fbpx

PROFILE

MY SUBSCRIPTION

LOGOUT

x

The latest industry news to your inbox.

    

I'd like to hear about marketing opportunities

    

I accept IQ Magazine's Terms and Conditions and Privacy Policy

ILMC 34: Inside ticketing’s new normal

International ticketing executives have given a mixed picture on live music markets around the world as the business bids to pick up where it left off pre-pandemic.

ILMC’s Ticketing: All change please! session heard from Ticketmaster UK’s Sarah Slater, Marcia Titley of Eventim Norway & Sweden, John Talbot of AXS Europe, Dice’s Amy Oldham and TicketSwap’s James Fleury, with Michael Hosking of Singapore-based Midas Promotions offering a promoter’s perspective.

Quizzed on the state of play by chair Richard Howle of The Ticket Factory, the panel reported contrasting fortunes to date.

“In Scandinavia, restrictions were lifted in December in Denmark, in January in Norway, and February in Sweden, so we’re about three, four months in,” noted Titley. “When the restrictions were lifted, ticket sales jumped, which was great, we were all thrilled. And then they kind of plateaued.”

“We’re making progress, but it’s slower than I think we all had hoped”

While observing a week-by-week improvement, she added that Covid has appeared to have triggered a change in purchasing habits, with a shift towards buying tickets later in the day.

“They’re waiting, and I think we can all understand why,” she said. “I think we’re all holding our breath a little bit wondering if some new variant’s going to pop up tomorrow. And shows aren’t selling out, so that sense of urgency isn’t there.

“One thing we’re starting to see in Scandinavia as well is uncertainty if shows and festivals are actually going to happen. Just recently, last week, one of our biggest festivals in Norway had to cancel because of Covid complications… So this has also affected consumer behaviour.

“Also, I think we’re trying to find ways to get people to go back to live. I think people have got a little bit stuck on their couches and we need to try to find a way to get them to remember what live was all about. If we can get them into the shows then we will be able to build up that kind of credibility in the market. We’re making progress, but it’s slower than I think we all had hoped.”

“One of the greatest impacts of Covid is it has made people, generally, quite lethargic”

Citing sold-out stadium shows by Justin Bieber in Singapore and Malaysia, Hosking stressed that demand was visible for certain artists, but returned to the theme of audience lethargy.

“The real test will be maybe the B and C-listers,” he offered. “I think one of the greatest impacts of Covid is it has made people, generally, quite lethargic. The old days of having to do everything immediately seems to have waned. And of course, Asia’s not one country, it is several countries and there are still very different restrictions about touring. But Justin is living proof that if the people want you bad enough they’ll go out and buy tickets.”

Talbot, who joined AXS last summer, said the business had faced an “existential threat” and attempted to put its travails into perspective.

“To use a hospitalisation analogy, we were hit by a truck and now we are in the recovery from that period, and it’s not going to happen overnight. We’ve got a cost of living crisis. People can see the alternatives to going out – because they were denied so long, they’ve got other options and they can entertain themselves in different ways.

“We do need to teach the market that going out, congregating, seeing live events is a really, really important part of our culture and they should come back to it. But those challenges are nowhere near as existential as what we were facing only a matter of months ago, so I think there’s a lot of reason to be very cheerful.”

“Half of our customer services activity at the moment is reuniting customers with the tickets they bought in 2019 and 2020”

He added: “We’re finding that a lot of our best customers are holding four or five tickets to shows that are yet to play off… So how do you sell to the market new events, when they’ve already got commitments, and sometimes they’ve forgotten that they’re holding these tickets?

“Half of our customer services activity at the moment is reuniting customers with the tickets they bought in 2019 and 2020. So when that clog disappears, as it will, I think that’s when we can really start to see new on sales not being buffeted by those market forces.”

Slater and Oldham suggested the state of affairs in the UK was more favourable across the board, in part, due to being able to press ahead with a partial festival season in 2021.

Slater, who received the Golden Ticketer gong at the 2022 Arthur Awards, pointed to Ticketmaster’s stellar business in the final quarter of last year.

“We were really able to capture that pent-up demand that the pandemic brought,” she said. “Q4 was absolutely huge: We had Reading & Leeds sell out; Creamfields sell out; we’ve got new sites for festivals; there are lots of tickets out there, but we’re selling all our tickets as well.

“We’re really positive; we were lucky that we got the summer [2021] in the UK, so we’re in a slightly different position to everyone else.”

“People are demanding to have choice and flexibility now when it comes to buying tickets”

“The market’s certainly buoyant,” added Oldham, Dice’s VP of content, Europe. “We had over a million people go out in London last month, which is extraordinary. The place where it’s the most buzzy is with emerging talent – the waitlist for artists like Fred Again is astronomical. People are buying really early because they’ve got the protection of knowing that they can give their ticket back if they can’t go.”

James Fleury of price-capped ‘ethical’ ticket marketplace TicketSwap said the Amsterdam-based firm had already twice broken company records in the first four months of 2022, and backed up Oldham’s point on flexibility.

“People are demanding to have choice and flexibility now when it comes to buying tickets,” he said. “Buying a ticket anymore isn’t necessarily a commitment to attend that specific event. It is for the top four or five artists that I really love, but for the other artists where we maybe like one single or a couple of tracks… I think it’s important that we also promote that flexibility.

“Our challenge this year as a company is to educate both fans, but also partners – promoters and festivals – about why having that choice and flexibility is important on the fans’ side.”

 


Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

Friday round-up: World news in brief 17/12/21

Welcome to IQ‘s weekly round-up of news from around the world. Here, in bite-sized chunks, we present a selection of international stories you may have missed from the last seven days…

AUSTRALIA:
TEG, the Sydney-based live entertainment, ticketing, and technology company, has appointed impresario Randy Phillips to the board of directors. The live music veteran most recently served as president and CEO of LiveStyle. Prior to that, Phillips was CEO at AEG Live for 13 years, where he promoted world tours for artists such as Bon Jovi, Justin Timberlake and Justin Bieber. Phillips, whose role will be both advisory and operational, will contribute to the expansion of the TEG footprint in live entertainment, including the creation of unique, owned, or co-owned, and financed intellectual property.

GERMANY:
Semmel Concerts has set up its own booking department under the name SCE Artists & Events. “Of course, the booking area has always been an important part of our company DNA, which we are now professionalising and making more visible with the Artists & Events department,” says MD Dieter Semmelmann. “We act as a partner and networker between artist/production and customer. Due to our experience and our diverse portfolio, we are able to offer and implement individual and tailor-made concepts for our partners.”

FRANCE:
Midem, a music industry conference and festival in Cannes, has been officially axed after 55 years. The impact of Covid-19 forced the organisers to stage events online in 2020 and 2021. An in-person event was scheduled for June 2022 but has now been pulled. The event launched in January 1967 with the promise that execs could “do all your business in six sunny days in Cannes,” and it became a crucial fixture of the music industry calendar.

SPAIN:
The organisers of marquee Spanish festival Primavera Sound have warned that they may have to find a new host city in 2023 due to a “lack of interest and agreement” from Barcelona city council. Primavera Sound has taken place in Barcelona for 20 years and has recently expanded internationally with sister events in Los AngelesChile , Argentina and Brazil. The flagship event will mark its 20th-anniversary next year with an expanded edition.

UNITED STATES:
The 10 people who died in a crowd crush during Travis Scott’s concert at the Astroworld Festival in Houston last month accidentally suffocated, according to the Harris County medical examiner. The victims, aged 9 to 27 years old, died of compression asphyxia, the examiner’s report concluded. Another 300 people were injured among the audience of 50,000 people. Travis Scott has requested to be dismissed from multiple lawsuits he is named in relating to the Astroworld disaster.

NORWAY:
More than 160 music festivals across the country are to benefit from the latest round of compensation from the Norwegian government’s scheme for organisers and subcontractors in the cultural sector. Kongsberg Jazz Festival, Oslo World, Vossa Jazz, Night Jazz, Trondheim Jazz Festival, Oslo Jazz Festival, Beyond the Gates, Midgardsblot Metal Festival, Nordland Music Festival and Risør Chamber Music Festival are among the festivals that will receive a share in 2022. It was recently announced that the scheme, which has been running since 2020, will be continued until the summer of 2022.

UNITED STATES:
Opry Entertainment Group (OEG) has announced AXS as its official and exclusive ticketing partner. Under the partnership, AXS will provide its full suite of solutions for all OEG properties on a single platform, streamlining tour and show ticketing operations. OEG properties include the Grand Ole Opry, Ryman Auditorium, its Ole Red venues in Orlando, Gatlinburg, Nashville, Tishomingo and the recently announced Ole Red in Las Vegas (expected 2023). The partnership also creates new opportunities to align with AXS’s parent company AEG and its live event business, AEG Presents.

 


Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

AXS names Jay Sietsema as general manager, Sweden

AEG-owned ticketer AXS has announced the appointment of Jay Sietsema as general manager for its Swedish operation.

Sietsema joins from Eventim Sweden, where he held the position of managing director. His 20 years’ worth of experience in the industry also includes roles at Live Nation and AEG Facilities.

In his new role, Sietsema will work with a large portfolio of clients, including Stockholm Live, clubs within the Swedish Ice Hockey League and Swedish Elite Football League.

From his official start date of 3 January 2022, he will report to Tom Andrus, COO for AXS. Sietsema succeeds Oscar Klingensjö, who has decided to depart the company.

“[Jay’s] background and experience ushers in yet another exciting new chapter for our businesses in Sweden”

Andrus says: “I’m thrilled to welcome Jay to the team; his background and experience ushers in yet another exciting new chapter for our businesses in Sweden. I would also like to offer immense thanks to Oscar for his years of service here at AXS. Under his leadership, we’ve seen a tremendous uptick in growth and strength that has enabled us to perform at an extremely high level.”

Klingensjö added: “I want to thank our clients, partners, colleagues around the world and of course my fantastic team in Sweden for my almost 5 years at AXS. I am proud of the partnerships we have built, the trust we gained and the incredible team spirit that our employees have shown. I wish AXS all the best in the future and will continue to cheer from the sidelines.”

LA-headquartered AXS is the official ticketing partner for over 350 premier venues, sports teams, event organisers around the world, including Stockholm Live, The O2, The SSE Arena, Wembley, AEG Presents, STAPLES Center, T-Mobile Arena, Red Rocks Amphitheatre, Minnesota Timberwolves, Houston Rockets and the Vegas Golden Knight.

AEG took full control of its ticketing business AXS from co-owners TPG Capital and Rockbridge Growth Equity in 2019.

AXS rolled out its resale solution in the UK in April of the same year and has been the official resale ticketing partner for AEG in North America since 2018.

 


Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

International Ticketing Report 2021: The Recovery

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 pandemic lessons, click here.


Weezevent CEO Pierre-Henri Deballon observes that the coronavirus pandemic helped separate the wheat from the chaff in terms of dependable ticketing partners.

“It’s important for a company to make money in its model so that it is solid, capable of facing crises like this one, but also so that it is capable of investing and supporting in the long-term, and not only in the short-term or only on the basis of fundraising,” says Deballon.

“We can see this with completely crazy fundraising schemes for models whose profitability I really doubt can be proven. It’s a real issue because unprofitable players are players who have a short-term vision, with all that this can imply on the organisers’ databases.”

As the live entertainment market aims for a rapid recovery, Fair Ticket Solutions’ founder & CEO Alan Gelfand advocates paying attention to consumer choice when developing ticketing technology.

“The key element for ticketing companies is to find ways to identify people for health and security reasons without additional friction. Blockchain, digital/mobile, and NFTs only identify the transaction, not the actual identity of an attendee, which is where they all fall short.

“If the ticketing companies can tie an actual verified identity to the ticket, it could open up a new acceptance of biometrics”

“If the ticketing companies can tie an actual verified identity to the ticket, it could open up an entire new acceptance of biometrics and launch future new fan experiences based around biometrics, which have been talked about for years but not accomplished to date,” adds Gelfand.

“We are extremely positive about the prospects for the future,” says Event Genius & Festicket CEO Benjamin Leaver. “The coming months and years offer incredible opportunities to deliver the best-ever customer experiences in live entertainment.

“Promoters and customers expect nothing less than a seamless, delightful, digital-first experience. Our sole focus is to deliver this for our partners so that they can continue to put on extraordinary live entertainment across the world.”

Martin Haigh and Total Ticketing are also looking to forge closer relationships with promoter and event organiser partners to aid their prospects. “Our future roadmap is to a large part projected by the clients we service,” notes Haigh.

“Our development queue has never been longer, as such ticketing is only going to become more and more integrated into our clients’ infrastructure. We are continuing to invest heavily into allowing our clients to manage their inventory more elegantly, reach ever more consumers through our network and to maximise their revenue from each ticket sold.”

“Sustainability in all sectors will become more of a default setting, including the events industry”

But The Ticket Factory‘s Richard Howle concludes that companies must, first and foremost, listen to the needs of the fans. “One of the notable things that has changed in recent months has been customer sentiment – everyone seems angrier and more impatient,” he says.

“As an industry we need to do more to put audiences first, ensuring we are doing the right thing by them. We have a lot of building back to do and we need to bring fans with us, making sure we are open and fair to them. Over the past 18 months [fans] have found other things to do with their leisure time and money and, yes, whilst there is pent-up demand, we shouldn’t take it for granted.”

TicketPlan’s Ben Bray agrees. “Many fans will want the reassurance that the environments they attend are safe and secure and, given the heightened understanding of risk that now exists, they will continue to purchase TicketPlan on a wide range of bookings with generally, higher attachment rates,” he surmises.

“Sustainability in all sectors will become more of a default setting, including the events industry, and whilst the impact of the pandemic has inevitably and necessarily meant that our sector has focused on its survival, sustainability will become a crucial part of the planning and design of events.”

Paul Newman says the strategy of AXS will be to “continue to support our clients, making their customers feel happy and safe to return to the live events market.”

He concludes, “Demand is very strong, but with a flooded market of events, people will be making choices to see artists that mean the most to them. The key is getting the right events in front of the right customers, at the right time; and we are committed to working with our partner venues and promoters to do exactly that.”

 


Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

International Ticketing Report 2021: Pandemic Lessons

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 secondary ticketing, click here.


Dealing with the various Covid restrictions, lobbying for government support, and having to make difficult decisions over staff cuts have been unprecedented tasks for ticketing company senior management over the past 18 months. But what have been the biggest lessons that they have learned throughout the crisis?

Eventim’s chief operating officer Alexander Ruoff is optimistic following the long pause in business. “People’s longing for live entertainment remains unbroken even after 18 months of pandemic, and the fans’ loyalty to their favourite artists,” he says.

“What was and is also great is the cohesion of our employees during the pandemic and how everyone worked together to ensure that CTS Eventim emerges even stronger from the crisis.”

But he is all too aware that the industry needs to do more to elevate its status in the minds of politicians. “Culture and the people’s need for culture and live entertainment apparently do not always enjoy the status in politics that would be desirable,” he says.

“Our industry was the first to go and the last to return, and it was tough,” says Ticketmaster’s Mark Yovich. “As a global business with global teams, we had colleagues experiencing every possible pandemic scenario at different times – so learnings, advice, and sympathetic ears were invaluable. They say your colleagues are like your family, and I never felt that more than over the last 18 months.

“Promoters and venues have had the opportunity to look into their ticketing needs in far greater detail than ever before”

“Throughout it all, to see our teams come together at this time to innovate, build, and execute incredible features as well as deliver incredibly complex customer service support in such short timeframes was truly inspiring.

“It was our job to deliver the tools our clients so desperately required in this crisis – and we did just that. So much so that we’ve had an abundance of new clients come knocking who saw this work and are now turning to us in need of a reliant, industry-leading ticketing service as they navigate the return to live.”

Total Ticketing‘s Martin Haigh sees opportunity for boutique ticketing firms to gain a stronger foothold as the recovery plays out.

“We feel that promoters and venues have had the opportunity to look into their ticketing needs in far greater detail than ever before and as such are way more self-educated and open to exploring new opportunities. So, this is a good time to erode into the incumbents’ market share,” he says.

At Dice, Russ Tannen also sees opportunity. “We discovered a huge underserved live music audience living outside of major cities,” he states. But he laments that, “There isn’t enough transparency for artists in live.”

TixTrack CEO Steven Sunshine observes, “We have seen the past 18 months as a strong positive as it has made ticket sellers more interested in mobile and cloud-based solutions as well as digital ticket delivery, timed-entry ticketing, and many other features and functions that have been a part of our ticketing offering even pre-Covid.”

“We discovered a huge underserved live music audience living outside of major cities”

On a positive note, Skiddle’s head of marketing, Jamie Scahill, believes consumer confidence will not take long to rebuild. “We’ve seen a yearning by all demographics of the public to get back out and experience events and we’re confident that this demand will be set to continue as more and more people become comfortable with going out again,” he says.

“The pandemic has highlighted how good the live entertainment ticketing industry is,” states The Ticket Factory‘s Richard Howle. “Our primary concern was to do the right thing by our clients and customers and that passion to deliver great service has shone through.

“As an industry we normally only make the headlines when things go wrong and the fact that we have gone through the last 18 months with very little in the way of bad headlines, particularly when compared to other industries, such as travel, is testament to what a good job we have done.”

And looking at things from a personal point of view, AXS director of ticketing Paul Newman says, “The last 18 months have made me realise the importance of both physical and mental wellbeing, and I fully intend to carry forward the good habits I have developed in both my professional and personal life.

“Business-wise, I think that maybe the ticketing industry realises there is a stronger need to work together on finding solutions to the issues we all face.”

 


Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

International Ticketing Report 2021: New products and services

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 communication, click here.


Event Genius & Festicket CEO Benjamin Leaver notes that the pandemic shutdown created additional time for individuals and companies to develop new products and services – time that ticketing service providers the world over have been exploiting.

“One of the biggest takeaways for us is the accelerated embrace of technology in the industry, from digital ticketing to contactless access and cashless payment systems,” Leaver says. “Although the adoption has been quicker because of the pandemic, we strongly believe the change will benefit the industry in the long-term.”

AXS director of ticketing, Paul Newman, agrees. “The last 18 months have afforded us the opportunity to accelerate the development of a number of initiatives that would have otherwise taken far longer to implement,” he says, citing AXS opening up its mobile ID technology to other ticket agents.

“Taking notice of the feedback from the customer sentiment surveys we have undertaken; we have introduced venue iconography and other features into our purchase flow to give returning customers the information and reassurances they seek to return to live events.”

Weezevent CEO, Pierre-Henri Deballon, says: “Over the last 18 months, we have essentially worked on the relaunch: the challenge was to ensure that the teams were ready for the relaunch and that the product was also ready. To do this, we worked on international development by buying the company PlayPass.

“We also reworked our capital structure by buying out the shares of Veepee, which was a shareholder of Weezevent, in order to be completely independent. This makes us one of the few truly independent European players in our sector.”

“The last 18 months have afforded us the opportunity to accelerate the development of a number of initiatives”

It’s also been a time for acquisitions at Dice, which bought Boiler Room, as well as completing a $122m (€105m) funding exercise.

“We built-out our live-stream offering working with 6,400 artists on quality streams; we developed and rolled out a completely new client tool with collaboration from our partners; we made massive design and functionality improvements across our app and website; and we opened up a new HQ in New York,” says Russ Tannen of Dice.

On a B2B level, Leaver says, “We developed our Ticket Management Portal [TMP], which allows event organisers to be fully track-and-trace compliant by collecting all attendee details. The TMP also allows fans to easily share tickets with friends, as well as letting organisers seamlessly communicate with all eventgoers rather than solely lead bookers.”

Fair Ticket Solutions’ founder & CEO, Alan Gelfand, meanwhile, says, “We have spent the time evolving our identity-based platform to include a pre-clearance tie-in of the health requirements to activate all types of ticket formats.”

And in Hong Kong, Total Ticketing‘s Martin Haigh tells IQ, “We have developed a global distribution system allowing us to ingest ticketing inventory from a large number of inventory holders and redistribute it to hundreds of agents, managing CMS, sales, invoices, credits. This allows for massive increased discovery.

“Alongside the ongoing development of our ticketing software, we have also created Total Streaming to give promoters the ability to mix and match in person and streamed sales through our platforms and to geofence viewers and enforce a single-viewer-per-link on our streams.”

“We took this moment to take our business global”

Mark Yovich says the pandemic pause allowed Ticketmaster to fulfil long-held ambitions. “We took this moment to take our business global,” he says. “Our goal was to unify across the globe as a single team with a single mission – to innovate and build one incredible experience for fans and clients wherever they are in the world.”

“CTS Eventim has used the time of the pandemic for numerous strategic initiatives to emerge even stronger from the crisis,” reports chief operating officer Alexander Ruoff. “These include product developments. Among these, our digital ticket EVENTIM.Pass stands out in particular.”

Taking the opportunity to “make ticketing more seamless for both the promoter and customer,” Skiddle’s head of marketing, Jamie Scahill, says. “Over the last 18 months, we’ve launched our beta Promotion Centre to current promoters, built from the ground-up.

“[It] provides new features such as bulk-editing events, bulk-embargoing events, new dashboards, embed-listing widgets for promoters and more. We’ve also introduced a DIY payment plan builder for promoters to have greater control over the payment plans they want to offer to customers.”

Not to be outdone, Richard Howle says The Ticket Factory is close to completing an overhaul of its payment systems, offering increased security for customers when they are booking online.

“We have also installed a brand-new telephone system in our dedicated contact centre. It’s becoming increasingly rare in the ticketing industry for this kind of personalised interaction – and it’s something we’re committed to and really value as a business,” says Howle.

 


Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

Friday round-up: world news in brief

Welcome to IQ‘s brand-new weekly round-up of news from around the world. Here, in bite-sized chunks, we present a selection of international stories you may have missed from the last seven days…

UNITED KINGDOM:

Vince Power Music Group (VPMG) has announced AXS as its official ticketing partner for all its London venues after inking a new five-year deal. VPMG venues include: the former Dingwalls, PowerHaus (cap. 500), The Fiddler (cap. 120), Nells (cap. 350) and Subterania (cap. 600). AXS is the official ticketing partner for several UK venues including The O2, The SSE Arena, Wembley, Dreamland Margate, British Summertime Hyde Park, All Points East and AEG Presents’ touring business.

NETHERLANDS:

European showcase festival and conference Eurosonic Noorderslag (ESNS) in Groningen has moved entirely online from 19–22 January 2022 in response to the government’s the latest Covid-19 measures. The digital edition will include a conference programme as well as the festival programmes of Noorderslag, Eurosonic and the Music Moves Europe Awards award ceremony.

UNITED STATES: 

Foo Fighters say they have axed a 2022 tour date due to the venue’s “refusal to agree to the band’s Covid safety measures”. The band were due to play Huntington Bank Stadium in Minneapolis on 3 August, but are now looking for a replacement venue. A spokesperson for the University of Minnesota, which operates the venue, said its current measures relating to vaccines and mask-wearing were in line with state and federal guidelines, and declined to change its existing protocols for large events.

GERMANY:

CTS Eventim is acquiring regional ticketing providers in the Rhineland region, Kölnticket and Bonnticket. The companies previously belonged to media houses Kölner Stadt-Anzeiger Medien in Cologne and Rheinische Post Mediengruppe in Düsseldorf, and had previously partnered with CTS on ticketing software and platform technology. The deal will give CTS Eventim a significant presence in the region as well as numerous contacts in the local entertainment scene.

UK/US:

The British Music Embassy has announced its live return to South By Southwest (SXSW) with its biggest presence yet. The intimate 250-person UK music showcase will return in 2022 with a capacity of 700 at Cedar Street Courtyard, an open-air SXSW venue, from 14-20 March. It will be the first in-person British Music Embassy since 2019 as the 2020 edition of SXSW was one of the first major festivals to be cancelled due to Covid-19.

GERMANY:

The ASM Global-managed, Arena Oberhausen in Germany is to be renamed after 20 years as the Konig Pilsener Arena. From next year, the 12,650-capacity venue will be known as Rudolf Weber Arena, in the largest naming rights deal in the Oberhausen-based venue’s 25-year history.

BELGIUM:

Five more names have been confirmed for Rock Werchter 2022. The War On Drugs will play the Festivalpark on Thursday 30 June. Lewis Capaldi and Greta Van Fleet join the line-up for Friday 1 July, Yungblud is scheduled for Saturday July 2 and Royal Blood will put in an appearance on Sunday 3 July. Headlined by Pearl Jam, Metallica, Imagine Dragons and Red Hot Chili Pepper, the festival runs from 30 June to 2 July.

UNITED KINGDOM:

Two internet ticket touts sentenced to a combined six-and-a-half years in prison following a landmark court case have failed in their appeals against their conviction for fraudulent trading. Peter Hunter and David Smith, who operated as the company BZZ Limited, were jailed for four years and 30 months, respectively, in February 2020 following an investigation by the National Trading Standards eCrime Team, and trail at Leeds Crown Court. The pair committed offences between May 2010 and December 2017, making a net profit of £3.5 million in the last two years of fraud alone, buying and reselling tickets to concerts by artists including Ed Sheeran, McBusted, Taylor Swift and Coldplay. On the appeal Smith and Hunter raised a large number of legal and procedural grounds. They appealed the verdict, alleging the judge wrongly directed the jury on the law and “acted unfairly and prejudicially in his conduct of the trial”, arguing the restrictions attaching to the sale of the tickets were “void and invalid”. However, the Court of Appeal rejects their appeals, upholding the conclusion of the judge at trial that the restrictions imposed by event organisers were valid, adding the judge “acted properly in all relevant respects and that the convictions are safe and lawful”.

IRELAND:

Irish-headquartered Tixserve has partnered with UK ticket agency Gigantic to provide a “secure and interactive digital ticket fulfilment service” for its live entertainment ticketing. The partnership will see Irish-Headquartered Tixserve provide Gigantic with a white label digital ticketing app – delivering via a full API technical integration, a sophisticated and seamless fulfilment service for Gigantic clients and customers.

UNITED KINGDOM:

International booking agency Midnight Mango has announced four new agents – Nigel Morton, Addison Paterson, Sam Bryant and Hanna Bright – after initiating an Agent Freelancer Platform in the early days of the pandemic. After delivering training and guidance to four agents back in the spring, the firm took on a further four new agents in September. The new appointments work with acts such as Gretchen Peters, Bicurious, Dom Martin and The Kakatsitsi Master Drummers, expanding the agency’s roster to more than 150 artists, represented by a 15-strong workforce.

 


Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

 

International Ticketing Report 2021: Communication

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.”

 


Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

International Ticketing Report 2021: Demand

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 staffing click here.


Having been starved of live music for more than a year – and in some cases, more than two years – fans around the world are understandably craving the experience of gigs and festivals. This has manifested itself in some truly remarkable sold-out shows in the months ahead.

“Artists have been itching to get back on the road and we’re already seeing the biggest names – Ed Sheeran, Red Hot Chili Peppers, Coldplay, Shawn Mendes, Tool, BTS – selling like wildfire, with plenty more on the way,” says Ticketmaster’s Mark Yovich.

“We’re expecting colossal things for 2022 – not only do artists and fans want to make up for lost time, but the cyclical nature of our business ensures its longevity. The pipeline will always be full – sporting seasons, theatre runs, and touring cycles will remain a constant fixture.”

Eventim’s Ruoff is a tad more circumspect. “Fortunately, demand for tickets has been rising steadily since spring, but as expected has not yet reached pre-pandemic levels,” he says. “In Germany, and Europe as a whole, we have seen great pre-sales in recent weeks for concerts by top artists.”

In France, Weezevent CEO, Pierre-Henri Deballon, also has encouraging news. “In the third quarter of 2021 we are above our 2019 figures, despite the fact that fewer events went on sale, due to capacity increases this year.”

“For 2022, we are expecting to see a triple effect: strong public demand, a plethora of events, increases in capacity and duration”

He continues, “Ticket prices are also changing. For 2022, we are expecting to see a triple effect: strong public demand, a plethora of events, plus increases in capacity and duration.

“All of this put together means 2022 should be a very strong year with a big rebound, especially for outdoor events, of which only the largest have taken place in France, in reduced formats, if at all. We expect shallower growth in the indoor sector, because setting up a tour is more complex than a festival.”

In Asia, Total Ticketing sales director Martin Haigh says, “Demand remains strong and tickets are selling very well, when events are able to happen. Customers are keen to get out and have experiences again where possible and as a result of the extremely low incidence of Covid in Hong Kong, customers are generally not concerned about the health risks of attending events.”

However, Haigh adds a weighty caveat. “The strong restrictions imposed, especially on larger events, means that volumes are still low overall – about 20-30% of previous volumes – but this represents a supply issue, not a lack of demand.”

Skiddle’s head of marketing Jamie Scahill says demand has been unprecedented. “We’ve seen a boom in consumer confidence since lockdown was lifted in the UK, and we’re confident that this trend will continue into 2022 as young people are eager to experience nightlife for the first time,” he says.

“In the first six months of this financial year, our overall sales have been down 25% on the same period in 2019”

“As a result, Skiddle has sold an extra £32m (€38m) in tickets in 2021 vs last year, a 442% increase on 2020. Skiddle’s phenomenal growth in 2021 has seen us grow 80% on its best-ever year (2019). Since Feb 2021, the majority of our tickets sold were for nightclub events (45%) with live gigs and festivals a close second (44%).”

The same isn’t true for all UK-based ticketing operations. At The Ticket Factory, Richard Howle notes, “Sales are beginning to return but still aren’t at pre-pandemic levels. In the first six months of this financial year, our overall sales have been down 25% on the same period in 2019.

“However, the on-sale patterns are still out of kilter with the norm, so it is difficult to compare like for like at the moment. Some recent on-sales have been weaker than expected, but I think that this is more likely to reflect the current economic situation rather than any Covid-related concerns.”

AXS director of ticketing Paul Newman contends, “It still needs to be decent content, but to be fair there are many top-level artists going out for the first time in a long time. So sales for the right events are very strong, which bears out the widely held view that we could be in for a bumper couple of years as long as the promoters can find space in the packed venue diaries.”

“It is no surprise that music fans cannot wait to get back out there to live events. Who can blame them?” says Benjamin Leaver, CEO, Event Genius & Festicket. “We’ve seen this play out in successful on-sales for 2022 events, such as Primavera Sound [in Spain], which sold out in just ten days, and for which we were the official payment plan provider.

“We’re also seeing fans spending more on their event trips too, resulting in a huge 172% uplift in average order value”

“We’re also seeing fans spending more on their event trips too, resulting in a huge 172% uplift in average order value for international bookings compared with pre-Covid numbers, with a similar increase also seen in domestic booking.”

He adds, “A large percentage of these are also now choosing alternative payment methods such as payment plans in order for customers to reduce their immediate costs.”

And with Covid never far from the headlines, the increase in demand is also benefitting ancillary businesses.

“We are currently seeing high attachment rates across our partner ticketing companies, venues, and events as people have a pent-up desire to book something to look forward to but at the same time have never been more aware of their risk of being unable to attend,” says TicketPlan’s CEO Ben Bray.

“This has led to higher take-up on our refund protection and insurance products as this enables ticket buyers to book in confidence knowing that if the worst happens and they are unable to attend the event, for instance if they are ill, they can request a refund via extended terms.”


Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

Artists protest against Amazon palm scanners

A slate of artists including Tom Morello (Rage Against The Machine) and Kathleen Hanna (Bikini Kill) are protesting Amazon’s palm-recognition tech at music venues.

The technology, which connects a concertgoer’s palm to their ticketing account, was recently implemented at a number of US venues including the famous Red Rocks Amphitheater following a deal between Amazon and AEG Worldwide (owner of ticketing site AXS).

On a new website called Amazon Doesn’t Rock, a number of artists have signed an open letter calling on Red Rocks, AXS, and AEG Worldwide to “immediately cancel all contracts with Amazon for the invasive Amazon One palm scanning technology”.

Some 32 artists including DIIV, Deerhoof and Jeff Rosenstock have signed the letter, which says “biometric surveillance tools like palm scans and facial recognition now threatens to transform [music venues] into hotspots for ICE raids, false arrests, police harassment, and stolen identities”.

“It’s simply a matter of time before we hear of cases of palm scans misidentifying people in the ways that facial recognition has – often with violent and life-altering consequences – but most concerning of all is the fact that this new technology will make the data of thousands of people vulnerable to ongoing government tracking and abuse AND malicious hackers,” reads the letter.

“It’s a matter of time before we hear of cases of palm scans misidentifying people in the ways that facial recognition has”

The letter references an earlier campaign protesting facial recognition technology at festivals, which was responded to by over 40 of the largest US music festivals, including Burning Man, Coachella, South by Southwest and Lollapalooza.

It says that introducing the palm scanning devices is a “slap in the face to fans and artists that have fought so hard to promote safety for everyone at live events”.

Amazon previously said it keeps the palm images in a secure part of its cloud and doesn’t store the information on the Amazon One device. Users can also ask for their information to be deleted at any time, the company added.

A spokesperson from Amazon responded: “The claims made by this organisation are inaccurate. Amazon One is not a facial recognition technology – it is an optional technology designed to make daily activities faster and easier for customers, and users who choose to participate must make an intentional gesture with their palm to use the service.

“We understand that how we protect customer data is important to customers—this is very important to us too, and that’s why safeguarding customer privacy is a foundational design principle for Amazon One. Amazon One devices are protected by multiple security controls, and palm images are never stored on the Amazon One device. Rather, the images are encrypted and sent to a highly secure area we custom-built for Amazon One in the cloud where we create your palm signature.”

Read the full open letter here.

 


Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.