Is ticketing close to paperless?

Three ticketing suppliers to tackle the elephant in the room – is the future completely paperless?

Wayne Munday, COO of Ticket Zone, Ben Sebborn, co-director and founder of Skiddle, and Joel Crouch, general manager of Eventbrite UK and Ireland have their say.

Wayne Munday.COO Ticket Zone

Wayne Munday

“Ticketing will never go completely paperless. It’s not a matter of whether the paper ticket will disappear, but rather if the ticketing industry is ready, or fully appreciates the potential disruption to the current business model,” says Munday.

Munday says Ticket Zone has observed a number of indicators that may impact on the widespread adoption of paperless tickets.

“Firstly, there has been a resistance by promoters and venues for ticket agents to print e-tickets. If venues allow paperless ticketing they relinquish a certain amount of control – subsequently, the chances of errors and customer services issues increase. e current procedure of paper tickets being printed and issued by the venue provides another ‘safety check’ within the entire process.

“Secondly, the technology platforms and APIs of many ticket agents and a liates is not only diverse, they are – on the whole – not su ciently joined up to trade in paperless tickets. For example, how do customers share tickets in a group? What security features are inbuilt to prevent unauthorized access?

“Thirdly, a paper ticket still remains a controlled and proven media to venues, allowing customer access without any additional technology expenditure, especially during a period of funding cuts.”

Muday continues: “We don’t believe consumers will support a purely paperless ticket. Instead, souvenir tickets will remain a valuable and integral part of the customer experience. ere will always be a segment of people who want a souvenir ticket as a personal memento. Physical tickets can be easily passed on to other members of their party, or to someone as a gift. Or if there is a power cut, scanner malfunction, dead battery on a mobile phone, the ‘old school’ physical ticket can still provide access. The paper ticket is not dead. Long live the paper ticket!

Ben Sebborn

Paperless ticketing is slick

“In short, yes. Ticketing is ready to go entirely paperless. As well as contributing to the crackdown on touting, paperless ticketing is slick, convenient and hassle-free,” says Sebborn.

The Skiddle founder says, however, that before the industry resigns paper tickets entirely to the recycling bin, we need to ensure that the positives far outweigh the negatives.

“We are close. In recent weeks, it was announced that some venues are now promoting mobile-only ticketing. For many, this may be classed as an innovative (and perhaps long-overdue) step forwards. However, we need to ensure we don’t exclude fans who like using other channels to buy tickets – for example, via their computers.”

Sebborn says the figures are interesting. “Although Skiddle has the highest-ranking events app on iTunes, 63 per cent of customers still opt to buy on the mobile web and 23 per cent on their desktop computers. is is presumably because it’s very easy to access and requires no downloads. For that reason, it’s vital that venues and promoters don’t create unnecessary friction and reduce impulse purchases by requiring a download of an app first.

“That’s why at Skiddle, we want to make it as easy as possible for people to attend the gigs, clubs and festivals they love. at’s why we support mobile-only ticket redemption to prevent touting, but in combination with allowing purchasing across all channels for convenience.”

Joel Crouch

Consumer preference

“The technology to go paperless has been out there for years: in 2011, Eventbrite was among the first 
to introduce apps for storing digital tickets and for scanning ticket barcodes,” says Crouch.

“One year later, we created the functionality to store tickets in the iPhone’s passbook wallet the day it was introduced in 2012.”

Crouch says the comapny’s latest move in paperless is its proprietary RFID technology, which Eventbrite premiered in 2015.

“The wristbands are designed to make not just paper tickets, but cash, wallets and long entry lines, a thing of the past at events,” he explains.

However, what’s keeping the industry from going completely paperless is the speed at which consumers adopt the new technology that is presented to them. Crouch says: “In Germany, for example, many consumers still have a preference towards ‘proper’ paper tickets which are posted to them, and paying with cash is still widespread.

“We have seen that the UK is one of the fastest European countries
to adopt new technologies, including mobile only tickets and cashless payments, so if I had to pick a country in Europe that’s closest to going for paperless tickets only, I’d say it’s the UK.”

Eventbrite, Crouch adds, likes to enable its event creators to offer their attendees the format they prefer, be that a mobile ticket, print@home, paper ticket, Apple Watch or Android Wear ticket, Facebook ticket or as a smart wristband or lanyard.

“In short, the opportunity to go fully paperless is already there; the speed at which we’ll get there depends on consumer preference, and meanwhile we o er an exhaustive variety of ticket formats,” he concludes.

Editor’s note: The original article appeared in the December/January issue of Access All Areas. The digital edition is available now.

Tickets please

Access speaks to five ticketing companies on the influence of tech and the issues in the secondary market

Behind the excitement of purchasing a ticket for an event or a festival, ticketing companies are advising and leading the industry.

Without the secure sales of music and live event tickets or the support from ticketing associations combating the secondary ticketing market like FanFair Alliance, this side of the business can fall under the radar. But Access sat down with leading ticketing companies to ask our burning questions to gain an insight on the advance of the sector. But first we asked them to talk to us more about what they offer for the live events scene.

“TICKETsrv provides cost effective online e-ticket sales for events and attractions combined with onsite ticket scanning as a complete out-of- the-box solution,” says Sally-Ann Jay, sales and marketing director at TICKETsrv, the e-ticketing solution company for outdoor events.

“With nearly 40 years’ experience in the live events industry,” says Stuart Cain, The Ticket Factory MD. “The Ticket Factory sells for a variety of events ranging from comedy, concerts and sporting events, to exhibitions, theatre performances and visitor attractions.” Cain explains to Access that the Ticket Factory provides solutions with bespoke products and services with a customer-first approach. “We focus on technology and digital marketing backed by exceptional service and operational delivery.”

“The Ticket Factory adds further value through its creative marketing approach,” Cain adds.

“In 2008, I founded Ticket Arena to provide consumers and gig-promoters with a better
way to buy and sell tickets online,” says Reshad Hossenally, MD at Ticket Arena. “Over the years that have followed, the company has developed its own online platform called Event Genius, and has increased its market share to become one of the largest online ticket agents and event technology providers in the UK.” Th
e business of Ticket Arena is split into two brands. Ticket Arena and Event Genius, which is the industry technology and services side of the business.

On the radar

“Intellitix provides festivals and live events with game-changing tech solutions that increase revenue, reduce costs, and improve the guest’s experience,” explains Eric Janssen, chief revenue officer at Intellitix, Motreal. But the company has offices situated in Toronto and Chatham, as well as representatives across the globe.

“We’ve worked with some of the world’s biggest and best events including Tomorrowland, Coachella, Comic-Con, and UEFA Champions Festival,” Janssen adds.

“We tend to work with the outdoor events sector,” says Jay. “Large agricultural and county shows where traditionally secondary ticketing hasn’t been an issue. For events where secondary ticketing is a problem, tickets can be assigned to a single name ticket-holder so that photo ID can be checked on the gate.”

Eventbrite is a leading platform with nearly three million events powered around the world each year. “We process two to three million tickets every week,” explains Marino Fresch, marketing director at Eventbrite UK.

“Hundreds of thousands of organisers, like Showmasters, Telegraph Events, The Guardian, WOMAD music festival and many more, use Eventbrite to boost ticket sales, promote and manage events, handle onsite operations, and analyse results across multiple sales channels,” Fresch adds.

The conversation of technology is one that everyone 
in this industry
 has an opinion about, and with good reason. These are the companies that the advance and influence of technology directly reflect upon.
 Jay tells Access that for events, TICKETsrv can now see up to 67 per cent of advanced tickets being purchased on a mobile device. “The mobile revolution is already here. Mobile optimised sites and super-easy purchasing are a must for today’s events. It’s just a case of events getting them organised and ensuring they are up to speed as soon as they can.” This means an increase and heavy focus on that particular sector, to make it quicker for customers to book on the go.

“There are a number of technology solutions that we have enabled to help service our larger event organisers,” explains Fresch. “We partner with peer-to-peer exchange platforms and continue to explore other partnerships that help fans sell tickets they no longer need, and secure tickets at fair prices. It is crucial to understand where, when and how to meet potential ticket buyers today.”

“The average event can expect up to 20 per cent of sales to come through social media channels,” adds Fresch. “The significant number allows both ticketing suppliers and organisers of live and outdoor events that the audience they target are often influenced though their screens.”

“The speed and adoption of new technology
has been transformative for the ticketing industry in delivering greater efficiency and profits,” says Hossenally. Technology that offers benefits can be massive for organisers who are trying to remain pro table in the face of rising costs. In the race to provide the best possible technology and services for organisers to use, it often goes unsaid just how much money and time is spent on research, design and development on the technology that they are provided with.”

“Ticket agents are now faced with the need to continually adapt and update software to block fraudulent activity without damaging the sales process for genuine fans,” explains Cain. “We’re fighting a war with ticket touts on a daily basis and have invested significant resource into trying to combat malicious bots and to educate our customers about the importance of buying from STAR approved sellers.”

Hossenally explains tactics that Ticket Arena have introduced in a bid to battle the touts. “Our fair queuing technology for high demand events helps protect us from the automated bots that online ticket touts use, and we are currently developing our own innovative tout beating solution to tackle the issue in a way that’s fair to fans and promoters,” adds Hossenally. “We’ve also been vocal supporters and signatories of FanFair’s campaign to create stronger legislation to protect fans and consumers from the pitfalls that have emerged with the secondary market.”

A stronger system

“We empower event organisers to sell more tickets, to improve the marketing for their
events, allow for faster access control and cashless payments, and we provide organisers with real time and in-depth intelligence on their events and attendee,” says Fresch.“The secondary ticketing issue widely discussed today is focused on large sports and music events held in huge venues and arenas. These events are the most attractive to commercial resellers looking to profit from the high demand for tickets. These customers are largely outside the scope of our customer base, and therefore not an issue for us today. That said, as leaders in ticketing, we care about this deep- rooted industry issue.”

“Our technology has definitely changed
 the ticketing sector for good,” adds Fresch. In 2006, when Eventbrite began, the industry saw the ticketing market dominated by less than a handful of providers. “We took modern online technology and developed a professional yet affordable ticketing service for mid-sized and long-tail event. For the first time, an organiser could just go online, set up their event and start selling tickets.”

“There are so many ways that tech is infiltrating live events – access control, VR, social media, cashless payments – and guests are embracing it. Not only that, but they expect it. They want to be wowed by a cool experiential activation. They want to use their phone or wristband as a ticket. They want to leave their wallet at home and use their wristband to pay for beers,” says Janssen. But he believes there is a better way.

He believes that event organisers and consumers are frustrated with secondary ticketing and ticket fraud. “But we have a solution. RFID is not only the solution to ticket fraud, it comes with countless other benefits as well. If you want to get guests in the door quicker so they can start buying food, beer, and merch – then you need RFID. This is the future of live events and it’s happening now,” continues Janssen.

“We wish organisers knew how simple and timesaving their ticketing should really be,” says Jay on behalf of TICKETsrv as she describes her most treasured corners of the sector. “The outdoor events sector is the most vibrant, exciting sector to be in. There really is nothing like helping organisers get the most out of their ticketing, helping to increase sales year on year and that feeling on the morning of the show as the buzz builds before happy customers are scanned into their favourite events.

“We work with such a wide range of events – sports, concert and music 
events, conferences, 
food, wine, and beer festivals. There’s never a dull moment,” agrees Janssen.

Working in events, specifically outdoor, it’s undeniable that the opportunities arise for everyday office days are quite extreme. Attending a festival and calling it work is something that it an odd obstacle to overcome. The same goes for those working to get that festival together, like the ticketing companies that work closely with these events.

Fresch tells Access quite simply that ticketing is more than the transaction of a ticket purchase. “We help people find events to discover new passions, and to fuel existing ones. We help organisers sell more tickets, and in turn grow their events. We help grow live experiences and ultimately, we help bring the world together through live experiences.”

“The excitement and energy is the best thing about this industry. There’s nothing like the thrill of helping organisers put on a great show for their customers and us providing all our technological services to make the event better for them and their customers,” concludes Hossenally.

Eventbrite acquires ticketscript

Eventbrite has acquired self-service ticketing provider ticketscript, making it Europe’s third largest ticketing platform after Ticketmaster and Eventim.
In a post on the ticketscript website, co-founder and CEO Frans Jonker thanked customers for their “trust and commitment to us over the last ten years”, adding that he was confident the acquisition would enable the company to “take our commitment to you to the next level.”
Jonker also promised that in the years to come, ticketscript customers would have access to Eventbrite’s promotional tools, reserved seating capabilities and organiser app.
Ticketscript, founded in 2006, is currently headquartered in Amsterdam and is active in the UK, Germany, the Netherlands, Spain and Belgium.
“This acquisition supercharges Eventbrite’s footprint in Europe and brings 10 additional years of traction in the music space and experience in European markets to our business,” said Eventbrite CEO Julia Hartz. “It perfectly aligns with our strategic vision to become the world’s leading marketplace for live experiences, and adds significant assets and technical power to our platform.
“We are looking forward to this new partnership, combining the best solutions from both companies, and bringing them to our customers around the world.”

Seven forces shaping the future of ticketing

Culture, technology and entrepreneurship summit organiser REMIX has produced a report, commissioned by Eventbrite, debating the future of arts and culture ticketing along with the pros and cons of third party ticketing.

Simon Cronshaw, managing partner of the global REMIX summits and founder of CultureLabel.com, presented the report at the annual REMIX Summit in London.

Cronshaw commented: “The ticketing market is changing rapidly, and it can sometimes be hard for organisations to keep up. The report will hopefully act as a guiding light for what they should focus on, why harnessing tech can improve their ticket sales and how to do this most efficiently.”

Here are the seven trends that the report found could potentially have an impact on the future of the ticketing sector:


The report predicted that customer targeting technology will become increasingly advanced, with organisers able to target individuals with tailored offers and fundraising opportunities.

“Taking this one step further,” added the report. “Social targeting enables you to advertise to highly-focussed demographics with tools such as Adwords or Facebook. These replicate and amplify previous successes with similar groups.”

Selling ‘experiences’

The report pointed out that experiences from the arts sector are often conspicuously absent from popular gift experience sites.

It predicted that packing and selling arts events as experiences is an untapped market that might be on the brink of erupting, with food and drink bundles and VIP packages a distinct possibility.

Distributed sales

It is becoming increasingly difficult for organisations to sell tickets themselves. The report predicted that tickets would increasingly be advertised through multiple channels including the physical box office, organiser websites, partner websites and aggregators.

Ticket to brand experience

How can a ticket become a gateway to a full user journey before, during and after an event? The report predicted that tickets will increasingly track users throughout their visit to provide a completely personal event experience.

Mobile giving

Philanthropy is set to change, said the report: “New sources of revenue can develop by integrating philanthropy into purchasing and onsite experiences. In addition to Gift Aid, facilitating donations through mobile giving, or rounding up the pennies on a purchase, offer important new revenue sources.”

On demand

On Demand viewing has fundamentally changed how viewers consumer television, and now it is set to change the face of ticketing.

New customers can be engaged, predicted the report, by bringing in passing traffic: “Platforms that specialise in hyperlocal listings, or in late availability promotions, can lead to new audiences – providing your ticketing systems can respond.”

Payment tech

Payment technology is undergoing major disruption, said the report. The growth of contactless and mobile payment means that there are countless opportunities for innovation in ticketing.

Find the full report at http://tinyurl.com/bigticketquestions

Making a Brexit

As the dust settles after the EU Referendum, Access looks at what the future might hold for the industry.

On the morning of 24 June, event professionals awoke to discover that the UK had voted to leave the European Union. The UK’s involvement is coming to to an end and the industry has been left wondering, what comes next?

On the day the result was announced, Access caught up with influential figures from around the industry to gauge their reaction to the news. For many, the closeness of the result (the Leave vote had just a 52 per cent majority) created a polarised country.

Chris Skeith, CEO of the AEO, tells Access: “Brexit has demonstrated quite a divided Britain with a result that has shocked many. What’s really important now – regardless of the outcome – is that we as an industry need to pull together.”

The events industry appeared to be largely against Brexit in the weeks leading up to the referendum. A Twitter poll carried out by sister magazine Exhibition News after the result found that 75 per cent of respondents thought leaving the EU would have a negative effect on the events industry.

The Leave campaign did, however, have its champions among events professionals.

Nick de Bois MP, chairman of the UK Events Industry Board, says of the result: “This momentous decision sets the course for the UK to excel in global markets, free of the heavy bureaucratic and undemocratic institutions of the EU. There will, of course, be a period of adjustment, but the bottom line is that the future is in our own hands and that presents the UK with a massive opportunity.”

“Clearly, this was not a decision that anyone took lightly,” adds Eventbrite general manager, UK and Ireland, Joel Crouch. “In London alone, we spotted close to 100 events on our platform where the EU referendum was being discussed in the run up to the vote.” One possible result of the vote, highlighted by several event professionals, is that the drop in the value of the pound due to the referendum may trigger a new tourism boom in the UK. “The weakening of the pound makes

Britain more competitive,” explains Michael Hirst OBE, chair of the BVEP. “We have a greater flexibility to win more global events, especially now that we have a new industry board in place and much more willingness on the part of the government to support events.”

For Steve Heap, general secretary of the AFO, government support will have to be up to the standards of the EU’s contribution to the UK events industry. “Economically I have been employed by several events funded from European cash, regional development funds, direct and indirect grants from Europe.

“There is very little confidence that our industry will be guided, encouraged or supported for the foreseeable future. Where will events, festivals and tourism get their financial support?”

While the UK’s exit from the EU may be some time off, the practicalities of Brexit are still largely unclear, and the events industry has been left with more questions than answers.

“Will it now become more complicated to work across borders? What will the impact be on touring musicians, especially emerging artists in terms of visas and other issues?” asks Paul Reed, general manager of the AIF.

“As Croatian festival organisers we are concerned at how this situation will affect our many UK visitors. It could have various implications on visas, airplane tickets and more,” adds Adnan Mehmedović, co-founder of Fresh Island Festival.

The overwhelming feeling amongst event professionals, whether they voted leave or remain, is that the industry must continue to work closely to build communities, and heal the divisions created by Brexit.

As Truck Festival put it in a statement to Access: “We will all have to rebuild bonds in our communities.”

Eventbrite report: UK festivals driven by super-fans

Festival super-fans spend more on tickets in a year than any other type of attendee, according to research by Eventbrite.

The new research, which was released today (8 August), also downplays reports of attendee appetite waning, with 88 per cent of respondents saying they would attend at least the same number of festivals in the next 12 months.

“UK festivals have flourished to the point of saturation, so it’s never been more important for promoters to know their customers,” said Marino Fresch, Eventbrite head of marketing, UK & Ireland. “Our research indicates that a group of loyal super-fans drive revenues and attendance and power the market. Festival promoters would do well to nurture the super-fans of tomorrow.”

Super-fans spend £581 annually

Spending more than all other festivalgoers combined, super-fans attend an average of four festivals a year at £149 per ticket. Casual festivalgoers, who account for 38 per cent of attendees, spend £45 less per ticket, forking out only £104 on just one festival a year.

Forty-three per cent of super-fans attended more festivals in the past 12 months than the year before, and 53 per cent plan to attend even more this season, helping drive the music festivals market.

Glastonbury still on top

Super-fans have attended their favourite festival three times already and 54 per cent would be willing to go alone if need be. Their top festivals are (in order): Glastonbury, V Festival, T in the Park, Reading/Leeds and Download. They act as tastemakers to their peers, with 55 per cent saying their friends count on them to keep informed.

Headliners continue to be a draw

Thirty-two per cent cite “The headlining artists” as the number one reason they go to a music festival – twice as many as the next most popular response, “My friends are going” (16 per cent). Super-fans also still like owning music, with 61 per cent having bought a CD or vinyl in the past year and 79 per cent a digital download. Their favourite genres are alternative/modern rock (59 per cent), classic rock (43 per cent) and dance (41 per cent).

Half think festivals are too corporate

The average UK festival super-fan is 32 years old, with an income of £45,000+ and skews male (59 per cent vs. 41 per cent female). 68 per cent get a sense of community from attending music festivals and nearly half (46 per cent) think they are too corporate.

Super-fans more active on social channels

Seventy-seven per cent post on various social media feeds during the festival. Super-fans are 23 per cent more likely to use Snapchat, 63 per cent more likely to tweet and 70 per cent more likely to use Instagram than casual festivalgoers.

Eventbrite partnered with independent research firm MusicWatch to survey 504 UK-based 18-49 year olds who attended at least one UK music festival in the 12 months to the end of May.

The full report can be viewed at eventbrite.co.uk/blog/festival-super-fans.

Photo credit: Serious Stages

Me, Myself & I: Joel Crouch

Eventbrite’s new general manager for the UK & Ireland talks wearable tech, the future of Facebook and the industry’s move to online.

EXPERIENCE ECONOMY Eventbrite is using technology to make a massive impact on both how organisers manage their events and how consumers find interesting ones to attend. I’ve always been a fan of live events so it is exciting to be part of helping drive these types of experiences. It is really inspiring to see the variety and range of the businesses, creative industries and individuals who use Eventbrite as a platform to power their events through technology.

DATA HOUNDS We can provide organisers with ready access to their event trends by digging into the data and by presenting it in an easily digestible format. Most organisers will be using online metrics to predict attendee flow, to avoid shortfalls and maybe even no-shows.

QUEUE FATIGUE The entry queue could well become a thing of the past, as RFID wearables and online ticketing data are set to genuinely help flow of traffic and address any bottlenecks.

EVENTBRITE V GOOGLE Agility and nimbleness are two values that I’d relate back to both Eventbrite and Google. The main difference is that while Eventbrite is on a path to becoming a household name for event organisers around the globe, we are not there yet; there are still industries and countries where we are not that well known. Helping to grow a global tech company that simplifies event organisers’ lives around the world is incredibly exciting.

CAREER HIGHLIGHT My role of general manager for the markets in the UK and Ireland was newly created – so I’ve been focused on carving my way and defining the remit. That in itself has been the greatest achievement so far.

SMOOTH OPERATOR Organisers can utilise RFID for smooth and quick entry management, as well as crowd control and other more hidden benefits such as being able to quickly adapt to changing situations (like redeploying RFID scanners from one entrance to a busier one) and the ability to track how people are spending within a festival environment.

WATERCOOLER TOPIC We spotted close to 100 events in London on our platform where the EU referendum was being discussed, which is a great indicator of how Eventbrite is a platform for all kinds of events can help facilitate debate.

BABY STEPS There’s a movement towards online, and within that towards mobile. I also think RFID is very exciting, not least because here in the UK it is still in its infancy and it holds much more potential that goes beyond smooth entry control – think cashless payments and location tracking within the venue for improved crowd control.

FACEBOOK ME Many consumers, especially in the younger age brackets, learn about events on Facebook. We’re working on enabling ticket purchases right in the Facebook app, without consumers ever having to leave it – you’ll also get your ticket right in the app. This is part of simplifying the ticket purchase experience for consumers through technological innovation, eventually helping to drive ticket sales for our organisers.

EMPOWERING ORGANISERS Secondary ticketing has created a lot of understandable discontent on the consumer side, as well as backlash from artists desiring greater regulation efforts in the UK. At Eventbrite, our goal is to empower organisers to list events of all sizes, and help consumers purchase the full range of those events, at list price. This is a win-win for everyone.

Eventbrite releases second Pulse Report for the UK events industry

The second annual Pulse Report surveyed 875 event industry professionals and asked 27 questions about trends and practices within the industry.

Mark Walker, head of content for Eventbrite, hosted a panel discussion covering the main themes of the report at an industry networking breakfast held on 27 April at Central Hall, Westminster.

The panel featured Kevin Jackson, ISES UK president; Julian Agostini, MD of Mash Media; Deborah Armstrong, founder of Strong & Co and Eventbrite UK’s general manager Joel Crouch.

Panelists discussed the impact of tech on the events industry, and acknowledged that while event tech plays a huge part in most events it still cannot compare with face-to-face contact.

“What makes people happier for longer is live experiences,” said Crouch, “we can interact with others in a way we can’t do online.”

“We have to remember that we’re the events industry, not the technology industry,” agreed Agostini, “our industry is about bringing people together.”

The report revealed that less than five per cent of organisers are investing money in ‘next generation’ technology for their events.

Walker pointed out that capitalising on these new technologies could be away for organisers willing to take a risk to stand out from the crowd, saying that ‘next generation’ tech is an “open goal for organisers who want to take the lead.”

When the discussion moved on to efficient event growth Walker pointed out that profit was lower down the list of priorities for organisers than in previous years, coming in fourth after factors like training and education.

“ROI is out of date,” argued Agostini, “now it’s all about your objectives.”

While the report found that organisers were generally positive about the future growth of their events (67 per cent expected their event to grow), it also found that it was more important than ever for events to stand out from the crowd and offer something unique to their audiences.

‘People want to attend events to learn, to network and to create new experiences,” said Walker. “Events now have to work harder than ever to build a loyal audience.”

“We’ve accepted that half the audience won’t turn up,” added Agostini, “if 100 people are saying yes online, then why aren’t they coming?”

The discussion concluded by examining the popularity of email as a marketing channel, which has long overshadowed social media and other forms of marketing.

Crouch pointed out that email marketing is easy to measure, while Agostini argued that emails can be a direct link to an event community, adding: “If you haven’t got a community, don’t run the event.”

The full Pulse Report can be downloaded from the Eventbrite website.

Eventbrite launches free public events drive

Ticketing and registration platform Eventbrite has created a multimedia exhibition celebrating free events, set to tour through London, Glasgow and Dublin.

The exhibition, which will run from 6-17 April through the three cities, will also provide the backdrop to networking events and discussions for attendees.

London’s panel discussion will see DJ Magazine editor Carl Loben joining DJ Pete Woosh and Continental Drifts director Chris Tofu, while the Glasgow panel will explore the challenges and advantages of creating music events.

Joel Crouch (pictured), Eventbrite’s general manager for the UK and Ireland, said: “Next week’s roundtable and discussions will provide us with a healthy debate.  Free event organisers tell us that their pinch points for hosting free music, community and cultural gatherings can be as simple as availability of suitable venues and spaces.

“Sometimes they are looking for guidance on everything from health and safety training, to making the most of social media and technology to market and manage the event.  We had over one million free events on the Eventbrite platform last year and are pleased to be able host a free-style exhibition of iconic images and memories – as well as support the many organisers who run free events.”

Eventbrite survey: music fans want more mobile tickets

An Eventbrite survey of the UK public’s favourite local events suggests that mobile/in-app tickets are considerably more popular than they are prevalent.

4.82 per cent of respondents received mobile/in-app tickets for the last music event that they went to, while 19.47 per cent of respondents said they would rather have them, rising to 20.05 per cent amongst 30-44 year olds and 21.51 per cent amongst 18-29 year olds.

The survey also explored how people listen to musical acts before going to see them live.

Among the main UK on-demand music formats, physical (CD/cassette/vinyl) was most common, listed by 25.89 per cent of respondents, and was the most popular listening method for 30-59 year olds. The second most popular format was YouTube, with 19.29 per cent people streaming acts’ videos on the service before attending a gig; this was the preferred listening method for 18-29 year olds.

Spotify narrowly pipped iTunes to third place, with 12.69 per cent of respondents listening to an act on Spotify before attending a gig, versus 11.98 per cent using iTunes.

Music came out top of the pile for favourite local events, with 24.27 per cent of respondents listing music events, of any size, as their favourite event type within an hour’s travel.

Additionally, respondents were more willing to spend money on music than any other event type (those surveyed included sports, theatre/dance, food, art, and networking/classes/talks). 82.59 per cent said they would spend something on music events, with the most popular price bracket £21-35, as chosen by 24.22 per cent of respondents. Of the event categories listed, music was the only one where £0 was not the most popular response for how much they would typically pay.

Finally, it seems that gigs can still act as a discovery platform for new acts, as 18.17 per cent of respondents said that they hadn’t listened to the act before seeing them live, at the last gig they went to.

Interpreting the results, Eventbrite’s Katie McPhee said: “Perhaps unsurprisingly, music was the respondents’ most popular choice of local event. The data suggests that there is a demand for mobile ticketing that is not being met. We were also interested to see that, while there is a pronounced trend towards music discovery via streaming media among a younger demographic, physical formats still outperform YouTube, Spotify and iTunes as the main way people listen to acts before seeing them live.”

The survey, commissioned by Eventbrite, the self-service ticketing platform, explored people’s favourite local events, spend on different types of events, music discovery, and ticketing. It was completed by a randomly selected group of