AXS doubles down on accessible ticketing
AXS has announced a collaboration with Nimbus Disability, the social enterprise company run by disabled people for disabled people.
The introduction of the Access Registration Scheme – powered by the Access Card is set to first launch at The O2 and will then be accepted across all of AXS’ venues, events, and festival partners.
Guests buying accessible tickets online via AXS, The O2 and O2 Priority will be required to enter their Nimbus Access Card ID which details their specific accessibility requirements from wheelchair access to an essential companion.
The new system will give guests a “highly tailored” service offering ticket locations and other access facilities that most accurately meet their requirements, according to a release.
The O2’s Contact Centre will continue to accept calls from guests who have not yet signed up for the Nimbus Access Card scheme, or who need additional support to purchase the seats that best suit their requirements.
“At AXS we are always looking for ways to make the ticketing process even more effective and want it to be as tailored as possible to the needs of our customers,” says Chris Lipscomb, MD AXS UK.
“[This] will mean that guests who need accessible tickets can get their requirements met even more efficiently”
“In Nimbus, we have a company that will work with us to do just that for disabled people and we are very excited to see this new process launch at The O2.”
Sam Oldham, The O2 venue director, adds “Nimbus has an incredible track record and we are very proud to be working with such a trusted organisation. By bringing in the Nimbus & the Access Card Scheme, it will mean that guests who need accessible tickets can get their requirements met even more efficiently, ensuring their journey continues to be as smooth as possible.”
Guests yet to sign up for the Access Registration Scheme will be directed to do so by the AXS and The O2 websites for a registration process.
The award-winning Nimbus Access Card offers disabled people better access to entertainment venues whilst reducing the amount of administration needed to find the right accessible seats.
Martin Austin MBE, managing director of Nimbus and the creator of the Access Card said, “We’re thrilled to expand online booking options for our several hundred thousand Access Card holders. Moving to a self-serve online booking experience for disabled people is a game changer – to not have to sit in phone queues or wait for registration forms to be processed really opens up true equality of access for disabled customers. We’re also dedicated to making sure that those without an Access Card are able to utilise the same system at no cost by operating a free AXS Access Registration Scheme”
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AXS takes over NEC Group’s The Ticket Factory
AEG-owned ticketing firm AXS is taking over the ticketing operations previously handled by NEC Group’s internal ticketing arm, The Ticket Factory.
As part of the deal, AXS will now provide its ticketing services to NEC Group’s venues, the Resorts World Arena (cap. 15,685) and Utilita Arena Birmingham (15,800).
In addition, AXS will establish a ticketing hub in Birmingham adjacent to the NEC Campus, and all existing employee roles within The Ticket Factory at the NEC Group will become part of the firm.
“We want to make every customer’s experience brilliant, from the moment they think about buying a ticket, to the experience they have at our venues, and every interaction beyond,” says NEC Group CEO Mel Smith, who last year succeeded Paul Thandi.
“The AXS platform opens new and exciting opportunities for us to connect with customers and enhance their journey with us. We are delighted AXS has chosen to establish a centre of ticketing operations in Birmingham and look forward to a long-term partnership for the benefit of customers and the community.”
“The AXS platform opens new and exciting opportunities for us to connect with customers and enhance their journey with us”
Bryan Perez, CEO, AXS, adds: “We have long admired the NEC Group and The Ticket Factory and are therefore thrilled to welcome them into the AXS family. We share their vision for transforming the entire customer journey for fans at Resorts World Arena and Utilita Arena Birmingham and look forward to deploying our industry-leading AXS Mobile ID for fans and Apex platform for arenas to meet that goal. We are also excited to establish another base of operations in the West Midlands that will help grow and service our partners throughout the UK.”
AXS is the ticketing partner for more than 500 venues, sports teams and event organisers across North America, Europe, Asia, Australia, and New Zealand. With offices in London and Manchester, the global ticketing firm’s clients include USGA, Red Rocks Amphitheatre, Crypto.com Arena, Coachella, Stagecoach, Stockholm Live, The O2, and B. League (Japan).
In the past fortnight, AXS has acquired a majority stake in event tech firm WRSTBND and secured a partnership with TikTok on an in-app ticketing feature.
AXS’s parent company AEG was reportedly interested in acquiring Vivendi-owned See Tickets but the UK-headquartered ticketing company was snapped up by CTS Eventim earlier this month.
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AXS acquires event tech firm WRSTBND
AEG-owned ticketing firm AXS has acquired a majority stake in event tech firm WRSTBND, a provider of access control, credentialing and point-of-sale solutions for live events and venues.
AXS says the deal highlights its commitment to enhancing the onsite fan experience, “streamlining entry and exit procedures, making payments more frictionless”, as well as creating “personalised experiences for attendees”.
WRSTBND plans to utilise the investment to significantly grow its capabilities and offerings to clients by integrating AXS Mobile ID technology with WRSTBND’s ecosystem.
“WRSTBND has established itself as one of the rising stars within the live event access control and credential management business, solving some of the most high-profile and complicated problems for the Super Bowl, US Open, and the NFL Draft,” says AXS chief strategy officer Marc Ruxin. “Their hardware and software technology combined with the scale of AXS’ premier festivals and live event clients, including Coachella, New Orleans Jazz & Heritage Fest and BST Hyde Park, will create the most seamless and cutting-edge access and payment solutions available anywhere.”
“Together, with the help of their resources and our technology, we will continue to push boundaries”
Conway Solomon, WRSTBND co-founder, and CEO, along with Jonathan Foucheaux, co-founder, and CTO, share their excitement about the partnership’s potential
“From the very beginning, the AXS team shared our vision for how WRSTBND could be integrated and utilised for festivals and events all across the world,” they say. “Together, with the help of their resources and our technology, we will continue to push boundaries to develop and implement unparalleled solutions for our clients and their patrons.”
Earlier this week, AXS also announced a partnership with TikTok on an in-app ticketing feature that enables Certified Artists on TikTok to promote their live dates to new and existing fans globally on the platform.
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TikTok announces AXS ticketing partnership
TikTok has partnered with AXS to offer fans a new way to discover and buy tickets to live events.
The in-app ticketing feature enables Certified Artists on TikTok to promote their live dates to new and existing fans globally on the platform by allowing them to add their AXS event links to their videos before publishing.
The feature, which sees AXS become the second major ticketing firm to team with TikTok, will initially go live in the US, UK, Sweden and Australia, with other markets to follow.
“TikTok’s partnership with AXS allows us to connect millions of users with legendary artists, venues, and festivals, and allows artists to promote their live dates and reach their audience in a whole new way,” says TikTok’s global music partnership development lead Michael Kümmerle. “We are very excited to start this journey with AXS and look forward to supporting the further growth of ticketing on TikTok in the future.”
“The partnership will provide seamless ticket-buying access to some of the world’s most iconic venues, festivals, and tours”
TikTok is now an official discovery partner in the AXS Anywhere programme, joining the likes of Spotify, Bandsintown and others. AXS Anywhere allows venues, artists and partners to drive additional sales and revenue by reaching fans where they discover events with targeted ticket offers and experiences.
“TikTok has become one of the most important global platforms for music content attracting an incredible community of artists and fans.” adds AXS chief strategy officer Marc Ruxin. “By combining the reach and influence of TikTok artists with AXS’ global ticketing platform, the partnership will provide seamless ticket-buying access to some of the world’s most iconic venues, festivals, and tours. This is the perfect example of discovery-driven content and commerce for music fans.”
The move comes after TikTok expanded its ticketing partnership with Ticketmaster last year to more than 20 new markets following the launch of the link-up in the US in 2022.
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ILMC 36: The pros and cons of dynamic ticketing
Dynamic ticketing took centre stage during ILMC’s Ticketing: At What Price? panel, as leading executives debated whether the growth of market-based pricing in the US will be replicated in other major international markets.
Chaired by Kilimanjaro Live promoter Steve Tilley, the session brought together Eventim Norway and Sweden’s Marcia Titley, Ticketmaster UK’s Sarah Slater, AXS’ Chris Lipscomb and Arnaud Meersseman of AEG Presents.
Recalling going to see Bruce Springsteen at New York City’s Madison Square Garden last year, Tilley admitted he was prepared to pay “whatever it costs” to get into the show. However, Meersseman pointed out the practice was less established in territories like France, which made it harder to compete when booking top acts.
“We’re being pushed more and more by artists to incorporate dynamic pricing,” he said. “To them, it doesn’t make sense on a financial level to tour Europe compared to the US, where dynamic pricing is widely common.”
Meersseman speculated there would be “massive pushback” against the practice across France. “It’s also a question of accessibility, and fans are likely to end up wondering whether gigs will only be reserved for the rich in the not-too-distant future,” he warned.
Lipscomb added that dynamic pricing is already happening in several European markets, including the UK, and predicted it will increase in prominence sooner than most think.
“Ten percent of all UK shows may already be sold under dynamic pricing. In a couple of years, I’d expect that number will increase by 30%-40%”
“Ten percent of all UK shows may already be sold under dynamic pricing,” he said. “In a couple of years, I’d expect that number will increase by 30%-40% and maybe even rise higher to 70%-80%.”
The discussion segued into the secondary market, with Titley noting that while countries like Norway and Denmark put laws in place to prevent resales above face value, dynamic pricing was necessary to “drive higher revenue”.
“Ultimately, it’s all about protecting the fans, and I believe in combining tech and legislation to eradicate those excessive profit margins,” she said.
Ticketmaster has successfully introduced its own fan-to-fan resale service in the UK, and Slater said: “There are plenty of safe, face-value resale sites to sell your tickets to in the UK. We’ve heavily pushed the fact that tickets are transferable, but we always encourage customers to only buy from authorised sites.”
Sam Shemtob, director of Face-value European Alliance for Ticketing (FEAT), made a brief cameo to explain the role that the EU Digital Service Act will play in combating illegal ticket listings.
“If the ticket is being sold by a trader, that needs to be listed right at the front in a clearly accessible manner, and ticket resale sites will now be banned from using design tricks that manipulate consumers into decisions, such as “pop-ups” or giving prominence to specific choices,” explained Shemtob.
“Nailing the on-sale is absolutely critical, but marketing the shows via a long-term campaign with the artists up until the actual event is just as important”
Shemtob, who is collaborating with the European Commission on how to streamline a complaints mechanism for fans and promoters, launched ‘Make Tickets Fair’ last year — a campaign to educate and empower fans to avoid being ripped off by ticket touts.
“The platforms will also be required to make it clear throughout the buying process that the tickets listed are provided by a third party,” he said. “If a platform fails to do this and fans are led to believe that the tickets are provided by the platform itself, the platform can be held responsible for any tickets listed in contravention of national laws.
“All of these sites need to have a clear and simple complaint mechanism.”
Another major talking point was the perception that tickets must be bought as soon as they go on sale.
“Obviously, nailing the on-sale is absolutely critical, but marketing the shows via a long-term campaign with the artists up until the actual event is just as important,” Slater said, citing the concert industry’s shift towards post-sale engagement, which includes events integrations in collaborations with Spotify and TikTok, as well as creative marketing strategies to keep fans engaged.
“Most people think that if they can’t get tickets within the first hour, they’ll end up being scammed when attempting to purchase them at a later time,” added Meersseman. “It all ties to what we discussed earlier about properly educating customers on the ticket sale process.”
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ILMC 36: Exploring AI’s potential for live music
The transformative potential of artificial intelligence’s (AI) on the live music and entertainment sector was analysed in detail at the International Live Music Conference (ILMC).
Hosted by Cliff Fluet, founder and MD of Eleven, yesterday’s Artificial Intelligence: Moving at Light Speed session featured guests Sammy Andrews of Deviate Digital, Pulsar’s Fran D’Orazio, Observatory’s Ben Sheppee, AXS’ chief strategy officer Marc Ruxin, and aurismatic’s Richard Kurka, who joined the panel via satellite.
Fluet reckoned that AI’s impact makes it “comparable to steam or electricity” in a bygone era.
“Pretty much every innovation from a technological or business perspective is, in some way shape or form, going to be AI-powered going forward,” said Fluet. “Unlike a lot of innovations, 85% of the planet has a device that’s powered and enabled by AI. It’s probably likely to be one of the last ever human inventions.”
In terms of how AI can be incorporated into live performance, the opportunities are bountiful despite the industry’s heavy reliance on the human aspect. However, despite its continued improvement at a rapid rate, Andrews believes such advanced technology still needs a “human eye”.
“Though every platform that we use to advertise live music already has AI embedded into it, there’s sometimes a ‘hit or miss’ element to it”
“Though every platform that we use to advertise live music already has AI embedded into it, there’s sometimes a ‘hit or miss’ element to it,” she explained. “We’ve seen a couple of platforms that will remain nameless, checking random music, altering the copy your artist took weeks to approve, and so forth. But we’re halfway there when it comes to correctly identifying audiences and being able to show them the right sort of content. It’s only going to get better.”
The panel soon segued from marketing to ticketing, and AI’s potential to optimise pricing strategies for live events to guarantee maximum profitability and accessibility.
“Dynamic pricing has been around for some time,” said Ruxin. “The reason it hasn’t been broadly adopted in the live performance sector in the way that it has been accepted by consumers is because of two factors: you have artists who want actual fans to be paying appropriate prices for tickets to their shows, and then you have a business mechanism that involves the need to optimise prices and seats.”
Ruxin further discussed the potential of AI to detect counterfeit tickets. “It’s only a matter of when and not if,” he said, with emphasis on how facial recognition technology is a template for AI to discern which tickets are real or otherwise.
Having talked about using aurismatic as “essentially a Shazam alternative for live music using AI”, Kurka added that one of his company’s main goals is to establish something that he firmly believes is “missing in the live music sector”.
“It could work well in smaller gigs that operate on smaller budgets”
On the topic of “predictive analytics”, D’Orazio believed that AI provides those without technological and data expertise the chance to “emulate someone like [Mad Men character] Don Draper in the 1950s”.
“Trend forecasting can now go back in the hands of the people that don’t have technical or scientific backgrounds,” D’Orazio said, noticing an irony in advanced AI technology encouraging a throwback to an “older method of creative thinking and advertising”.
When asked on whether there is a general misconception that AI is a cheaper method of creating something, Sheppee answered in the affirmative.
“There are costs when creating visual elements with AI,” he said. However, he admitted that AI can also be used to circumvent the possibility of copyright infringement. “Last year, we had consulted a band who wanted to use an image they either didn’t have rights to, or the rights were really expensive. We managed to generate a piece of content that was broadly similar, which rendered it a cost-saving exercise.”
He added that while AI isn’t feasible to use in large-scale arenas like Las Vegas Sphere, “It could work well in smaller gigs that operate on smaller budgets.”
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CTS Eventim and AXS form partnership for 2028 Olympics
CTS Eventim and AXS will join forces to promote, sell and distribute tickets for the Los Angeles 2028 Olympic and Paralympic Games.
The LA28 Games, led by Casey Wasserman, will mark the city’s third time hosting the Olympics after 1984 and 1932, and its first time hosting the Paralympic Games.
Tickets to the Games will be sold globally through CTS and AXS’s existing online storefronts, as well as through the dedicated LA28 website.
CTS Eventim has managed ticketing for the Olympics on several occasions over the past two decades, including at Turin in 2006, Sochi in 2014, Rio in 2016, and is set for Paris in 2024.
“AXS’ strong North American footprint and CTS Eventim’s track record of Games success will deliver a world-class platform that will redefine ticketing for live sports events,” says LA28 chairperson/president Casey Wasserman. “With AXS and CTS Eventim, the LA28 Games will provide an accessible and seamless experience for Angelenos and sports fans from across the globe.”
“AXS’ strong North American footprint and CTS Eventim’s track record of Games success will deliver a world-class platform”
Klaus-Peter Schulenberg, CEO of CTS Eventim, adds: “When it comes to live sport, the Olympic and Paralympic Games are in a league of their own. Nothing can quite match being in the crowd as athletes give it their all for a chance of glory. As a company with two decades of Olympic ticketing experience and a passion for live experiences, we are honoured that our technology and services will help bring fans to the incredible event that the LA28 committee are organising. We are also delighted to be partnering with our friends at AXS and are looking forward to collectively playing our part in making 2028 a Games to remember.”
Bryan Perez, president and CEO at AXS, comments: “Los Angeles is our hometown and we couldn’t be prouder or more excited to help showcase it to the world. The Olympic and Paralympic Games are the world’s premier sporting events, and today’s announcement reflects AXS’ long-standing commitment to provide the best sports and consumer ticketing experiences to the industry. Together with our colleagues at CTS Eventim, we are grateful for LA28’s vision and partnership to deliver a next generation ticketing experience for fans from all over the world.”
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AXS installs Marc Ruxin as chief strategy officer
Ticketing company AXS has announced the addition of Marc Ruxin as chief strategy officer.
Ruxin, who will report directly to CEO Bryan Perez, will lead overall strategy and corporate development opportunities globally, working closely with business leaders around the world.
Before joining AXS, experienced entrepreneur and media executive Ruxin held positions as COO and CMO of music streaming service Rdio and chief innovation officer at Universal McCann and McCann Erikson.
“As the live event business continues to experience unprecedented global growth across sports, music, and festivals, AXS, and the AEG family, are perfectly positioned to become the most consumer-friendly and fan-forward business in the world,” says Ruxin.
“AXS is primed for the next growth stage and Marc will be a key player in our success”
“After a career in and around this industry, the opportunity to help AXS become the dominant global ticketing platform is the culmination of everything I have been working towards. What Bryan and the team have been able to build in a short time is an incredible accomplishment. I’m thrilled to be a part of it!”
Ruxin will take over corporate strategy and development responsibilities previously held by Blaine Legere, who transitioned to president – international late last year.
“Marc’s innate ability to successfully evaluate promising companies, his entrepreneurial prowess, and experience as an innovator and advisor in tech and live entertainment make Marc a great fit as we push our business forward,” adds Perez. “AXS is primed for the next growth stage and Marc will be a key player in our success.”
As well as upping Legere from his former role as SVP of corporate strategy & emerging markets, the AEG-owned ticketing company promoted COO Tom Andrus to president, North America at the end of 2023 to help manage its rapid growth.
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AXS creates new leadership roles to manage growth
AXS has announced the creation of two leadership roles to help manage its rapid growth both domestically and internationally.
The AEG-owned ticketing company has promoted COO Tom Andrus to president, North America, focusing on expanding revenue streams and cultivating client relationships within the market.
In addition, Blaine Legere, formerly SVP of corporate strategy & emerging markets, is upped to the role of president, international. He will focus on the worldwide expansion of AXS’ global platform and managing the company’s existing international portfolio. The pair will report directly to AXS CEO Bryan Perez.
“AXS continues to experience explosive growth both in North America and abroad, and with no signs of stopping, it’s essential to structure our business to effectively handle this growth and delivery of our global platform,” says Perez. “Tom and Blaine have been instrumental in the building of AXS from the beginning, and I’m excited to work with them in these new roles as we continue to expand.”
“It’s a pivotal time for AXS in our journey to expand our best-in-class system and products outside of North America”
Legere joined AXS as its inaugural employee when the company launched in 2011. Since 2020, as SVP of corporate strategy & emerging markets, he has managed the company’s expansion in Japan, Australia and New Zealand.
“It’s a pivotal time for AXS in our journey to expand our best-in-class system and products outside of North America,” says Legere. “I’m grateful to lead the charge, and I’m inspired to be working with our talented leadership and our dedicated teams across the globe who are rising to the occasion. The growth opportunities we’ve realised in Europe, combined with our footprint in Asia and most recent launch in Australia and New Zealand earlier this year, really set the table for an exciting run ahead.”
Andrus initially joined the leadership team alongside Perez and Legere as general manager in 2012 shortly after AXS’ establishment, returning to the firm in 2018 as COO.
“I am looking forward to leading the AXS North American business,” adds Andrus. “It has been a highlight of my career to build AXS with Bryan, Blaine and the rest of our team. Our innovation and dedication to our employees, clients and customers have led to our success and will fuel our continued growth. I fully expect the changes in our organisation to take us to new heights.”
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ILMC’s 2024 mission to be ‘Out of This World!’
The 36th International Live Music Conference (ILMC) is welcoming a raft of industry supporters and launching a new dedicated satellite event for its 2024 edition, which takes place from 27 Feb-1 March 2024.
The three-day conference will welcome over 1,400 of the world’s top live music professionals from over 50 countries when it returns to the Royal Lancaster Hotel in London. The 2024 event sees live music professionals invited on a mission to explore new frontiers, topics and markets across the business.
Mission partners this year include Co-op Live, Manchester’s new arena which opens its doors in April 2024. Gary Roden, Executive Director and General Manager, Co-op Live said: “We’re over the moon to be supporting this year’s ILMC. We are putting the finishing touches on Co-op Live as we speak, locking in a series of incredible shows including multi-night and exclusives, and invite you to join us for lift off in April 2024.”
Also platinum partners for ILMC 36 are Live Nation and Ticketmaster, and John Reid, president EMEA at Live Nation said: “Live Nation and Ticketmaster are delighted to once again sponsor ILMC where in-depth discussions and the evening socials bring us all together. We are proud to continue to promote the industry and it is always an important opportunity early in the year for the business. We look forward to seeing everyone.”
“With an expanded schedule of events and such fantastic support from our stellar industry partners, ILMC 2024 looks like it will be truly out of this world!”
Other principal supporters on the 2024 conference include gold partners ASM Global and CTS Eventim, and silver partners AXS, DEAG and Showsec. ASM Global will also support ILMC’s Alia Dann Swift Bursary Scheme, which offers a complimentary conference pass and mentoring opportunities to 30 young professionals.
In addition to ILMC’s schedule of debates, workshops, keynotes and events, the conference also sees a new one-day satellite event, Touring Entertainment LIVE, dedicated to the global business of big brand live entertainment, exhibitions and touring family shows on Friday 1 March. Meanwhile, ILMC’s Central London showcase event, London Calling, takes place in additional venues across Soho for its sophomore edition on Weds 28 Feb.
On Thursday 29 Feb, The Arthur Awards – the international live music industry’s Oscar-equivalents – will be presented in front of 450 guests during a ceremony compered by CAA’s London co-head Emma Banks. And the following day sees Futures Forum take place, the one-day event for young live music professionals with all ILMC delegates encouraged to attend.
“We are proud to continue to promote the industry and it is always an important opportunity early in the year for the business.”
“Over 2,000 professionals now attend an ILMC event during the conference week,” says ILMC head Greg Parmley, “And with more meeting space that ever, an expanded schedule of events, and such fantastic support from our stellar industry partners, ILMC 2024 looks like it will be truly out of this world!”
The 2023 edition of ILMC welcomed speakers including Marty Diamond (Wasserman Music), Doc McGhee (McGhee Ent.), Maria May (CAA), Phil Bowdery (Live Nation), Jessica Koravos (Oak View Group), Obi Asika (UTA), Marie Lindqvist (ASM Global Europe) & Detlef Kornett (DEAG).
Full information about ILMC 2024, The Arthur Awards, Futures Forum, London Calling and the new Touring Entertainment LIVE day is at 36.ilmc.com.
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