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 ProVenue from Tickets.com.
Tickets.com ProVenueDatabox / ProVenueMax / ProVenue
Tickets.com currently has three products in active use, its latest iteration ProVenue is the focus of this report and currently is their actively developed offering to the Arts, Sports and Visitor Attraction sectors.
Tickets.com has researched both their responsibilities and those of venues ahead of their developments to the product. With their experience in delivering multi-purpose and shared systems, they have built on previous work to deliver tools to help venues achieve GDPR compliance.
What we saw
During our session, we focused mainly on the ProVenue product, both from a box office as well as online interface. We also looked at how legacy products such as ProVenueMax and ProVenueDatabox have been delivering (for many years) the levels of granular permissions that are required under GDPR if relying on consent as a basis for processing.
Great to see
It was refreshing to look at systems / versions of product released many years ago that even before legislation, gave marketing staff (and consumers) granular permissions based on content and channel.
What we didn’t see ……. but is there
In ProVenue there are very detailed audits of not just customer data field changes, but also changes to the field labels. This makes ProVenue one of a small group of systems that can adequately demonstrate WHAT a customer saw during their sign up. We did see that many of these fields or audit trails can be configured to display in the Box Office UI. Whereas the ability to see this in the UI is not required under GDPR it is refreshing to see that a vendor understands how important this is.
Transition Services and Issues
Overall Tickets.com have a selection of tools and interfaces which seem to give venues the ability to accurately gain, record and report on consent, if this is the basis for processing customer data. With these tools already in the product there is little transition work needed it seems. Venues requiring bulk updating of records or such services can seek help through the Tickets.com service desk.
Issue to consider
Whereas many of the features and tools to help clients operate in a GDPR compliant manner are in all three products, development focus is on the ProVenue system and the MPV (My ProVenue) online interface. Venues who require third party (promoter / producer) sharing tools will need to look out for upcoming developments in this area.
Stand out feature
As many of you may remember from Databox use, the ‘ask later’ tool is once again in the latest iterations of software from Tickets.com. Users can therefore rest easy that operators who do not capture customer preferences have not ‘lost’ a client – the next operator that serves them will be prompted to collect preferences. This is great, however, we were particularly impressed by the ability to define multi-facetted multi-channel combinations, including the ability to define which are ‘pre ticked’ – users can have mail, sms, email and phone for venue communication, but just email and phone for fundraising. This also opens the possibility to have electronic methods of communication pre-ticked during a purchase path – a sure way to make sure soft opt ins to your venue mailings.
Tickets.com has a proven track record of delivering compliant systems, their latest ProVenue offering has many great features, but once again shows solid and smart thinking in helping venues achieve compliance, while continuing to provide them with the tools they need to grow their audiences.
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