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Ticketing companies gear up for post-Covid-19 future

While See introduces contactless access control, Australia's Intix is building in contact tracing to help track and contain the spread of the virus

By IQ on 19 May 2020

See's contactless access-control tech eliminates physical contact between fans and event staff

See's contactless access-control tech eliminates physical contact between fans and event staff


Ticket agencies and technology companies are preparing for the return of live entertainment by introducing new features and functionalities tailored to the post-Covid-19 world.

UK-headquartered See Tickets, which is also active in the US, France, the Netherlands, Spain, Portugal and, most recently, Switzerland, has developed a contactless access-control system that uses a standalone scanning point requiring no physical interaction from fans or staff.

Once the customer scans their ticket, venue staff can view the results from a distance, providing event organisers with “the safest possible way to manage entry”, says See.

Rob Wilmshurst, See Tickets’ global CEO, comments: “Like our clients, See are adapting to the challenges in the market and looking at safe ways to operate going forward. We’re already well equipped to build features like time-slot entry to limit event capacity, and our ‘zero-contact’ access control solution will complement this.”

Smaller venues and promoters will also be able to benefit from the technology via an upgrade to the See Tickets Access Control app that increases the range from which their device can scan tickets (when used with a stand).

“We are adapting to the challenges in the market and looking at safe ways to operate going forward”

Other companies offering contactless solutions include New York-based mobile computing firm Janam, whose GT1 device uses tap-and-go technology from Google and Apple to eliminate direct contact between fan and ticket-taker, and Texas’s SimpleTix, which is capitalising on the boom in drive-in concerts by providing its digital ticketing platform to venues experimenting with drive-in shows.

“With a viable vaccine for Covid-19 likely a minimum of 18 months away, we expect drive-in theatres to be big for at least the next two-to-three years,” says Lauren Javors, SimpleTix’s business development manager. “We look forward to being part of that growth.”

Down under, ticketing technology company Intix has developing a contact-tracing add-on for its platform that aims to help the Australian government with tracking the spread of the disease.

Alex Grant, the company’s CEO, explains: “We developed this add-on in the hopes that by assisting the government with contact tracing we may be able to cautiously help our customers open their doors and get events and gigs back up and running.”

“It’s clear that mass gatherings will not go ahead without some way to track who’s turning up in case they are later diagnosed with Covid-19,” Grant adds, explaining that the stems from the government’s own COVIDSafe App, which is intended to speed up contacting people exposed to coronavirus.

“This ticketing add-on we have developed should assist the government to reach more people”

“From what I understand, not everyone has downloaded the government app; however, this ticketing add-on we have developed should assist the government to reach more people.”

Festicket, meanwhile, is getting in on livestreaming, having announced the launch of Festicket Live, which gives promoters and artists the ability to host both free and ticketed live streams on YouTube or Vimeo.

The new platform allow artists or event organisers to set up their own customisable and unique streaming page, which will include the embedded live stream, webchat, links to social media profiles and the option to include a shop for donations, merchandise and more.

Festicket’s marketing director, Luis Sousa, says: “The past weeks and months have seen a dramatic shift to online streaming, with over 60% of our customers saying they had watched a live stream since the lockdown began.

“We see this trend continuing, and possibly even remaining once physical festivals and events begin to return. We therefore wanted to offer music fans a platform that allows them to engage with the artists and festivals they love, while also providing artists and promoters with a new revenue stream, considering the pressures the industry is currently under.”

 


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