Will online tools really turn fans into promoters?
FanFueled is one such ‘promoter management tool’. The “ticketing platform tracks the transactional impact of fan sharing–and lets fans earn rebates on their service fee if their promotional activities yield additional ticket sales.“
“According to Founder and CEO Anderson Bell, the sharing rate for FanFueled events is 20% — 1 in 5 ticket buyers share information with their peers — which is double the sharing rate for a ticketing platform such as Eventbrite.“
Social Event Ticketing Platform Rewards Fans for Influencing Sales
Who are the Big 3 in the War in the cloud?
A quick primer to the main providers of CRM in the cloud and currently battling it out:
1. Microsoft Dynamics CRM
“If you are an Outlook shop, Microsoft Dynamics CRM is a no brainer. The application’s core offering is your standard fare CRM feature set, but it is adding social media functionality as fast as it can.“
2. Oracle Public Cloud
“brings its formidable database and business application bona fides — of which CRM is just one part — to the cloud.“
3. Salesforce.com
Just need someone to solve that issue of integrating external ticketing software/service transactions for those stuck in venues with exclsuive ticketing contracts …
Do you know of any other successful integrations of CRM with ticketing solutions?
I was contacted by Lauren Carlson a CRM Analyst with Software Advice.
Lauren introduced me to a review she wrote on five CRM alternatives to consider other than Salesforce, namely:
- Microsoft Dynamics CRM
- NetSuite OneWorld CRM
- Oracle CRM On Demand
- Sage SalesLogix
- SugarCRM
The review is Salesforce Alternatives | 5 Cloud CRM Systems to Consider
I recommend having a browse, not because I have a problem with Salesforce. However, I do think that comparison is always useful, as is competition. I would also suggest that the needs of entertainment wrt CRM are specific and the major requirement that is not addressed by any of these is integration with transaction capability, such as ticketing, memberships or donations.
There is are only two such integrations I know of currently:
- Patron Manager is built on a Salesforce platform and incorporates a variety of transaction types (including: Ticketing, Subscriptions and Donations) within the web-based service developed by Patron technology in New York.
- Event2CRM is an integration of Microsoft Dynamics and Eventbrite online ticketing developed by CRM Innovation in Kansas.
Do you know of any other integrations of CRM with ticketing solutions? Let us know by all means by adding a comment to this blog.
There is a short common sense summary available from Software Advice: Ten Steps to Selecting the Right CRM Software that you can download after registering.
Will you be stumbling around with Yumbling as your Entertainment Concierge?
I am not so sure about the name Yumbling, but it is an interesting development nonetheless.
“a free mobile app that recommends local entertainment options based on the user’s current location and preferences.“
This appears to be more than other apps like Urbanspoon which is more like a location based directory and in their words a “provider of time-critical dining data“. This covers a growing selection of entertainment options. They fine tune (or increase relevance of) recommendations by using what they call a “social DNA” algorithm.
“it factors in not only the user’s location, but also what it has learned of their tastes, and reportedly even contextual factors such as the time of day. Users who download the app … begin by creating a basic profile that includes some of their personal likes and dislikes. Yumbling logs this information, but also refines its understanding of the user over time based on their use of the app.“
It is device agnostic, available for iPhone, BlackBerry and Nokia devices.
Arts Marketing Standards Are Now Available – updated
Some very useful resources have been developed by the UK Arts Marketing Association (AMA) in response to the National Occupational Standards .
National Occupational Standards (NOS) specify the standards of performance that people are expected to achieve in their work, and the knowledge and skills they need to perform effectively. The marketing NOS were adapted by the AMA for those working in the arts and cultural sector.
The result is a set of standards which explain what skills and knowledge marketers should have at each stage of their arts marketing career.
You can access the Full Standards online and they are also available as relevant to four levels of marketing roles:
Level 1 – Assistant – officer
Level 2 – Senior Officer – new manager
Level 3 – Manager
Level 4 – Head of department/director
The AMA have also produced some ‘toolkits’ to outline how the standards might be used by those in marketing roles, by their employers and by arts marketing trainers.
Beyond Bums on Seats: Participatory Arts Practices
On his blog, The Artful Manager, Andrew Taylor has looked at the recent publication released by the James Irvine Foundation Getting In On the Act: How Arts Groups are Creating Opportunities for Active Participation
The research includes a model developed by authors Alan Brown and Jennifer Novak-Leonard (in partnership with Shelly Gilbride) of WolfBrown. Part of a larger five stage model, the three participatory stages are detailed to the right. The participatory stages includes: ‘crowd sourcing’ to ‘co-creation’ to ‘audience-as-artist’ .
The report also includes some instructive case studies sourced from around the world.
As the report suggests, we need to be exploring new ways to connect with an ever evolving audience.
Crowd Sourcing Meets Audience Sourcing, or is it just Audience Choice?
Some interesting trends for the future in Brazilian viewers choose what gets screened in local cinemas.
Mobz, a cinema chain in Brazil, hopes to make use of digital cinema to broadcast of live events, concerts, movies and more.
There is no programmer or “central decision-maker (who) chooses what gets shown, however; rather, local consumers are invited to vote on the site for the shows or films they want to see. When enough people vote for a particular screening, Mobz negotiates the details with the content owners and theaters, and viewers can then buy their tickets through the site. Mobz promotes the screening over social networks, and provided a minimum number of tickets are sold, the event or film is then aired. If the quota is not met, then those who had bought tickets are fully refunded.“
This is a similar model to that successfully applied by the filmakers of Four Eyed Monsters to build audiences for their film outside the traditional distributor model. Social networks are used to spread the word and, in effect, consumer advocacy drives the audience development.
While this is unlikely to have immediate applicability to whole live performances, maybe we will see more audience sourced content like that on a recent tour by Rufus Wainwright (for the Baby Boomer challenged, yes the son of Loudon III). The audience could vote in advance for the choice of songs that Rufus sang on an evening.
You will note that I have not, however, suggested cast selection reminiscent of Big Brother!
Aha, so that’s the differences in Twitter vs Facebook vs Google+
Thanks to Andres Silva at Universidad Andrés Bello in Chile for pointing this resource out.
Near Field Communication (NFC) and Ticketing … soon?
The video is not new now (2007), but it seems that everyone is only keener now to roll out NFC, we may be just waiting for ticketing providers and venues to support NFC.
PayPal has been trying out mobile to mobile payments via ‘bumping’ in PayPal bringing NFC to Australia in months
Visa and ANZ have been trialling NFC this year as reported in NFC Is Coming To Australia Sooner Than Later
Coming to a turnstile near you … soon
How do you assess loyalty? What is loyal?
How do you assess what is working in a loyalty program?
Of course, the first thing to decide is how you measure success.
It is often suggested that a loyalty program is working if it accomplishes at least one of two objectives:
- clients are either holding onto their customers longer or,
- are getting them to spend more with the brand.
Kobie Marketing believes that there is only one variable for measuring loyalty – engagement.
“Engagement is a minimum threshold variable that can measure individual member’s contributions to the program’s bottom line. In other words, if a member has an actively engaged relationship with the brand and program, we should measure their contribution. If the relationship is passive, we say don’t include them in positive performance metrics.“
McKinsey in The Consumer Decision Journey discusses these different kinds of loyalty – active and passive:
“Of consumers who profess loyalty to a brand, some are active loyalists, who not only stick with it but also recommend it. Others are passive loyalists who, whether from laziness or confusion caused by the dizzying array of choices, stay with a brand without being committed to it. Despite their claims of allegiance, passive consumers are open to messages from competitors who give them a reason to switch.“
This suggests that we may need the reality of a harsher measure of loyalty in the arts and entertainment to move beyond the false expectations of a fickle passive loyalty. Much of the shadow audience can only be considered passively loyal and the audience attracted to one of your shows only when it is a hit is at best – passively loyal. Actively loyal supporters are more valuable as they will support the challenging rather than just the easy or safe bets.
I have seen it quoted we should measure audiences not by tickets, but by customers. The view above adds another qualifier to measuring audience loyalty to only actually counting those actively engaged.
