The International Ticketing Report is a one-off annual health check on the global ticketing business, with emphasis on the sector’s response to the Covid-19 pandemic.
The past two years have been turbulent for the business, but with consumer demand for live events now at an all-time peak, the challenges of fulfilling the most packed event schedule in history will test ticketers to the hilt.
Staffing, vouchers schemes and refunds, demand, consumer behaviour, communication, new products & services, secondary ticketing, pandemic lessons and recovery are among the challengers addressed by industry-leading experts in this extended report.
The report, originally published in IQ105, is in lieu of the International Ticketing Yearbook – a standalone global guide to the live entertainment market that will return in 2022.
IQ will publish sections of the International Ticketing Report over the coming weeks but subscribers can read the entire feature in issue 105 of IQ Magazine now.
To read the previous instalment of the report on consumer behaviour click here.
While IQ has been hearing tales of audience drop-off rates for rescheduled shows being as high as 40%, most of the ticketing executives in this report admitted to rates of closer to 15-20% – still a significant no-show number.
Such statistics have prompted questions over whether the communication with fans has been good enough.
Weezevent CEO, Pierre-Henri Deballon, admits, “We attribute [the no-shows] to the fact that many people simply forgot they had bought tickets. There were also all the effects of rescheduling or changes in programming, which made the public less enthusiastic about attending. In addition, personal circumstances may have changed, such as couples who had purchased tickets together splitting up.”
Skiddle’s head of marketing Jamie Scahill believes the numbers of people actually testing positive for Covid, or who are required to self-isolate when they have been in contact with someone who has tested positive, has had a major impact on no-shows.
“As many events were rescheduled to the same time, this led to a higher drop-off rate for festivals as there was an abundance of events for customers to attend.” But Scahill claims that with the summer season now over, drop-off rates appear to be returning to pre-Covid levels of 8-15%.
“We attribute [the no-shows] to the fact that many people simply forgot they had bought tickets”
The Ticket Factory‘s Richard Howle cites different reasons. “The events with cheaper tickets have seen the highest drop-off – however, it is still early days. Once we start getting to the events that have rescheduled three or four times, we may well see a higher drop-off.”
“Good communication with fans is key,” states Howle. “We have continued our ‘Not Long Now’ email programme in the lead up to events and that seems to have been enough of a prompt to remind people that the event they booked two years ago is happening soon.”
At AXS, director of ticketing, Paul Newman, has a similar viewpoint. “The percentage of no-shows tends to be high- er on those events that have rescheduled more than once, and ticket price is a factor – i.e. the percentage of no-shows is greater on lower- vs. higher-priced events,” says Newman.
And while Benjamin Leaver says Event Genius & Festicket are recording 20-30% drop-off rates, there are positive aspects as fans return to see their favourite acts.
“It seems that people are treating themselves as they return to live events,” says CEO Leaver. “At our egPay cashless partnered events we are witnessing around a 20-30% increase in spend per head. This is a trend we are also seeing with ticket and travel package orders for international festivals in 2022 as average order values are at an all-time high.”
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