Galaxy Connect Gains Momentum


London, UK (December 2016)

Attractions and representatives of the travel trade recently gathered at Church House Westminster, London, to discuss ways to broaden awareness and increase ticket sales through the new cloud-based platform, Galaxy Connect. Galaxy Connect allows for easy integration of attraction venues and resellers to sell live tickets to customers.

“Galaxy Connect makes it easier for attractions to partner with distributors and resellers, quickly engaging with customers around the world to increase exposure and ticket sales,” said Andy Povey of Gateway Ticketing Systems. “What’s more, Galaxy Connect is easy to set up with no need for additional training for front of house teams.”


Another benefit of Galaxy Connect is immediate admission. “Because sales through Galaxy Connect are live tickets not vouchers, guests can use their smartphones to gain direct access to the venue rather than queuing for the box office,” explains Don Eash, Executive Vice President/Chief Operating Officer, Gateway Ticketing Systems.

“Galaxy Connect is a massive improvement for distributors. On top of offering more flexibility and real-time access to venues’ ticket systems, it will also create an electronic data trail reducing fraud. We are also looking at new opportunities to generate revenue through the use of mobile app and geolocation,” says Andre Flambard, 365Tickets.

Galaxy Connect main benefits:

  • Enhance the guest experience – guests arrive with a live ticket or e-ticket and can enjoy direct-to-gate admission reducing front-gate lines
  • Enjoy real-time access to venue ticket systems – enabling resellers to sell capacity-managed events while avoiding sellout situations
  • Streamline the reconciliation processes between attraction venues and distributors
  • Save costly IT resource time – connect with any number of online travel agencies and/or attractions with only one integration
  • Eliminate time-consuming voucher process – by selling live tickets, you can save countless hours of manual processing as well as reduce fraud issues

To learn more about Galaxy Connect, visit

Baker Richards & JCA announce Segmentation Engine

Initially available for Tessitura system users – launched at their conference this week – Baker Richards and JCA Arts Marketing are releasing what they are calling a Segmentation Engine to help arts marketers profile and segment their customers more accurately, making it “more viable for marketing, development and ticketing professionals”.

to help arts marketers profile and segment their customers more accurately

The new web tool takes data from ticketing systems transactional and donor data so it can be configured to automatically score and profile customer records on the basis of the classic ‘recency, frequency, and value’ criteria and other variables, and, if users wish, tagged with socio-economic and demographic segmentation profiles.  Key factor is that this is then written back into the customer record and enables selection for direct marketing or donor campaigns based on real behavioural data. So e-campaigns can be immediately generated to targeted lists from an instant segmentation.

Their announcement says:

“The Segmentation Engine is a new web application that allows anyone to create a sophisticated audience, visitor or donor segmentation. It brings together transaction and donor data to provide a full picture of patron behavior and allows users to create and customize a range of behavioral variables. The tool then automatically generates a range of alternative segmentations, based on those behavioral variables, and creates tags which are imported back to the organization’s ticketing system to populate patron records with variables and segment information. This allows organizations to:

  • Incorporate a deeper understanding of their patrons as input to strategic planning.
  • Deliver more targeted communications to increase Return On Investment (ROI).
  • Manage customer relationships more effectively.

The Segmentation Engine builds on extensive experience in undertaking highly detailed data analysis and consulting for hundreds of arts organizations worldwide. It is currently available for users of Tessitura® software, with wider distribution to follow.

Baker Richards and JCA are also joint developers of their Revenue Management Application, used by over 80 licensees worldwide to optimize their pricing decisions, and of the arts data warehouse that drives The Audience Agency’s Audience Finder dashboards, which benchmark customer and ticketing data across over 100 arts organisations in the UK.”

This looks to be an intriguing development in the light of the Segmentation Wars we have blogged about before.  We need tools that use real data on customer behaviour and take directly into account their individual ticketing history, attendance patterns, and relationship with the arts organisation, such as whether they are Friends or donors.  It will be good to see this available to more system users than just Tessitura.  Tim Baker will be talking about this and all things pricing at the Ticketing Professionals Conference in Birmingham at the ICC on 25/26th February 2016.

Baker Richards say that “Segmentation is one of the hottest topics around for arts and cultural organizations seeking to improve their communications and Customer Relationship Management (CRM) strategy”.  For more information:

For North America contact JCA: Susan Hornung, +1 212 981 8418,

For Rest of the World contact Baker Richards: Debbie Richards or Rachael Easton, +44 122 324 2100, or

Jack Rubin: ‘pilot’ or ‘captain’ of the good ship Tessitura?

His name has been inextricably central to the Tessitura message since it launched fully fledged into the ticketing marketplace in 2000, with its unique ‘not-for-profit’ business model and radical way of working with its co-owning users. I think he sees himself as a ‘pilot’ in the shipping sense, nudging with his experience and knowledge the Tessitura crew in the right strategic direction; others, including me, credit him as ‘captain’ leading and motivating the crew and keeping focus on their mission, especially good at articulating that “fitness-for-purpose” of the system as a solution and the Network as a community.

service levels in the 1990’s inhibited by the available technology

Tessitura, the system, came out of New York’s Metropolitan Opera (The Met). Like many other arts organisations, they saw their service levels in the 1990’s inhibited by the available technology, and their patience with their suppliers meant they were always behind the customer curve as the on-line wave broke. That turned to impatience, and, unwilling to wait for consultants and techies to fix it, they decided to develop their own in-house solution, creating a unified ticketing, CRM, marketing and fund-raising system. They appointed Chuck Reif as Senior VP of Technology and allocated a budget of $5M over 3 years to build their unified system. They succeeded where others failed. Chuck of course remains in charge of Tessitura technology.

Originally called Impresario, The Met wanted to achieve some return on their investment and licensed the system to a couple of other users, and even investigated the possibility of selling it. This is where Jack enters the system’s history in 2001. From a background in finance and marketing in international corporations, being involved in some start-ups and acquisitions, and having worked at to help take them public, he was running a venture capital backed Internet e-commerce solution, and was one of the people The Met talked to about the future of their system.

Jack was invited by The Met to facilitate a discussion with other interested not-for-profit arts organisations, leading to a meeting in Santa Fe with 35 people from 7 different arts organisations. Was there a business model that could work better for them, certainly better than the increasingly problematic investor-driven model that was causing problems for former market leaders in ticketing systems – evidenced for me by the difficult times with

Was there a business model that could work better for them, certainly better than the increasingly problematic investor-driven model

That Santa Fe meeting drew up a mission statement which is virtually word for word in the Tessitura mission statement of today. There was a confluence of need, critical to their success, for arts organisations to deal with a changing world, changing communications, with Internet, email and new e-commerce models. The goal was about making arts organisations more successful by working smarter and working with an “enterprise solution”.

The seven organisations that were the early adopters of Tessitura invited Jack to form a new company with Chuck Reif, but not one that could be commercially morphed into something else. They set up a not-for-profit corporation with a Board from the users of the system, creating the co-ownership Network model. The Met saw themselves as helping benefit arts and culture while getting some of their investment returned through licensing, initially at a higher level than is now charged today.

It is worth saying that the targets for growth were modest, originally for 50 users, reflected in the Network’s decisions to be a virtual organisation, with Jack as the front man presenting the system and its business model to potential users, and Chuck and his team concentrating on keeping the technology at the leading edge. Users felt trust and confidence in the business model, but wanted the system to exceed their expectations, with core functionality as the key to meeting their needs.

The Network’s membership model is now based on variable licensing costs and annual membership fees according to turnover – in 14 years only 4 membership fee increases. Licenses are for a lifetime, unlimited, without charges per user or any transaction fees, and all Tessitura functionality is bundled in so Tessitura does not play the module game that some suppliers do (there are some add-ons available which are separately charged).

147 people on the Tessitura team worldwide, working in 8 countries

So in 2015 there are 147 people on the Tessitura team worldwide, working in 8 countries, with over 515 organisations using the system. The team did not include a marketing person until 2014. And over 200 of the user organisations in fact share their system with other organisations, such as the Wales Millennium Centre model in the UK; the largest of these has 14 regional theatres in Philadelphia sharing their system. Since 2001, retention has been over 99% for users and 85% for staff from their first employment. Tony Barnes has been regional operational director for the UK and Europe for 10 years now.

Jack reports to a Board drawn from license holders – small, medium and large – covering geographies, genres and skill-set, driven by a desire to lead innovation, provide great service, and keep costs down. That innovation is driven by a Member Advisory Committee, working with Chuck and the Tessitura development team, that prioritises the ‘road map’ for development. 70% of ideas come from users and 30% from the team, who spend their lives on the road with Tessitura users. They deliver a new release every year in a transparent process, with new code posted to a ‘sandbox’ so users can review and test, see every change, and help prioritise and identify enhancements. Some users then beta test the latest version as it goes through quality assurance. Hundreds of enhancement requests, big and small, are also submitted each year, and many of them are also added, in addition to the big road map-driven items.

by users, for users

Reflecting the co-ownership model, they chose to hold an annual conference from the beginning, driven by a planning committee of the users (apparently 200 people on it for this year’s this month) as Jack says “by users, for users”. This is now quite definitely the world’s largest arts and cultural conference, with much more than ticketing on the agenda, since it is cross genre, cross functions, cross geography, and open to all ideas. There are twelve concurrent tracks, covering all functions such as ticketing, philanthropy, web, CRM, marketing, etc.  Reflecting this, American opera singer Renée Fleming will give their keynote on August 18th in Orlando on topics for which she has long been a strong advocate – audience development, community engagement and arts education.

Indeed Tessitura is becoming a TEDx of arts and culture with its free webinars sharing knowledge on a global scale with the Innovator Series and posted on a Tessitura YouTube channel.

secret sauce

Unusually for a ticketing/ CRM system supplier, Tessitura has a VP of Community, headed up by Don Youngberg who leads what is effectively a full time community team.  Community is their “secret sauce”, since the Network has proved to be founded on sharing to help each other and make each other better. That seems to irritate other ticketing system suppliers, who see Tessitura relating to CEOs and Artistic Directors, and running a conference that attracts people from all parts of user organisations. There are also large regional conferences: in November, the Tessitura Network European Conference will be in Nottingham with likely 350 or more attendees; there will be an Australia/New Zealand conference in April 2016 in Sydney.

Tessitura has behaved differently from other ticketing systems from the beginning, since you might say it has been clear from the beginning that it is not just a ticketing system. Chuck Reif came to the UK for six months to install the first UK clients, working on localisation and specific needs. Given that users see this as mission critical, the “enterprise solution” has delivered both “out of the box” configurable functionality, and a platform on which users can build their own customer experience tools. So far they say the users have not found a technological restraint in Tessitura. And they continue to innovate to help arts organisations facing financial challenges and to enable audience development and to raise funds via philanthropy and memberships. Tessitura was designed from the onset to be equally strong for fund-raising as well. The biggest release in the history of their software is about to roll out to complete a major expansion of the system and the user interfaces.

Tessitura has added a small services division to help provide techie and database administration skills to user organisations, and now has an enterprise consulting division on marketing and fund-raising to help build the business capabilities of user organisations.  Jack says their success is partly because they avoid a corporate culture and focus instead on anti-bureaucracy and on collaboration, with themselves as partners, not vendors.

Jack talks well about the Tessitura Network and his belief that the right staff with the right business model can deliver the success the users want. With strong staff retention, they have a sabbatical system, with a 7 week paid break every 7 years to help staff re-charge and re-think. Jack seems to me to have been the Network’s leading salesperson since the effective consortium was formed, and he has certainly been reticent about adding marketing people (first one in 2014) and expanding client development functions (some churn in this function in the UK), and he remains careful about the solution and how it is presented. With the team all wearing their Tessitura logo dress shirts, focussed on the corporate mission and values, and with a coherent core message, and users that all have a good word about “their” system, you can see why arts and cultural organisations sign up to join something much more than a ticketing system.

How much credit do we give Jack Rubin for what has been achieved?  He has certainly made a big difference.

There will be some live streaming from this August’s Tessitura Conference, week of 17th August 2015:

Roger Tomlinson

August 2015

The Fairest Way to Charge for Ticketing Systems

Much to the annoyance of those of us who have to try and compare (fairly) the costs of new ticketing system proposals, it’s really hard, as no-one seems to do it the same way. Now this causes some really interesting, yet frustrating situations.

Often the way a system charges, when married to how a venue charges, or its average ticket price or IT infrastructures can lead to making one system appear more “attractive”, despite lacking in key areas, likewise the ideal choice in terms of functionality can appear to be overpriced.

Now, for those who are interested I have compiled a small pros and cons chart below

Method Basis Key Advantages Key Disadvantages
Per Ticket clip For each Ticket you sell the vendor charges you a percentage of the value or a fixed cost You only pay for what you sell, allows you to manage cash flow and ties your vendor to helping you sell more Costs can raise dramatically. If you have a low face value that 25pence per ticket can eat into your percentage of earnings
Straight Percentage Each Line Item sold has a percentage deducted by the vendor Like per ticket, you pay for what you use and vendor has interest in helping you grow and keeping your system up-to-date and running! Not great for higher value ticket sellers, a £100 ticket could attract a £1.90 commission, but £10 on 19p. Has the vendor ‘done’ anymore in the former? Beware on splits, that your vendor costs come from YOUR side of the split
Active Seats A flat fee is charged, up front for every active screen you want on the system Allows you to sell thousands and thousands of pounds of tickets at a flat cost (may not be low) Great if you are an online heavy retailer with smaller call centre / counter operations Stifles your call centre / counter during peak periods as you are limited to only x people logged in. Often a high licence cost means high annual too. Some say vendors who operate this model have little interest in service after initial sign up
Lifetime Licence You own your copy of the software free to have as many use it and sell as much as you want Obviously, in theory you could never pay anything again and your business can grow without further or inflated costs. How much / how often can you / will you be upgraded? How soon before what was cutting edge is out of date? Does the vendor want to help / see you grow?
Volume Bands You pay a fee to use the system each year to sell up to £x,000 of products or x,000 tickets A great method for you to budget and have room to grow, you know what you are going to pay. Shorter term contract means if they don’t deliver you can scarper. Can work out expensive in the longer run, and higher volumes may not be at a discounted rate, so your bill will rise in line with income. Are they incentivised to help you grow, really?
Free Systems The Vendor does not charge you, but adds a fee on to online sales transactions, typically 10% As they often say – it’s free to you, it costs you nothing, so you can sell without fear of ever having to pay a penny Fees discourage purchasers, fact. 10% per ticket or per order is excessive for a venue to charge, and will add 10% to your patrons costs of attending, they may choose to go to a competitor if the product is in multiple places. Often vendors who have this model place more effort to online rather than back office sales and administration


Of course, as many systems love to point out, the base price for a system purchase or provision of a system is not the only matter to consider.

You also need to weigh up the following and whether the base model includes.

Installation Services – a number of systems charge for implementation of a system, that is configuration, training and data transfer. Some charge up to £900 per day for this, so a 38 day implementation could cost £34,200. Many systems have reasonable costs and numbers of days needed, meaning implementation costs can be well under £10,000

Web Integration – vendors will often talk of the ‘ease’ of integrating with your website. When working out the costs of these models, work out, with your web team the work needed to achieve what you want to achieve and include this in comparisons

Upgrades – a current favourite of some systems is to labour the point on free and continuous updates. Ignore this at your peril. Some upgrade paths with some systems are far apart and costly. The costs of upgrades need to be added to the financial comparison, check these numbers with an existing client, as once you are on board, you won’t have any option to get them somewhere else.


There is no ‘fair’ way to charge for and pay for a system , depending on your own ticket volumes, prices and sales channels some will appear more attractive than others, but it is not always a simple comparison. Do also remember that often a change of system can save / earn you money, as you can free yourself from commissions or upgrade costs while ending up with a more modern and fit for purpose system.

If you want some help or advice weighing up your options, please do get in touch


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How dynamic is your Box office?

We hear the word “dynamic” bandied about in regard to tickets and pricing.  But it struck me, working on the UK Theatre mini-conference Cultivating Group Sales on 18 March 2015, that we could apply that word across many functions of the Box Office.  Ironically, is it less “dynamic” today?

Let me be clear: the Box Office is in what customer-care people call the front-line of customer engagement.  Those behind the counter or on the phone spend all day every working day talking to the customers.  Are they simply responding to customer requests/orders or are they up-selling, encouraging customers, adding value, closing the sale?  Do they understand that when selling tickets to someone now, the most important visit is the next one after that?

are they up-selling, encouraging customers, adding value, closing the sale?

Actually the important question is whether they are empowered to up-sell, to add value, if necessary to negotiate with a customer?  Monitoring sales all the time, are they able to dynamically modify prices, moving price bands and breaks according to demand?  If we want them to be dynamic in their engagement with customers, we need to enable, motivate and empower them to optimise for revenue and customer satisfaction.

In North America, you will see in organisations with subscription schemes that dedicated staff are often available to “help” these customers, recognising their value and the need for satisfaction and renewals.  Increasingly in the UK we now see “fund-raising” and “development” staff who pay close attention to the needs of the donors and sponsors, and sometimes of their Members and ‘Friends’, almost providing a concierge service.  Should not we extend this approach to more of the ticket purchasers, and give them the benefit of more dynamic attention?

Should not we extend the benefit of more dynamic attention?

In the Cultivating Group Sales discussions we heard that sales staff sometimes negotiate with group organisers on the ticket price, help arrange coach travel, offer pre-booked programmes, ice creams, interval drinks, perhaps pre or post-show food.  The group organisers think this is great added value, but the sales staff find themselves working with restrictive software and sometimes a management willing to heavily discount a poorly selling show to everybody but reluctant to give an extra 50p off to a group bringing 40 people.

Various Box Offices now have staff whose job description includes tweeting about shows and related activity, and ticket availability.  Places like the New Wolsey in Ipswich and the Lowry in Salford – @NewWolsey, @The_Lowry – seem to me to get this just right: no hard sell, just positive information.  Sometimes they tweet about returns for sell-out houses or last minute availability; could they be also dynamically setting ticket prices for these limited offers with limited exposure?

tweet about returns for sell-out houses or last minute availability

The irony I see is that as ticket sales traffic moves steadily on-line, we ought to see that the people who contact the staff to talk to a real person give us a greater opportunity for engagement, and the staff themselves are our great opportunity to be dynamic in satisfying customers and bringing in the revenue.  Anybody who has heard Victoria Willingale talking about the Cambridge Arts Theatre ‘Panto Wheels’ scheme for which she personally raises money will see that Box Office staff can go a long way to help customers, and in the process the venue they work for.  The Box Office can be much more dynamic in achieving success than it is often allowed to be.

P.S. The UK Theatre Mini-Conference on Cultivating Friends and Fans – about membership and loyalty schemes –  is on Wednesday 22 April 2015 in Covent Garden, London.  More details and bookings:  You get a 20% discount if you or a colleague attended Cultivating Group Sales

What Customers Need to Understand is . . .

I have finally a new ‘most hated’ phrase in our industry:

What Customers Need to Understand is . . .

So hate is a pretty strong word, so perhaps I should use most disliked, dangerous, disrespectful or disengaging?

I heard the phrase in connection with many of the the core themes at Europe Talks Tickets (ETT) in Amsterdam last week, in relation to a whole host of topics, including Dynamic Pricing, CRM, and new Technology, in many discussions, in the seminar rooms, the breakouts, and even over a Heineken as people discussed the changes we face as venues, vendors and others in the industry.

I am worried by this phrase and how prevalent it seems to be becoming.

Let’s start with dynamic pricing, a pretty simple one, yes?

The price was X and now is X+10%, tomorrow it’s (X+10%)+15%.  For the customer there is something happening here that they don’t understand, can’t understand, when you look at how some houses are repriced, perhaps because they were under-priced in the first place?  If we bring in the arch enemy of cultural dynamic pricing here, “The Airlines” (Booo! Hisssss!), a great many customers DO understand airline pricing, commit early, pay less, the price you get quoted today may not be the price tomorrow, it is more expensive to fly during school holidays, public holidays, weekends to city break destinations, trans-Atlantic without a Saturday stay, at last minute, or a route with restricted inventory, with exceptional demand, in the best seats. When I hear about the movement of prices in the cultural sector, as I did last week, I hear about it being due to the same factors.

customers DO understand airline pricing, commit early, pay less, the price you get quoted today may not be the price tomorrow, it is more expensive to fly during school holidays, public holidays, weekends to city break destinations, trans-Atlantic without a Saturday stay, at last minute, or a route with restricted inventory, with exceptional demand, in the best seats.

Whereas I do understand that an airline is a slightly different sale than a seat in a theatre . . . . . . oh hang on it’s not, not for everyone is it?  If I am in Leicester Square this weekend as a pass through tourist and want to see a show, I will most likely choose it based on factors including, price, value, content, time of performance, my personal tastes, how I ‘feel’.  If I choose a city break this weekend it will be based on, guess: price, value, destination, flight time, carrier, recommendations, the same basic consumer drivers of price, value, availability and demand.

Many people talk about rewarding early bookers, not penalising them by dropping prices, true, but many now talk about how customers need to understand about our market.  They do need to , if they are to get the ‘cheapest tickets’ – but what we need to be careful about is that we don’t create rules or act in a way that confuses or frustrates consumers.  Just because we may consider a ticket to Jersey Boys to be very different to a ticket to Jersey with the Boys, doesn’t mean our customer do.

What we need is to understand our customers and their needs

I am not against Dynamic Pricing, since we should be earning as much as we can for our theatres, orchestras, sports teams and  promoters.  I don’t think there is anything different than we have seen in retail or travel for many years, in terms of maximizing income, based on a great many factors.

I don’t get annoyed when I find out the woman next to me paid £100 less for her air ticket, I don’t talk about the the price, I talk about the experience, the enjoyment, the value, after all, which two people on a plane ever pay exactly the same price?

The panel at ETT raised very interesting functionality questions regarding online sales.  The Royal Opera House in London uses a slider to help people find inventory based on price, dates, content and other criteria.  See below a screenshot of that tool and then the one that we have always seen with airlines and holiday companies.

British Airways Holiday Finder

British Airways Holiday Finder

Royal Opera House Ticket Finder Tool

Royal Opera House Ticket Finder Tool


So if we are not selling seats in the same way as airlines, why are we seeing venues start to give tools based on price, dates and availability?  Simple, they are there (well ticket sales departments are) to ‘help customers buy’ – if we can understand that, perhaps we can understand our customers?  After all, as people, all we really want are our needs to be understood isn’t it?


Last Chance to take ETT Dynamic Pricing Survey


Baker Richards survey in association with Europe Talks Tickets (ETT) to assess attitudes to and the current use of Dynamic Pricing by performing arts organisations in Europe closes a week today on 31st October.

Take The Survey

A provocation paper is also available which sets out some of the issues (you may want to review it before completing the survey). You can also contribute to the debate on our Thinkaboutpricing LinkedIn group. The survey and debate will remain open until 31 October 2014.  All respondents to the survey will be entered into a draw with a chance to win Amazon vouchers worth €200.



Arsenal Bad Press Highlights Pricing Sensitivities

If you follow sport or ticket related stories online, you cannot help being exposed over the last week to the stories relating to the annual ‘cost of football‘ survey.

Sample Story that has centred on Arsenal’s prices

I do enjoy when this survey is published, because it does give a real insight into the range of prices for what is the same product, just served up regionally.  After all, Southampton welcome the same 18 teams that Sunderland do during a season, both play in red and white stripes in fairly modern stadia, so comparison is easy, if not scientific.

Whereas it is nice to know who has the cheapest meat pie or most affordable season ticket, the big headlines went to Arsenal with their ‘rip off prices’.

Arsenal have had a tough time of it. Until their move to their new stadium ( still within one of the most expensive areas of the UK in terms of property prices) they complained their then 40,000 seat stadium could not provide enough match-day revenues for them to compete with other teams in 60 – 75,000 seat stadia.

Now they have their new stadium and enjoyed filling it, having more capacity, as well as the ‘new stadium effect’. However, it seems greed has got the better of them.


Arsenal Seasons

Rise of most expensive Arsenal FC season ticket price. (CITYAM.COM)

The continued nudging of prices upwards, upwards again, and upwards further, can (and certainly has in the case of Arsenal) given them a toxic story of disengagement that has lasted for over a week of news cycles.

The PR machine of Arsenal and the Premier League, along with other interested parties, has been in overdrive: talking of bringing the best talent to the Premier League, of the investment in tomorrow’s stars, along with other reasons to justify the  price rises that have been imposed.  Somehow they have forgotten that price needs to reflect value, as perceived by the fans.

For sure, if there was a 12 year waiting list for tickets, if the club had delivered back to back championships, signed the best players in the World, and conquered on the European stage, then perhaps the rises could be understood, if not fully accepted.

The Arsenal ticket price stories are a warning to those looking to raise prices, to ‘sweat the assets’ of their seats, or drive their business forward exclusively on a revenue maximisation basis. There is only so much you can do, without delivering quality and, most importantly, value.  After all, you’re not the only club who does what you do. You may think you are, but if you look at us as being in the entertainment industry, there are many many more options for our customers to spend their money on.

Dynamic Pricing Survey by Baker Richards/ETT


Baker Richards is conducting a survey in association with Europe Talks Tickets (ETT) to assess attitudes to and the current use of Dynamic Pricing by performing arts organisations in Europe.

Take The Survey

A provocation paper is also available which sets out some of the issues (you may want to review it before completing the survey). You can also contribute to the debate on our Thinkaboutpricing LinkedIn group. The survey and debate will remain open until 31 October 2014.  All respondents to the survey will be entered into a draw with a chance to win Amazon vouchers worth €200.



Intix Day 1 Highlights

A Brisk two block walk got me to the Sheraton Towers just before the first coffee injection of the day. After a defrost, it only took a few minutes for me to remember why I had made this journey……. To be surrounded by/confined with/debating against hundreds of people just like me, knowledgeable, passionate and desperate to talk tickets.

Read more