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I’m getting a serious case of the Fridays, but before I dismiss for the weekend I thought I’d share some cool press from the Birmingham Business Journal. Lauren Cooper first covered us last week for a story on our counter to the Ticketmaster /Live Nation deal, the Music Liberation Fund. This week, she covers us in the context of businesses using social media.
Check it out for yourself:
Mucho thanks to Lauren for the great story! One question though Lauren, when are you going to bite the bullet and start tweeting?
Let’s connect!
Company aims to preserve diversity and independence in America’s live entertainment community.
The Music Liberation Fund, Powered by TicketBiscuit
BIRMINGHAM, Alabama, February 9, 2009 – TicketBiscuit LLC today announced the Music Liberation Fund (MLF), a project that will make $10 Million in funding available to live entertainment venues and promoters within the United States who wish to become or remain independent from the TicketMaster / LiveNation umbrella.
CEO Jeff Gale said, “The MLF was established to help preserve the diversity and independence of America’s live entertainment venues. We feel that the industry dominance of TicketMaster and Live Nation poses a significant threat to the existence of independent entertainers, venues, and promoters. We view this independence as crucial to the artistic landscape of our communities, and are taking these actions to preserve it.”
Venues and Promoters may apply for funding by calling 866.757.8330, by emailing mlf@ticketbiscuit.com, or by visiting http://www.ticketbiscuit.com/mlf .
About TicketBiscuit, LLC: TicketBiscuit provides online ticketing systems and innovative promotional and marketing solutions to hundreds of venues and promoters nationwide. With system enhancements and new features added every two weeks, the company never stops innovating to help clients sell more tickets. For more information about TicketBiscuit, please visit www.ticketbiscuit.com .
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Contact: jgale@ticketbiscuit.com
Phone: 866.757.8330
Email: jgale@ticketbiscuit.com
http://www.ticketbiscuit.com
This is the second article in a series where we pick the brains of live entertainment promoters to discover their tips and techniques for staying successful amidst worsening economic times. If you’ve got some good tips you’re willing to share, please email Eric Housh or DM @ticketbiscuit.
Sequoia Slentz is an independent promoter that does events all over the country through his company CleanBox Entertainment. He is the booking agent for the “Killer’s of Comedy” which features comedians from the Howard Stern show. Sequoia also books all of the West Coast Shows for “The Fab Faux,” a Beatles tribute band featuring Will Lee from David Letterman’s show and Jimmy Vivino from Conan O’Brien’s.
I caught up with Sequoia the first time on January 20th, four days before the scheduled Fab Faux show at the Orpheum in Los Angeles. “At this point last year, I had sold this show out- 1400 tickets – without spending a dime on advertising,” he told me, continuing, “this year, I’ve done it all – radio, mailers, you name it, but to no effect.” Four days left until show time, and Sequoia had almost half of the house left to sell.
This tale is all too common lately- promoters struggle to sell tickets in the face of an economy that has forced people to eliminate line items from their budgets. Line items that are typically seen as discretionary, such as concert tickets, are often the first things to go.
The next time I talked to Sequoia was last Thursday, January 29. The Fab Faux show did not sell out, but he did move enough tickets to make money. I asked him to share his secrets for success.
Negotiate, Negotiate, Negotiate!
The thing about the economy is that it impacts almost everyone, and that includes venues, radio stations, hotels, and many other businesses. This opens up incredible opportunities. “The idea is to spread the deficit around. Radio stations need to sell ads. Hotels need to fill rooms. Venues need shows. We all need each other, we gotta help each other out,” Sequoia states. He advises to negotiate with the venues for discounted rates, and with radio stations for discounted air time or ticket giveaways. “Radio stations have an incredible amount of inventory, and they’re willing to deal to sell them all.”
Working with Hotels was effective for Sequoia as well. As part of his effort to increase sales, Sequoia struck a deal with the Kyoto Grand Hotel to offer discounted tickets to hotel visitors. After the deal was sealed, he was approached by four other hotels wanting to ink similar partnerships. “If these guys have empty rooms, they’re losing money – so again, you can help each other out.” He says to also negotiate for inclusion in email blasts sent from the hotel, venue, or radio stations to their respective customer or fan lists. “It’s free and easy – most of the time they will be glad to.”
Being creative also helps. For this last show, Sequoia approached a Professor of the Music Institute and convinced the professor to give his class extra credit for attending the show and writing a paper on it.
Use the Tech Tools
Sequoia uses email marketing religiously. “I’ll use it to communicate with my lists, and I used promo codes to give folks the opportunity to buy tickets at a discount price.” While promo codes are a very effective way of generating sales and tracking marketing effectiveness, Sequoia cautions against the “double pitch.” “If I send an email out on the on-sale date, and someone buys a ticket at full price, then I send that person another email closer to the date announcing half price tickets, one of two things will happen. Either they will become trained to wait for the discount, or worse, they will get mad and not buy any more tickets at all. Both are bad, obviously.”
He says the way to avoid the double pitch is through careful customer management or third party surplus ticket sellers. “I used a surplus seller for this show and it ended up putting an additional $3k in my pocket at the very last minute. I was very happy with it.” Surplus sellers have opt-in databases of people who agree to be notified when discount tickets become available, so the dangers of discounting are mitigated.
Pay attention to the details
“The littlest mistakes can kill your operation. In 2008, I put the tickets for the Fab Faux show on sale in early October, and the show sold out without me spending a dime in advertising. This year, I put them on sale a month later- in November.” While this may sound harmless to the lay person, Sequoia says it was probably a key factor in the slow sales. “Sure, all of the bad economic news was weighing on people’s minds, but also, in November people are thinking about Thanksgiving, and Christmas, and travel, and mentally budgeting. The entire frame of mind changes.” He advises that promoters pay close attention to on-sale dates and times, and the trends of how the tickets move. “I’ve already put the tickets for the October 2009 Show on sale,” he added.
Stick it out
Business will continue to be tough for promoters, with recent estimates saying that the economic recession will last well into 2010. But while the business is admittedly tougher, Sequoia says it’s actually good for his operation. “We’re learning a lot and having to become better and more creative. Not all promoters will come out of this, but if you can stick it out, you will be positioned securely.”
Dear musicians, promoters, managers, artists, and especially fans:
Tonight I read this breaking news on the Wall Street Journal Online:
Ticketmaster Entertainment Inc. and Live Nation Inc. are close to a merger, people familiar with the matter said, in a deal that would consolidate two of the most powerful forces in the music industry under one roof.
The newly created company would be called Live Nation Ticketmaster, and would combine the world’s biggest concert promoter with the world’s dominant ticketing and artist-management company.
Recent shady and allegedly crooked activity on the part of TicketMaster through their subsidiary TicketsNow just further reinforces the inkling that many live entertainment fans have had for a couple of decades: this company seems to care little if at all for the fans. And how much of those ridiculous fees are they sharing with you, promoters? Artists?
As for Live Nation, there was a glint of hope as they released their ticketing platform earlier this year. Then there was the Phish incident, along with those damn familiar and ludicrously high fees, which served as the one two punch of reality, letting us know that superpowers in this industry have all of their own interests aligned, and they are not with us.
The good news is, there are companies out there founded by, staffed by, and driven by live entertainment fanatics who appreciate the entire experience. This new generation of entrepreneurs is unbridled by the old way of doing business, unencumbered by overhead, and as disenfranchised and tired of the superpowers as you are. So to the musicians, venues, and promoters, here is our plea to you:
Say NO to MasterNation. Don’t buy it. get out, do research on other ticketing providers. Check us out, of course. But don’t stop there. Check out Capterra for a directory, or Google. I guarantee you’ll be surprised. Innovations like social media ticketing, viral marketing tools, and mobile ticketing are all within your reach. And ticket fees? We let YOU control them. Hell, you don’t even have to charge service fees if you don’t want to.
Visit http://www.ticketbiscuit.com, Call 866.757.8330 or email info@ticketbiscuit.com. Say NO to MasterNation and YES to the future of live entertainment.
To the fans, please realize the importance of activism here. Encourage your favorite venue, promoters, and artists to say no to MasterNation.
Stay tuned for more updates.
More on the Music Liberation Fund – from TicketBiscuit’s CEO
February 10, 2009 in Commentary, Company News | Tags: concerts, live events, live nation, merger, monopoly, sports, theatre, ticketing, ticketmaster | by jgale | 3 comments
What does “independent” mean? Basically, not involved contractually with Ticketmaster and/or Live Nation. In my opinion, Ticketmaster has done more harm than good in the live music space as of late. The most recent troubling revelation was that Ticketmaster allegedly used its secondary ticketing subsidiary, TicketsNow, to inflate ticket prices for high demand concerts. Ticketmaster has denied any wrongdoing and an investigation is pending. But the whole thing just looks bad.
And now the impending merger with Live Nation. Live Nation enjoyed relatively favorable customer relations until earlier this year. Many folks (including us) were rooting for Live Nation’s new ticketing platform at launch. We know that they’re competitors. But competition is good in this market. It keeps talent accessible and fees low. But our cheering, like that of many, turned to jeering upon first learning that Live Nation’s fees were as high – if not higher – than those of Ticketmaster. And based on the experience of many a Phish fan, the Live Nation ticketing systems were seemingly insufficient for a massive onsale event.
From a business standpoint, the merger makes great sense. It makes sense because TM’s and LN’s previous competitive stance toward each other would have ultimately ended in mutual destruction. It makes sense because they have complementary strengths. It makes sense because Wall Street loves it; the stock price of both companies jumped at the mere rumor of the merger.
I will also acknowledge that this deal will be good for some. Major headlining acts will benefit. Management companies could benefit. Advertisers could benefit. But make no mistake about it: in this relentless focus on financial benefit and the money to be made, music fans, independent musicians, independent venues, and independent promoters, in my opinion, will lose out. In short, this deal will represent the largest consolidation in the history of the live music industry.
Consolidation means fewer choices and higher prices for fans. And that’s what the Music Liberation Fund is meant to fight against.
Is there something in it for us? Yes. Are there strings attached? Sure. But we’ll make all of that perfectly transparent to those who qualify for fund proceeds. The bottom line is that artists, fans, venues, and promoters need a choice. And with any luck, the MLF will help ensure that they always have one.
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