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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.”

 


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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.

 


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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: Consumer behaviour

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.


In addition to purchasing add-on insurance coverage, fans are often waiting until the 11th hour to buy tickets for certain events – although some recent tours and dates for A-list acts next year have sold out within minutes.

While that dichotomy could give promoters sleepless nights, what is proving more certain is the willingness of the general public to embrace digital ticketing. This has been accelerated by the pandemic, as people recognise the health and hygiene benefits of steering away from physical passes for events.

“Digital transformation has significantly changed attitudes towards digital tickets – a Rubicon has been crossed,” says Total Ticketing sales director Martin Haigh. “Contactless purchase, fulfilment, transfer, and redemption is very attractive given the pandemic. Digitally connecting tickets to waivers and proof-of-vaccine may soon be mandatory.”

Scahill states, “Much like we’ve seen with promoters, we expect more of an increase in demand towards the use of digital tickets vs physical as consumers become more accustomed to using technology throughout the pandemic. In addition to this, sustainability is somewhat of a hot-button issue in the events and touring industry, so the more we can limit paper usage in the ticketing industry, the better.”

“Contactless purchase, fulfilment, transfer, and redemption is very attractive given the pandemic”

However, pointing out that a digital ticket merely identifies the mobile phone’s IMEI number, rather than the person holding it, Fair Ticket Solutions’ founder & CEO, Alan Gelfand, comments, “Attendees now have to provide some additional physical form of ID for entry, so whether a ticket is on their phone or physical now becomes only a matter of what the attendee deems convenient for them and should have their choice of deciding, not dictated to.”

And that scepticism wins favour with CTS Eventim chief operating officer Alexander Ruoff, who contends that not everyone will embrace the digital switch. “We believe very strongly that many customers will want to continue to receive a physical ticket or receive it in addition,” he tells IQ.

“An electronic ticket in a virtual wallet hardly triggers anticipation of a concert. In contrast, a paper ticket on the fridge or on the pinboard evokes exactly that feeling. A physical ticket also plays a very important role for many fans as a souvenir of a great concert experience.”

Nonetheless, Richard Howle from The Ticket Factory states, “The pandemic has forced the public (whether they like it or not) to embrace mobile technology with the use of tools like the [UK’s] NHS Covid App. It was only a matter of time until digital ticketing arrived, and the pandemic has simply accelerated that process. Some of our first events to go to 100% digital ticketing were non-music events with audiences that traditionally find it harder to adopt these technologies.”

“Within the next two years I expect that 90% of tickets issued will be digital”

He adds, “Within the next two years I expect that 90% of tickets issued will be digital.”

And Benjamin Leaver, CEO, Event Genius & Festicket says his company’s investment into mobile-friendly products sets them up nicely for the manic 2022 events schedule.

“For example, we recently released our new Festicket customer app, which makes it easier for eventgoers to access their tickets offline from their mobile device, speed-up entry, reduce possible overcrowding at entry gates and generally improve audience flow,” he says.

Indeed, Total Ticketing’s Haigh cites a fundamental shift in attitudes when it comes to digital adoption. “We operate in Asia and there is a cultural proclivity towards conservatism, yet we are seeing clients in some of Asia’s most conservative countries embrace and even demand digital ticketing, where just a year or two ago we were being told that ticket buyers would only accept physical tickets,” he reports.

“We believe that digital ticketing opens up a whole new world of engagement and activation opportunities for live-event promoters and sponsors and as such it’s inevitable that transformation towards digital ticketing will accelerate.”

 


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.”


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International Ticketing Report 2021: Voucher schemes & refunds

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.


While the live events industry was among the first to shut up shop in the pandemic – and, of course, the last to reopen – one silver lining to that particular storm cloud was that the vast majority of fans around the world did not ask for refunds for rescheduled events.

Promoters in a number of territories also persuaded governments to allow them to implement voucher schemes, which helped retain at least some of their revenues to steer them through the crisis.

Again, though, the experience varies from country to country, and, off the record, some promoters are admitting, with hindsight, that refunds may have been the smarter move, as the costs for putting on shows in 2022 will be far higher than the ticket prices budgeted for, as they were often set in 2019, long before the pandemic closed countries down.

“In the majority of situations organisers offered refunds and around 80% of ticket sales that had been made before the pandemic were refunded,” reports Weezevent CEO Pierre-Henri Deballon.

“The demand from fans has never waned. Globally, we saw 83% of fans holding onto their tickets for rescheduled shows”

“On the other hand, the organisers who did not offer a refund but proposed a postponement had only a few requests for refunds.”

He cites Hellfest as an example, where only around 100 tickets were refunded out of the tens of thousands for the sold-out festival. “This highlights how valuable these tickets are to the participants.”

Ticketmaster’s Mark Yovich observes, “The demand from fans has never waned. Globally, we saw 83% of fans holding onto their tickets for rescheduled shows, showing the palpable desire from fans to get back to live at the first opportunity.”

Dice’s Russ Tannen reports similar stats. “87% of tickets for live shows that have been rescheduled or postponed until 2022 have not been returned,” he says.

“The voucher solution preserves the vital liquidity that promoters need to continue operating beyond the crisis”

“Our flexible returns and Waiting List functionality mean that on Dice fans can often get a refund any time before the gig, so many fans will hold on to their ticket in the hope that they’ll be able to make the date of the new show, if they can’t, they’ll offer it to the waiting list.”

Lauding the voucher concept, CTS Eventim‘s chief operating officer Alexander Ruoff says, “We very much welcomed the decisions in a number of European countries on voucher schemes for cultural, concert, sports and leisure events.

“It was a very important step towards preserving cultural diversity. At the same time, the voucher solution is consumer protection in its purest form because it preserves the vital liquidity that promoters need to continue operating during and beyond the coronavirus crisis.

In Germany, the voucher solution is valid until the end of this year. We have observed that many of the vouchers issued have been, and are being, used for replacement events. Therefore, the extent of the refunds is not yet foreseeable.”

“As the restrictions have continued for longer [in Hong Kong], larger numbers are now asking for refunds”

Benjamin Leaver, the newly appointed CEO of Event Genius & Festicket, comments, “We had a number of countries that initiated voucher schemes, most significantly Germany and Portugal. These vouchers were usually only valid on events by the same promoter and mostly were valid until the end of 2021, however, some are running until the 2022 rescheduled dates.”

Yovich comments, “Where voucher schemes were mandated, we implemented this quickly and effectively. However, in most markets, we offered fans cash refunds for rescheduled shows with no questions asked. While being a global business, having local presence on the ground meant that we were able to work closely with our clients to tailor refund policies in each of our markets according to the legal framework and their wishes.”

The reality in Hong Kong was somewhat different. “Customers were initially keen to hold on to tickets pending events coming back, but as the restrictions have continued for longer, larger numbers are now asking for refunds,” says  Total Ticketing sales director Martin Haigh.

“Whereas only around 20% were asking for refunds early in the pandemic, this has now grown to around 80%. We have not needed to implement voucher schemes, instead preferring to refund customers on-request to maintain customer confidence. This has not been the case with all ticketing companies in Hong Kong, but in general customer trust and confidence remains strong.”

“[Skiddle] has had a total of £140,000 (€166,000) claimed in booking-fee credits”

Skiddle had its own approach. “From the start of the pandemic in March 2020, we’ve had to refund a total of 165,000 tickets,” says Skiddle’s head of marketing Jamie Scahill.

“However, during the pandemic, we introduced the ticket industry’s first booking-fee credit system.

“While it remains an industry-standard among ticket companies to retain booking fees when events are cancelled or postponed in order to cover costs, during Covid-19, we rejected this practice, seeking instead to put money back into the accounts of our customers.

“Now when a customer claims a refund, Skiddle will give them the option to claim the full booking fee amount as credit, which can then be used on a future purchase, up to 12 months later. Since we started this system in 2020, we have had a total of £140,000 (€166,000) claimed in booking-fee credits.”

 


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Festicket names CEO ahead of “major growth drive”

Benjamin Leaver has been named CEO of festival discovery and booking platform Festicket and its subsidiary Event Genius.

Leaver has been a non-executive board member of the company since 2018 and also has wide-ranging experience in technology businesses across multiple sectors.

He was formerly COO of Treatwell, the largest beauty website in Europe which in 2015 was acquired for more than $200 million.

As a result of Leaver’s appointment, Festicket co-founder and CEO Zack Sabban assumes the role of president.

In the new role, Sabban will focus on strategic relationships with partners and clients, driving accelerated global growth and capitalising on-demand around the world.

“During the next phase of our development, I want to drive our global growth”

Today’s news follows the appointment of Brian Walker as chief technology officer, and the promotion of Event Genius and Ticket Arena founder Reshad Hossenally to chief operating officer, as the business focuses on a global rollout of its end-to-end Event Genius technology.

Sabban says: “I am immensely proud of how much we have achieved since we started Festicket a decade ago. During the next phase of our development, I want to drive our global growth and take our services to thousands more event creators around the world.

“I am delighted that Benjamin has agreed to lead the business as it seeks to empower event creators everywhere to grow profitably and sustainably as they deliver incredible experiences to people all over the world.”

Leaver adds: “We have an amazing team with an incredible knowledge of what makes live events successful. The coming months and into next year will be one of the most important in the history of the industry.”

“The coming months and into next year will be one of the most important in the history of the industry”

Leading promoter and Festicket senior advisor Harvey Goldsmith comments: “Under Benjamin’s leadership and with an exceptional senior team in place, Festicket can continue to grow as the live events market explodes into 2022.

“When fans attend a show, they want a seamless experience from the moment they leave their homes. Post pandemic the adoption of technology, such as cashless, a core part of Festicket’s offering to its event partners, has become even more vital.”

Founded in 2012 by Sabban and Jonathan Youne, Festicket is the world’s largest platform for discovering and booking festival trips.

In 2019, the company completed the acquisition of Event Genius, and the associated Ticket Arena consumer website and brand.

Event Genius is a UK-based ticketing, access control and cashless POS platform servicing events across the globe.

 


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90% of UK fans feel confident attending a show in 2021

A new survey of 140,000 British festivalgoers has found that nine out of ten would be confident attending at least one live event this year.

The survey, carried out by Festicket, discovered that 79% of respondents would feel comfortable attending an event this summer (defined as June to August), with that number rising to 90% when including events in the final four months of the year.

Additionally, 82% of fans said they are planning to attend two or more festivals or live events this year, reflecting the huge demand for tickets since prime minister Boris Johnson’s reopening ‘roadmap’ was unveiled in February.

More than half of respondents said they would also be happy to book tickets for overseas events, while just 8% reported they would only feel comfortable attending an event if they had been vaccinated against Covid-19.

Elsewhere, the biggest demand for changes on site is for extra cleaning and hygiene measures, with 58.5% deeming this essential, followed closely by a desire for to be able to pay and enter the festival contactlessly.

“It’s clear there has been a shift in perspective in the UK over the past month”

Over 52% said contactless ticketing, contactless access control at the door and reduced queues would be key in their decision to attend, while 70% of people said they would be more encouraged to attend a festival/event if it were to implement a Covid-secure cashless system on site for bars, food vendors and other payments.

Zack Sabban, CEO of Festicket, whose Event Genius platform has invested heavily in Covid-compliant cashless and contactless entry systems, says: “It’s clear there has been a shift in perspective in the UK over the past month. Following the prime minister’s announcement in February, stories of 2021 events selling out have become common, but we wanted to dig a little deeper.”

Among the UK festivals to have recently sold out their 2021 editions are Reading Festival, Boomtown, Creamfields, Wireless, Parklife and Kendal Calling.

“Coupling customer opinion with ongoing event partner conversations puts us in a strong position to help the industry bounce back successfully,” continues Sabban. “It’s important that the industry works within all government guidance available, but, more specifically, listening to your fans is essential and delivering events in the way they now demand is critical for success.”

 


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Event Genius expands with new ticketing deals

Ibiza superclub Amnesia and German festival promoter Cosmopop have signed primary ticketing deals with UK-based Event Genius.

Amnesia, one of the island’s most established clubbing destinations, will use Event Genius’s egTicketing, egMarketing and egTravel products from its 2021 season onwards, while while Cosmopop – whose events include Love Family Park and Time Warp (both 20,000-cap.) – will utilise the company’s entire end-to-end solution, including egTicketing, egMarketing, egTravel and egAccess.

Festicket and Event Genius CCO Yonas Blay says: “Cosmopop and Amnesia are both huge organisations in Europe’s clubbing community and it’s an honour to be working alongside them both. It’s been a tough year for everyone across the events industry, which makes it all the more encouraging when promoters of this nature put their faith in us to help them in the return to live events.”

“Cosmopop and Amnesia are both huge organisations … and it’s an honour to be working alongside them both”

“Ibiza has always been a melting pot for clubbers across the world. For that reason, we need a ticketing provider who is as equally at home in Ibiza and Spain as they are in the UK, France, Germany, the Netherlands, Italy and beyond,” comments Sergi Blaya Cutillas, brand manager for Amnesia. “Having the ability to sell and promote our events to clubbers all across the world in their native language, currency and payment method through Event Genius’s egTicketing, egTravel and egMarketing solutions is a great bonus for us.”

Robin Ebinger, director of Cosmopop adds: “We’ve been working with Festicket for some time as a ticketing allocation and travel partner, so we always trusted their ability to deliver great results. As soon as they partnered with Event Genius and explained their new tailored, end-to-end primary product that we could use across all our events and venues to help streamline our operations, we knew it was the right decision to take our relationship to the next level.”

 


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There’s no better time than now to go on sale for 2021

It’s been a turbulent year, to say the least, for the events industry. Mass cancellations, followed by huge uncertainty and financial turmoil, has caused a huge strain on what is one of the world’s most exciting sectors.

Despite all this, we’ve always been confident the industry will bounce back strongly. There’s a reason why the global events industry was valued at $1,100 billion in 2018, with the expectation of reaching $2,330bn by 2026, but its influence goes way beyond a monetary value and into the very fabric of who we are as people.

Back in the summer of 2020, we ran a survey of over 100,000 festivalgoers to find out what they were thinking about the future of live events. We were surprised even ourselves to find out that a huge 83% would feel confident booking an event for 2021, indicative of the pent-up demand that has soared following a year starved of live events.

We’ve already seen this heightened demand turn into sales selling over 90,000 tickets thanks to some extremely impactful launches from the likes of Afro Nation, Rolling Loud, EDC Portugal, BST Hyde Park, Mad Cool and El Dorado Festival. What’s maybe even more encouraging is that 60% of those sales have come from international travellers – nearly double the amount of overseas buyers from the same period in 2019, and from a much smaller pool of festivals.

All those above have benefited from little to no competition. In an industry notoriously saturated, their bravery has effectively turned into a competitive edge. It’s never been so easy to get your message across and take advantage of the strong demand before others like it is possible to do now.

It’s never been so easy to get your message across and take advantage of the strong demand before others

As the roll-out of coronavirus vaccines continues to gather pace and we gradually return to normality, we believe more and more events will look to go on sale. That’s obviously great news, but of course makes it harder to cut through the noise compared to launching now.

Whereas a few months ago the question over if live events would be able to take place in 2021 was still very much hovering over us, we feel this mindset has now shifted to how these events will take place.

We’ve been working hard on this to unveil our new Covid-secure offering through Event Genius, which allows promoters to operate a robust track-and-trace system and self-scan ticket entry and go completely cashless.

If there’s one thing that’s always struck me about the events industry it’s its resilience and optimism. It’s been a tough past year, but despite all that’s been thrown at us we’re confident that with innovation and positivity we’ll return with a hugely successful 2021. It’ll be worth the wait!

Click the image below to view the Festicket infographic accompanying this piece:

Festicket infographic

 


This article forms part of IQ’s Covid-19 resource centre – a knowledge hub of essential guidance and updating resources for uncertain times.

Luis Sousa is marketing director for Festicket.