The International Ticketing Report is a unique annual health check of the global ticketing industry, with a focus on the industry’s response to the Covid-19 pandemic.
The past two years have been turbulent for the company, but with consumer demand for live events now at an all-time high, the challenges of filling the busiest event schedule in history will put box offices on the back burner. the ordeal.
Staffing, voucher systems and refunds, demand, consumer behavior, communication, new products and services, secondary ticketing, pandemic lessons and recovery are some of the challenges addressed by leading industry experts in this in-depth report.
The report, originally published in IQ105, replaces the International Ticketing Yearbook – a stand-alone global guide to the live entertainment market that will return in 2022.
IQ will publish sections of the International Ticketing Report over the next few weeks, but subscribers can read the full article in issue 105 of QI Magazine now.
To read the previous part of the communication report, click here.
Event Genius & Festicket CEO Benjamin Leaver notes that ending the pandemic has created extra time for individuals and businesses to develop new products and services – time that the world’s ticketing service providers whole have exploited.
“One of the main benefits for us is the accelerated adoption of technology in the industry, from digital ticketing to contactless access and cashless payment systems,” said Leaver. “Although adoption has been faster due to the pandemic, we are confident that the change will benefit the industry in the long term.”
AXS ticketing manager Paul Newman agrees. “The past 18 months have allowed us to accelerate the development of a number of initiatives that would otherwise have taken much longer to implement,” he says, citing AXS opening up its mobile ID technology to d ‘other ticket agents.
“Taking note of the feedback from the customer sentiment surveys we have undertaken; We’ve introduced venue iconography and other features into our shopping flow to give loyal customers the information and reassurance they are looking for to come back to live events.
The CEO of Weezevent, Pierre-Henri Deballon, declares: “Over the last 18 months, we have mainly worked on the relaunch: the challenge was to make sure that the teams were ready for the relaunch and that the product was also ready. To do this, we worked on international development by buying the company PlayPass.
“We also reworked our capital structure by buying back the shares of Veepee, which was a shareholder of Weezevent, in order to be fully independent. This makes us one of the few truly independent European players in our sector.
“The last 18 months have enabled us to accelerate the development of several initiatives”
It was also the moment of the acquisitions at Dice, which bought Boiler Room, as well as the finalization of a financial year of 122 million dollars (105 million euros).
“We have developed our live broadcast offering by working with 6,400 artists on quality streams; we have developed and deployed a brand new customer tool with the collaboration of our partners; we have made massive improvements to the design and functionality of our app and website; and we opened a new headquarters in New York, ”says Russ Tannen of Dice.
At the B2B level, Leaver says: “We have developed our ticket management portal [TMP], which allows event planners to be fully tracking and traceability compliant by collecting all attendee details. The TMP also makes it easy for fans to share tickets with friends, as well as allowing organizers to communicate seamlessly with all spectators rather than just the main bookers.
Fair Ticket Solutions Founder and CEO Alan Gelfand said, “We’ve spent time evolving our identity-based platform to include a health requirements pre-authorization link to activate. all types of ticket formats. “
And in Hong Kong, Total ticketing‘s Martin Haigh tells IQ, “We have developed a global distribution system allowing us to ingest the ticketing inventory of a large number of inventory holders and redistribute it to hundreds of agents, handling CMS, sales, invoices. , the credits. This allows a massive increase in discovery.
“Along with the ongoing development of our ticketing software, we also created Total Streaming to give promoters the ability to mix and match in-person and streaming sales through our platforms and to geo-test viewers and apply a only viewer per link on our feeds. . “
“We took advantage of this moment to expand our business globally”
Mark Yovich says pandemic break is allowed Ticketmaster to achieve long-standing ambitions. “We took this moment to expand our business globally,” he says. “Our goal was to unite across the globe into one team with one mission: to innovate and create an incredible experience for fans and customers, wherever they are in the world. “
“CTS Eventim took advantage of the time of the pandemic for many strategic initiatives to emerge even stronger from the crisis,” reports COO Alexander Ruoff. “These include product developments. Among these, our EVENTIM.Pass digital ticket particularly stands out.
Taking the opportunity to “make ticketing more transparent for both promoter and customer,” says Jamie Scahill, Marketing Manager at Skiddle. “Over the past 18 months, we’ve launched our Beta Promotion Center to current promoters, built from the ground up.
“[It] provides new features like mass edit events, mass embargo events, new dashboards, list integration widgets for promoters and more. We have also introduced a DIY payment plan generator so that promoters have better control over which payment plans they want to offer to customers.
Not to be outdone, Richard Howle says The Ticket Factory is about to complete an overhaul of its payment systems, providing increased security for customers when they book online.
“We have also installed a brand new telephone system in our dedicated contact center. It’s increasingly rare in the ticketing industry for this kind of personalized interaction – and it’s something that we are committed to and truly appreciate as a company, ”Howle says.
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