Archive for July, 2009
LPA Releases 2008 Ticket Attendance and Revenue Survey
While valuable information, this survey still does not account for any of regional Australia, stand alone (non-agency) ticketing operations and the increasing number of small online ticketing operators (e.g. Moshtix, HeatSeeker, QJump and so-on).
The issue not addressed in such anonymised data is repeat attendance, so there is no indication of the number of actual people (not attendances) that $1 billion total revenue applies to.
“Live Performance Australia’s Ticket Attendance and Revenue Survey 2008 released today, showed that the live entertainment market is still strong with revenues exceeding $1 billion. The commercial sector, as expected, continues to lead in terms of total revenue. “
“While ticket sales declined overall, they returned to 2005 levels, reflecting that 2006 and 2007 were peak years in the current economic cycle.”
“The largest revenue-generating categories were contemporary music (37 per cent); musical theatre (24 per cent); classical music (10 per cent) and theatre (8 per cent). These four categories accounted for 79 per cent of the total revenue from live performance during 2008.”
30 July, 2009 at 5:18 pm Tim Roberts ARTS Australia Leave a comment
London 2012 appoints ticketing services provider
Oh guess who won, yes it is the same Ticketmaster who covered themselves in glory at the Beijing Olympics
Chinese Whispers and Ticketmaster
Olympics Ticketing Director – Falls on his sword or just shafted?
Millions frustrated as Olympic ticket system falls at first hurdle
Ticketmaster Expands Operations Into China
Olympics: Empty seats a concern for Games
Surely Ticketmaster getting a guernsey again is a case of VERY short memories, obfuscation of facts or just payola?
I was entertained by the language in the announcement:
“LOCOG Commercial Director, Chris Townsend, commented: ‘We’re thrilled to be welcoming Ticketmaster onboard – this is a crucial appointment, following a rigorous tendering process.”
Chris Edmonds, managing director of Ticketmaster UK, said: “… selected as the official ticketing partner … after a comprehensive bidding process …”
Bidding and tendering. Surely, that is two very different things?
Tendering is an objective procurement process, isn’t bidding just competing on price (up-front and ‘hidden’ rebates).
26 July, 2009 at 6:14 pm Tim Roberts ARTS Australia Leave a comment
CTS Eventim Aims to Enter New Markets by Acquisitions
CTS Eventim AG, Europe’s biggest ticketing company, plans to expand into two more European countries this year through acquisitions. Eventim sold more than 70 million tickets last year for more than 100,000 events via the Internet and over the counter.
“We want to continue to grow in Europe and that includes acquisitions,” Schulenberg said. “In five years we want to have grown beyond Europe’s borders.”
Under a 10-year agreement started December 2007, Live Nation is licensed to use Eventim’s ticket software in North America and the German company manages Live Nation’s ticket sales in a number of European countries.
26 July, 2009 at 2:27 pm Tim Roberts ARTS Australia Leave a comment
Ticket Sales, Business Models & Community
Five Ideas To Build Community
Interesting discussion over two posts by Douglas McLennan regarding the limitations to the sustainability of the current ticket sales model in the Attention Economy.
I find the discussion gets a little confused using the term product, when all live performance is a service. But semantics aside some interesting ideas that go to the core of the definition of competition for performing arts events.
All seems logical to me and part of moving away from a product orientation.
Four iterations of competition speak to this in a hierarchy:
Enterprise “Which play do I want to go to?”
Service form “What form of live entertainment do I want to go to?”
Generic “How do I want to be entertained?”
Desire “What desire do I want to satisfy?”
The five steps for an Attention Strategy are interesting:
Ticket Sales, Business Models & Community – Five Ideas To Build Community
Pay Attention! If Selling Tickets Is Your Business Model, You’ve Got A Problem
23 July, 2009 at 12:48 pm Tim Roberts ARTS Australia Leave a comment
Live Nation Ticketmaster Merger Documentation
A bit of light reading, clocking in at over 500 pages.
The proposed name for the merged company is Live Nation Entertainment, Inc.
Live Nation is the largest producer of live music concerts in the world, annually producing over 22,000 concerts for 1,600 artists in 33 countries. In 2008, Live Nation sold over 50 million concert tickets and drove over 70 million unique visitors to www.livenation.com. Globally, Live Nation owns, operates, has booking rights for and/or has an equity interest in 159 venues, including House of Blues music venues and prestigious locations such as The Fillmore in San Francisco, the Hollywood Palladium, the Heineken Music Hall in Amsterdam and the O2 Dublin.
For the year ended December 31, 2008, Live Nation had revenues of $4.2 billion and a net loss of $237.8 million, which included a charge related to the impairment of goodwill of $269.9 million.
Ticketmaster Entertainment connects the world to live entertainment as the world’s leading live entertainment ticketing and marketing company. Ticketmaster Entertainment operates in 20 global markets, providing ticket sales, ticket resale services, marketing and distribution through www.ticketmaster.com, one of the largest e-commerce sites on the Internet, approximately 7,100 retail outlets and 17 worldwide call centers. Established in 1976, Ticketmaster Entertainment serves more than 10,000 clients worldwide across multiple event categories, providing exclusive ticketing services for leading arenas, stadiums, professional sports franchises and leagues, college sports teams, performing arts venues, museums and theaters. In 2008, Ticketmaster Entertainment sold more than 141 million tickets valued at over $8.9 billion on behalf of its clients. In addition, Ticketmaster Entertainment owns a controlling interest in Front Line Management Group, Inc., which is referred to as Front Line, a leading artist management company.
For the year ended December 31, 2008, Ticketmaster Entertainment had revenues of $1.5 billion and a net loss of $1.0 billion, which included a charge related to the impairment of goodwill of $1.1 billion.
READ THE FULL REGISTRATION STATEMENT HERE>>
19 July, 2009 at 1:31 pm Tim Roberts ARTS Australia Leave a comment
Ticket insurance continues to gain ground
The death of the gloved one has brought this oft discussed issue to the forefront.
13 July, 2009 at 4:25 pm Tim Roberts ARTS Australia Leave a comment
Interview with former Ticketmaster CEO Fred Rosen
This collection of 7 interviews was recorded in 2006 by Stagehandspace.com.
He comes across as a pretty reasonable guy, rather than the Lord of the Dark Side.
However, it does provide some insight in to just how things have changed and the TM model is no longer a necessary evil. In fact, with The Internet and an outlet in every PC (and now mobile devices too) combined with the CRM imperative and the ability to own each customer relationship, it is rapidly becoming a bit of dinosaur.
“What people want is the ability to have access,“ … “That’s what this is about, we provide you access.“
The trouble is the dinosaur does not know it is time to pass on yet, are we are seeing its death throws in attempted mergers (with Live Nation) and reliance upon the ‘protection’ of Venue Exclusive Contracts?
1 July, 2009 at 3:07 pm Tim Roberts ARTS Australia 1 comment
