £ 40. Other sources of expected revenues include advertisers and sponsors.

Scope Statement

Project justification.

The project is concerned with planning a one-day Music Festival that will take place on the 4 th of June 2011, in Greenwich Park. The project is concerned with all steps leading to the festival apart from performers’ contracts and accommodations. Namely, the project will help to prepare areas, such as the development of event site, development of event infrastructure, food and beverages operations, transportation, and security.

The deliverables of the project can be seen through the following:

• Setting up the venue.
• Setting up the stage.
• Sold ticket.
• Promotion materials.
• Human Resource Management (HRM) –staff ready for the project.
• Performers.
• Post-festival Service.

Specific Project Objectives

The duration of the project is 70 days – 10 weeks, starting from Monday, 28 th of MARCH, 2011, and ending on 5 th of June, 2001, the day after the festival, for cleaning, demounting, and de-installation of equipment. The set date for the festival is Saturday, the 5 th of June, 2011.

Work-Breakdown Structure (WBS)

The Work Breakdown Structure (WBS) for the event can be seen as follows:

• Identification of needed jobs.
• Development of job description.
• Determination of the number of workers needed.
• Conduct interviews.
• Establish a schedule.
• Design advertisements.
• Contact Printing Companies.
• Select a company.
• Print posters.
• Distribute Posters.
• Put ads in news Papers.
• Design tickets.
• Print tickets.
• Contact distribution centres.
• Distribute tickets.
• Buy materials.
• Construct booths.
• Paint booth.
• Install booth.
• Contact suppliers.
• Deliver supplies.
• Operate Booth.
• Decorate park.
• Contact Companies.
• Deliver Materials.
• Set up the stage.
• Set up the lighting.
• Setup fences and Barriers.
• Rent Equipment.
• Setup Equipment.
• Contact performers’ representatives.
• Contact transportation companies.
• Coordinate performers arrival.
• Sound checks.
• Provide transportation to the event.
• Contact Security Companies.
• Assign coordinator.
• Start the Event.
• End the Event.
• Dismantle Equipment.
• Dismantle Stage.
• Dismantle Booths.
• Terminate Employment.
• Deliver Report.

Assumptions

It should be noted that cells in which 0 days are displayed imply that the tasks will start and end on the same day. Accordingly, several assumptions will be made in outlining the relationship between tasks. The first one is related to the start of the project, in which a constraint is set for the first tasks of the project to start no earlier than 28 th of March, 2011. The second assumption is related to the dependencies between tasks. All tasks are dependent on each except for “Start the Event” tasks, which start is set for the 4 th of June date. Finally, except for the 4 th of June, i.e. the day of the Festival, and the day that follows, i.e. the 5 th of June, all working weeks are 5 days, where the task that consists of 3 days and starts on Friday transfers to the start of the next week.

Roles and Responsibilities

The tasks and the responsibility will be developed with consideration to the number of team members assigned to the project. The team consists of four members and a team director. For convenience team members will be numbered through the process of outlining their roles and responsibilities. The roles and the responsibilities of the project team and the roles and responsibilities of the client team are outlined in the following table:

Project Communication and Control

The role of the team can be seen in planning activities and effective coordination of the tasks and their control. In that regard, effective communication is an essential aspect of the project. The dissemination of information and the total control of the project is the responsibility of the project director. Any changes in the tasks their activities, schedules, and resources e approved through the Project’s director through established procedures and documentation (Gido, 2011). Additionally, the director will hold responsibility for the final report delivered after the project’s completion.

Procurement Management

In managing subcontractors, the kind of purchases made will determine the type of contract used. There are several types of purchases and arrangements during the project, which can be divided into three types:

The services include printing the promotional materials, and the services of security and transport companies. For transport and security companies’ unit price contacts will be arranged. Unit price contracts can be defined as contracts in which the seller of the service or the product is paid a pre-set amount per unit of service (PMI Standards Committee and Project Management Institute, 1996).

In this case, the unit of service is an hour for both the transport and the security. The unit of services is attached to a particular product, per car, or security officer in this case. Several companies will be contacted before the implantation of the project, where the company with the lowest bid will be considered. A fixed price or a lump sum contract might be arranged with the security company for arranging the security of the park during the day of the festival. In that regard, the number of security officers required, or the hours of work might be ignored, with the focus being on the final product which is securing the park and the venue during the festival for as long as the festival takes place. Lump-sum contracts can be defined as contracts that involve a fixed “price for a well-defined product” (PMI Standards Committee and Project Management Institute, 1996). The latter can be considered as a form of outsourcing activities (Wallace, 2007). Lump-sum contracts can be arranged for cleaning the park after the festival as well, where cleaning the park can be defined as the product in question, for which a fixed price will be paid.

The materials for the project can be purchased or rented for the duration of their exploitation. The purchased materials those required for the construction of food and beverages booths, their painting, and the decoration of the park. Accordingly, the latter include the supplies needed for booths’ operation, i.e. the food and the beverages. In this case, unit price contracts will be also used, where all of the supplies can be measured in units and the products can be quantified easily.

The labour part of the project includes all staff that had to be employed during the various parts of the project and with various durations. The tasks include designing posters and tickets, distribution of posters and tickets, carpenter tasks (booth constructions), painters, workers (decorations, setting fences, setting the stage, dismantling the stage, etc). The type of contract suitable for such a purpose is a cost-reimbursable contract. Such contracts can be defined as those which involve “payment (reimbursement) to the seller for its actual costs. Additionally, the salaries of the team working on the project will be also classified as cost reimbursable contracts, namely in the category of direct costs.

Risk Management

The risk management plan of the project will identify the main risks in the project, their level, the resources assigned, and a contingency plan in case the risk shall occur. As every project faces a range, responding to those risks is a matter of planning, i.e. acknowledging the existence of those risks and planning how they can be mitigated (Heerkens, 2005). Classifying the response to the risks, it can be stated that the response mainly focuses on risk-mitigating, through either reducing the probability of occurrence or reducing the risk event value, i.e. insurance. The risks identified in this project along with their contingency plans can be seen through the following table:

Reference List

GIDO, J. 2011. Successful project management, Cincinnati, OH, South-Western Pub.

HEERKENS, G. 2005. Project management: 24 lessons to help you master any project, New York, McGraw-Hill.

PMI STANDARDS COMMITTEE & PROJECT MANAGEMENT INSTITUTE 1996. A Guide to the project management body of knowledge , Project Management Institute.

SILVERS, J. R. 2004. Professional event coordination, Hoboken, N.J., Wiley.

WALLACE, S. 2007. The ePMbook . Simon Wallace. Web.

WALTON, K. 2010. Article Based on WBS structure . Project Management for Festivals. Web.

• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2023, December 15). Music Festival Project Management. https://ivypanda.com/essays/music-festival-project-management/

"Music Festival Project Management." IvyPanda , 15 Dec. 2023, ivypanda.com/essays/music-festival-project-management/.

IvyPanda . (2023) 'Music Festival Project Management'. 15 December.

IvyPanda . 2023. "Music Festival Project Management." December 15, 2023. https://ivypanda.com/essays/music-festival-project-management/.

1. IvyPanda . "Music Festival Project Management." December 15, 2023. https://ivypanda.com/essays/music-festival-project-management/.

Bibliography

IvyPanda . "Music Festival Project Management." December 15, 2023. https://ivypanda.com/essays/music-festival-project-management/.

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Music Festival Project Charter Template

• Ready-to-use, fully customizable Doc
• Get started in seconds

Planning a music festival is a massive undertaking, with countless moving parts and deadlines to manage. That's where ClickUp's Music Festival Project Charter Template comes in, making the planning process a breeze!

With ClickUp's Music Festival Project Charter Template, you can:

• Define clear objectives and goals for your music festival project
• Establish roles and responsibilities to ensure effective teamwork
• Create a comprehensive timeline to stay on track and meet deadlines
• Track budget and expenses to keep your finances in check
• Coordinate with vendors, artists, and sponsors seamlessly
• Manage logistics, such as venue selection, ticketing, and crowd management

Whether you're a seasoned festival organizer or a first-timer, this template has everything you need to make your music festival a resounding success. Start planning now and rock your way to an unforgettable event!

Benefits of Music Festival Project Charter Template

The Music Festival Project Charter Template is a valuable tool for organizing and managing your music festival project. Here are some of the benefits it offers:

• Provides a clear and concise overview of the project's objectives, scope, and deliverables
• Helps define roles and responsibilities for team members, ensuring everyone knows their tasks and deadlines
• Assists in identifying potential risks and creating contingency plans to mitigate them
• Streamlines communication and collaboration among team members, vendors, and stakeholders
• Serves as a reference document throughout the project, keeping everyone aligned and focused on achieving success

Main Elements of Music Festival Project Charter Template

ClickUp's Music Festival Project Charter template is the perfect tool to plan and execute a successful music festival. Here are the main elements of this Doc template:

• Custom Statuses: Track the progress of different tasks and milestones with custom statuses tailored to your festival planning process.
• Custom Fields: Use custom fields to capture important information such as artist lineup, venue details, ticket pricing, and sponsorship opportunities, ensuring all key details are easily accessible and organized.
• Different Views: Utilize different views to visualize your festival planning process. Whether it's the Board view for a Kanban-style workflow, the Calendar view to schedule important dates, or the Table view to manage tasks and deadlines, ClickUp has you covered.

With ClickUp's Music Festival Project Charter template, you can streamline your planning process, collaborate with your team, and ensure a memorable music festival experience for all attendees.

How to Use Project Charter for Music Festival

Planning a music festival can be an exciting but complex endeavor. To help you stay organized and on track, follow these six steps to effectively use the Music Festival Project Charter Template in ClickUp:

1. Define your vision and goals

Start by clearly defining your vision for the music festival. What type of experience do you want to create for attendees? What are the specific goals you want to achieve, such as attracting a certain number of attendees or showcasing a diverse lineup of artists? Clearly articulating your vision and goals will guide all future decisions and actions.

Use Goals in ClickUp to set specific, measurable, attainable, relevant, and time-bound (SMART) goals for the music festival project.

2. Identify key stakeholders

Identify all the key stakeholders involved in the music festival project. This includes internal team members, external vendors, sponsors, artists, and the local community. Understanding who the stakeholders are and their roles in the project will help you effectively communicate, collaborate, and manage expectations.

Create custom fields in ClickUp to track and categorize each stakeholder's information, such as contact details, responsibilities, and communication preferences.

3. Establish a project timeline

Develop a comprehensive project timeline that outlines all the major milestones, tasks, and deadlines leading up to the music festival. This includes tasks such as securing a venue, booking artists, marketing and promotion, ticket sales, logistics planning, and more. Breaking down the project into smaller, manageable tasks will make it easier to stay organized and ensure nothing falls through the cracks.

Use Gantt charts in ClickUp to visually map out the project timeline and dependencies between tasks.

4. Allocate resources and budget

Determine the resources and budget needed to bring your music festival to life. This includes financial resources, human resources, equipment, permits, marketing materials, and more. Assessing resource requirements and allocating them appropriately will help you stay within budget and ensure a smooth execution of the event.

Use custom fields in ClickUp to track and manage resources, such as budget allocation, vendor contracts, and equipment inventory.

5. Assign responsibilities and tasks

Assign specific responsibilities and tasks to team members based on their expertise and availability. Clearly communicate expectations, deadlines, and deliverables to ensure everyone is on the same page. Regularly check in on progress and provide support as needed to keep the project moving forward smoothly.

Use task assignments and checklists in ClickUp to assign responsibilities, track progress, and collaborate with team members.

6. Monitor, evaluate, and adapt

Continuously monitor the progress of the music festival project, evaluate its success against the defined goals, and make any necessary adjustments along the way. Regularly review and update the project charter to reflect any changes or new insights. By staying agile and adaptable, you can ensure the music festival is a resounding success.

Use Dashboards in ClickUp to track key project metrics, monitor progress, and generate reports for stakeholders.

Get Started with ClickUp's Music Festival Project Charter Template

Music festival organizers can use this Music Festival Project Charter Template to help everyone stay on the same page when it comes to planning and executing a successful music festival.

First, hit “Get Free Solution” to sign up for ClickUp and add the template to your Workspace. Make sure you designate which Space or location in your Workspace you’d like this template applied.

Next, invite relevant members or guests to your Workspace to start collaborating.

Now you can take advantage of the full potential of this template to plan your music festival:

• Use the Task View to create tasks for each aspect of the festival, such as booking artists, securing permits, and promoting the event
• The Calendar View will help you keep track of important dates, such as ticket sale start and end dates, artist lineup announcements, and event setup and teardown dates
• Utilize the Gantt Chart View to create a visual timeline of all tasks and their dependencies to ensure a smooth workflow
• The Board View is perfect for organizing tasks by stages, such as pre-festival planning, event execution, and post-festival wrap-up
• Assign tasks to team members and set deadlines to keep everyone accountable and ensure tasks are completed on time
• Use Automations to streamline repetitive tasks, such as sending artist contracts or updating ticket sales numbers
• Hold regular meetings and collaborate with team members to discuss progress, make decisions, and address any issues that arise
• Monitor and analyze tasks, track budget, and evaluate the success of the festival using the Dashboards feature

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Ultimate guide to making a profitable music festival budget

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Featured photo by Kelly Sikkema on Unsplash

If you're an event planner with a big idea, like a perfect, big idea, but you don't even know where to start, you have come to the right place! Big ideas need big plans, and big plans need a strategy, innovation, clarity, and consistency. If you are looking for helpful tools to start your own music festival, we are here to provide you with some insight.

We were in your shoes once before, and it worked out pretty well for us (after some budgeting adjustments). That's why we're here to show you the ropes of starting your own music festival with a detailed look into all aspects of planning one! We are confident that your music festival dream can truly become a real concept.

Photo by Tony Pham on Unsplash

Throwing a music festival or event of your own takes a lot of planning and might even include some aspects you would have never thought were necessary. Things like porta-potties, medical services, a contingency fund, or even costs of parking passes may have never even crossed your mind.

PromoTix has got you covered with a reliable PDF budgeting tool that will turn your extraordinary music event idea into a reality and one that's profitable too! With years of experience under our belts, you can bring your festival dreams to life by reading these helpful tips and downloading this FREE tool that we have created.

You can check out this video to see how you can instantly increase your profitability when creating a music festival using this.

How to acquire funds to start your music festival

If you need money to start your event , consider bringing awareness to it and spread the word. If you've got a venue or a name in mind, create a name for your festival that will grab people's attention. Through conversation, sharing what you're creating with others will instantly draw attention if you make something interesting.

Once you have hype around your event, you know that the concept of it can truly become a reality. If people are interested in getting involved, raising money for the festival is a huge task. You will need a lot of money to make a festival successful, and you don't have to drain your bank.

Some ways that may help you get funding for your festival that may be available to you are applying for grants in your city or state, creating a marketing plan to get a business sponsorship, or even finding venture capitalists that are interested in funding your Festival.

There are people out there who want to help put this kind of event on, and you need to find them. If you can make connections with those in the music and event management industries, word of mouth will travel, and you will find that many people want you to find success in making your event come to life.

Researching grants that your festival is qualified to receive in your city or state is an excellent place to start. There are music organizations out there that fund big events or unique cases like a specific music festival in this case.

Music organizations want to put shows on, and if they like your plan, they might be interested in supporting your festival. Talking to the right people and finding a grant  that you can qualify for will save you time.

Finding sponsors  to represent your music festival can be a challenge, yes, but a necessary one if you need funds to support your event. Sponsorships are a task you have to put work into because you need to develop sponsorship offers, find potential people, and sell your offer to them. 

Photo by Campaign Creators on Unsplash

A sponsor for a festival should have a relevant message to those who are attending the festival. Sponsors will seek brand recognition and benefits from promoting your festival through the attention it receives. 

Driving your festival's social media followings and engagement is another way to find potential sponsors through 'digital word of mouth.' Having a well-known music festival account on a few platforms with a large following will have people all over your posts looking for more information, which will drive awareness.

Music festival budget breakdown

A helpful hint to throwing a profitable music festival (or at least not losing money in the first trial year) is to budget your expenses properly because there will be many expenses. Planning and holding a music festival can cost thousands (if it's generally smaller), if not millions of dollars.

For example, the cost to put on Burning Man was around $35.8 million in 2015. Securing this sum of money for the festival took a lot, but can you even imagine what the actual cost is to put on a similar show in 2021?

In 2017, Coachella headliners were pulling in about $3-4 million for their sets. Three years later and the cost to put on a gigantic festival has increased each year, especially depending on the lineup for which you're aiming.

Any successful festival is founded on an idea with a venue that works with it. Wherever you choose to host your festival, it is likely that the local area will profit off of your festival revenue as well.

Knowing in advance how much you want to put into the quality of the artists and the hospitality is essential before creating the actual budget.

Thinking about every single expense of your event before actually spending the money will be the defining factor leading to your festival's success and profitability.

Planning your music festival can go as simple as you think until you hit a bump in the road and forget a $30,000+ expense or a permit that will shut down your event.

When it comes to planning a music festival, you are essentially creating a brand. Your festival needs a vision in terms of what type of music it will have. Think specifically and ask yourself these questions:

• What kind of artists do you want to bring in?
• What type of vibe do you want the atmosphere to have?
• What kind of people do you want to attract to the festival?
• What will make your festival unique to fans?

All of these questions will help you visualize the type of music festival you want to achieve and what funds you will need to allocate into your event budget. The outcome of your music festival can not be determined by the 'vibe' of it all; you need to also think about profit.

Creating plans and strategies for each aspect of your music festival will make it unique, functional, and easier to execute successfully.

To set your festival apart from others, offer something different. An attendee will come back to your show each year if you offer something unique, like an experiential marketing set or a surprise headliner/supporting act.

What goes into each budget area?

Your music festival budget plan will take a lot of time to figure out. Knowing what you want to include and leave out of your fan's experience may help you decide which aspects may be more or less important when running through a budget plan.

Some of the specific festival budgeting areas include:

• Site expenses
• Stages, Bathrooms, Camping, Backstage, Open Space, Entry, Accessibility
• Production expenses
• Lighting, Artists, Backstage Food & Drink, Hosts, Sound Systems, Backdrops
• Ticketing expenses 
• Commissions, Staff, Printing, Ticket Takers
• Staff expenses
• Administration, Parking & Food Staffs, Power & Lights, Insurances
• PR/ Marketing expenses
• Website, Social Media, Marketing Campaigns, Promotions, Festival Art, Branding
• Pre-production expenses
• Legal Accountant, Postage, Phone/ Computer equipment, Office Costs, Liability Coverage, Permits, Licenses
• Other expenses
• Food and Beverage Sites, Merchandise tents, Land Registration, Shuttle Bus Rental, Commodes, Fence & Perimeter Lights, Operations Vehicles, Trash Control, etc.

These are only some of the expenses in detail that you will need to cover when planning a music festival. Depending on the size you are projecting it to be, some things may not be required on-site as they are for larger crowds.

You will need to create a team of people to help you in the process of creating your festival because, as you can see, there's a lot to tackle.

Photo by DuoNguyen on Unsplash

You will need to start planning around two years in advance for a successful festival to grow the brand, gain traction and plan out all of these details. Finding a location site that matches the energy of your festival will also be a definitive factor of your music festival. 

Hiring knowledgeable event staff who are passionate about music is essential in the event world. From there, you need tons of employees to help run the site and prepare for when the festival is live.

Festival work is really fun, so you may find people to join your volunteer staff for free if they get to see the shows! That's a win-win for any budget.

Budget expense breakdown

The majority of your overall budget will go into advertising and booking artists to perform at your festival. Putting a lot of money into the marketing and promotional material of your event will ensure greater success turnout-both physical marketing materials and digital marketing assets.

Another large chunk of your budget will be spent on creating a popular lineup of artists. Whether or not you want to implement a mix of different music or genres is up to you but hiring professional artists costs a lot of money, especially if you will hire up-and-coming artists. This could also be another aspect that grows your festival's profitability because people will want to attend an event where their favorite artist is headlining.

Photo by Aranxa Esteve on Unsplash

As for all of the more minor details that aren't as enjoyable to figure our like marketing or finding artists, our event budget template helps break every other cost down for you, literally  everything , so that you don't forget an important detail that may not have crossed your mind. We break down the cost for each item per ticket fee in each of these categories and how much is budgeted.

This allows you to see each item's cost, what amount of money is put away specifically for that, and how it fits into your overall music festival expenses. When you are creating this music festival, you're essentially starting a business, and we want this business to profit for years to come.

Utilizing our PromoTix platform for your music festival ticketing needs is one way that you can save money when your music festival is live. Our ticketing platform is designed to increase your profitability and save you money by taking away all of those event ticketing fees.

Speaking from our experience

If you genuinely want to know why this practice works when it comes to large-scale event planning, we can share our experience with you. You can trust that PromoTix can help because we've been in your shoes! Yes, that's right, the creator and founder of PromoTix , Will Royall, started his own wildly successful music festival back in 2015, Backwoods Music Festival at Mulberry Mountain. (You can read the full story  here).

Will ended up creating PromoTix and was then able to generate leads and ambassadors, bringing in over $390,000 in sales for the festival.

He created his own software and saved over $42,000 in ticketing fees alone. All of that money was saved by trying something different that funding could be used elsewhere in the budget.

So, if you're in a place where the ball is rolling and you're planning and strategizing ways to bring your idea to life, you need to think about the profitability of your music festival. Not just creating it, but how to make it successful and  keep  selling tickets for years to come. 

You may find multiple ways to increase your profitability, and we are here to provide you with the tools that we found successful in our experience. Check out this  video to see just how the Backwoods Music Festival increased its profit margins and attendance numbers while maintaining its attendee experience.

Music industry work is challenging but effective

As you can see, creating, organizing, and planning a music festival is not easy-you will be lucky if you break even or make a profit the first year. It is a tricky business, especially with the growing number of festivals rising in the last few years.

Photo by Krists Luhaers on Unsplash

Hopefully, with these helpful planning tools, your music festival planning experience goes smoother than you thought it would. A festival is a business, but an incredible one that brings massive amounts of people happiness and joy. Live music is like nothing else, and if you can deliver joy to your attendees, your festival has done its job.

Creating a business around your festival is the only way that it can happen, and that is all through money. Buying equipment, paying fees, and paying people are only a few of the things that your festival must make money for each year so that it can continue to boost ticket sales and profit.

If you use our budget planning sheet to make your dream music festival a reality, let us know! We want to know if it worked for you. After all, we're all here to attend a well-thrown music festival to jam out at for a couple of days, right? Wow, we can't wait to do that again sometime soon. 

To get more creative ideas on planning your music festival, check out more of our Music Festival Planning Tools or read through our blog articles . We are here to help the success of your live music event and hope that PromoTix has provided a good place for you to start!

To download our Master Budgeting Tool for Music Festivals, click below.

Gina Pujolas

Topics: Event Management , Music Festival Planning

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8. Space out your stages to avoid overlap

Allow plenty of space between stages so that one act doesn’t overshadow another. 3D event stage design tools can help you visualize distances and sight lines between stages, so each performance area is a distinct section.

Direct the sound from each stage to the immediate crowd so that every act can be heard, even if they’re playing at the same time. Keep in mind, your mainstage headline performers shouldn’t have any competition. People who came to hear Billie Eilish shouldn’t be able to hear the bass line from another act while listening to ˜When the Party’s Over.’  

Prioritize event accessibility in your layout design 

Allow everyone an equal opportunity to enjoy your music festival by following event accessibility guidelines . Provide easy access and accommodations, and be sure your staff is trained to understand what people with disabilities need as they navigate the festival. 

9. Provide a great view for all

Construct wheelchair-user viewing platforms where guests can enjoy full view of the stage without getting blocked by dancing crowds. Offer enough room so friends and caregivers can enjoy the show from the platform, too.  

10. Make paths and key festival areas accessible

Place boardwalks or pathways along major routes for those with wheelchairs, crutches, or anyone who needs a stable surface to walk on. Outdoor events can get muddy and challenging to navigate for festival-goers with physical disabilities. Construct ramps in areas where attendees have to climb stairs or ascend steep hills. 

11. Create accessible campsites 

If your festival allows guests to stay overnight, ensure that you have accessible campsites on ground level that won’t get washed out during a rainstorm. Ideally, these sites will feature elevated platforms for the attendees’ tents or festival-provided tents. The closer these campsites are to the event venue and stages, the better. 

12. Offer accessible restrooms 

Designate accessible restrooms with plenty of space for wheelchairs and consider accessible changing stations or pop-up cabins during weekend-long festivals. Add several powerchair charging points throughout the venue for a quick charge when batteries get low.

Include VIP areas for artists and VIP guests in your festival layout  

13. design a backstage area.

Beyond the performance stages, musicians and singers need a backstage area that separates them from the crowd. Design a layout for your festival complete with areas for artists to relax pre-concert, loading docks, parking for trailers, and (depending on the acts) dressing rooms. Consider access roads as well when locating the backstage”it’s vehicles carrying artists and instruments can pull up with ease. 

14. Set up a VIP line

If you have special guests who are paying more for a ticket, include a fast-access line at the event check-in area. How much extra space you need will depend on the size of your VIP list. It could be one extra line to the side of the main check-in line. If there are big-name stars coming, VIPs should have their own entrance, complete with red-carpet and welcome tent for cocktails and appetizers before the show begins. 

15. Road map separate routes for vendors 

Keep your festival attendees from running into your vendors as they bring supplies into the venue. Clearly mark routes and entrances with ˜staff only’ so no one ends up waiting in a long line with attendees or inadvertently driving into restricted areas.

Plan for unexpected events and emergencies with the right facilities 

Make sure your staff is up-to-date on best practices in event safety and security planning and use your event planning software to keep all emergency staff contacts in one place for quick and easy access. 

16. Provide staffed medical tents 

When large groups of people gather for an event, someone is bound to fall ill or become injured. Include multiple medical tents in your festival layout design. This will vary depending on the acreage of the festival grounds, but no attendee should be more than a minute or two from medical assistance. The medical tents should have trained medical staff and first aid supplies.    

17. Map out emergency evacuation routes

If hundreds or thousands of people need to exit in a hurry, your planned emergency evacuation routes keep things orderly. Include signage locations when diagramming your event layout .  

18. Place fire extinguishers in accessible places 

For small fires, the proper equipment stops a bad situation from turning worse. Use fire cabinets to thwart vandals and accidental discharge, and place clearly written usage instructions close at hand. 

19. Set up staffed security stations 

Your security team will walk the festival to keep a sharp eye on attendees and to offer help if needed. Design your music festival layout with a number of manned and marked security stations where people can go if they have an immediate problem. 

20. Organize emergency lighting around the venue

If the power goes out during nighttime events, people need to see their way out clearly. Avoid panic and keep things orderly by placing emergency lights along evacuation routes, at exit points, and in parking areas.    

21. Arrange additional entertainment areas

Unexpected events don’t always mean emergencies. On the off chance that a music act doesn’t show up, or if programs are running late, offer something for fans to do while they wait. Depending on your festival theme you may bring in art galleries, activities for kids, or even a game tent. 

Design your music festival layout to accommodate the weather 

Though there are plenty of indoor music festivals , the vast majority of them take place outside. Therefore, outdoor music festivals are subject to the whim of the weather and typically occur ˜rain or shine.’ Always plan for the worst case scenario, regardless of the fantastic forecast predicted, as the weather can change in an instant.

22. Provide multiple places to get out of the elements 

Attendees need cover from adverse weather conditions. Instead of setting up just one large tent for cooling and shade, set up several smaller tents around the venue that are easily accessed by all attendees. Include seating, tables, fans, and portable A/C units if necessary. 

23. Provide abundant hydration stations 

Hydration is important when the weather is hot and attendees are sweating. Even if temps are comfortable, access to drinking water is still essential because people are dancing and walking great distances. Your vendors will likely sell water at food stations, but provide free water fountains and water-bottle refill stations around the venue. Festival-goers should NOT have a difficult time accessing water. 

Direct festival-goers with maps and clear signage

24. direct people to essential areas.

Place clear and concise signs around your venue marking the areas that people need the most:

• F&B Vendors
• Charging stations
• Information kiosks
• Will call or registration
• Entrances/exits
• Medical facilities
• Hydration stations

25. Get creative with sign design

Create signs that are instructional and make an impact. Hire a local artist and create a graffiti wall complete with your event hashtag and social handles. Use Gobo projectors for virtual signs and floor markings in areas where physical signs are restricted or challenging. Digital signage also engages your audience, allowing you to provide information in a unique way and change it up, if necessary.

26. Go beyond the restrooms and exits 

The map of your music festival layout should include obvious areas such as stages, restrooms, and exits. However, your map should also include other essential information, including: 

• Shuttle and public transport areas for event transportation
• Emergency evacuation routes
• Accessible areas (such as special restrooms and ramps)

27. Design an event planning app for your map

Event apps keep event attendees in the loop on everything that’s going on from artists to showtimes to last-minute changes. Add your map to the app so attendees can pull it up with ease. Even better if geolocation shows where they are in the festival at all times. 

28. Create a physical map and hand it out 

Believe it or not, some people prefer enjoying music festivals device free. Create physical copies of your event map and make them available at the entrance and information points throughout the venue. 

Whether it’s a weekend jazz festival or a rock-and-roll marathon, music festivals are a great way for people to come together. As long as you create a layout that’s easy to navigate, clearly marked, and prioritizes safety, you’ll keep festival-goers happy. Use your event planning software to organize the many moving parts all in one place. 

Ready to learn more about hosting fun, crowd-pleasing events? Read our design tips for hosting a no-fail outdoor event or discover how a catered ice cream party can turn your event into a sweet success. 

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• Music Festivals

Brief Introduction to Music Festivals

Music festivals are community events that are emphasized towards a performance at an area with dance and music that is often segregated as a performance-based on musical genres like jazz, country, classical, folk etc. Sometimes, they’re also based on the musicians, the locality or the event of a holiday. They’re held in arenas with tents and other roofed stages that are designed for the performers. The Ball Arena in Denver is an example of such an event venue. Apart from the music, drinks and dance, other attractions that magnetize the fans and music festival lovers include merchandise, vending, crafts, the performance of art, love for the artists or the musicians and many others.

Sometimes, these festivals are also accompanied by and accounted for charitable causes about social or political issues. While some of the music festivals like that from the rock are held once every year, the others are held for the charitable funds during different intervals of the year. Another type of these festivals is help for the purpose of education which is organized locally by the communities and the regions to benefit and enhance the popularity of rising musicians in the genre.

Music Festivals around the world

The world’s largest music festival is the one held in Milwaukee, Wisconsin . It is an 11-day event and is held annually since 1968. It attracts a massive crowd of approximately 1,000,000 people from all over the world every single year. The festival also hosts various genres of artists – approximately 800 from all the levels and countries.

The largest open-air music festival was also considered as the second largest music festival in the hold is the Woodstock festival that takes place in Europe. This festival has been conducted annually from the year 1969 with nearly 75,000 attendees every year.

The Roskilde Music festival held every year in Denmark is another famous musical event that attracts about 135,000 fans and spectators every year. This festival started as early as five years ago and has still managed to secure the position of the biggest non-annual Greenfield festival in the world .

When they’re measured by landmass, the Queensland music festival is one of the biggest in the sector of land-based music festivals. They’re headquartered in Australia, and they’re generally held over the period of one week, in July every year.

Music festival genre

Since we’ve noted the popular music festivals that take place every year in different parts of the world, they’re majority segregated by the days, depending on the type of genre played each day. Some f the prominent and famous music festival genres from around the world are:

• Jazz music festivals
• Metal music festivals
• Electronic music festivals
• Refer to music festivals
• Punk rock music festivals
• Rock music festivals
• Gothic or Goth music festivals

Depending on the genre of music, the festivals attract the type of crowd accordingly.

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Events and Entertainment Planning and Project Management : Assignment

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The Big Reunion Music Festival Sample Assignment

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 className 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:

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 base platform of the stage would be kept inclined, which would assist the singers and interact and connect easily with the audiences.

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

6.0 Music version of the Big Reunion Music Festival:

The music version has been detailed below:

Belearic beat

Baltimore club

Fusion and remix music

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.

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.

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.

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.

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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Going to a music festival - e3 practice literacy assignment.

A fabulous City and Guilds style E3 literacy assignment that covers all aspects of E3 speaking and listening, reading and writing (see editor’s note below). Based on a trip to a seaside music festival, it makes a very appealing summer-time revision activity for music fans of any age.

The real-life, practical nature of the tasks makes them equally suitable for Functional Skills English practice. They include: reading an information leaflet, listening to a recorded message about the festival (separate transcript provided below), alphabetical order and dictionary task, discussion and questioning, and planning / writing a description or a letter.

A separate assessment / mark sheet is also provided.

Editor’s note (July 2021)

Originally written for adult literacy exams, just before the advent of Functional Skills (FS) in 2011, this resource still provides very useful Entry Level 3 practice. For now, I have decided not to remap it to Reformed FS because it comes as such a neat, complete package. So, please bear in mind that it may not cover all the current Entry Level 3 Reformed FS subject content that was introduced in September 2019.

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Military Music Festival in Moscow: Spasskaya Tower Means Brotherhood

By skope  •  august 30, 2017.

‘Spasskaya Tower’ Festival is taking place at the Moscow Red Square now. You have an opportunity to see X International Military Music Festival till the 3rd of September.

Spasskaya Tower is a music fiesta, a spectacular show, staged on the background of the monumental walls of the Kremlin, and a great ‘battlefield’ of the bands from different countries fighting for the love and admiration of the audience. The harmonious combination of military, classical, folk and popular music, military band parades and dance shows, laser and pyrotechnical effects makes the Festival one of the brightest and most memorable events of the year.

Tix: http://kremlin-military-tattoo.ru/en/tickets/

Participants from Austria, Armenia, Belarus, Egypt, India, Italy, Kazakhstan, China, Russia, Turkey, Uzbekistan, Switzerland and the European Union perform at the Red Square in Moscow. The Chilean equestrian band Escuadra Ecuestre de Palmas de Peñaflor demonstrates its skills as a part of the day program of the Festival.

The 10th anniversary of the “Spasskaya Tower” is the main theme of the Festival. In the course of ten years, more 150 bands from 50 countries have taken part in the Festival, many foreign orchestras became permanent participants and real friends of “Spasskaya Tower”. It has become one of the most important military tatoos in the world.

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Session Assignments Announced

The Pelham Music Festival has again attracted a broad range of performers and we’ve been working hard to group our young musicians by age and ability to build a balanced and mutually-supportive program for #PMF24. Session assignment emails were sent out on Monday, Jan 1. If you didn’t see yours, please reach out (but check your junk folder first).

Here are the session times:

• Session 1 starts at 9:30am | check in at 9am
• Session 2 starts at 11:30am | check in at 11am
• Session 3 starts at 2:30pm | check in at 2pm
• Session 4 starts at 4:30pm | check in at 4pm
• Session 5 starts at 6:30pm | check in at 6pm

Performers and their supporters can attend any (or all) other sessions in addition to their own. Only adults need tickets – kids get in free. Additional tickets may be purchased here , or in person on the day. (Remember that if you paid for registration, you will already have some tickets – please check before buying more.)

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