Picking the right Refund Protection partner

Ever since our article titled ‘What would you do with an extra £2,000 per month” we have had a number of discussions and enquiries regarding the booking protection, how it works and the difference between providers.

As with all things, there are core differences between operators and how they deliver their service to either venues or end customers.

We caught up with Catherine Spencer, Director of Business Development with Booking Protect to ask “What should we look for in a partner?”

Here are her top 5 pieces of advice.

1 – Full service
Plain and simple, it is essential that providers you work with give you and the end users a FULL SERVICE. We often see claims, post-purchase queries or general customer service issues being dealt with by outsourced third party companies.
We made the choice from the very start that Booking Protect would be a full-service offering, so we handle all aspects of administration and claims within our organisation. This means that if there is a large scale event or a series of events, we can allocate additional resources, namely fully trained staff, to directly deal with customer enquiries.

This is how we can guarantee we can protect their reputation and brand.

 

2- Protection for . . . . .
What good is taking out protection if it does not cover the reasons that we all know and hear in the event industry that people cannot make an event? As we head to INTIX and Ticketing Professionals in the coming months we will all get a chance to find out our top three reasons.

We commonly here that death or illness in the close family is second to personal illness, but what about pre-existing conditions? If I have a condition that is subject to flare up – and it becomes particularly bad the day of a concert am I covered? Whilst with Booking Protect you are, many providers do not cover pre-existing conditions.

 

3 – Simple, Compliant Opt-ins along with Analytics
Booking Protect has the advantage of being a technology led, API based system. Working with ticketing platforms such as Audienceview and PatronBase we allow their customers to enable the service seamlessly within their booking flows.

This significantly reduces administrative burden in the organisations we work with, to an almost negligible amount. The running of reports, download of information and sending to a third party are workflows of the past aren’t they?

Of course, presenting the offer is only the start. How many customers are taking it up? What about on price band A tickets versus price band B, has one got a better conversion rate than the other?

Any add on service or revenue opportunity needs to form part of your analytics and review programme. Make sure your provider can deliver these vital statistics, or better still have them commit to review meetings to look at pricing and presentation strategies with you every quarter or a minimum of twice a year. They are some of the most enjoyable meetings I attend each week.

 

4 – Reputation
Partners are great, they can add to your offering, by delivering a new service, outside of your normal operations. Many of our customers use partners for Pantomime production, delivering on-site catering or perhaps marketing services, such as PR or photography.

They choose these partners for various reasons, relevant to that service. Very few, if any would choose a partner had bad a reputation for delivering that service.

Just as we do in our personal lives, research what end users and other theatres’ experiences of working with a partner are like. Do you want your theatre dropping in people’s estimation because of poor service from a partner?

5 – Expert Advice
Launching new services, especially ones you are not familiar with can be a challenge. How much should we charge for a £20 theatre ticket? How much can we make / how much do customers find ‘reasonable’ – these are all questions your provider should be able to answer and a service they should deliver to you.

As we mentioned earlier when talking about our strategy of working with clients to review analytical data, we at Booking Protect pride ourselves on delivering years of advice in this sector to both our existing and potential new clients.

 

 

 

Don’t Forget to Find out how much a booking protect partnership could earn your organisation

If you would like an indicative estimation of the revenue your venue could potentially generate with such a partnership, simply fill in the few pieces of information below and Booking Protect will provide some basic outline information for you to consider. To help with the New Year financial squeeze we have six £25 vouchers from Amazon which will be awarded to six venues who find out just how much they could earn. Go on! Keep up that New Year’s resolution to make more for your venue and give customers the choices they want!

By the way Booking Protect is avaialble in North Ameria too – so US / Canada types, it’s open to you too.

Ticketing Professionals Just Eight Weeks Away

The second ticketing professionals conference is just eight weeks away.

It’s great that as those of us lucky enough to be able to afford the time and expenditure to make the trip to New Orleans for this years’ International Ticketing Association (INTIX) conference will testify, an educationally led ticketing conference has been much needed on this side of the Atlantic.

There have been commercial operations that spotted a ‘gap in the market’ and have delivered forums and summits around the ticketing space, but as a regular attendee to industry ( as well as system specific ) events, I always felt there was some part of INTIX’s superb education and professional development mentality that could be useful to the UK / European ecosystem.

As ever, there are some great sessions planned for #TPC2017 – and even though Roger is not headed to INTIX this year, he has picked out his session picks for Ticketing Professionals – here they are.

 

 

What do you mean?  “I have to choose”?  Looking through TPC17 I want to go to everything!  Sessions like ‘Jonathan Brown on What’s Next for Secondary are essential, but my key picks are:

Ben Rapp on Cyber Threats on Thursday morning – he was a great speaker in 2016 and I just don’t think we are sufficiently geared up to the security issues for ticketing either the venues, our web hosts, or the suppliers.  I dread the day a theatre hits the headlines as its customer data is exploited.

Maureen Andersen is inimitable and her session on Micro-moments, focussing on the customer journey, reminds me of a key moment at INTIX when a Facebook executive simply stated that the ticketed events we delivered were for many people the most important moments in their lives – apart from births, marriages and deaths.  So we really do need to understand how people get to make the purchase decision, on that journey to being a customer for our event.

And I am a keen fan of pricing and the way it seems to over-turn received wisdom.  Baker Richards are the ‘go-to’ experts and their David Reece is joined by Kevin Giglinto, ex Chicago Symphony Orchestra and now (Senior VP, Client Development & Marketing at Tessitura), to explain about The Art of Value Fencing, which is apparently to understand when we don’t need to give away and discount so much.  We’ll be learning more all the way.

How can I be in two places at once for the concurrent sessions?

Ticketing Professionals 2017 takes place at the ICC Birmingham on 16th and 17th March.

Schedule and Registration Details Here 

 

 

 

TopTix Integration Partners

TOPTIX INTRODUCES GLOBAL INTEGRATION PARTNERS PROGRAM
CERTIFIES INGRESSO AND THREE OTHER INTEGRATION PARTNERS WHO DEMONSTRATE INNOVATIVE SOLUTIONS

London, UK (January 6, 2017)—Karl Vosper, Managing Director of the TopTix UK office announces that Ingresso and three other technology companies have been certified as official SRO integration partners. SRO (Standing Room Only) is an all-in-one web delivered software solution for ticket sales, marketing, and CRM.

Ingresso has created a real-time sales integration with SRO, allowing TopTix customers to sell their ticketing inventory, via Select your Seat, through Ingresso’s vast Global Distribution System with sales channels including Amazon Tickets, Disney Tickets, From the Box-Office and Lastminute.com.

SRO customers have complete control over which tickets are offered through which sales channels, at what time, and at which price / commission structure.

Removing the need for manual allocations, the Ingresso API interconnectivity brings ease of rapid sales channel expansion to reach audiences that may have otherwise been inaccessible.

Mel Dearle, Sales Director of Ingresso said:

“Our technical development team found the TopTix UK team helpful throughout the API integration process—and the SRO system performed. Our first connection was to the English National Opera—and sales via our integrated distribution network rocketed by 650% since connection. The venue controls the price, commissions and access and API ticketing offers truly dynamic pricing opportunities. We look forward to further TopTix venue connections and discussing the support and marketing reach we can offer to the box-office and right’s holders.”

The other three agencies, include:

Catch (UK)
Catch has created a seamless integration between Zoological Society of London’s (ZSL) public web interface and SRO. The modern visitor engagement interface enables a unified, responsive end-to-end sales journey for ticketing, events, activities, memberships and more, including upselling and Gift Aid functionality.

Stunn (UK)
Stunn took the online booking processes for the Birmingham Repertory Theatre websites out of iFrames to enable full functionality with the SRO ticketing system. The solution is fully responsive and includes mobile seat selection, upselling and membership recruitment capabilities and is also trackable via dashboard analytics.

Zicht Online (The Netherlands)
Zicht Online developed TicketTrigger as an alternative front end to SRO for online ticketing. TicketTrigger uses the extensive SOAP API of SRO allowing customers to apply custom design, flows and functionality in the ticketing process.

The integration partners program enables best-in-class web and application developers the ability to efficiently extend the capabilities of the SRO platform and provides TopTix clients with a referable list of proven service providers and solutions. Karl Vosper, who initiated the program for TopTix, commented, “We carefully evaluate each partner and project to ensure that every integration is of the highest quality. We seek developers with proven experience in the ticketing and CRM industry who have a deep understanding of client needs and present forward-thinking solutions to our rapidly expanding portfolio of clients.”

Interested clients and prospects may learn more about the development partner program at http://toptix.com/partners/. Vosper concluded, “Our ultimate goal is to give TopTix clients easy access to the most robust features possible to drive their business forward, backed by technology partners carefully selected and supported by TopTix.”

TopTix continues to evaluate technology companies from around the world seeking to join the integration partners program. Program benefits include access to the SRO API, documentation, sample integration code, training hours with the TopTix tech team and a testing environment hosted by TopTix.

About TopTix, Ltd.
TopTix, Ltd (www.TopTix.com) is a privately owned firm founded in 2000 that develops software for ticketing, marketing, CRM, merchandise sales, fundraising, loyalty and access management. Our services and technology allow our clients to sell and manage their own ticket sales, capture valuable patron information and control all aspects of the consumer experience. Our flagship platform, SRO (Standing Room Only), is utilised by sporting organisations, leisure attractions, festivals, exhibitions, stadiums, arenas, theatres, concert halls, museums, visitor attractions, cinemas and ticket agencies across 16 countries processing in excess of 80 million tickets a year.

How Would you Spend an extra £2,000 per month?

What would your organisation do with an extra £2000 of revenue per month?

Seriously, as we enter the New Year we all make resolutions to be more efficient, to maximise revenues and to achieve higher targets or reduce deficits.

Unfortunately, you may find your season already programmed or your prices set by a promoter meaning you don’t have the ability for revenue management or to squeezing that’ extra great show that has been offered to your venue.

So where is this £2000 going to come from?

So where is the money to be made? The last few years has seen a rise in the adoption of micro-donations for online transactions as well as continued discussions around the use of the transaction fees, their presentation and whether they are a “turnoff” to consumers.

A number of technology platforms offer additional revenue sources through tools to advertise products or services throughout the purchase flow online. I have always viewed this as a short-term and risky strategy. Either that you need to invest time and effort in selling that advertising or perhaps you outsource to an agency.

Given the relatively low web traffic the majority of venues have, few agencies are likely to be that interested. We have also seen other providers look, through partnership agreements, to monetize other parts of the process such as advertising on print at home tickets. Again, this is a numbers game and advertisers will be looking at the ability to convert into sales.

So where is this £2000 going to come from? Simple. The customers. But how?

I’m not advocating having the box office shakedown businesses adjacent to your venue

Protection. No, I’m not advocating having the box office shakedown businesses adjacent to your venue but simply offer booking protection schemes as part of the booking process.

I spent a day this week with the folks from Booking Protect talking through their offering, some of their success stories and of course the challenges that suppliers to the industry face.

Those of you who know me know that I am rarely lost for words, but examining true real-time data showing conversion ratios and revenues being generated for Booking Protect clients was a sight to behold.

Just like Bono clicking his fingers back in the day I watched as £1.25, 75p, £1.30, £1.05 amassed in commission for the client in question. (Full disclosure for data protection reasons I could not see the name of the client)

Of course, with all schemes that look to offer a great return you have to ask where is the catch?

What are the overheads? In terms of staff time, technical or ongoing administration?

All of these MUST to be offset against any potential revenues. Looking through both the technical integration, through a seamless API link Direct into the web checkout flow greatly reduces any technical spend.

….direct integrations available ……… Audienceview and PatronBase

In fact, with direct integrations available as part of the call products offered by Audienceview and PatronBase – users of these two systems see virtually no technical effort required.

The claim and compliance elements of the process are all fully handled by the provider and not the venue, again, reducing the venues human or administrative overhead to virtually nothing.

in reaction to many venues no refunds no exchanges policy

Do people actually want this booking protection? The data that I saw seems to answer that question with a resounding yes. I’m not sure whether this is in reaction to many venues no refunds no exchanges policy, but whatever the reasons that customers want to protect the purchase and be able to gain a refund should illness, travel disruption (Southern Rail anyone?) or other issues mean they cannot attend an event it seems that this is a service that customers want, that is available from an established provider and that the venues can directly benefit from in the form of significant monthly revenues.

Still, which of us would not like that extra £2000 a month?

The big question is, as the title of this blog suggested, on what would you spend the money? An extra marketing officer, bigger digital spend, a rebrand or something as boring at some new thermal ticket printers? Without meaning to be a killjoy, it may just be absorbed into the profit and loss of the venue. Still, which of us would not like that extra £2000 a month?

Okay okay: where did I get this figure of £2000? Simple, I used some figures that I know from a number of small to mid-sized venues in the UK. Using these figures along with a measured conversion ratio and a standard commission agreement that are in place now we ran several scenarios through a pricing calculator.

As you know, we love to help connect organisations with solutions and are even partial to a cheeky giveaway.

If you would like an indicative estimation of the revenue your venue could potentially generate with such a partnership, simply fill in the few pieces of information below and Booking Protect will provide some basic outline information for you to consider. To help with the New Year financial squeeze we have six £25 vouchers from Amazon which will be awarded to six venues who find out just how much they could earn. Go on! Keep up that New Year’s resolution to make more for your venue and give customers the choices they want!

By the way Booking Protect is avaialble in North Ameria too – so US / Canada types, it’s open to you too.

Why are we Evaluating Databases?

I am preparing for a return visit to New Zealand, working again for Creative New Zealand (CNZ), to visit their clients to carry out Evaluating Databases Audits. I am following on from a project started by my late colleague Tim Roberts, in a process we had originally developed based on our own separate experiences in Australia and the UK, shaped in discussion with Helen Bartle of CNZ.

Both consultants and arts marketers have to work in the real world, and Tim and I kept asking similar questions after visiting and talking to practitioners:

  • Why don’t managers know about the data the staff of their organisation collects?
  • Why don’t staff understand the basics of data capture and building useable customer records?
  • Since Data Protection is at the heart of collecting and using customer data, why do so many organisations not know about the details of the law?
  • Since staff work with “databases” each day, why do they get confused about “lists” and apparently create multiple “lists” with duplicate and non-synchronised records?
  • What are the real hurdles to staff joining up their data, synchronising between applications, working with a 360 degree view of their customer inter-actions?
  • What leads organisations, that could install a comprehensive software solution for ticketing, marketing, CRM, fund-raising, friends, loyalty and membership schemes, to instead choose separate and unconnected solutions?
  • Where do the issues come from that means data usage is often dysfunctional in organisations, sometimes working against its interests?
  • Where do Boards and Senior Managers sit in the responsibility for ensuring competent practices in their organisation (and using data in their decision-taking)?
  • How do we intervene to help organisations help themselves to work less painfully and definitely smarter?
  • How do we address – long term – the creation of professional standards and the challenges from staff turn-over and loss of institutional memory?

Whoa, you might say, that’s heavy.

Whoa, you might say, that’s heavy. But the questions haven’t changed in 20 years. And the questions are similar from Arts Council staff across the UK, other consultants, and of course some of the software solutions providers who wonder just what is going on in their users’ organisations.

The Evaluating Databases Audits are a relatively simple process:

  1. We start with a briefing conference call to talk through the process and for example get the “key dimensions” of an organisation (you may not be surprised how often they don’t know them) and to identify the key staff who need to be involved (you may not be surprised how often they don’t know who they should be).  The basis of the audit is that senior managers must be involved.  In practice Artistic Directors, General managers, CEOs – it changes the dynamic of the whole thing.
  2. We start around 9.45/10am with a group session around ‘mission’ and ‘vision’, trying to understand where the organisation is going and what its data needs might be. We usually invite a Board member to attend (sometimes CNZ makes this a condition of funding the audit). This usually proves a rare opportunity for an internal discussion about translating their ‘mission’ and ‘vision’ into reality and the challenges they face in achieving it, often of staffing, resources and internal competences, let alone all the other factors.
  3. Hopefully after 11am we get into the actual audit, ideally getting to go round the organisation and sit with staff at their screens and see what they are using, what data they have, and what they are doing with it and using it for. This is usually where we hit the confusion about “lists”, and apparently separate multiple “lists” with duplicate and non-synchronised records, often on separate software tools, often without interfaces. And different functions not being aware what other functions in their organisation are using. In this stage of talking closely with staff we usually find the internal challenges, levels of understanding and competence, and how hard or easy it is for staff to get what they need to do, done. Issues of data quality, data capture, Data Protection, data processing, emerge quite quickly. But this is also a huge knowledge sharing session, filling in gaps in experience, explaining laws and practices, pointing out what is possible, briefing about audience development practice.
  4. By lunchtime we have usually identified the key points the organisation has to address and we offer to explore these and their implications with a senior manager over lunch. On many occasions they ask that this stage also involves the rest of their staff in a group, which we prefer, though it is challenging not to upset some people in the process. The ones who get most discomforted are those who have toiled at their task without being told there were better/easier/quicker/more accurate/friendlier processes/tools. You can imagine the brainstorming that happens as people identify what could be done to address the points and see some quick fixes as well as much bigger and harder issues.
  5. We go into the afternoon by building an Action Plan with tasks allocated and a simple timetable for implementation. This often involves proposed changes in software solutions and the procurement of new systems. There will be those daunted by what is ahead and what they may personally need to do, and we have to address their concerns. But we try and keep it focussed on the benefits of change. After long years as a consultant, I know change can be painful, so my first rule is that pain needs to be over in as short a time as possible, and if you can find an accelerator, stamp on it.
  6. The day ends with a de-brief, which again many senior managers want all the staff involved in the process to be present for. And again, the Board member in at the beginning often returns. So often this concludes with a much clearer understanding of how data is going to make a difference to their working lives and the success of their organisation. And staff feeling much clearer about both what is possible and what it is for.

The Audit is followed on by a written report, shared with CNZ. And CNZ often comment on how that report goes way beyond what you might expect from an Evaluating Databases session, as it reflects the wide-ranging ‘vision’ and ‘mission’ discussions we had. The good news is they usually invite the organisations to make an application for funds towards implementation, though that does focus more on the implementation of database improvements.

I am working in New Zealand with David Martin and Michelle Gallagher again this trip, as I am mentoring them to pick up the baton and carry on the work. They both have experience as arts managers before acquiring their data geeks status, able to work inside arts organisations on audience development and so on, as well as inside the software. They have got experience of a number of different ticketing systems, with PatronBase and Tessitura knowledge under their belt, and both work ‘hands on’ with arts organisations as the core of their work. Like my UK colleague Andrew Thomas, they bring a weight of experience alongside their technical skills, forming that 360 degree holistic view of what is really going on.

I think I see this making a difference

I think I see this making a difference, which is why I give priority to it. And those questions persist that Tim and I asked in the past. Indeed I sometimes worry that the situation is getting more challenging under the pressure of reduced funding for the arts across the world. The UK’s Audience Agency (of which I am now a Board member) supplies the Audience Finder tools to Arts Council England NPO/MPMs and in the summer of 2016 Firetail carried out a survey of the users; astonishingly 42% of survey respondents indicate that their organisation does not have the skills and capacity to make full use of Audience Finder, with a further 6% not knowing whether they did! That suggests there is still a lot to be improved. It begs the question of whether we need an Evaluating Databases Audit project in the UK too.  Not conducted by me, I hasten to add…

Roger Tomlinson

New Year 2017

Syx Seeks Engagement Manager

More about Syx Ticketing Solutions
Syx Ticketing Solutions is part of Syx Automations Group with headquarters in Ypres, Belgium and offices in The Netherlands, The UK and India and is the Benelux market leader in the field of software solutions for the arts and cultural sector.

 

With over 1000 operational customers, Syx Automations daily provides more than 6,000 individual users with software and hardware and linked services. In order to support our exceptional growth in the UK we are looking for an Engagement Manager.

 

The Role

The role is responsible for supporting both the sales team and operations team to maximise the services aspects of each team. This will include delivery of work for both team as required.

 

Specific Duties:

 

The role is split in to two halves –

 

Role 1 – The Engagement Manager will be involved in developing and growing sales revenue for the business so will support the UK Sales Manager, providing input to strategic direction and utilising opportunities within the industry verticals.

 

  • Build strong personal relationships with clients and consultants across the industry.
  • Prepare sales quotes and respond to tender bids as required and then follow the bidding process through to demonstration to end users and then work to close the sale to win the contract.
  • Delivering presentations and information sessions to spread the word about Syx across the UK at conferences, trade shows and other events.

 

Role 2 – The other part of this role will be delivering consulting and training services to new and existing customers as directed by the UK Operations Manager.

 

  • Establish the foundation for long lasting mutually beneficial professional relationships.
  • Support in developing & delivering customer presentations including solutions, value argumentations & business cases.
  • Deliver end user training and business process consulting as required by the UK Operations Manager.
  • Strengthen the profile of the company.

Profile

  • You have experience of working in an arts, cultural, sports or leisure ticketing environment.
  • You are a confident public speaker, who is used to speaking to large groups of people at conferences and trade shows.
  • You have relevant experience with software implementations.
  • You have knowledge of and experience with lean project management or change management methodologies.
  • You are client focussed and will champion the customer at all times.
  • You do not have a 9-to-5 mentality.
  • You are self-motivated, with strong attention to detail, good communication skills, eager to learn and a natural people person.
  • You have an understanding of the complexities that running a ticketing operation can bring. 
  • This role will involve some travel and overnight stays as the Engagement Manager will be raising the profile of the company across the UK and Ireland.  

Our offer

  • A fascinating and challenging job in a dynamic software company.
  • A competitive salary ranging £25,000-£35,000 per annum.
  • Car allowance, smartphone and laptop.
  • 26 days paid annual leave plus statutory UK bank holidays 
  • A dynamic work environment within a company that is in full international expansion.

Interested?
Are you interested in the possibilities Syx Ticketing Solutions offers you?

Send your covering application letter with your cv to careers@syxautomations.com

Closing date for applications is: Friday 6th January.

 

If you have any specific questions about the role please contact Eddie Lee, UK Sales Manager on eddie.lee@syxautomations.co.uk

 

Commercial Manager Vacancy at Best Union

 

Job Title: Commercial Manager, Best Union UK

Job Type: Full time, salaried (monthly)

Location: London: 9 Bonhill Street, EC2A 4PE (primary)

Responsible to: Managing Director (UK) and Chief of Sales and Marketing (USA)

Salary Level: Subject to skills, experience and behaviours (refer below)

Hours of Work: 37.5 hours per week (Additional hours may be required).

Closing Date : 6th January

Travel (at short notice) may be required

Could be away from home for periods of time

Summary: Best Union UK Ltd. (BU), part of Best Union Group, sells, develops, maintains, implements and supports ticketing systems under the trading names of enta Ticketing Solutions (“enta”) and OmniTicket Network (“Omni”). Our systems are widely used in a diversity of sectors to include arenas, galleries, museums, theatres, theme parks, stadia and visitor attractions in the UK, EU, Middle East, Australia and USA.

Responsibilities (including but not limited to):

Enthusiastically generate Commercial leads through existing relationships, independent research and discovery

Maintain and develop Client relationships through regular meetings, phone calls and event/site attendance as and when required

Document Client contact in accordance with Company policy and procedures to include accurate records of all sales and prospecting activities

Interface with end-user customers, internal BU departments and/or divisions (non-UK) to understand, interpret and determine their Commercial needs leading to the application of, or alignment with, BU product/technology base (enta, enta connect, OVW6 and BOS)

Effectively demonstrate and present BU’s product/technology base to end-user customers; with awareness to local country specifics and cultures

Proactively sell additional BU products and services to end-user customers leading to incremental revenue

Allocate resources, track timelines and review deliverables to ensure all Commercial initiatives meet the needs of the Client and the strategic goals of the Company

Produce regular management information (MI) to support senior management and to effectively evaluate ROI on Commercial initiatives

Tickets.com Net Sirens Deal

Tickets.com confirmed as official ticketing provider to new Superleague netball franchise, the Sirens

The club will use ProVenue® to manage all ticketing requirements ahead of the upcoming Vitality Netball Superleague season

         

Tuesday 13 December, 2016 – Milton Keynes, UK – Tickets.com, the industry leading provider of global ticketing and marketing solutions, has signed a new agreement as the official ticketing partner of the Sirens, a new netball franchise recently confirmed as one of ten set to compete in the upcoming new look 2017 Vitality Netball Superleague Season.

 

The new national Franchise will play its home games at the award-winning Emirates Arena, Glasgow, which previously hosted the World Youth Netball Championships in 2013. Capitalising on the success of the 2014 Commonwealth Games in Glasgow, the sport is currently one of the fastest-growing in Scotland, and the Sirens are now set to build on the record attendances and ticket sales achieved during last season’s Superleague.

 

The Franchise, backed by Netball Scotland and delivered in partnership with the University of the West of Scotland, will use ProVenue®, Tickets.com’s most advanced ticketing platform, to manage all of its ticketing requirements. The decision was made to implement the new system not only because of its ease of use, but the functionality and innovative features that ProVenue® offers in support of the Siren’s launch and its future growth plans.

 

Fans will also benefit from Tickets@Home, a feature which will allow customers to print their own tickets via all sales channels. The system was also integrated in just four weeks; a short turnaround time and another reason why the Sirens opted to partner with Tickets.com.

 

Commenting on today’s announcement, Karen McElveen, Sirens’ Franchise Director, said: “It was really important to us that we had a ticketing provider that could not only meet our current requirements, but that also has the flexibility to evolve and grow with our Club. We feel that Tickets.com and ProVenue® can do that.

 

We’ve been really impressed by how quickly the system has been implemented and the support team have been fantastic in working with us to ensure everything is ready in time for ticket sales to go live.”

 

Derek Palmer, Managing Director and Executive VP, International, at Tickets.com, said: “We’re excited to partner with the Sirens and to showcase our work in another sport – and one that is rapidly growing in popularity and exposure.

 

Netball Scotland has ambitious plans and the launch of the Sirens is a key milestone in its long-term strategy to drive the growth and development of netball; this is something that we’re very excited to be a part of and, through ProVenue®, we’re confident that the system will support these plans and provide further commercial opportunities for them.”

 

The Sirens is the latest addition to a growing number of Scottish sports teams working with Tickets.com; these include Scottish Premiership Football sides Aberdeen, Ross County and Dundee, alongside Championship side Dundee United. As part of its league-wide role as the official ticketing agent for the British Basketball League (BBL), Tickets.com also manages the ticketing for top flight side Glasgow Rocks who are also based in the Emirates Arena.

 

For more information about the Sirens, visit www.sirensnetball.com.

For more information about Tickets.com, visit uk.tickets.com/provenue.

Another great role at Best Union UK

Job Title: Commercial Manager, Best Union UK

Job Type: Full time, salaried (monthly)

Location: London: 9 Bonhill Street, EC2A 4PE (primary)

Responsible to: Managing Director (UK) and Chief of Sales and Marketing (USA)

Salary Level: Subject to skills, experience and behaviours (refer below)

Hours of Work: 37.5 hours per week (Additional hours may be required).

Travel (at short notice) may be required

Could be away from home for periods of time

Summary: Best Union UK Ltd. (BU), part of Best Union Group, sells, develops, maintains, implements and supports ticketing systems under the trading names of enta Ticketing Solutions (“enta”) and OmniTicket Network (“Omni”). Our systems are widely used in a diversity of sectors to include arenas, galleries, museums, theatres, theme parks, stadia and visitor attractions in the UK, EU, Middle East, Australia and USA.

Responsibilities (including but not limited to):

  • Enthusiastically generate Commercial leads through existing relationships, independent research and discovery
  • Maintain and develop Client relationships through regular meetings, phone calls and event/site attendance as and when required
  • Document Client contact in accordance with Company policy and procedures to include accurate records of all sales and prospecting activities
  • Interface with end-user customers, internal BU departments and/or divisions (non-UK) to understand, interpret and determine their Commercial needs leading to the application of, or alignment with, BU product/technology base (enta, enta connect, OVW6 and BOS)
  • Effectively demonstrate and present BU’s product/technology base to end-user customers; with awareness to local country specifics and cultures
  • Proactively sell additional BU products and services to end-user customers leading to incremental revenue
  • Allocate resources, track timelines and review deliverables to ensure all Commercial initiatives meet the needs of the Client and the strategic goals of the Company
  • Produce regular management information (MI) to support senior management and to effectively evaluate ROI on Commercial initiatives
  • Deliver status and progress reports to project stakeholders (occasionally via formal presentation) and facilitate communication between all parties to include weekly reports and business correspondence as and when required
  • Act as a key member of BU bid team(s), contributing to proposals, responding to tenders and delivering system demonstrations
  • Identify, develop and create customised sales and marketing materials to suit potential audiences and BU product/technology base
  • Promote BU product/technology base at trade related conferences, shows or seminars as directed
  • Liaise with Legal and Finance teams to ensure contracts are completed and issued in a timely manner

Skills, experience and behaviours:

Essential

5+ years’ experience of selling theatre, music, sports or visitor attraction ticketing systems

Demonstrable Commercial sensibility and business acumen

Proven analytical experience in a Commercial environment

Excellent written and verbal communication skills to effectively present information to a wide range of audiences; end users, technical staff, vendors, departmental and senior management

Fluent in English; written and spoken word

Communicate system/technical issues with non-technical audiences, along with having excellent listening and interpersonal relationship skills

Desirable

Application of ticketing ‘principles’, Commercial models and marketing

Passionate interest in the live entertainment business

European language(s)

Behaviours

The following attributes determine how the role will be carried out and are required to be a success:

Commercial sensibility and business acumen

A rigorous approach to work and an eye for detail

A highly motivated and conscientious individual with the ability to work well under pressure, to make key decisions and to motivate others

Ability to act and learn on his/her own initiative and execute objectives without day-to-day supervision as well as work as part of a team

Ability to define problems, collect data, establish facts and draw valid conclusions

Pro-active attitude; target driven ambitious individual with the drive to succeed

Pro-active nature; a flexible approach to hours of work and location of duties

How to apply:

If your skills and experiences match that of this job description, please submit your current CV including full employment and education information to whearn@omniticket.com by Friday 28th October together with your salary expectations.

Please note due to high volume of applications for our roles we reserve the right to close all vacancies earlier than the advertised date without notice. To avoid disappointment please apply as soon as possible.

All roles at Best Union UK Ltd. are subject to full background screening.

Please note that relocation expenses are not available for this position

Equal Opportunities:

Best Union UK Ltd. expect all people to have an equal opportunity for employment and advancement on the basis of ability, necessary qualifications and fitness for work irrespective of sex, age, gender reassignment, disability, marital status, civil partnership, sexual orientation, colour, race, creed, religion, national or ethnic origin. As an equal opportunities employer, we recognise that diversity is a positive attribute and we understand and welcome the differences that a diverse culture brings.

Paul Rolfe Joins Syx

Syx Automations, has announced the appointment of Paul Rolfe to the post of Business Consultant.

The new appointment is a response to the company’s growing list of high profile clients in the UK.

‘We are very excited to sign Paul,” comments Robbert Vermazen, Operations Manager UK.

“To meet the demands of our sophisticated high profile clients, we want to hire more experienced people with strong relevant experience in the ticketing industry.”

Rolfe joins Syx Automations from the Theatre Royal in Newcastle-Upon-Tyne where, as Database & Systems Manager, he project-managed the implementation of a new payment system integration together with the transition from the theatre’s pre-existing website to its newly developed website.

He brings 13 years’ of technical experience to the table as well as marketing know-how, having worked closely with marketing departments to build campaigns and promotions. He has also created bespoke reporting and analysis methods for KPI reporting and revenue management.

“Paul will join the team which is currently implementing ReCreateX in various new exciting venues in the City of London,” added Vermazen.

Syx Automations provides leisure management software solutions to museums, zoos, theme parks, theatres and attractions including the Horniman Museum and Gardens, Royal Museums, Greenwich, The View from The Shard, the Rijks Museum and the Van Gogh Museum in Amsterdam.