Live Events Management Assingment

8/16/2019 Live Events Management Assingment

1/66

1

Marianna Muszynska

21267624

Live Events Management

HyrusInsane Tour 2015

Tour Book + Report.


2/66

2

INDEX:

3. Report14. Bibliography

16. Appendix A and B

17. Appendix C

18. Appendix D

20. Tour Book Start22. Technical Rider

23. Stage Plan

24. Lighting Plan

25. Hospitality Rider

27. Costumes

28. Itinerary

57. Carnet

58. Maps

67. Budget


3/66

3

Report

Word Count: 4392Introduction

The aim of this report is to describe and highlight any issues regarding the

planning of the tour and to describe the decisions which have been made. Planning

the tour itself is a long process that requires vast amount of research and

considerations for the elements that construct the final plan. The report will also

analyse all ideas that were taken into consideration during the production of the tour

book, therefore all the decisions will be described in detail with the decisive factors

and all the other possible options listed out, wherever possible. The software used to

prepare the itinerary part and the maps section is Master Tour by Eventric, which is

one of the main parts of the process of production this tourbook. As the whole

endeavour was based on this software, a big part of the report shall reflect on how it

was to work with it, especially that Eventric (the producer of the software) advertises

it as a tool used by the professionals, as named on their website, people of the

caliber of Alan Floyd, Beyonce’s tour manager, or Mettalica’s production coordinator

Misty Roberts .1

Stage Show

From the beginning the plans were to set up multimedia shows a set of venues

which would make up the tour plan. However, some circumstances caused the idea

to be abandoned. The planned budget did not extend to the possibility of setting up a

multimedia electronic element. The primary reason for this being extra crew

members and equipment, all of which could not be funded. The crew required would

include visualisation directors and designers. Therefore, the tour is focused around

the musical element with a basic set of band equipment.

The capacity of each individual venue is not very large and thus the multimedia

stage show (consisting of lighting and a backdrop screen) would prove to be limited.

On the contrary, there is a substantial risk that the performances will not captivate

the audiences due to the simplicity of the live production. In today’s world of modern

music, audiences have become accustomed to the ‘wall-to-wall’ screens, visual

effects and lighting supported by acts with higher budgets. The plans were also to

host a small DJ set in Scandinavian countries because of the comfort of using

different means of transport- for example by plane (This is to be decided later).

However, because of the genre of the band the normal concert has been chosen,

1 http://www.eventric.com/products/master-tour/


4/66

4

after a discussion with the band. From the marketing point of view, it would be

desirable to have electronic- based productions in the future due to their popularity

and the possibilities that they provide, especially of artistic nature.

While the costs of travelling could be far less than the band production, the revenuefrom the tickets for a live rock show can be absolutely huge, especially seeing that

the tour can be extended to include also a collection of small clubs. After

consideration with the budget analysis, it is evident that the three- piece band

members is achievable. Moreover, after contacting the venues in Copenhagen ,2

Sweden , Finland and Norway it has been explained that they can all provide a3 4 5

complete backline of equipment which is required to run the show hosted at each

venue.

Equipment to be taken

As a three members band Hyrus does not use many equipment items, the essential

items which are reasonable to be taken, personal enough to be needed and of

highest priority are listed below. This decision is followed by the consideration of

decreasing the weight of the items that are to be taken, as it decreases the fuel

consumption and improves load-in and load-off time. The band requires the

amplifiers to be provided by the venues, and it is of high priority for the tour manager

to be sure that they are present and of sufficient quality before each show.

Gibson Les Paul 1958 VOS Electric Guitar.

Manson J-Star Electric Guitar.

Ibanez SR505-BM Bass Guitar.

Custom Pedal board for the lead guitarist.

Balanced/unbalanced jack and XLR cables.

Laptop, Mac Book Pro.

Set of 4 wireless Sennheiser EW135 G3 CH38

microphones.

2 http://www.rust.dk 3

http://www.gronalund.com/tyrol 4 http://www.tavastiaklubi.fi/ 5 http://www.rockefeller.no/

http://www.rockefeller.no/http://www.tavastiaklubi.fi/http://www.gronalund.com/tyrolhttp://www.rust.dk/


5/66

5

Costumes

The stage costumes are not outrageous. The plan was to create minimalistic stage

outfits which are memorable and can catch the interest of the media. So, every band

member will wear a Criminal Damage jacket (no. NT-3445) , Vans shoes6

(watermelon line, WT-758) and ‘Lizard’ sunglasses. The sunglasses have been7

chosen because of the band’s interest in conspiracy theories. They are also a

memorable item which is out of the ordinary. It is of course obvious that each

member of the band has three ensembles of the whole stage outfit. It is worth

pointing out that the outfit is not very expensive, so having three ensembles per

person is not a large purchase and can help avoid unexpected problems such as

unrepairable damage or break of the tour bus washing machine (the washing

machine is provided in the sleeper bus, the details will be depicted later). There is a

sponsorship deal by the Vans company, as the target customer of both Hyrus musicand Vans apparel clothing is in the same age span, and of the same interests, as it

would be proven by marketing company that has been hired to finish the deal. The

deal has been struck due to the connection between the management company that

Hyrus is managed by and their affiliated marketing company. The core idea behind

that deal is to build up relationship between Hyrus and people connected with Vans,

because Vans is sponsoring ‘The Warped Tour’, the largest travelling music festival

in the United States, what could in future benefit with a loophole when trying to break

into the American market. The more connections are to be created even within such

insignificant (at first sight) deals, the better.

Routing Plan - list of cities to be visited.

● Glasgow

● Newcastle

● Leeds

● Manchester

● Birmingham● London

● Brighton

● Plymouth

● Paris

● Zurich

● Frankfurt

● Helsinki

● Oslo

6 www.criminaldamage.co.uk 7 www.vans.com

http://www.vans.com/http://www.criminaldamage.co.uk/


6/66

6

● Stockholm

● Copenhagen

● Brussels

● Amsterdam

Notes on the route planning:

The first gig is to take place in Glasgow, most remote location in the United

Kingdom. It has been chosen as a tour starting location due to the easiness of

further planning. The band arrives there a day before the gig to socialize and rest

well. It is crucial for morale. Next day, after the gig there are two roads to be taken,

and as the time/distance difference is not significant, there is no need for a deep

discussion, and the choice is left to the driver. The same thinking method is used

when travelling in between all of the route destinations, with few exceptions. Themost interesting part, that might be changed during the tour is oversea travel, using a

ship. In two points of the journey there is a need to use the tour van to travel

between two oversea locations, at first it is from Plymouth to Paris, and the second

instance is at the very end of the tour - when travelling from Amsterdam to London.

The reasoning behind the decisions on the mean of transport is William Spencer’s

sea sickness, and he highly prefers not to travel using any floating means of

transport. The final decision is to be made with the touring party mid-tour, but William

has agreed on the fact that in case he refuses to travel oversea when it would be

necessary, he agrees to fly to the destination on his cost.

Another note on the itinerary should be analysed from the point of view of the tour

planner. To start the analysis, Helsinki, as the part of the tour, is quite problematic

not just in regards to the distance between neighbouring Scandinavian cities, but

also because of the huge distance between the previous city in the itinerary. A good

suggestion here would be, for instance, to exchange Helsinki with another city in

Sweden, like Goteborg, a big and popular city in Sweden, which would be also a

logistical advantag. It would be easier to relocate from Stockholm to Goteborg and

then to Copenhagen. Thinking forward, Helsinki can be included in another band’stour in the future if the budget is higher and the majority of the tour components can

be travelled by plane. T According to provided suggestions, the way the trip was

selected from Frankfurt to Helsinki is by air. The journey from Frankfurt to Helsinki is

by plane (with the band and the Tour Manager) and there is a bus with the drivers

which goes to Brussels, Belgium. In the meantime, the band and the Tour Manager

travel by plane in the following order: Oslo, Stockholm, Copenhagen and Belgium.

After the band finishes the Scandinavian leg of the tour (to be described) The

journey resumes from Belgium where they are to travel by their bus to Amsterdam,

and then from Amsterdam to London, where the crew and band are based.


7/66

7

A very peculiar part of the tour is the part when there are gigs to be played in the

Scandinavian countries. The band and the tour manager are the only ones that take

up the air travel that is needed in case to get to the gigs. The equipment to be taken

on the plane in that situation is limited, and more of it is being hired from the venues.

Nevertheless, that saves up a major amount of problems of logistic nature, and alsois a money-saving decision. Not having the necessity to travel to Scandinavia by car

has got many upsides - it would take a great amount of driving time, also would be

costly to transport the car over the Baltic sea. As mentioned before, the drivers and

crew members (except the Tour Manager) are traveling from Frankfurt to Brussels by

bus and will wait for the band and the Tour Manager to get back from the

‘Scandinavian Tour’. Therefore, the hotel for the other crew members is provided,

and all the crew members are spending their intermission time in Brussels. It can be

said that the details about the hotel and intermission days (breaks between gigs)

should be stated in the tour book, but the other solution could be chosen in thatcase. To clarify, the band can travel and complete the tour without some crew

members, meaning that the details of the band’s days are more important and

actually essential in the tour book.

Notes on the air travel on the Scandinavian part of the tour.

According to the airlines which have been considered, namely SAS to travel from

Frankfurt to Helsinki, these airlines are the most comfortable lines in accordance to

travelling between earlier mentioned cities, and if the tickets are booked in advancethey can cost £85 and the luggage is included. Furthermore, if the Tour Manager

travels with the band members he can take luggage with the private items on his

card and band members can carry their instruments as registered luggage. What is

more, in SAS the hand luggage is also available, so there will be no a problem with

carrying the items. There can also be another solution: every band member and the

Tour Manager can carry their own hand luggage (up to 10kg) and have the

instruments and required equipment like pedal board as registered luggage.

Therefore there are no added costs in accordance to luggage. The airlines which8

have also been considered are Ryanair airlines (but after quick analysis andresearch which have shown that SAS lines are much more convenient to travel and

especially for musicians on tour). The whole air route is planned with SAS airlines.

To explain, Ryanair does not have the connection between Frankfurt and Helsinki,

furthermore, there is an added cost for musical instruments which is £50 per item,

even if the band has registered luggage. Moreover, registered luggage is not

included in the ticket price and ticket prices are very similar to the SAS prices. 9

Comments on the Master Tour software

8 http://www.flysas.com/en/uk/travel-info/baggage/special-baggage/ 9 https://www.ryanair.com/en/need-to-know/

https://www.ryanair.com/en/need-to-know/http://www.flysas.com/en/uk/travel-info/baggage/special-baggage/


8/66

8

There is a need for a short commentary on the usage of the software during the

preparation of the itinerary. As mentioned before, the software that was used to work

with the bespoke tour was Eventric’s Master Tour. As stated in the introduction, the

software developers claim that their software is being used by professionals workingwith great acts with huge production and very large teams. As it was extremely

promising, it has been used to produce the itinerary. The software at first seemed

extremely useful and clearly designed, as the interface was really user-friendly and it

was easy to use. Nevertheless, the end product of the endeavour with the Master

Tour was disappointing. As the software was used on a Windows 8 system, on a

computer which specification meets the requirements that the developer states in the

software description, the workflow was getting worse as the database of the tour

slowly increased. This was highly disappointing, taking into account, as it is to be

assumed - the tours planned for bands like Metallica must use a great database thatwould be extremely unfunctional in that situation. The outcome of this is that

probably there is a need for a top-notch computer to run the software and have no

problems operating it. But the workflow was not the only issue with Master Tour.

After all the database files were completed it came out that the exporting of the files

itself is of limited usability. The files were corrupted and/or software refused to export

them. After following all the steps possible to fix the problem software-wise (i.e.

installing all the plugins and supporting programs that Eventric suggests on the

website in the Troubleshooting section) the exported files were still not satisfying.10

It should not be assumed that the previous paragraph is to describe Master Tour as

not a useful tool for the Windows 8 environment, but the biggest learning outcome of

this endeavour is that one has got to be prepared to tackle this problems when

organising the tour. A software failure (or incompatibility with the hardware) is just

one simple, yet not easily predicted problem that can occur in the process of Tour

Management. As this is an act that is to be done during the initial stage of planning

the tour that might not cause many trouble, as in theory that process would take

place first, before taking any other actions. Taking into account a real life

hypothetical situation when there is a need for a change of a computer to anunpredictably incompatible machine mid-tour is a more terrifying scenario.

Detailed problems that occurred within the software are as follow: The biggest issue

was with Glasgow, because from the beginning it was impossible to edit any

information about the venue. The software did not put the city on the route map,

which is still unclarified. It was a problem with the exported file, that there was no

information about the venue at all. Furthermore, the software also had an issue with

putting two different British cities onto the map: Bristol and Brighton. An email with

10 www.eventric.com

http://www.eventric.com/


9/66

9

the issue description has been sent to the Eventric support team, but there was no

response up to date of the submission of this document (which is six working days).

This is another learning outcome on the time management, as having that issue

during a real tour-planning situation would be highly problematic, as instead of

providing the information through the software to the touring party it would have to bedone in a mundane and complex manner, via phone or emails. Taking into account

the possibility of having about one hundred touring party members is a

self-explanatory outcome. In conclusion, it is highly important to use both software

and hardware that is reliable, as when the tour is on the road, this kind of problems

may cause an avalanche of other organizational problems.

Various important information

One, very crucial fact, which is related to the tour routing, is health and safety. It isextremely important to provide the highest level of health and safety as possible,

therefore, every member of the touring party must have an EHIC- European Health

Insurance Card and in case of any type of medical condition or a need to transport

any medicine over the borders, there is a need for the proper documentation to be

included, preferably in more than one language. As the customs might be easy to get

through in majority of the countries included in the itinerary, it is an action of high risk

to transport drugs without the documentation. Up to best of the knowledge of the tour

manager, in every visiting country the emergency number is 112. Having said that,11

and taking into account the lifespan of nowadays mobile phones it is a good idea tohave a slightly outdated telephone at hand, to be used at emergency situations. For

example, having an old phone or a long-lasting battery phone like NOKIA 105 ,

released in 2013 might be literally life-saving.12

Sleeping cycle

Having the proper bus is not the most important, as the research has shown that it is

very important to check if all drivers have a valid CRB check and also that vehicle

insurance is valid. It is not to be underestimated to have the possibility to check13

anything possible with the drivers before the tour even starts, as having the drivers

experienced in music touring and/or having gone through the route or parts of it in

the past might be a great asset. Experience is never to be underestimated, as it is

not unpopular on the roads that many random accidents happen, from mundane

situations as traffic to extreme and grim events as accidents of any sort. Having

experienced and focused drivers can save time, money and guarantee more safety

which is important when it comes to touring party morale.

11

https://www.gov.uk/foreign-travel-advice 12 http://www.tomshardware.com/news/Nokia-105-Cell-Phone-Battery,21256.html 13 http://onestage.co.uk/wp/wp-content/uploads/2013/04/Safety-Management-System-SMS.pdf

http://onestage.co.uk/wp/wp-content/uploads/2013/04/Safety-Management-System-SMS.pdfhttp://www.tomshardware.com/news/Nokia-105-Cell-Phone-Battery,21256.htmlhttps://www.gov.uk/foreign-travel-advice


10/66

10

According to Andy Reynolds , sleeper coaches are the standard travel method for14

modern tours. He speaks of the obvious benefits from travelling by sleeper coach: no

hotel rooms are needed. Buses can travel overnight to avoid traffic, so the travel time

can be decreased. Moreover, the backline equipment can travel in the bays of thebus. However, Reynolds claims also that bus life can be quite hard. To clarify, most

people find it very difficult to sleep in a moving bus. What is more, often the bus will

carry crew members and the band (also this is the case in the Insane Tour). This can

have problems where claustrophobia is considered. But he claims also that this is

the best choice if the budget is poor because it saves a lot of money. Furthermore,

according to the information provided by Reynolds the drivers sleep in the bus and

they are paid a small amount of money because of this. Although that approach

seems to be not too caring from the perspective of the relations between the tour

manager and his crew, but when an upcoming act like Hyrus is to be considered,one has got to look for money-saving decisions and try to cut the costs whenever

possible. The reason being is that within the music industry many things circulate

around passion for music, and having to sacrifice some of the comfort might be not a

problem for the band. Other options for sleeping for the drivers are also to be

considered. For example, there is an opportunity when the band has a day off to put

drivers in hotel rooms with crew members to give them more comfort.

Sleeper buses cost from £270 to £400 per day (information provided by the

company) plus fuel costs. But it is still cheaper than traveling by air the whole tour.Because if the whole crew travels by air it means, there are extra costs to pay and

extra paperwork to do. For instance, regarding SAS lines there is a required

registration where there is a large group of travelers. Furthermore. they can be an

issue where there are not enough tickets for the required day . What is more, the air15

insurance would be more expensive and after getting to the airport, there is need to

hire a van to transport everyone and everything to the venue or a hotel, so this is

another extra cost. Therefore, hiring a sleeper bus is the best idea in regards to

finance, even if there is an extra situation when the part of the band is travelling via

air, as it is in the Scandinavian part of the tour. But, of course there is a risk that theband will not be at the place on time because the sleeper bus can break down. For

this reason the insurance is imperative. The company from where the bus is hired

must have a clear statement about the insurance, and there has to be a clause that

can cover any breakdown stating that another bus will be provided as soon as

possible in this event. The contract has got to state also that the term “as soon as

possible” is to be clearly defined, meaning that let’s say it will not be more that six

14

A. Reynolds, The Tour Book , How to get Music on the Road, Second Edition, Course Technology,Boston,MA 2013. p. 299-301.15 http://www.flysas.com/en/uk/travel-info/baggage/special-baggage/

http://www.flysas.com/en/uk/travel-info/baggage/special-baggage/


11/66

11

hours, as any longer breakdown might cause cancellations of gigs which is

catastrophical in its after causes.

Songwriting income - balancing the ticket prices

Having the knowledge on the percentage of the money that is deducted from the

ticket sales (per each ticket) is key when planning the tour. Having the knowledge in

this matter provides the possibility of balancing the costs of production versus the

amount of people that is required to provide significant income. The example

calculations are provided in the appendix C.

Merchandise

The merchandise items which have been chosen are generic :T-shirts, hoodies and

hats, everything partitioned in two: mens and ladies. Merchandise is the most

important factor in increasing the income of the tour. The choice of merchandise

products is limited due to the fact that during the first tour there is still no recognition

on the fans taste and Hyrus has got nothing that peculiar to be clearly positive on

what might be the best selling product. The merchandise stand should be located

next to the front door of the venue and near to the food and drinks counters. All the

sizes of the stall and distances that govern the placement of it must be agreed with

the venue before attending the venue. As the deal with the venue is a legally bindingcontract there is a need to place the stand in the most profitable position. Having a

guaranteed fee for every gig is obviously a great deal of guaranteed income, but

merchandise if sold and managed properly might be sometimes a surprisingly big

source of income. In the future, it is a good idea to even increase the focus on the

merchandise section and include professional help from people that are

marketing/merchandise professionals. The most important thing to do before the

planning performance is to prepare the marketing activities and tell the audiences

that the merchandise will be available at the venue in the day of the performance.

This can be done through social media marketing and can be stated on thepromotional posters. A very important thing is also having a variety of prices, for

instance:

● Band T-shirt: £10-15

● Hoodies/Jumpers: £30-40

● Headwear: £1016

16 http://www.gigiti.com/blog/2014/10/7-ways-to-sell-more-merchandise-at-gigs

http://www.gigiti.com/blog/2014/10/7-ways-to-sell-more-merchandise-at-gigs


12/66

12

On the other hand, prices such as £4.89 and £4.99 can be quite wise because where

people carrying notes to the concert they probably will give the merchandiser the

whole amount of £5 and they will not want change. This is worth consideration,

however, card payment should be available, it can increase an income because

people do not carry a lot of money for gigs, this gives them an opportunity to buysomething which is more expensive than an ordinary t-shirt. Even if there is a

payment to the bank for using the card payment option it is still likely to increase the

overall revenue rather than being at a loss. Therefore, having the portable

contactless card terminal, for instance from Barclays, can be very beneficial and17

comfortable, especially because of the availability of contactless payment. 18

Carnet

Applying for ATA Carnet, the permit to temporary export and import of goods up toone year is absolutely vital when travelling with musical equipment. . The ATA19

Carnet is a Customs document used to facilitate the international temporary

movement of goods and equipment from the UK to participating member countries of

the ATA Carnet system. ATA Carnets are in effect a guarantee document which

when used correctly will allow the duty free and tax free movement of goods in and

out of visited countries. The ATA Carnet is a document of very high importance, so20

it must be copied and copies shall be available in a few places in the sleeper

bus. Losing it would be very costly on the customs for the tour to create income. The

prepared Carnet in the Insane Tour is not detailed like the true/ real Carnet shouldbe. The real Carnet is a more complex document which is valid only for one year.

The official template is to be downloaded from the London Chamber of Commerce

Website .21

Risk assessment

When considering possible risks during the tour in question, it is easy to come to a

conclusion that risk factor might be anything. What is of highest risk is obviously road

travel. Possible remedy is to be have the vehicle travel fit and be sure that the buscompany provides assistance wherever the tour takes place.

17 http://www.barclaycard.co.uk/business/accepting-payments/card-terminals/portable-card-terminal 18 Unfortunately the information about the fees for the Portable Contactless Card Terminal are not

available for individuals, so I could not provide the information about the fees of having the terminal.19

https://www.gov.uk/ata-and-cpd-carnets-export-procedures#introduction 20 http://www.ata-carnet.uk/faqs/ 21 http://www.londonchamber.co.uk/lcc_public/article.asp?aid=100

http://www.londonchamber.co.uk/lcc_public/article.asp?aid=100http://www.ata-carnet.uk/faqs/https://www.gov.uk/ata-and-cpd-carnets-export-procedures#introductionhttp://www.barclaycard.co.uk/business/accepting-payments/card-terminals/portable-card-terminal


13/66

13

Conclusion

The tour planned throughout the process of the creation of this report has got a

potential of a success, both financially and promotion-wise. As stated before, the

biggest threat of the tour not being as lucrative as it is supposed to be, if it goesalong the plan is the fact that on the road there is a great amount of things that can

happen unexpectedly. Simple situations like having a need to change a tyre in the

car or having not to play a gig due to an electricity failure, or even a food poisoning

might stop the tour from being successful. The most important conclusion of that

planning is to be expected for the unexpected. Keeping rational amount of baggage

to be taken, extra equipment (for example : tyre patches or carbon tablets) can save

thousands of pounds of income.


14/66

14

Bibliography:

Internet Resources

http://www.ata-carnet.uk/faqs/

http://www.barclaycard.co.uk/business/accepting-payments/card-terminals/portable-card-terminal

www.criminaldamage.co.uk

www.eventric.com

http://lefsetz.com/wordpress/index.php

http://www.gigiti.com/blog/2014/10/7-ways-to-sell-more-merchandise-at-gigs

https://www.gov.uk/ata-and-cpd-carnets-export-procedures#introduction

https://www.gov.uk/foreign-travel-advice

http://www.flysas.com/en/uk/travel-info/baggage/special-baggage/

http://www.securitynation.co.uk/festival.htm

www.vans.com

Books

Barnett R (2007). This Business of Concert Promotion and Touring, New York : BillboardBooks

Conway, D,G (2009). The Event Manager's Bible, The Complete Guide to Planning andOrganising a Voluntary or Public Event

Kelly, T (1991). Backstage Guide To Stage Management. New York: Backstage Press

Maccoy, P (2004). Essentials of Stage Management. London : Backstage

Owsinski,B. (2011). The. Touring Musician's Handbook . USA: Hal Leonard Books.

Reynolds, A. (2013). The Tour Book, How to Get Your Music on the Road . USA: CourseTechnology.

Palmer, S (2000). Essential Guide to Stage Management, Lighting and Sound . London:Hodder & Stoughton.

Walters, R (2008). Events Management. London, London: Sage Publications

Workman, M (2012). One for the Road, How to be a Music Tour Manager Freehold NJ :Adrenaline

Vasey, J. (1998). Concert Tour Production Management How to take Your Show on theRoad . USA: Focal Press.

http://www.vans.com/http://www.securitynation.co.uk/festival.htmhttp://www.flysas.com/en/uk/travel-info/baggage/special-baggage/https://www.gov.uk/foreign-travel-advicehttps://www.gov.uk/ata-and-cpd-carnets-export-procedures#introductionhttp://www.gigiti.com/blog/2014/10/7-ways-to-sell-more-merchandise-at-gigshttp://www.eventric.com/http://www.criminaldamage.co.uk/http://www.barclaycard.co.uk/business/accepting-payments/card-terminals/portable-card-terminalhttp://www.ata-carnet.uk/faqs/


15/66

15


16/66

16

Appendix A : Hyrus Overview/Bio

‘Perhaps one of the youngest bands to emerge on the scene with a setlist of two albums,

Hyrus have been performing and surprising audiences across London throughout the last 6

months blending genres of rock, funk and jazz delicately.

The band formed in 2014 where lead singer Will Spencer met bassist Adam Norwood at

university. They understood each other musically, before even meeting Nick Baker. Will had

been compiling demos of their songs in his bedroom studio. The band knew that they were

on together after connecting with an energy they had not felt with other musicians in the

past.

Funk is an important part of the band's sound, but each member brings a specific edge to

the group. Nick brings a strong, rhythmically tight style of drumming while Will pushes his

blend of rhythm and lead guitar alongside his diverse vocal range. Meanwhile Adam plays

the bass with inventive melodies suspected of a lead guitarist. What you get is a sound of

urgency, power and flexibility.

The Insane Tour 2015 is the first Hyrus European Tour in support of their first album, ‘Silver

Lining’.’

Appendix B - Sleeper bus details

● Interior Features

● – Fully Equipped Kitchen

● – Bathroom with fresh water toilet

● – Luxurious Lounge areas & seating

● – Latest TV & Surround Sound entertainment

● – Quality Bedding

● – Ample Storage space

● – Wi-Fi Available on request.

● Technical Specification

● – Van Hool TX Astromega Coaches

● – Euro 5 DAF 510PS low emission engines

● – Air Suspension

● – 1000ltr Fresh Water tanks

● – AS Tronic 12 speed gearbox for smoothness

● – Land line air conditioning (32 amp power required)

● Dimensions

● – Length 14.10m (18.65m with trailer)

● – Height 4.0 m

● – Width 2.55m

● – Headroom 1.8m

● – Locker space is approx. 7 cubic metres.


17/66

17


18/66

18

Appendix C: Songwriting income - illusions and threats, tour budget commentary

Having the knowledge on the percentage of ticket income being transferred to songwriters is

crucial when planning playing gigs at certain venues of a certain size. The rule of thumb is

obviously the more tickets sold on a bigger venue, the better. That, in regards of big stadium

gigs might be obviously a good reasoning, but when planning the tour of a size described in

this work it might be useful to calculate this.

Having said that, let's assume that in country A the percentage of songwriting income from

tickets is 10%. The ticket price is capped at £15, therefore each ticket sold gives £1,5 to the

songwriters. In this case, all Hyrus members are songwriters. So, lets say Hyrus plays a gig

in the country A, where songwriting income is ten percent. The venue capacity is 800

people, assuming all tickets sell, songwriting income is £1200. It is not a bad deal, but let’s

continue with the other examples. In country B, the songwriting income is 15%, but only for

the gigs in the venues of a capacity below 1000 people. In venues over 1000 cap, the

income falls down to 8%. Continuing assumptions, Hyrus plays a gig with 1000 people

attending, but the venue capacity is 1100. So, songwriting income is at 8%, which gives us

an income of £1200, the same amount as we have gained in country A when playing for 800

people. That means that the extra 200 persons are, speaking business-wise a wasted

financial opportunity. What is a good remedy here is knowing that the percentage decreases

with capacity, book smaller club (below 1000 cap). Income from a club when it would be full

with 1000 people would be in this case £1500. To gain this amount of money in a venue of a

higher capacity we would need to have an attendance of 1250 people. It is estimated that

the tour might reach 21480 people. Assuming that the average percentage of songwriters

income would be 10% , it gives an extra £32200. Which, comparing to the total guaranteed

fees which is £62900 is a 50% extra income. What has seemed not so significant within

previous calculations, starts to be a major factor when scaled to the whole tour.

Following that trail of thought it is possible to include many other examples, but the key here

is to decide using all the data possible. For example, the bigger venue might provide less

songwriting income, but might provide way higher income from merchandise. What is more

is that creates a problem within the team - songwriting income is obviously only for the

songwriters, and merchandise income, for example might be shared equally for the whole

touring crew. This is an important learning outcome, as it clearly shows what kind of focus is

placed on what when organising the tour. Is the tour more songwriter - friendly and seeks to

exploit copyrights in full, or maybe is the tour focused on selling merchandise? Overall, the

tour in the most optimistic scenario might gross £61158,41 , including all the expenses. The

very optimistic number might mean two things - one being a very low expenses (which is not

that impossible, yet hard to manage mid-tour), second being a high potential income. There

is no guarantee that that certain amount of people would come to the gigs, nor there is a

guarantee that all the gigs will take place and there will be no need to re-do them, which

would be a huge cost, as the travel, bookings and potential ticket returns would hurt the

budget bad.


19/66

19

Appendix D: Master Tour and its usage on the English and European Market

Master Tour is the software made by Eventric Chicago based provider of software and online

services for the professional live entertainment industry. According to Eventric, Master Tour

is the premier software solution for tour management and logistics. They claim that their

software is ‘ battle-tested’ by professionals who make their living on the road. This is true

and Master Tour’s popularity is not to be challenged. Nevertheless, what is highly visible is

the lack of global data on many things used within the process of tour planning. The first

major disadvantage of Master Tour being a US industry - focused tool was trouble with

finding all the venues that were needed to be found. In many situations there was no trace of

big venues I.E. Stodola Club in Poland, whereas sometimes there were easier possibilities of

finding more obscure locations in the database. Many significant european locations were

not detailed enough and having to organise the tour through them would mean an additional

hours of mundane tasks to check the venue specifications manually, by calling up the

venues or trying to find the information anywhere else. Second major reason was some

minor problems with the software functioning less stable on Windows computer environment,

whereas Master Tour works perfectly on Apple Mac computers with IOS operating system.

Reflecting on this situation it is easy to conclude that these are minor and manageable flaws,

and remedies to them are easy to implement, for example - change of an operational system

or manual data entry are easy tasks. But what is more important, both of them are disturbing

the workflow and stopping the natural progress of the tour organisation, therefore providing

experience contradictory to what it is supposed to provide.


20/66

20

TOUR BOOK

Technical and personal Rider: HyrusExpires in December 2015

Please take note that all the touring party members hold valid UK passports,

therefore they are able to work anywhere within the tour without obtaining any

additional work permits and/or other supporting documents

Personal Rider

Crew and Band members contact details:

Name Function Mobile Skype Email

Richard

Banner

Driver +4467857568 rbunny silvergray@sil

vergray.com

Adam Abrams FOHEngineer,

Tour Manager

+4448947467 adamozo135 [email protected]

Anna Barret Tour Manager

Assistant,Merchandiser

+4484569438

56

Annaba barret@music

matters.com

James Cole Backline +4493475983

4

n/a james@exaltic

.com

Kauthar Jama Backline +4413581358 n/a

KsiazkiewiczKacper

Driver +4483648936 n/a [email protected]

Abigail

Linwood

Lighting

Engineer

+4484568935

6

n/a abigail@lightin

gstar.com

William Jack

Spencer

Band Member +44994994 williebillehop wjack@gmail.

com

Adam

Norwood

Band Member +4419348138

431

ad.13 adam@wood.

com

mailto:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]


21/66

21

Nicholas

Baker

Band Member +4410349831

04

bakednot n/a

Access and equipment needs

All members, crew, band and drivers will travel in one double decker sleeper bus. It

is required that the parking for the vehicle must be provided by the promoter and it

would be not further than one hundred meters away from the venue.

Bus size: Height - 4,4m Width - 3,8m Length - 7,5m

If it would be impossible promoter must provide appropriate means of transport to

carry the equipment , as there is no need to strain anyone’s muscles throughout the

process. There has got to be a power source and water source for the sleeper bus

provided (please check bus specifications for the reference of what kind of

power/water sources would be needed).


22/66

22

Technical Rider:

It is assumed that all the equipment that we request is functioning and in good

looking state. Any major dysfunctions or visual flaws are considered a breach of

contract. It is paramount that we will be looking professional onstage and any kind offaulty or not good looking equipment is not to be considered useful. Here is a

specified list of what we need:

Monitors: Total of three (3) monitors is to be placed at the stage. One for guitarist,

one for the bassist and one for the drummer. If possible please also provide a

thumper seat for the drummer.

Vocal microphones : two normal microphone stands, plus one for the drummer (has

got to be long enough and has got to have at least two joints to fully comfortably

place it).

One complete Birch Drum Kit - 6pc Complete or Mapex Saturn IV MH SNM525X

Shell pack.

Cables: All cables that should be provided to make the set funcional. It is crucial.

Amplifiers: Guitar: VOX AC30 combo guitar amp or high quality Marshall

replacement. Please provide a replacement in case of a breakdown. Bass: Ampeg

BA-112 or an Orange Crush CR50BXT as the bass amp plus speakers.

Stage power: 12x220V electric sockets, same phase. All possibly moveable and

extension leads shall be provided. We will need a safety certificate from the local

authorities to finalise the deal, please provide necessary documents.

FOH Console specific requirements: The FOH console has go to be functional on

at least 24 channels, 36 would be perfect. We require a good quality, it is ok if it

would be a digital system unless it’s reliable. Please consult our audio technician if in

doubt about the quality. We require a talk-to-stage feature, a easy way to play mp3

files for intro music.

PA system: We require that in-house the PA system will be capable of producing

clear and undistorted sound at at least 120dB.

Risers: We require a drum riser, suitable for the size of the drumkit with additional

one hundred centimeters in the back for the drum stool. We require no raisers for the

guitarist and bassist.


23/66

23

Stage Plan

The power source is not included in the stage plan, as we prefer to have the extension leads

placed as we like before every gig. If it is needed, we would like to see the preferred version

of the electrical setup provided by the venue at least three days before the gig takes place to

consult the details beforehand.


24/66

24

This is a scheme of our lighting rig that we take with us, it is a crucial element of our lighting

system. We will use additional lighting provided by the venue and our lighting technician is

responsible for the liase with in-house crew on the lighting matters.


25/66

25

Dressing Room and Hospitality Rider 2015

Please be sure that all the facilities are clean and the temperature in rooms is between 19

and 25 Celsius. Also, the air condition is preferred. Please read carefully the things included

on the list.Please keep cleanliness at a high standard, we want to feel as comfortable as

possible.

Band Dressing Room:

10 x 500ml Mineral Still Water

1 x Kettle (for boiling water)

1 x Box of black tea (20 sachets).

25 x Walkers 25g packs. Assorted

1 x Full mirror for dressing. (5'6).

3 x Black Large towels.

10 x Healthy snacks like Eat Natural bars or any other low-sugar choice.

1 x Iron and an ironing board.

1 x Mixed sandwiches platter. About twelve sandwiches. No need for vegetarian option.

1 x 1 kg of bananas.

1 x Comfortable large sofa for at least five people.

1 x Large table.

4 x Chairs.

2 x Small tables.

3 x Liquid soaps in the toilets.

Wi-Fi.

Toilet and Shower room, both clean to a high standard.

The dressing room should have hanging clothes rails and can be locked. Please make sure

that the keys are presented to the tour manager upon arrival.

Crew Room : Same as Artist's but mirrors are not required.

Hot food

As the team consists of ten people, we would like to have ten hot dishes, twice a day:

Please provide hot food two times a day - once during the lunchtime, once in the load-out

time.

Lunchtime is to be considered as between 1PM and 2PM (13:00 to 14:00)

Load-out time is to be considered about 30 minutes after the end of the git. We clean up the

stage and the crew wants to eat before we put everything back in the truck.

Choice of dishes:

The hot dishes should generally consist of a portion of meat, or any highly nutritious food


26/66

26

item and a freshly prepared salad. Please keep the food as low fat as possible. It is very

important that the load-out time dish should be different to the lunchtime dish.

Guest List

The Artist reserves the right to admit up to 25 (twenty-five) guests free of charge and this will

not prejudice the Artist's fee. The guest list has got to be available to every person of the

venue staff as we want to take good care of our guests and eliminate unnecessary stress

with a failed identification of the guest. Please ensure that the venue will provide a neat,

laminated guest cards with guests names on them.

Security

The Purchaser agrees to provide and pay for adequate numbers of reliable security

personnel. Purchaser agrees to coordinate with security manager and Artist's Tour Manager

regarding particular security arrangements, in particular pit crew etiquette and instruction.

The tour manager restricts the rights to cancel the show if the security standards are not met

and event safety is at stake. In case of that kind of situation, the guaranteed fee shall be paid

out anyway and all the costs of rescheduling the concert are to be transferred to the

promoter’s account.

Parking

Purchaser agrees to ensure parking space for:

- Sleeper Bus. We will require a source of power and fresh water to be presented upon thearrival in the parking area. It is possible that we can agree for a lack of fresh water source for

the bus. In case this shall not be possible the hygiene facilities of a good standard shall be

available for the Hyrus touring party. There is no option of not having a power supply for the

sleeper bus. Please see appendix with the sleeper bus specification to ensure that

everything is clear.

Merchandising:

The Purchaser agrees to allow the Artiste sole right to prepare stands for the sale of

merchandise. The dimensions of the merchandise stand are :Height : 2m Width: 1,8m Length: 3,5m

The merchandise to be taken for each gig is as follows:

100 T-Shirts per venue (mens and ladies) .

50 Hats per venue.

20 Hoodies (mens and ladies).

That list includes all the sizes of the merchandise products and in case merchandise shall be

replenished, it is to be ordered as we have a deal with a worldwide distributor. We will need

a storage for the merchandise set (clothes in boxes plus the merchandise stand elements) tobe provided before the show. The storage place shall be in a safe place, not humid and


27/66

27

lockable. Total net worth of the merchandise to be taken into the venue is between £1000

and £2000.


28/66

28

Costumes :22

All members of Hyrus are wearing the same costume during the performances,

except trousers, they can be of the artist’s choice.

22 Commentary on the style and decisions behind the costumes is included in the raport.


29/66

29

ITINERARY:

My dearest touring party,

please keep a copy of the itinerary in your hand luggage

at all times and be able to check any data or information

included at any moment. Any corrections or changes to

the itinerary have to be confirmed with the whole team at

all times, and any mistakes that might be found in it

have to be reported to the tour manager immediately.

Yours sincerely, Adam Abrams, Hyrus Insane Tour Tour

Manager.


30/66

30

Route

MON, OCT 26, 2015 Venue: ABC City: GLASGOW

SCHEDULE

LOAD IN 12:45 PM

LUNCH 2:00 PM - 2:30 PM

HEADLINER SOUNDCHECK 3:15 PM - 3:45 PM

DOORS OPEN 4:30 PM

OPENING SET TIME 5:30 PM - 6:00 PM

SET CHANGE 6:30 PM

HEADLINE SET TIME 7:30 PM - 8:45 PM

DEPART 10:15 PM


31/66

31

TUE, OCT 27, 2015 Venue: O2 ACADEMY (cap 1362)

City: NEWCASTLE UPON TYNE

Adress:

Westgate Road

Newcastle Upon Tyne NE1 1SW

MAIN NUMBER

GM 44-191-260-2020

PROMOTER

John Alright +4484578457 [email protected]

SCHEDULE

BREAKFAST 10:15 AM - 11:15 AM

LUNCH 12:30 PM - 1:30 PM

BAND CALL 2:15 PM - 3:15 PM


DINNER 4:15 PM - 5:45 PM

DOORS OPEN 4:45 PM - 5:45 PM


SET CHANGE 7:15 PM - 7:45 PM


DEPART 11:00 PM - 1:00 AM

mailto:[email protected]


32/66

32

WED, OCT 28, 2015

DAY OFF

LEEDS LS14

HOTEL

Britania Hotel Leeds

Millgreen View Ring Rd.

Leeds LS14 5QF


33/66

33

THU, OCT 29, 2015 Venue: LEEDS UNIVERSITY

City :LEEDS

Venue Specs:

Leeds University (cap 1800)

University Road

Leeds LS1 1UH

MAIN NUMBER 0113 231 4253

PROMOTER

Marcelina Zawadzka, +448578698

SCHEDULE

LOAD IN 5:00 PM

LUNCH 5:30 PM - 6:00 PM


DOORS OPEN 7:30 PM

OPENING SET TIME 8:30 PM



DEPART 12:00 AM


34/66

34

FRI, OCT 30, 2015 Venue: MANCHESTER PALACE

THEATER City: MANCHESTER

VENUE

Manchester Palace Theater (capacity 1750)

Oxford Street

Manchester M1 6FT

MR +44837543574

PROMOTER

James Potter +4485769679

SCHEDULE

LOAD IN 10:30 AM

LUNCH 1:15 PM - 2:15 PM



SUPPORT SOUNDCHECK 5:00 PM

DOORS OPEN 5:30 PM




DEPART 11:30 PM - 12:30 AM


35/66

35

SAT, OCT 31, 2015 Venue: GLEE CLUB

City: BIRMINGHAM

Glee Club (capacity 1140)

The Arcadian

Hurst Street

Birmingham B5 4TD

MAIN NUMBER 0870 241 5093

PROMOTER

Harry Barsley +4448574387

SCHEDULE

LOAD IN 2:45 PM

LUNCH 3:45 PM - 4:15 PM


DOORS OPEN 6:45 PM


SET CHANGE 8:45 PM


DEPART 11:30 PM


36/66

36

SUN, NOV 1, 2015 Venue: KOKO City: LONDON

KOKO (Capacity 1410)

1A Camden High Street

London NW1 7JE

MAIN NUMBER +44-20-7388-3222

VENUE CONTACT +44-20-7388-32227

PROMOTER

Gerard Way +448745847

SCHEDULE

LOAD IN 5:00 PM

LUNCH 5:30 PM - 6:00 PM





HEADLINE SET TIME 10:15 PM - 11:30 AM

DEPART 12:15 AM - 2:30 AM


37/66

37

MON, NOV 2, 2015

TRAVEL DAY

SCHEDULE

BUS CALL 11:15 AM - 12:30 PM


38/66

38

TUE, NOV 3, 2015 Venue: CONCORDE 2 City:

BRIGHTON

Concorde 2 (capacity 540)

Shelter Hall

Madeira Drive

Brighton BN2 1P2

MAIN NUMBER

VENUE CONTACT 07810 562970

PROMOTER

Angelina Johnson +448373927

SCHEDULE

LOAD IN 1:30 PM

LUNCH 2:45 PM - 3:15 PM


DOORS OPEN 5:30 PM


SET CHANGE 8:00 PM


DEPART 10:30 PM


39/66

39

WED, NOV 4, 2015 Venue:O2 ACADEMY City:

BRISTOL

O2 Academy Bristol (capacity 1600)

O2 Academy Bristol,Frogmore Street,BS1 5NA

MAIN

BOX OFFICE 0844 477 2000

PROMOTER

Martin Dag +448475875

SCHEDULE

LOAD IN 10:45 AM - 12:00 PM

LUNCH 12:45 PM - 1:45 PM

HEADLINER SOUNDCHECK 2:45 PM

SUPPORT SOUNDCHECK 3:45 PM - 4:45 PM


DOORS OPEN 5:30 PM




DEPART 12:00 AM


40/66

40

THU, NOV 5, 2015 Venue: PLYMOUTH PAVILIONS

City: PLYMOUTH

HOTEL

Travelodge Plymouth

Derrys Cross

Plymouth Pl1 2SW

MAIN +44027484738

VENUE

Plymouth Pavilions (capacity 700)

The Civic Centre

Millbay Road

Plymouth PL1 2EW

VENUE CONTACT -7433

BOX OFFICE -5322

PROMOTER

Arthur Booklet +448575849

PLEASE SEE SCHEDULE FOR PLYMOUTH ON THE NEXT PAGE


41/66

41

SCHEDULE

LOAD IN 11:00 AM - 12:30 PM

LUNCH 12:30 PM - 1:30 PM

HEADLINER SOUNDCHECK 2:30 PM


SUPPORT SOUNDCHECK 4:45 PM

DOORS OPEN 5:30 PM




DEPART TO THE HOTEL 10:45 PM - 11:45 PM


42/66

42

FRI, NOV 6, 2015

TRAVEL DAY

SCHEDULE

BUS CALL 9:15 AM


43/66

43

SAT, NOV 7, 2015

DAY OFF

PARIS UTC +0 (French Time on schedule)

HOTEL

St. Christpher's Inns

159 rue de Crimée

Paris

Paris 75 019

MAIN +33 (0)140 343 440

SCHEDULE

INTERVIEWS 11:00 AM - 2:00 PM


44/66

44

SUN, NOV 8, 2015 Venue: LA FLECHE D'OR

City: PARIS

HOTEL

St. Christpher's Inns

159 rue de Crimée

Paris

Paris 75 019

MAIN +33 (0)140 343 440

VENUE

La Fleche D'Or (capacity 500)

102 Bis, Rue Bagnolet

Paris 75020

MAIN NUMBER 01 44 64 01 02

PROMOTER

Marjorie Hodiesne +3357586748

SCHEDULE

LOAD IN 3:00 PM

LUNCH 4:00 PM - 4:30 PM






DEPART TO THE HOTEL 12:45 AM


45/66

45

MON, NOV 9, 2015

TRAVEL DAY

SCHEDULE

BUS CALL 9:15 AM


46/66

46

TUE, NOV 10, 2015 Venue: ABART MUSIC CLUB

City :ZURICH UTC +1

Abart Music Club (capacity 500)

Manessestrasse 170

Zurich ch-8045

MAIN NUMBER -3930

PROMOTER

Gerard Gluckwunche +418455667

SCHEDULE

LOAD IN 10:45 AM

SUPPORT SOUNDCHECK 11:45 AM - 12:15 PM



DOORS OPEN 4:45 PM


SET CHANGE 6:45 PM


DEPART 9:45 PM


47/66

47

WED, NOV 11, 2015 Venue: NAXOS EVENTHALLE

City: FRANKFURT UTC +1

VENUE

Naxos Eventhalle (capacity 1000)

Wachtersbacher Strasse 83

Frankfurt 60386

PROMOTER

Georg Gerstmann +49458475297

SCHEDULE

LOAD IN 1:15 PM

LUNCH 3:00 PM - 3:30 PM




SET CHANGE 8:45 PM


DEPART 11:30 PM


48/66

48

THU, NOV 12, 2015 Venue: TAVASTIA

City: HELSINKI UTC +2

HOTEL

Best Western Airport Hotel

Veromaentie 1,

Vantaa 01510 FL

MAIN +358 9 3294800

VENUE

Tavastia (capacity 800)

Urho Kekkosenkatu katu 6

Helsinki 100

MAIN NUMBER +358 0 40-77 88 730

PROMOTER

Johanna Herrstedt +3587584938

SCHEDULE

LOAD IN 1:00 PM

LUNCH 2:15 PM - 2:45 PM


DOORS OPEN 5:15 PM


SET CHANGE 8:15 PM


DEPART 11:30 PM - 2:15 AM


49/66

49

FRI, NOV 13, 2015

DAY OFF

HELSINKI

HOTEL


Veromaentie 1,

Vantaa 01510 FL

MAIN +358 9 3294800


50/66

50

SAT, NOV 14, 2015 Venue: SENTRUM SCENE

City: OSLO UTC +1

Sentrum Scene (capacity 1750)

Arbeidersamfunnets plass 1

Oslo 0181

MAIN NUMBER +47-2220-3232

VENUE CONTACT +47-2203-4817

PRODUCTION MANAGER +47-2316-3260

CATERING +47-9930-4662

PRODUCTION OFFICE +47-2298-2422

PROMOTER

Martin Blomkvist +4795749308

SCHEDULE

INTERVIEW 10:45 AM - 12:30 PM

LOAD IN 1:15 PM - 2:30 PM

LUNCH 3:00 PM - 3:30 PM




SET CHANGE 8:00 PM


CURFEW 12:00 AM

LOAD OUT 12:00 AM

DEPART 12:00 AM


51/66

51

SUN, NOV 15, 2015 Venue: TYROL City: STOCKHOLM

UTC +1

Tyrol (capacity 1200)

Lilla Allmanna Grand 2

Stockholm 115 21

VENUE CONTACT +46 (0)858 750 119

PRODUCTION OFFICE

PROMOTER

Mikael Steil +469483928

LOAD IN 5:00 PM



DOORS OPEN 9:00 PM


SET CHANGE 10:45 PM


CURFEW 12:00 AM

LOAD OUT 12:00 AM

DEPART 12:00 AM


52/66

52

MON, NOV 16, 2015

DAY OFF

COPENHAGEN UTC +1

HOTEL

Radisson SAS Scandinavia

Amager Blvd. 70

Copenhagen 2300

MAIN -8351

SALES

TOLL FREE

Restaurant: Till 11:30 PM, Room Service: 24 Hrs., Facilities: Fitness

Center, Pool, Internet: High Speed


53/66

53

MON, NOV 16, 2015 Venue: RUST

City: COPENHAGEN

Rust (670)

Guldbergsgade 8

Copenhagen 2200

PROMOTER

Ceslaw Mozil +4545657746

LOAD IN 12:30 PM

LUNCH 1:30 PM - 2:00 PM




SET CHANGE 7:45 PM


DEPART 10:45 PM


54/66

54

TUE, NOV 17, 2015 Venue: ANCIENNE BELGIQUE

City: BRUSSELS UTC +0

Ancienne Belgique (capacity 2000)

Boulevard Anspach 110

1000 City of Brussels

Brussels 02 548 24 00

VENUE 32 02 548 24 84

PRODUCTION MANAGER +32-2-2548-2470

PRODUCTION OFFICE +32-2-548 24 90

PROMOTER

Donald van Buyten +3275758689

SCHEDULE

LOAD IN 12:15 PM

LUNCH 1:15 PM - 1:45 PM


LUNCH 3:15 PM - 4:15 PM

DOORS OPEN 5:00 PM


SET CHANGE 7:15 PM


DEPART 9:30 PM - 10:45 PM


55/66

55

WED, NOV 18, 2015 Venue: MELKWEG MAX

City: AMSTERDAM UTC +0


Veromaentie 1,

Vantaa 01510 FL

MAIN +358 9 3294800

Melkweg MAX (capacity 1000)

Lijnbaansgracht 234a

Amsterdam 1017 PH

MAIN NUMBER +31 (0)20 5318181

PROMOTER

Albert von Egdom +317586769

SCHEDULE

LOAD IN 2:00 PM

LUNCH 3:15 PM - 3:45 PM


DOORS OPEN 6:00 PM


SET CHANGE 8:15 PM


DEPART TO THE HOTEL. 11:00 PM


56/66

56

THU, NOV 19, 2015

TRAVEL DAY

HOTEL

SCHEDULE

BUS CALL 10:15 AM - 11:15 AM


57/66

57

Carnet :23

Item no. Trade description of

goods

Brand Seria

l no.

Value

GPB

Dimension

s (cm)

Total

weight

with cases(kg)

Country

of origin

1 Gibson Les Paul

1958 VOS Electric

Guitar

Gibson 7586

79

3500 121x40x2

1

3,8 USA

2 Manson J-Star

Electric Guitar

Manson 5465

78

3200 120x39x2

0

3,2 UK

3 Ibanez SR505-BM

Bass Guitar

Ibanez 5677

88

500 139x40x2

0

4,5 Japan

4 Custom Pedalboard Electric

Guitar

Digi tech,

Behringer,

VOX

7834

67

500 110x40x1

9

10 Japan

5 Leads Various n/a 200 55x23x17 12 UK

6 Laptop AppleMacBook

Pro

4667

78

2300 32x27 2 Japan

7 Set of 4 wirelessmicrophones

Shure

PA8748

4857

8

4857

8439

75

8576

9

2500 n/a 12 Germany

Total Twelve thousandseven hundred

pounds

12,700 47,5 kg

23 For the sake of convenience, an official template has not been used. Although it had many more

details, it would be uncomfortable and unpresentable to include this within that document. This version ofthe carnet provides all the necessary details and the official template has been researched, as it is

proven within the report.


58/66

58

MAPS

The maps for the land travel are included.

1. Glasgow - Newcastle

2. Newcastle - Leeds


59/66

59

.

3. Leeds - Manchester


60/66

60

4. Manchester - Birmingham


61/66

61


62/66

62

5. Birmingham - London

6. London - Brighton


63/66

63

7. Brighton - Plymouth

8. Plymouth to Paris


64/66

64

9. Paris to Zurich

10. Zurich to Frankfurt


65/66

65

11. Frankfurt to Brussels

12. Brussels to Amsterdam


66/66

66

13. Amsterdam to London

Documents

Live Events Management Assingment