Eventim ties up CONIFA Deal

LONDON 5 February 2018, Eventim UK are delighted to announce that they are the official ticketing supplier for the 2018 CONIFA World Football Cup. The 2018 CONIFA Paddy Power World Football Cup will take place in London 31st May – 9th June.


CONIFA is the international football confederation for teams that are not part of FIFA. The 2018 World Football Cup will bring together CONIFA’s diverse members from around the world, including Tibet, Northern Cyprus, Ellan Vannin (the Isle of Man) and the United Koreans of Japan.


Eventim has vast experience ticketing sports events, as the official ticketing partner for FC United of Manchester, and previously for the Rio 2016 Olympic and Paralympic Games, as well as the official ticketing partner for some of the biggest names in European football, such as; Borussia Dortmund and Ajax.


Dale Ballentine, Director of Development at Eventim UK says “The CONIFA World Football Cup is the perfect addition to our growing sports business here in the UK. We look forward to working with team on delivering such an exciting event.”


Per-Anders Blind, CONIFA President says “Given Eventim’s extensive experience ticketing major sporting events, and being the official ticketing partner for some of the biggest names in European football, they were the obvious choice to be our ticketing supplier. The 2018 Paddy Power World Football Cup will be CONIFA’s biggest ever event, and we are confident that Eventim will help us make it a huge success.”

Tickets go on sale for the first round of CONIFA World Football Cup matches at Sutton United’s home ground, Gander Green Lane on Monday 5 February.


Where is the right time to up-sell?

In our last few blogs we have talked about the difference that upsells or extra products could make to our business, as well as thinking about how to design and deliver them to maximise customer engagement, satisfaction and ultimately revenue. 

Over the last year or so I have been increasingly asked by a number of clients, ‘how many up-sells is too many?’ And ‘Where is the best place to up-sell’? – these have mainly be aimed at the online experience, and it’s where we are going to focus in this blog. 

Before we start, let’s look back at some of the points we raised in our last two blogs, namely thinking about being relevant and showing complimentary offers to the products being browsed or already in basket. 

How strange would it be if a waiter offered to call you a cab as you ate your starter, or offered to take your coat as you polished off desert?  We must think  in the same way  when we look at where in the journey we offer up-sales or extra items. 

To do this, let’s look at how I like to break down an online transaction. There are other ways for other purposes but I like to use these three when talking about up-selling


I haven’t actually picked anything yet, I am merely looking through some shows or events to see what works well for me. I could be ABOUT to pick or pressing that first button. A number of systems, including Booking Protect’s partner AudienceView have a fantastic pre basket upsell.


A pre basket upsell may sound premature, but let’s think about. I was clicking on £50 seats, when I get offered the ‘chance’ to upgrade to a VIP package, which includes front row seats, champagne arrival and programme, all for JUST £75 per head.


This one click impulse ‘hell yeah’ upsale is one of the easiest and through a simple single click allows a 50% revenue bump, not bad eh? This works for packages with multiple elements, that have a brand or name wrapped around it.


The basket can be a crowded place, so much so I believe why we are now, more and more calling them carts! It is still possible to sell the VIP package at this stage, but the customer has browsed shows picked seats and perhaps prices, so to do it now may seem (to them) more work than they can be bothered to.

Let’s not forget that bubbly though!

An upgrade to the ticket type could work here, we could enhance the visit or make it special by selling the champagne upgrade. Of course, we don’t want to negate from the super special VIP package, so it may simply be drinks options or to purchase a programme, again, being able to be super relevant and focused, based on cart contents. 


So we are now actually buying, by this I mean committing our basket and we are perhaps giving or getting logistics, where to deliver to or pick up from.

Now is the perfect time for those extra elements related to coming or not coming. It’s all about Express delivery, print at home and payment. Refund protection sits perfectly here, we have chosen the show, the seat and price, what would happen if we cannot make it?  

The customer has that clear monetary value in front of them, now is the chance to explain how, if they could not make the event we could help them get almost all of that money back. 

Too Many? 

Yes! There CAN be too many- there are numerous commerce sites that give you pages of up-sales for what should be a simple transaction. I filmy believe it’s not the number so much that annoys customer s it’s poor targeting or presentation. As we have said throughout this series, it’s about being relevant. We are in our programming of our venues, we must be also in targeting and delivering extra offers, packages and ultimately revenue to our businesses. 



This work has been made possible by support from Booking Protect

Training Staff to Offer Extra Products

In my last piece I talked about the joys of being offered Fruit and Nut at WH Smiths when buying a newspaper. ( US Readers – this is someone trying to sell you a massive (1lb) of Candy )

We all have experienced up-selling haven’t we? The famous supersize me proposition springs to mind, but up-sells are everywhere. 

I have never taken up the WH Smith one, but I guess some must. Like so many opportunities for revenues, so much depends on how it is presented, coupled with the absolute need to measure its success and those staff or situations in which it works. 

There are a number of great organisations in the culture and entertainment sectors that, in my opinion get unselling completely right.

Training staff to offer extra products

Stats of opt ins for donations and other services online v in person. Why the difference? Staff!

 How can we get staff to sell better. Five key ways improve your upscales. to do it.

# 1 The Offer

The offer HAS to be right. Right here has so many elements. Does the offer compliment the organismal purchase, is it at the right price point, does it offer a real value or cost saving to the customer. I could list a whole range of ficticious and outlandish extra items, but just think – guidebook for museum, drinks with a sandwich or discounted checked luggage. If you can’t see yourself buying it – it’s probably the wrong offer

# 2 Script

I am not a big fan of over-scripting conversations with customers. They can be come tired false and sound er…… scripted. Your staff need several lines or justifications and value propositions as to why the customer might want to take up this offer. How will their day be improved or money be saved by committing now? Think about the examples I just gave – ‘If you buy a Guidebook now, you only have to queue once when you arrive’, ‘Why don’t you wash that down with a refreshing bottle of Coke’ or ‘You’ll save over 50% on airport prices’ The key with these statements is they need to hit at least one of three key areas – Convenience (to the customer), Enhanced experience or Financial saving.  We must give our staff a chance to hit one of these. 

# 3 Train

So, we have the offer, we have the customer benefit script or phrasing. What do we do now? We cannot just let staff loose on it. We must give them some basic training. How to perhaps spot customers in a hurray or may be more likely to accept an offer, not to offer drinks to someone who already has them and many more. A key piece of training is the ability to answer the most basic of questions around the offer. A customer does not want coke they want water – can they have that? Is there more to pay? Less to pay? How do you scan or code it on the till? This may sound simple, but if staff cannot give answers the offer will appear less attractive  / cold be abandoned. 

# 4 Measure

The offer seemed great, we thought customers would love it and we trained staff to deliver it. Did it work? Well the only way to do this is to measure it. It is vital that we don’t just look at stock levels and what we have sold, but the actual uptake of the offer. Of course, the offer may be success, but not for all staff, all days, all channels and all locations – we should look to measure across multiple metrics. We may have the option to change messaging at some locations, or even the offer. One of the largest differences we often see is staff performance. Do some staff need more training, or is the shift they work or position they serve at suffer from factors that hamper upsales. A simple spreadsheet looking at gross sales and uptake % should get you on track.

# 5 Reward

 What’s in it for me? Sometimes people think that staff asking this question don’t care, but all sales positions need, in my opinion some kind of reward for hitting targets or other metrics. These don’t have to be large in value, in fact some venues use awards or even benefits for the entire team when targets are met. The reward shows that as a business, you understand the staff are a vital part in delivering targets. One key consideration with rewards though is to build in what you learnt in the measure phase. Making sure that staff in areas that struggle to meet targets or on difficult shifts are not effectively penalised for working them.


Offers and Extra products can deliver a better experience for customers and improved revenues for business. We need to make sure that in all parts of the design, implementation, delivery and evaluation of offers that we are focused on aching the best possible results. 


This work has been made possible by support from Booking Protect

Eventim UK Launches FanSALE

Eventim UK Launch FanSALE, the Validated, Fair Value Ticket Resale Platform


LONDON, 8 January 2018. Eventim UK are pleased to announce the launch of FanSALE (www.FanSALE.co.uk), the fan-to-fan, fair value ticket resale platform. The platform has been launched in a bid to help ensure tickets get into the hands of genuine fans, as tickets are verified against Eventim UK’s ticketing system and cannot be resold at a highly inflated price.


There are occasions where genuine fans can no longer attend the event they’ve purchased tickets for, and previously there wasn’t a fully integrated platform that would verify the tickets as legitimate. FanSALE facilitates this to ensure tickets sold are genuine, and that there’s a fair deal for the seller and buyer, protecting both parties.


FanSALE has a unique integration with UPS, which enables the tracking of tickets from the sellers preferred pickup point, to the delivery address. Fans will also be able to see the exact location of the seat they are purchasing, including the block, seat row and seat number.


Dale Ballentine, Eventim UK’s Director of Development says “FanSALE is about Fan First Thinking, we want to make sure fans get tickets for a fair price. We know that sometimes fans cannot attend their event as planned. FanSALE will help solve these problems, and ensure tickets are not sold at an extortionate price, making events more accessible for the real fans.”


In a marketplace where more and more artists are taking steps to protect their fanbase, Eventim UK’s validated fair price solution offers a trusted platform to purchase secondary tickets. Eventim UK look forward to working alongside more artists, promoters and venues to ensure tickets get into the hands of real fans.


Adam Webb of FanFair Alliance says “Research commissioned by FanFair last year highlighted that the majority of music fans would like a mechanism to resell their tickets if they can no longer attend an event. They don’t want to profit, just to recoup their costs in a safe and efficient environment. It has been hugely positive to see a growing number of responsible ticketing companies, like Eventim, listen to consumers and move in this direction – and we hope more will follow in 2018.”

What Difference Does 2% Make?

Well for that matter any percentage? Well the bigger the number, often the bigger the focus. We hear about people achieving 15% year on year growth, which is great, but for how many of us is that achievable in one year, or sustainable year on year?


In terms of income, of course, we can gain false positives if we look just at income levels. Having more shows on sale, more seats, more top price seats or a whole host of other factors, such as raising pricing in line with inflation. All of these may give us the belief our businesses are growing or performing better.


Let’s be clear, hosting more shows and selling more seats for er…. more IS success, and we should defiantly be striving for this. For now though let’s, look at this year’s income target or perhaps this year’s income to date.


Would you like it to be more? Of course you would. In the world we live in of limited resources, perhaps long term investment or being able to book 12 nights of lady Gaga – can we reasonably expect double digit growth? I don’t think so.


We could however look at setting ourselves small focused goals. Perhaps just in our own department or ways of working. We all know the danger of telling the board about our plans or targets, as they often hear these as guaranteed deliverables!


Using the 2% as an arbitrary, relatively small number what could we apply this to?


2% increase in online bookers? Going to be hard to quantify our actions on that one. The steady rise of online commerce means you’re probably going to see an increase anyhow.


2% increase in revenue. As mentioned above, with number and type of shows it will prove difficult to perhaps to correlate revenue and tasks undertaken.


2% in average order value? AOV has continued to grow as a metric I see ticketing operations using. Part of this can be effected by higher ticket prices, but it has some legs for our 2% project.


The two areas I think we have real opportunity as technologists and ‘ticketers’ are Conversion Rates (CR) and Extras in Basket (EIB)


Conversion Rates

Most of you will be familiar with conversion ratios. The number of people who achieved your desired outcome from a website visit. For most of US that will be buying a ticket. We must remember thought that not all people visiting the site will have THEIR desired outcome to buy a ticket. They may be simply wanting to find out ‘what’s on?’ or when is it?


At last year’s Ticket Professionals conference, which Booking Protect generously supported, we heard from Craig Sullivan ( https://twitter.com/OptimiseOrDie ) about making small incremental changes to our sites through subtle wording and colour variations. Through the use of tools like optimizely we can effectively run A/B tests to serve up different look and feel to customers on a 50:50 basis and measure which ones see the best ticket sales. Many ticketing companies have interfaces to optimisation tools, if you haven’t looked into it I suggest you do.


 Extras in Basket

Away from the science of optimising your website for maximum conversion, I am a fan of extra items. Here I am talking about tubs of ice cream, programmes or refund protection.


What are we talking about income wise? £2.50 a tub, £5 a programme, £3 per ticket for a £35 face value?


So on the refund protection, that is 10% – but not everyone is going to update take are they? But if JUST 1 in 5 did – we would be hitting our personal target, with out a paper cut or sticky fingers!


Whatever we are selling, or offering as additions at basket level, they have a cost, either in materials or service.


So is that 50p per tub of Rum and Raisin we are making or just 25p? To a CERTAIN extent, we don’t care, it’s extra revenue we are realising. Let’s look at retailers like WH Smith – most of us will have been offered that giant bar of fruit and nut when buying a paper. Why? Well revenue is the answer, either as extra spend or to terminate stock. But it must work. So if they are doing it why aren’t you?


Where do I start?

The New Year is a great chance to explore new opportunities and put your revenue house in order. Get in touch with Booking Protect by visiting their website here https://bookingprotect.com/contact-us/



This work has been made possible by support from Booking Protect




Ticketplan / April Travel Collaboration



MIAMI, FL (Jan. 16, 2018) –TicketPlan Group, the leading provider of ticket cancellation protection in the UK, and APRIL Travel Protection, the rapidly growing U.S. division of a global insurance conglomerate, have recently announced a strategic alliance across all 50 states within the United States. Co-branded as TicketPlan powered by APRIL Travel Protection, the new partnership paves the way for the development of a global network serving the insurance needs of event ticketing professionals worldwide.


Ticket cancellation is now a standard customer requirement in all areas of the event ticketing world and TicketPlan is the premium brand in the sector. Its alliance with APRIL—an innovator in the U.S. supported by the international presence of the 30-year-old APRIL Group—creates a compelling proposition for the event ticketing industry.


“APRIL’s strength in the U.S. coupled with the international backing of its parent company will make TicketPlan an even more valuable resource for entertainment ticketing professionals seeking a one-stop-shop for international event protection solutions across the global marketplace,” said Jason Schreier, CEO for APRIL Travel Protection.


The collaboration launches at the INTIX Conference in Baltimore, MD on Jan. 23 following an extensive research and operational effort undertaken by both companies due to the complexities of U.S. regulatory requirements which differ across all 50 states.


“APRIL has the in-depth regulatory knowledge and expertise to bring new ticket insurance facilities to market quickly, efficiently and professionally,” said Graham Berg, CEO of the TicketPlan Group.


“TicketPlan pioneered the concept of ticket cancellation protection within the UK and is now the accepted benchmark for ticket insurance and protection in many overseas markets as well,” Berg noted. “This partnership with APRIL marks an exciting new stage in our mutual development.”


“Our collective relationships will be an asset for industry players looking to globalize without having to develop operations and navigate regulatory compliance in each international market,” added Schreier.


TicketPlan policies for ticket cancellation insurance in the U.S. will be underwritten by StarNet Insurance Company or Berkshire Hathaway Specialty Insurance Company, and will be administered and marketed through APRIL.


The product and sales teams from TicketPlan and APRIL will collaborate on ongoing projects to generate leads and raise awareness throughout the industry of the opportunities created by the joint venture. TicketPlan Powered by APRIL Travel Protection will be officially unveiled at the 38th Annual INTIX Ticketing Conference at the Hilton Baltimore, Jan. 23-25, 2018.


Visit www.apriltravelprotection.com/ticketplan for more information.


About TicketPlan

TicketPlan was established in 1999 enabling ticket sellers to provide an added value service to their customers and to develop a new and valuable incremental source of income. An ever increasing number of ticketing organisations across the UK and Europe now trust TicketPlan to provide their ticket cancellation facilities. Visit www.TicketPlanGroup.com for more information.



About APRIL Travel Protection

APRIL Travel Protection is owned by APRIL, an international group with operations in 31 different countries.  APRIL is listed on Euronext Stock Exchange and has yearly sales of more than $1.1 billion. With Insurance Made Easy as it guiding principle, the APRIL Global Assistance Network benefits from an extensive organizational structure servicing more than six million policyholders worldwide. The company’s U.S. division is headquartered at 11900 Biscayne Blvd. Suite 610, Miami, FL, 33181. Visit www.AprilTravelProtection.com to learn more.



Yesplan on Tour with More Solutions on Show

Event and Venue Planning system Yesplan have announced more of their Yesplan on Tour events for February, along with a number of webinars.

Read more

XMAS 2018 Lists for Entertainment Venues?


What did you ask for for Christmas? If you are like me you may have just asked for plain and boring socks. Those of you with children or nieces and nephews may have had quite a list.


My youngest son had devised a novel weighting system of ‘top presents’ and ‘these would be nice’ – I guess subconsciously he has picked up on the great many procurement projects I’ve worked on this year!


Just like Christmas lists many organisations weight their priorities when devising specifications for new suppliers or technology. On our functionality builder tool we list those as either essential, desirable or possible items.


In the last four years I have seen some items of functionality giving greater weightings, with some now being deemed less important. 


Many digital tools are now top  priorities for organisations,  while older technologies such as magnetic stripe cards are deemed far less important


Occasionally, we hear or see dramatic changes in these priorities.


Working with a client in late November (2017) we heard just one of these. 


As we discussed the organisation’s needs, focused around scenarios and business practices, one senior member of staff stated 


any system we look to move to must integrate with booking protect, we cannot consider not having this


I was quite taken aback by what is normally an afterthought being a headline functionality demand, so I queried whether it was absolutely essential. 


I’ve projected that we could make £40-£50,000 in 2018 with Booking Protect” came the answer.


“Wow” I replied. 


I have known for some time that many venues make considerable revenues by offering optional refund protection on ticket bookings. I don’t think I’ve ever heard of the figure being that large (but this is a large regional performing arts group).


Away from Booking Protect as a specific provider, or even the type of product, for me, this was quite a watershed moment. It shows us as arts organisations that, in difficult times, perhaps our imperatives and attitudes to technology are changing from functional descriptions to more strategic desired outcomes. 


As entertainment organisations, whether in performing arts or sports, we must start to think in this way.  For some, survival, for others success, may depend upon it.


By placing where we want to go and/or how we want to engage with our fans at the centre of our thinking, in either technology or service provider roles, or even the offerings we make available, we will ensure that we stay relevant, and continue to develop our audiences as well as protecting our revenues.  


Of course, an extra 50 grand a year wouldn’t go amiss either eh?


This work has been made possible by support from Booking Protect

New Year Resolution should be ‘User Experience First’

This article has been updated.  Fairly obviously, for most organisations selling tickets, they rely on ticketing system suppliers and their Internet ticketing engine developers to make sure that their on-line sales front-end is optimised, so ticket purchasers get the best experience and are most likely to buy.  However, organisations selling tickets must take some responsibility for pressing their suppliers to develop better solutions that meet the needs of the marketplace in 2018.

Ever made the mistake of answering a stranger’s “what do you do?’ question with “ticketing”? Common reactions are either the stories of how difficult it is to buy tickets (usually referring to high demand events), especially parents buying tickets for their kids, with websites getting a lot of blame, or you are talked to as if you’re a white collar criminal working in a fundamentally corrupt business! I can usually explain both, but it seems increasingly hard to do so over the justified complaints about the on-line ticket buying experience.

enable customers to buy tickets the way they would want

I always remember a colleague Richard at Dataculture in 1999 (taken over by Tickets.com), as we agonised about adding on-line ticket purchase to the Databox ticketing system, saying it would be different if, instead of enabling current ticket sales methodology on-line, we were looking at how to enable customers to buy tickets the way they would want using a web browser.

As far as I can see, reinforced by my own on-line purchase experience, the perspective hasn’t changed much in 17 years. There has been a benefit from increased broadband speeds, though too many on-sales are marred by poor server responses even at modest traffic levels. But we haven’t seen the purchase flow improved and optimised that much, or reoriented to how attenders might want to go about it. The “why don’t they remember me?” complaint seems very valid. Retail stores have adopted on-line selling and gone out of their way to help the buying process, with reminder emails when customers exit without purchasing, or advice on new discounts or time-limited purchase offers, and an effective e-marketing dialogue.

lessons to learn in how not to do it

If we extend ticketing experiences to include railways, it can give us lessons to learn in how not to do it. Ticket machines at stations are effectively on-line front-ends, and watching passengers trying to purchase tickets from them is salutary. The transaction flow process is plainly not what the passengers expect. OK, it is straightforward to start with selecting a destination and then ticket type, but it goes wrong here. Where do I choose Off-Peak which I know to be valid but is greyed out? Where do I choose a Railcard?

At Cambridge, UK there are two routes to London, with different fares, but the destination of London according to route is not presented  in a way that passengers immediately see. Fortunately there is a ticket counter and the staff don’t mind that the machines are poor, because they get a queue of people who have purchased the wrong ticket-type/fare and need refunds and a replacement purchase, which keeps the staff in work. Apparently the on-train guards have to be forgiving of the numbers of people who have bought the tickets for the wrong route.

there is room for improvement

Are we much better in arts, entertainment and sports? Fundamentally, Yes, since despite the arguments of the secondary ticketers, most people don’t end up buying tickets they didn’t want. But compared with how on-line purchase in other sectors has moved on, there is room for improvement.  And customers are judging us by their on-line and digital inter-actions.  Are we behind the times?

What about the What’s On search? Can I choose to search by date or week or month or time of performance? What about ticket availability? Does it obviously tell me, searching for 2 tickets, when it is down to singles? Can I seek a specific seat location?  Can I choose a price and a number of seats and search across a run for availability? When do I specify the make-up of my party so I can see child and pensioner discount availability, before selecting prices and seats?

Note I started at the ‘What’s On search’, but what about recognising me as a returning customer? Why does Virgin Trains remember me, wants to check on my Railcard status, and keeps my credit card purchase details etc., but my local venue does not? This is going to become significant because General Data Protection Regulation in Europe from May this year (2018) is going to require a very specific permission and recognition regime, ironically in the interests of the venue as much as the customer. We should make it possible for the ticketing engine to know if people are members or subscribers, frequent flyers, etc., perhaps even remember their preferred ticket type and seat location?  This takes us into Segmentation, but that’s a separate topic.

optimise to help people buy tickets

Of course, the number of people purchasing on mobile devices means we could recognise them even more easily, and simply offer near one-click purchase, perhaps optimised for last minute and near door sales. And tickets could always be supplied as on-device or print-at-home.

But how many systems enable a group to reserve seats and pay separately? This may seem a big ask when some systems haven’t yet got a shopping cart for multiple event purchases!  And my experience of dedicated Apps, such as the Picturehouse cinema chain’s, is that these are a step back, not forward.

So can the New Year Resolution be to put ‘User Experience First’ and optimise to help people buy tickets?  Bound to be a topic at Ticketing Professionals Conference, this March too.


Roger Tomlinson

2 January 2018

How is Ticketsolve Getting Ready for GDPR?


GDPR // Ticketing System Readiness Series

How are leading systems responding to changes in EU Data Protection? In the latest in this series we take a look at Ticketsolve






Back Ground

Ticketsolve have continued to add to their already substantial customer base in the UK and Ireland. With over 260 customers in the arts and culture sector they are one of the major providers of ticketing solutions.


Their view

As ever, Ticketsolve have considered the importance of design and usability as well as compliance in their development of GDPR compliant tools. They have decided to deliver both best practice advice as well as a comprehensive set of tools for their customers to use to help them ensure compliance.


What we saw

During our session, we were shown the latest iterations of the Ticketsolve interfaces looking at the customer record, audit trail as well as new options to shape the tone of voice to be used in collection of permissions, expanding the ‘Ok to Email?’ labels seen in other systems to a full explanation of how the information will be used.


Great to see

The journey around the features and tools in Ticketsolve did have me saying ‘nice’ on a number of occasions. Whereas there was nothing in functions that stands out too far from others, it was the intelligent design and extra touches that caught the idea. Specifically, a key word search in audit trails – imagine a customer of x years – how long would their audit trail. Simply type ‘permissions SMS’ in the search box to filter all changes in that specific permission. I was also impressed that Ticketsolve appear to be one of only a few systems that offer a third party log in for safe and secure data transfer – perhaps GDPR will bring an end to those customer spreadsheets being emailed between companies!

The use of Keywords to narrow Audit Searches



What we didn’t see ……. but is coming

As with every system we have seen as part of this series – there is still work to be done by Ticketsolve. Key delivery dates in January are already inked in to roll out a new named third-party permission option – based on the contents of the customers basket. As well as these dynamic opt ins – there will also be the ability to add an unlimited number of fixed consent requests – allowing the ability to recorded consent for marketing and fundraising separately in the system. The extended audit of the customer record will also be printable to produce Data Subject Access Requests with one click.


The Production Company Portal Offers Direct Access to Consented Data and Sales Profiles

Transition Services and Issues

The result of Ticketsolve taking their time to consider all of the issues before starting to deliver the solutions that we saw, is that they have invested heavily in research but also staff training.  Our call to look at the features and functions had a number of support staff actively involved all with a good working knowledge as well as practical ways in which features could and should be used to ensure compliance. These staff will be taking the lead to work with existing (and new) customers to help them get the best from the tools.


Issue to consider

The move to offer ‘unlimited’ anything is always a worry. It’s nice that Ticketsolve will give their customers a chance to create multilevel and purpose permissions, but venues will need to consider which ones are relevant and help the customer understand their communication preferences. The danger is that venues, or new staff may be tempted to add ‘just another one’ and the list suddenly becomes unwieldy.


Stand out feature

We have seen a fair amount of innovation during this series, with some great new tools. My stand out feature for Ticketsolve is an ‘old’ one – one they have had for years – which is their tight integration to Mailchimp. It is one of the best integrations we have seen in terms of granularity and synchronised data. The use of the API allows real-time consents to be used in email campaigns and unsubscribes written back to Ticketsolve.



Ticketsolve deliver some solid tools to their customers already. There are some more to come, which should hit the user base in January, allowing venues to get fully up to speed ahead of May. Our key take-away from the look we had though was clever, clever design.


This article gives information in relation to what we consider to be best practice. However, compliance is context and fact sensitive and as such following any guidance does not guarantee regulatory or statutory compliance.

The Information Commissioners Office will judge any complaint on its own merits, and organisations in need of context or situation specific legal advice should seek it from an appropriately qualified source.

This work has been made possible by support from Arts Council England