Ticketek MD Cameron Hoy upped to new TEG role
Ticketek MD Cameron Hoy has been promoted to TEG’s chief operating officer & head of global ticketing.
In his new role, Sydney-based Hoy will be responsible for oversight of divisions including TEG’s data science, analytics and digital divisions, product and technology in addition to leading TEG’s global ticketing operations.
“I am delighted to appoint my longtime colleague Cameron Hoy to the role of chief operating officer and head of global ticketing,” says TEG Group CEO Geoff Jones. “He is an experienced executive leader, with excellent business acumen and has a proven track record of delivering innovation and growth across our ticketing, digital and data science divisions over many years.
“Cameron’s promotion recognises his significant contribution to our company and reflects TEG’s increasingly global footprint. I look forward to continuing to work very closely with Cam in his new role and to be working together to deliver the best possible ticketing, digital and data solutions for our partners across the globe.”
“I look forward to continuing to work closely together as TEG embarks on its next phase of growth and innovation”
Hoy, who joined TEG’s Ticketek Australia division in 2007, says he welcomes the challenge of the new position.
“I am immensely proud of the team’s achievements and to lead teams of exceptional people who believe so strongly in our vision to continue to build the world’s leading ticketing, digital and data science platform,” he adds.
“With digital innovation and technology moving faster today than it ever has before, there’s ample opportunities for expansion and growth across the many facets of the TEG business – both locally and globally. I am delighted to be taking on this new role at such an exciting time of growth for TEG as we build TEG into a truly global organisation.
“Finally, I am particularly grateful for Geoff’s ongoing support and leadership, we have enjoyed an excellent working partnership for many years, and I look forward to continuing to work closely together as TEG embarks on its next phase of growth and innovation.”
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Ticketek launches accessible ticket booking platform
TEG-owned ticketing, data and analytics firm Ticketek is rolling out an online accessible ticket booking platform, with the aim to make purchasing tickets easier for people with disability and their companions, family and friends.
The Australian firm’s bespoke digital solution enables customers to choose specific seats within a venue to match their needs and buy both accessible and non-accessible tickets within the same transaction.
There are several types of accessible seating available through the new digital platform, including for customers who use wheelchairs, require easy access, have a vision impairment or use a hearing loop. Companion tickets can also be purchased – allowing fans with disabilities to redeem a complimentary companion ticket for any seat within a venue.
Accessible seating can now be booked online for selected events at more than 30 venues including Allianz Stadium (NSW), Suncorp Stadium (QLD) and Sidney Myer Music Bowl (VIC). The digital booking option will be gradually rolled out to other venues where Ticketek is the authorised ticketing provider.
“At Ticketek, we believe that all Australians should have equal opportunities to attend their favourite events”
Ticketek says it has listened to customer feedback and consulted with government bodies, industry partners, and advocacy groups including Spinal Life Australia and the Physical Disability Council of NSW to improve the booking experience of people with disability, which accounts for around 1 in 6 (18%) or 4.4 million people in Australia.
“At Ticketek, we believe that all Australians should have equal opportunities to attend their favourite events,” says Cameron Hoy, managing director Ticketek. “Offering an ideal purchasing experience for accessible seating is a project we hold close to our hearts. We are aware that the process has not been as easy as it should be to date, so we are delighted to be delivering this improved experience for fans and their companions.
“Our engineers have built a truly world-class and equitable experience and I could not be more proud of our work and dedication to date. In particular, I would like to thank industry partners, advocacy groups Spinal Life Australia and the Physical Disability Council of NSW and the many customers who have assisted us in designing this solution.
“Like all technology, it will continue to evolve over time. Ticketek are committed to work with our partners, advocacy groups and industry stakeholders to ensure our solution continues to meet industry standards, and leverages the latest technology available to facilitate the best user experience for all consumers.”
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TEG dividend recap mooted as sale talk cools
TEG’s owner is seeking a dividend recapitalisation as an alternative to selling the Aussie live entertainment giant, according to a new report.
Private-equity firm Silver Lake enlisted Jefferies’ bankers to launch a sales process for TEG earlier this year, but failed to agree a sale despite interest from fellow investment companies Blackstone and KKR, reports the Australian Financial Review.
Silicon Valley-based Silver Lake acquired the business from another investment company, Affinity Equity Partners, in 2019 in a reputed A$1.3bn deal.
The AFR says Silver Lake’s asking price for TEG was believed to be around 50% higher than the company was valued at by potential bidders.
“The seller was understood to be seeking a circa $3 billion price tag, while the bidders saw TEG being worth more like $2bn”
“The seller was understood to be seeking a circa $3 billion price tag, while the bidders saw TEG being worth more like $2bn,” it notes. “In addition to the dividend recapitalisation, the possibility of a minority sale was thrown around.”
It adds that Silver Lake has now started “meeting with lenders for a dividend recapitalisation”, and is being advised on the process by Goldman Sachs. A dividend recap happens when a firm takes on new debt in order to pay a special dividend to private investors or shareholders.
TEG’s portfolio includes TEG Live, TEG Sport, TEG Experiences, TEG Dainty, SXSW Sydney, TEG MJR, TEG Van Egmond, TEG Rockefeller, Qudos Bank Arena, Ticketek, Softix, TicketCharge, TicketWorld, Ticketek Singapore and Ovation. Last year, it announced the formation of TEG Europe, consolidating the company’s UK-based operations into a single entity.
Silver Lake also owns shares in Oak View Group, City Football Group and Madison Square Garden Sports, along with a 71% stake in WME owner Endeavor. Last week, it revealed it was working towards a proposal to take the business private.
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Ticketek partners with Plymouth Pavilions
TEG’s Ticketek has announced it has partnered with Plymouth Pavilions to provide ticketing, technology, data and insight solutions to the 4,000-cap UK venue.
Plymouth Pavilions has hosted shows by legends such as Ed Sheeran, Kylie Minogue, Coldplay, Oasis, Johnny Cash and Arctic Monkeys.
“We are delighted to embark on this new partnership with Plymouth Pavilions, the south west’s largest indoor entertainments venue,” says Ticketek MD Cameron Hoy. “ The venue has played host to many of the biggest names in entertainment and sports and we are very excited to be part of the next chapter of this truly multi-purpose complex.”
According to the firm, will offer users a “seamless and secure way” to buy tickets for events at the venue. Plymouth Pavilions and its customers will also gain access to TEG’s data insights and marketing research platform Ovation, allowing the venue to better understand its audience and tailor future events to meet their preferences.
“We look forward to working closely with the team at Plymouth Pavilions, as we continue to innovate and evolve our service offering to our partners”
“We are thrilled to embark on this exciting partnership with Ticketek, a global leader in ticketing services,” says Plymouth Pavilions CEO Sarah Phillips. “At Plymouth Pavilions, our mission has always been to provide our customers with unforgettable live event experiences, and this collaboration with Ticketek perfectly aligns with that goal. We can’t wait to welcome our patrons to an enhanced and seamless ticketing experience, making it easier than ever for them to create lasting memories at our iconic venue.”
Upcoming shows at Plymouth Pavilions include The Elvis World Tour, Whitney Queen of the Night, The Dead South, The Australian Pink Floyd and Thank You for the Music.
“We are incredibly proud to partner with Plymouth Pavilions to provide Ticketek’s ticketing, marketing and data analytics solutions,” adds Danny Hannaford, general manager of Ticketek UK. “We look forward to working closely with the team at Plymouth Pavilions, as we continue to innovate and evolve our service offering to our partners.”
Ticketing: Demand for change
The latest edition of the International Ticketing Report (formerly the International Ticketing Yearbook) is now available in print, digitally, and on the dedicated year-round mini-site. Check out a key chapter below…
From the US president’s call for reform to frustrated fans being increasingly vocal about not getting tickets for high-demand shows, there’s never been so much scrutiny on the ticketing industry. With significant change on the horizon in the USA, what’s the broader impact worldwide?
Ticketing has long been a dynamic and fast-moving sector of the live entertainment industry. But it’s been quite some time since things were as heated as they have been in the last 18 months.
Media reports have been rife with topics such as the dynamic pricing of Bruce Springsteen’s tour and frustrated people unable to see one of Taylor Swift’s Eras tour dates.
Then, there’s been the involvement of the US president, Joe Biden, who’s been determinedly campaigning against hidden fees.
The largest ticketing company in the world, Ticketmaster, has long been campaigning for legislation on this issue.
The company’s global president Mark Yovich tells us: “Ticketmaster has shown all-in pricing for many years in a number of territories outside the US, as required by consumer law. Today we operate in over 30 countries and more than two- thirds of those display all-in pricing. We know it’s a better experience for fans and have long advocated for this in countries where it is not mandated. We also give fans in those markets a toggle to see prices including fees upfront.
“In the US, the industry noise is getting louder, and we are hopeful federal legislation is finally in sight, which would be great news for fans. Enforcement will be key to its success, as we have seen unscrupulous sites appearing in search results with misleading pricing even in the US states where all-in pricing is now law.”
“It’s a competitive industry, and we see other ticketing companies trying to win purchases by advertising the lowest ticket price possible – prices that exclude the fees”
Clarity on fees is also supported by Germany-headquartered global giant CTS Eventim. CEO Klaus-Peter Schulenberg says: “We fully support the goal of giving consumers maximum transparency, particularly on ticketing fees.”
“The president’s commitment to scrap junk fees is a huge step forward for a more enjoyable, more equitable live experience,” DICE CEO Phil Hutcheon told IQ in June. “DICE has always had upfront pricing, and it leads to more fans going out more often and ensures everyone can access the artists they love.”
The stumbling block to a wider roll-out of all-in pricing is that without legislation, the competitive nature of the industry will mean companies who are using fully transparent pricing could lose out to those that don’t. This would leave consumers confused and mean the firms that enact all-in costs could lose traffic to those that aren’t.
“It’s a competitive industry, and we see other ticketing companies trying to win purchases by advertising the lowest ticket price possible – prices that exclude the fees,” says Yovich. “This even happens in states in the US that currently mandate all-in pricing. Where Ticketmaster uses all-in pricing, we show the total price upfront. The discrepancy across platforms makes it impossible for fans to gain the full benefits of comparison shopping.”
He says Ticketmaster wants to see the law changed around the world, to create a level playing field.
“In the ticketing industry, what happens or what’s developed in North America is usually implemented internationally”
What happens in the US often reverberates across the rest of the world. If the US federal government legislates that ticket prices have to reflect the final cost upfront, then will those countries that don’t currently do that follow suit?
“In the ticketing industry, what happens or what’s developed in North America is usually implemented internationally,” says ticketing consultant Tim Chambers. “But will increased government regulation of ticketing or intervention by regulatory authorities follow suit? I’m not sure.
“Ultimately, governments are loath to regulate ticketing. They’ll provide guidelines, but they prefer self-regulation.”
Much of this debate played out in the media after two major on-sales: Bruce Springsteen’s 2023 tour, which drew ire from fans after some tickets reached more than $5,000 due to dynamic pricing, and Taylor Swift’s Eras outing. Presale chaos for her US dates was blamed on a cyberattack by ticket scalpers, who run bots. Although bots were banned in the USA in 2016 and the UK in 2018, they continue to be an issue on all hot tours around the world.
Yovich says the company continues to invest in its anti- bot tools, but adds it wants to see effective, enforceable legislation. “The financial incentives are incredibly high, and penalties are far too low to deter their use.”
“One of the most important factors is definitely how reliable our systems are, even when handling high or extremely high traffic”
Demand for Swift tickets in Australia was so high that at one point there were 4m people on Ticketek’s website at the on-sale – 20% of the country’s population.
“The bot attacks reached about 300m on the first day,” says Cameron Hoy, managing director, Ticketek, and chief digital officer at TEG, the Australia-based firm with ticketing brands across Australasia and the UK. “The resources that it takes to deal with those things are considerable.”
He says the number of attacks from bots is so high because the computer programs are openly being sold on major online sites, so they’re very easy for even novices to acquire and use.
Being able to handle such high levels of demand is crucial for the fan experience, and as such, reliable tech is a key focus for CTS Eventim, as Schulenberg says: “As a technology leader in our market, we strive to offer the best and most powerful solutions in every respect.
“One of the most important factors is definitely how reliable our systems are, even when handling high or extremely high traffic. And our commitment to effectively tackling abuse and fraud – such as using illegal bots. Our EVENTIM.Pass app provides digital-only tickets, which benefits promoters and fans by putting an end to unauthorised ticket resales.”
“We’re lucky to work in a space that’s filled with so much passion”
Ultimately, though, people’s post-Covid desperation to see the hottest concerts, fuelled by a strong sense of FOMO, means there will never be enough tickets for everyone. Social media amplifies their disappointment, with ticketing firms the target of their ire.
Yovich says: “We spend so much time at Ticketmaster pioneering new technologies and refining the fan experience to manage expectations, such as advanced smart queues that provide real-time position status and inventory updates; ticketing that avoids queues altogether through our Request system; and interactive seat maps and ‘view from seat’ options that help fans make informed decisions. There is so much more we are working on that will continue to remove friction.”
TEG’s Hoy says: “How do artists, ticketing companies, and the rest of the industry come together to manage super-high demand on-sales, when we know there is more demand than tickets? One answer could be to run a ballot. I know one of the reasons promoters might feel disinclined to do that is they’re unsure if it will be as hot as people think, but as an industry we can work together to solve this.”
And he says that while ticketing companies often need a thick skin to deal with fans’ disappointment, sometimes the amount of vitriol online can be difficult to handle. “We’re lucky to work in a space that’s filled with so much passion, and we
get to connect people with things that they love. And that’s a privilege in many respects. But there are some days when it can be pretty rough.”
Another reform Hoy would like to see around the world is making ticketing accessible for everyone. “As the world becomes more aware of the significant array of accessibility needs beyond that of mobility, we need a more equitable online purchasing process. The purchase experience should be the same for all members of the community, whether or not they have accessibility needs. That requires the whole industry working together to make sure that from the outset we’ve built the right technology and user interfaces to enable and cater for all needs but also that venues ensure there’s an appropriate amount of inventory available and communicated.”
“AI will revolutionise many of our processes – and it’s already doing so”
Looking to the future, Hoy says AI and machine learning (ML) will play an increasingly important role in the future. “We’ve been doing a lot of work with our data science team for ten years, meaning we can do much more in terms of predictive modelling to help promoters and venues understand demand curve; help inform their investments in particular acts and artists; and to help inform operational delivery, service delivery, and other things.
“I’m really proud of the work that we’ve been doing in building out a data science team that sits in the very centre of our ticketing company. Ticketing businesses are in a uniquely advantaged position to be leveraging AI and ML technologies given the wealth of data generated in the process of delivering our services. We are very focussed on investing further in this space to unlock value for both customers and clients.”
AI is an important part of the work that CTS Eventim does, too, says Schulenberg. “AI will revolutionise many of our processes – and it’s already doing so. It will help us analyse the huge volume of data we’ve aggregated so we can make our recommendations even more accurate and our sales platforms even more powerful. It will help guide marketing campaigns for our partners and support us in refining our after-sales service. With AI, we’ll be able to react faster, better, and more intelligently than ever before – especially with high volumes and short-notice projects. We began engaging with AI a while ago so that we could give our partners access to the best, most powerful tools on the market at any time.”
The rapid pace of change in the ticketing industry shows no sign of slowing up. And with improvements for all ticket- buyers high on many companies’ agendas, the coming 12 months are likely to be as dynamic as the last.
- This article was first published in the latest edition of IQ‘s International Ticketing Report. IQ subscribers can read the digital magazine below, or access the dedicated mini site here. To purchase a print copy of the report, email [email protected].
Ticketek secures Spotify partnership
TEG-owned ticketing, data and analytics firm Ticketek has become a ticketing partner for Spotify’s Live Events Feed in Australia.
The link-up will provide users of the streaming service with direct access to the latest Ticketek events through Spotify’s platform, in an effort to enhance the convenience and accessibility of live event discovery when using the app.
“Ticketek is thrilled to be joining forces with Spotify on this partnership,” says Ticketek MD Cameron Hoy. “Both organisations are global leading technology and data driven businesses that exist to connect fans with their favourite artists.
“With this partnership, Ticketek and Spotify will fuel artist discovery and bring fans one step closer to their favourite artists”
“With this partnership, Ticketek and Spotify will fuel artist discovery and bring fans one step closer to their favourite artists, creating a seamless ticket purchase experience. At Ticketek we believe nothing beats the live experience and this alignment will ensure Australian music fans have every opportunity to see their favourite artist when they are touring locally.”
Fans will be presented with personalised recommendations for upcoming shows based upon their unique profile.
“Spotify is very excited to be adding Ticketek to its Live Events Feed in Australia, in order to continue growing the company’s global strategy of diving headfirst into concert discoverability,” adds Rene Volker, Spotify senior director of live events.
Record demand for Taylor Swift’s Australia dates
Taylor Swift has smashed yet another record after more than 4 million users attempted to buy pre-sale tickets for her Sydney and Melbourne concerts.
The second round of tickets for the popstar’s three Sydney shows at Accor Arena went live today (28 June) at 10 am local time. By 1.43 pm, all general Frontier presale tickets had sold out.
More than 800,000 fans had been waiting in the Ticketek online lounge ahead of the Eras presale.
The presale for Swift’s two Melbourne shows began at 2 pm, with general tickets selling out by 4.17 pm.
Capacity for her three Sydney shows is around 250,000, while her two Melbourne shows will fit 200,000 fans.
Ticketek said the release of the second batch went smoothly, and that it “managed to repel more than half a billion bot attempts,” which largely came from ticket scalpers.
Swift fans were in a frenzy earlier this week when the American Express ticket site crashed due to high demand during the Sydney VIP presale. Though the site resolved the issue before the sale ended, tickets soon sold out.
The Victorian government designated the concerts as “major events,” triggering anti-scalping provisions in state legislation
The first presale on Monday was available to American Express cardholders looking to buy VIP packages in advance. These tickets cost between AU$349.90 (NZ$380) and AU$1249.90.
The second presale was available for Frontier Touring members, with ticket prices ranging from AU$79.90 to AU$379.90, though Ticketek notes that all ticket prices are “subject to change at any time without notice”.
Australian and Kiwi fans will have another chance to buy tickets for Swift’s Sydney shows via Ticketek from 10 am Friday, while Melbourne fans will have access from 2 pm. Ticketek could not confirm how many tickets would be available during Friday’s general sale.
The New South Wales and Victorian governments moved to crack down on scalping on Tuesday (27 June) after resale prices in excess of $3,000 were listed.
The Victorian government designated the concerts as “major events,” triggering anti-scalping provisions in state legislation.
The NSW government’s consumer affairs office has confirmed it is investigating ticket listings on the reselling platform Viagogo. The state’s laws restrict ticket resales to a maximum of 110% of the value of the original ticket price.
Swift will perform at the Melbourne Cricket Ground on 16 and 17 February and at Sydney’s Accor Stadium on 23, 24 and 25 February. The tour will be her first appearance down under since 2018. At press time, she has not announced any dates in New Zealand.
Elsewhere, Swift today added a fifth stop at London’s Wembley Stadium to her Eras tour.
Ticketek teams with Motorpoint Arena Nottingham
TEG-owned Ticketek has signed an exclusive deal with Motorpoint Arena Nottingham for the supply, installation and support of ticketing systems and services.
Ticketek will deliver a full-service solution that “harnesses the expertise, relationships and knowledge” of Motorpoint Arena’s existing ticketing and customer services teams, along with Ticketek’s ticketing technology, CRM, marketing and analytics platforms.
“We are thrilled to be partnering with the Motorpoint Arena team who share our belief that ticketing solutions must offer far more than just a transactional capability,” says TEG CEO Geoff Jones. “I want to commend and congratulate Ticketek’s managing director Cameron Hoy who has led this process, as well as the UK team under Danny Hannaford on adopting a true partnership approach with the Motorpoint Arena team.”
Hoy adds: “We look forward to working with the team in Nottingham to transform the ticket purchasing experience for fans, at one of the UK’s most popular venues. This is a true partnership across the full breadth of Ticketek’s capabilities including advanced e-commerce tools, integrated digital marketing, CRM and data analytics.”
The 10,000-cap Motorpoint Arena Nottingham hosts more than 150 arena events a year and is the largest entertainment venue in the UK’s East Midlands region.
“It is crucial for the promoters that bring their events to us that we discover and convert every possible ticket sales opportunity”
“We are excited to be transforming our ticketing experience for audiences with a platform that extends beyond ticketing into data, analytics and marketing,” adds Motorpoint Arena Nottingham chief executive Martin Ingham. “It is crucial for the promoters that bring their events to us that we discover and convert every possible ticket sales opportunity.
“We have built a strong database of local and regional customers through our in-house ticketing operations over the past 11 years, but we believe that Ticketek’s incredible technology and data analytics platform will now enable us to market more effectively to our vast range of existing and potential customers and also offer them a world-class ticketing experience.
“Ticketek has been very innovative in their design of the hybrid ticketing partnership that we have agreed which means that both parties bring their own extensive skills, experience and knowledge to the table. Promoters will continue to get world-class service from our renowned box office team who remain in situ and our customers get an advanced ticketing solution and great customer service delivered both in call centres and on site in person.”
Acts lined up to play the venue in the coming months include Tom Grennan, Olly Murs, Michael Bublé, Iron Maiden and S Club 7.
TEG owner ‘to launch sales process in April’
The owner of TEG is reportedly planning to launch a sales process for the Australasian live entertainment powerhouse this April.
Silicon Valley-based private-equity firm Silver Lake acquired TEG from Affinity Equity Partners, another investment company, in 2019.
According to a report in The Australian, the possible sale is expected to be led by investment bank Jefferies.
“It is logical for private-equity firms to be the most likely buyers,” reads the report, as cited by The Music Network, noting there was the opportunity “for a strategy player to be competitive in an auction”.
Insiders told the Australian Financial Review last month that Jefferies’ bankers were “readying big global buyout funds for the upcoming auction, pitching it as a unique business worldwide”.
TEG operates out of seven countries worldwide with offices in Australia, New Zealand, south-east Asia and the UK
The group’s portfolio includes TEG Live, TEG Sport, TEG Experiences, TEG Dainty, SXSW Sydney, TEG MJR, TEG Van Egmond, TEG Rockefeller, Qudos Bank Arena, Ticketek, Softix, TicketCharge, TicketWorld, Ticketek Singapore and Ovation.
Last year, it announced the formation of TEG Europe, consolidating the company’s UK-based operations into a single entity, with former Live Nation and AEG Presents UK executive Toby Leighton-Pope hired as MD, while in 2021 it welcomed Australasian touring festival Laneway and promoter Handsome Tours to the TEG family.
Based out of London and Bristol, TEG Europe comprises five different divisions: TEG Live Europe, TEG Venues, Propaganda, Ticketek and Ovation.
TEG Live Europe includes the former TEG MJR touring business
TEG Live Europe includes the former TEG MJR touring business, which has worked with artists including Snoop Dogg, Sia, Hans Zimmer, 50 Cent, Tom Jones, and Culture Club.
TEG Venues includes 10 owned, operated, co-promoted, and programmed venues throughout the UK, including Tramshed (cap. 1,000) in Cardiff, XOYO (800) in London and The Mill (1,000) in Birmingham.
Propaganda, the UK’s leading indie rock & roll nightclub brand, includes fifteen weekly events across the country, as well as promoted events in the US, Australia, Brazil and Ibiza.
Ticketek, which has 40+ years’ experience ticketing major international events and partnering with some of the world’s best venues, was introduced into the UK in 2020 and already works with some of the country’s premier venues.
And Ovation, TEG’s data science and analytics business, provides sports organisations, venues, promoters, content creators, media and tech partners with analytics, data science, research, personalisation, and advanced digital marketing.
Ticketek hires Danny Hannaford as UK GM
TEG-owned ticketing firm Ticketek has announced the appointment of Danny Hannaford as its UK general manager.
Hannaford, who brings more than 13 years’ experience in ticketing operations, and was most recently in charge of ticketing strategy & digital delivery for London’s The O2.
He previously led ticketing for Hammersmith’s Eventim Apollo and multiple special event projects at AEG Presents, as well as heading up Global Live.
Hannaford also launched and headed up Twickets Australia and was the lead on global ticketing operations at Dice.
“In addition to Danny’s extensive ticketing knowledge he has a demonstrated track record of digital transformation and innovation”
“Danny is an experienced and accomplished ticketing executive who will lead our UK team with commitment, integrity and passion,” says Ticketek MD Cameron Hoy. “In addition to Danny’s extensive ticketing knowledge he has a demonstrated track record of digital transformation and innovation and I look forward to his contribution to our global ticketing leadership team.”
Ticketek became one of the five divisions that comprise TEG Europe, alongside TEG Live Europe, TEG Venues, Propaganda and Ovation, after Australasian live entertainment powerhouse TEG consolidated the company’s UK-based operations into a single entity.
“I am delighted to be joining Ticketek UK and have the opportunity to work with a business that thinks differently about ticketing,” adds Hannaford. “I am really looking forward to and joining a great team that is already delivering impressive growth in this market.”