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

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: Changing Landscape

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, starting with an instalment that reflects on the changing landscape. However, subscribers can read the entire feature in issue 105 of IQ Magazine now.


In years gone by, IQ’s annual examination of the ticketing business has merited a standalone book – the International Ticketing Yearbook (ITY). However, the pandemic decimated the business, globally, with many operations forced to run with a skeleton staff that had to deal with the thousands of postponed and rescheduled shows and events, often multiple times, as well as the complexity of refunds and/or voucher schemes.

As the countdown to 2022 begins in earnest, the ticketing sector was among the first in the live entertainment sector to start bringing its employees back into the workplace. And the results have been phenomenal. On-sales such as Ed Sheeran and Coldplay have both seen more than a million tickets snapped up, while hundreds of artists and acts are planning to hit the road, meaning many venues are experiencing seven-days-a-week bookings for the first time in their history.

Covid willing, 2022 should be a record-breaking year for the live events industry. But there are still significant territories operating under pandemic restrictions, and the prospect of more virulent variants of Covid-19 emerging over the winter months in the northern hemisphere remains an all-too-real threat for promoters and event organisers everywhere.

Setting such concerns aside, momentarily, IQ spoke with a number of leading industry executives about the challenges – past, present, and future – to gauge the health of the international ticketing business.

“We’ve been leading the move to mobile tickets for some time, but the pandemic has fast-tracked their adoption industry-wide”

Changing landscape
The impact of the coronavirus pandemic is driving seismic changes in the ticketing sector worldwide, acting as a catalyst for digitisation but also prompting certain operators to question their participation in the business.

Ticketmaster president, Mark Yovich, says, “We’ve been leading the move to mobile tickets for some time now, but the pandemic has fast-tracked their adoption industry-wide. The benefits were always there but are even more clear-cut in a post-Covid world.”

He explains, “For the fan, it provides a convenient and frictionless experience. For the event organiser, more insight than ever before. In the past when someone would buy four tickets, it was a matter of guessing who those other three tickets went to. Now we know who walks through the door and can serve them up a more personalised and enjoyable experience from the moment the ticket lands in their Ticketmaster account right through to showtime.”

Digital services are also a priority for CTS Eventim chief operating officer Alexander Ruoff. “The entire industry must work to get fans back to shows in similar numbers to 2019,” he says.

“Ticketing will become even more digital. In markets where electronic entry-control has not been standard, we will see this after the pandemic. As digitalisation continues, we will be able to offer exciting new products. One example is the Eventim.Pass digital ticket, which has already been used for Ed Sheeran’s European tour.”

“The reality of the liabilities that ticket companies carry in the event of cancellation has really hit home during the pandemic”

Ruoff explains that Eventim.Pass tickets can only be resold via the company’s official resale platform, fanSALE, “which means they are fully traceable,” he says. “It is an important contribution in the fight against the unauthorised secondary ticket market.”

Jamie Scahill, head of marketing for Skiddle, says even clients that were reluctant to adopt digital and paperless systems are now changing direction.

“For example, during the pandemic, Skiddle provided ticketing for local football clubs in the UK using our RapidScan ticket scanning app software to provide contactless entry,” he says. “Such clubs had not adopted paperless entry pre-pandemic and this trend is looking set to continue across a range of sectors in the events industry.”

That’s a development that Richard Howle from The Ticket Factory welcomes. But he recognises that economic hardship has taken its toll. “Commercially, it has made us more risk-averse,” he admits. “I know that some promoters and organisers are struggling to get advances as the ticketing industry becomes more cautious.

“The reality of the liabilities that ticket companies carry in the event of cancellation has really hit home during the pandemic and that will reflect attitudes and commercial decisions going forward, particularly for new promoters and event organisers,” he warns.

“Over 70% of eventgoers would be more encouraged to attend an event if it had a cashless system”

The advantages of digital tickets are crucial to Fair Ticket Solutions, whose founder & CEO, Alan Gelfand, notes, “The need to know the identity of every attendee has finally come to fruition. This will ultimately move the industry to a futuristic goal of some form of biometrics becoming an attendee’s ticket, such as their face or palm. Additionally, an attendee’s health status will now have to be linked to their ticket or else physical checks will still have to be applied at gate entry causing delays nobody wants.”

While debates over biometric tickets will be a feature of industry conferences in the months ahead, the pandemic has also caused untold financial damage to the ticketing sector, meaning that some of the smaller operators, in particular, may not re-emerge.

“The pandemic has weakened the players who were in a more challenging position, notably in terms of cash flow,” states Weezevent CEO Pierre-Henri Deballon. “It also highlighted the difficulties of some players in managing high-volume refunds, while it has underlined the advantages of having access to more flexible and adaptable technology like Weezevent.”

Benjamin Leaver, CEO, Event Genius & Festicket, claims that event organisers who adopt contactless and cashless technology will benefit. “A survey we did recently revealed that over 70% of eventgoers would be more encouraged to attend an event if it had a cashless system,” says Leaver, citing his company’s own egPay system.

“Beyond that, we’ve seen a definitive rise in the usage of alternative payment methods, such as our payment plans and Pay with Friends feature. These allow customers to reduce immediate costs, allowing them to purchase more events at one time, and also goes hand in hand with the increase in average order value.”

“Much intellectual property has left the industry as a result of ticketing companies downsizing their workforces”

While Dice president Russ Tannen points to the adoption of live-streaming as a direct result of lockdown restrictions, at AXS, director of ticketing Paul Newman cites four fundamental Covid factors: purchase patterns have altered, with last-minute bookings having increased; the increase in the uptake of ticket insurance; the need for increased levels of communication to customers, such as Covid protocols and other advance show information; and the acceleration of the move to digital tickets and contactless venues.

“We have seen a strong migration to timed entry ticketing for museums and attractions as well as digital tickets and hands-free check in,” affirms Steven Sunshine, CEO of California-based TixTrack.

Across the Pacific, in Hong Kong, Martin Haigh at Total Ticketing is counting the casualties. “Ticketing companies that are part of larger integrated companies have appeared to have weathered the storm more easily. That being said, we’ve seen conglomerates in Thailand, Japan, and Korea look to sell their ticketing divisions – something that has never been on the cards in living memory,” he observes.

“Much intellectual property has left the industry as a result of ticketing companies downsizing their workforces. Independent ticketing companies have looked for bridging loans or investment to remain afloat. Many have pivoted towards livestreaming; many have looked at ancillary revenue streams more closely with things like ticket insurance and ‘buy now, pay later’ being pushed very hard during the check-out process.”

One company noticing a surge in interest is TicketPlan, which offers ticket protection services. “Attachment rates for ticket protection and insurance will continue to be high, as ticket buyers now understand the potential risk of being unable to attend and will continue to purchase products such as TicketPlan on a wider range of bookings,” comments company CEO Ben Bray.

Click here to subscribe to IQ for just £5.99 a month – or check out what you’re missing out on with the limited preview below:

 


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.