Music. Culture. News.

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Introducing Show Forecasts

We are excited to announce the launch of Show Forecasts, the latest feature of Ticket Counts Pro that algorithmically predicts sales for upcoming shows. Show Forecasts enables agents to make better-informed decisions about where to allocate both current and future promotional efforts for their clients’ shows.

Our algorithm analyzes the sales histories of thousands of shows to predict where sales will ultimately end up for each show. The algorithm takes into consideration multiple data points, including but not limited to the venue’s capacity and both the artist’s and the venue’s previous sales history. Ticket Counts Pro makes this all possible by collecting and storing ticket counts in a best-in-class cloud database, freeing your sales data from the limitations of a spreadsheet. With Show Forecasts, agents can more effectively highlight successes to their clients and focus marketing attention on shows that are lagging.

We visualize these predictions on our Artist Dashboard via a three-tiered star system:

  • Full star: A show will likely come close to selling out.
  • Half star: A show will likely sell between 50% and 80% of the house.
  • No star: A show will likely sell less than half the house.

Below is a screenshot of what Show Forecasts look like on the Dashboard for a particular artist:

This three-tiered system can inform both the short-term and long-term booking and marketing decisions that agents make on a daily basis. For shows with a full star, agents can feel more confident about booking their client(s) at that particular venue in the future, while shows with half or no stars serve as a signal to agents to check in on their promotional campaigns in those corresponding markets.

Since launch, our Show Forecasts have predicted sales performance with nearly 90% accuracy. We have collected over 116,000 ticket counts to date and continue to expand our client base every week with new booking agencies. We look forward to seeing Show Forecasts become an integral component of Jamplify’s toolkit for evaluating ticket sales performance and making smarter booking decisions.

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Introducing Jamplify Live Intel

We are excited to announce the release of Jamplify Live Intel for Booking Agents, which empowers agents to find the best bookings for their clients. 

On the back of our Ticket Counts Pro product that collects sales numbers from thousands of venues around the world, we have freed up agents and their teams to do what they do best: book shows. 

As we talked with our agency clients about their booking process, they told us that they use a wide range of databases and tools to source opportunities. For example, some scour Songkick to look at similar artists’ routings and almost everyone spends a ton of time on Google Maps trying to figure out if markets are within range of each other.

Speaking with our clients, we thought, “What if we could create a database of every show and venue in North America and pair it with the power of Google Maps?”

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With Live Intel, we provide our clients with amazing flexibility to identify booking opportunities in ways they have never been able to before. And it’s all beautifully displayed on an interactive map, so you always know exactly where you’re sending your artist.

Target thousands of venues in North America by:

  • Distance from location (including radius clause)
  • Genres booked
  • Artists booked

When you need to fill an avail between two bookings, you can specify both booked cities and we’ll identify the venues in the middle that work best (as shown in the example above)!

For each venue, you’ll find a robust profile with a Full Calendar of announced bookings (powered by SeatGeek). If you use our Ticket Counts Pro product, you can also view all of your previous bookings with a particular venue and how well they sold, so you can identify venues that you should absolutely return to (or not). 

Live Intel has already become the daily tool of choice for our clients and we’re excited to introduce it to more agents over the coming weeks and months.

Please don’t hesitate to reach out if you’re interested in getting access or if you would like a live demo (Matt Sternberg, Head of Business Development, msternberg@jamplify.com).

Jamplify Case Study: Paquin Artists Agency

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At Jamplify, we have the fortune of working with some of the most forward-thinking booking agencies in the business. This past summer we began working with Toronto-based Paquin Artists Agency and their amazing roster musicians, family shows, magicians, and ballets. The below case study outlines how Jamplify has changed the way their agency accesses ticket sales data for their shows and leverages that data to drive decision making for their agency. 

“Jamplify is among the most user friendly pieces of online software I have encountered. The ease of adding and updating data has been enjoyed equally by our staff and clients.”

– Meaghan Sproule, Paquin Artists Agency

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Paquin Artists Agency began using Jamplify to eliminate countless man hours that were being spent collecting, managing, and analyzing ticket counts data.  Before using Jamplify, Paquin was spending upwards of 45 hours per week reaching out for ticket counts, following up with promoters, processing automated reports, and organizing ticket counts in spreadsheets to share with managers.

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Paquin supplied Jamplify with over 500 tour dates to collect ticket counts for over the following 6 months.  The Jamplify team seamlessly consolidated hundreds of tour dates from several  spreadsheets into Paquin’s Jamplify dashboard.  


After the tour dates were added, the Jamplify system began ticket counts request automation, eliminating the need for Paquin to reach out and follow up with hundreds of promoters across 500 tour dates. 

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To date, Jamplify has collected over 5,000 ticket counts for Paquin Artists Agency, allowing the Paquin team to focus on more important revenue driving initiatives.  By eliminating the ticket counts process through Jamplify, Paquin Artists Agency saves over $25,000 per year in labor.

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“Not having to go through the laborious task of constantly contacting promoters and venues for counts has added countless hours back into staff’s weeks allowing focus to be on more important matters.”  

– Meaghan Sproule, Paquin Artists Agency


As ticket counts continue to pour in for Paquin, the agency has amassed a large data set that can be used to sell out more shows.  

“The greatest part of the platform is the sheer volume of data that is now at our fingertips allowing us to perform our jobs and serve our clients better.” 

-Meaghan Sproule, Paquin Artists Agency

Introducing Ticket Counts Pro

We always learn a ton by listening to our clients and music industry partners, and are incredibly grateful for their insights. A listen-first, build-second mentality in any industry goes a long way, but especially in ours, where there has been so much innovation for the music consumer (Spotify, Jukely, SeatGeek), but relatively little innovation for the music professional. By working collaboratively with promoters, agents, and managers over the past few years, we’ve had the fortune of building award winning tour marketing products that have been used by industry professionals around the world.

Through our experience building those products, we became intimately familiar with the ins and outs of ticket count collection. Agents told us firsthand how complicated the process can be. Presenting ticket sales data in effective ways is daunting. Oftentimes, there isn’t enough time or manpower on an agency-level to gather the ticket sales data agents need, let alone turn ticket sales data into actionable insights.

If you’re a booking agent, this might sound familiar to you:

  • You (or your assistant) emails several box offices for ticket counts
  • The box office contact emails back the ticket counts for each show
  • You (or your assistant) responds to some box offices to clarify their numbers
  • The box office contact responds with some clarification
  • Your assistant copies all of the numbers from various emails to various spreadsheets
  • Finally, your assistant emails you and relevant managers the most recent spreadsheets.

That’s six steps from when the assistant asks for the ticket counts to when the agent and relevant managers know how their shows are doing. Not to mention that at this point the data is just sitting in a spreadsheet, and doesn’t even begin to tell an impactful story. Multiply this across the dozens of shows an agent might care about on any given day, and that adds up to several hours every single day spent just trying to retrieve ticket counts. Zoom out agency wide, and you’re beginning to understand the scope of the problem.

Building on what we had learned from our other products, and the valuable input of industry leaders, we began to work.

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Six months ago, we launched the first iteration of Ticket Counts Pro; designed to automate the entire ticket counts process, from collection to followups with delinquent promoters, creating spreadsheets (with the agency logo), as well as presenting visuals for the ticket sales data automatically.

Out of the box, here’s what the product does for our clients:

  • Automated data collection from 1,000s of venue box offices: With Ticket Counts Pro, our automated system reaches out to the box offices on specific days of the week. No more need for your assistant to send an email to box offices on the days they want ticket counts.
  • Direct input into your database: The box office inputs the ticket count into a unique submit page hosted and the data flows straight to your dashboard.. No more transcribing ticket counts from the box office’s emails to a separate spreadsheet.
  • Visualize show performance: Jamplify provides all the graphs, tables, and reports you could ever need so you can get an immediate sense of trends in ticket counts. No more staring at numbers in a spreadsheet that are difficult to decipher.

Jamplify has even started providing industry-wide insights to our clients so they can make better business decisions as agents. Whether they are deciding what size venue to book, or wondering if a promoter’s market is really “a walk-up town”, Jamplify’s insights can better inform every business decision that they make. Ticket Counts Pro from Jamplify transforms ticket counts from an agency-wide headache into a powerful asset that helps agents make revenue-maximizing business decisions for artists.

We invite you to try Ticket Counts Pro from Jamplify and see for yourself what automating the ticket count collection process can do for your agency. Our CEO, Andy Pickens, can be reached at andy@jamplify.com to set up a demo.

Source: blog.jamplify.com

What Makes A Major Music Festival Sell (powered by TiqIQ)

The music industry is larger and more ludicrous to investors than ever before, and consumers are directly experiencing a surge in ticket pricing. Companies like TiqIQ have aggregated impressive data regarding industry trends in ticket pricing, and it’s clear that it takes more than a solid lineup to make a successful festival. The competition to break through and reach new listeners is intense, and success is based on several factors. Social media posts and email blasts can make or break the connection between artist and fan, and it can take just one particular show or song for an artist’s career to blow up. EDM has become the face of American pop music with the likes of Disclosure, Zedd, Skrillex, Calvin Harris, and Rudimental filling mainstream radio stations. It wasn’t long ago that Bonnaroo and the original Electric Daisy Carnival in Las Vegas were the only events where premier art installations and comprehensive lineups existed-this past year dozens of festivals featured stacked lineups with huge names across various genres, and the competition is at an all-time high when convincing old and new fans where to spend their money. Securing a handful of popular artists on the lineup no longer guarantees strong sales or a successful production, as evidenced by the wildly comprehensive artist bills that so many of this year’s festivals included. 

Certain artists used 2014 as their revival year (or major album debut), including Outkast, Nas, Neutral Milk Hotel, Eminem, Queens of the Stone Age, and the Arctic Monkeys. Some of the more mature festivals, including Coachella, Austin City Limits, and Sasquatch Festival, now span two separate weekends, with Sasquatch being the only one who had completely different lineup offerings across the opposing weekends. The artists listed above were featured headliners at all or some of the following festivals: Austin City Limits, Bonnaroo, Boston Calling, Coachella, Firefly, Governor’s Ball, Lollapalooza, Outside Lands, Sasquatch Fest, and several more events across the nation. The overlap between lineups has become quite high and the decision-making process between events begins to be centered on alternate facets of the festival: the overall atmosphere, the amenities, the art installations, the sound quality, and the overall accessibility of the venue. Skrillex, Disclosure, and Calvin Harris were the most highly demanded performers of the EDM world, and all three artists tour at a pace that few can maintain, often playing multiple cities in a span of several days.  However, the value of a festival ticket is undeniable when compared to standalone show.

For example, Fitz & the Tantrums were featured at several major festivals including Lollapalooze, Austin City Limits,  and Bonnaroo, where secondary ticket prices ranged from $430 (Lollapalooza) to over $580 (ACL) after the initial presale was seized by hungry fans (data from TiqIQ). Meanwhile, the secondary market average to see Fitz & the Tantrums headline a show frequently ranged between 50-70$ depending on venue. If it’s within reach of the consumer’s budget, the festival ticket (5 to 7x the price of a single headlining ticket) usually includes more than 30 artists, and seeing only a few headliners pays for the price of the ticket. When amenities, cost of production, and sound quality is taken into account, most festivals are still a steal. 

There are intangible elements of advertising, culture, and mass appeal that give festivals like Coachella the ability to increase prices at-will because the social image of these experiences is something that fans seriously value. Meanwhile, other festivals are looking to take advantage of these price hikes to increase market share while the veteran festivals grow exponentially. Secondary market averages for Coachella Weekend 1 passes were over $1800, while the average for Weekend 2 was under $800. It is the curated image of these festival brands alone that drives prices to such high levels. Coachella had the exact same lineup both weekends, at the same venue, with the same amenities, yet the sales for the first weekend are consistently higher than the second. In contrast, most media outlets and fans report Weekend 2 as more enjoyable, more spacious, and that it featured better sound quality. Could it be possible that today’s fans are primarily concerned with having a more unique, more elaborate experience than their peers, as opposed to taking the festival experience at face value and comparing the different festival attractions to determine their true worth?

Only time will tell as to how the festival scene develops over the next decade. If consumers show the industry giants that they care more about the press surrounding the event than the actual substance and quality of the production, the overall experience is sure to suffer at any upcoming festival who displays this profit-centered mindset. Don’t worry though- if trends continue, there will always be up-and-coming festivals hard at work to reinvigorate the festival scene and provide the perfect balance between a unique experience and solid value. The consumer has the power to keep the festival scene original and authentic as long as due process is taken to research the facts!

–Andrew Cordivari

Why You Should Appreciate Diplo…

Most festival headliners face a barrage of hate and critique from the media, accusing DJs of “selling out”, utilizing too many samples, lack of creativity, too much complexity, etc…However, it’s pretty difficult to come down on Diplo (LA native Thomas Penz), who’s played a major part in nearly every aspect of the music industry. Honestly…the man is single-handedly responsible for twerking.

He DJ’d throughout Philly while attending Temple University, and has produced with (or for) a myriad of artists including Snoop Dogg, Kid Cudi, Brittney Spears, Justin Bieber, Shakira, Robyn, M.I.A, No Doubt, and Die Antwoord. Some fans may show disdain for his work with pop stars, but Diplo has never left his roots as a true DJ and creative mastermind. 

He founded Mad Decent, a Philly-based record label that now transcends musical genres with a stunning array of DJs, producers, vocalists, and instrumentalists.  Snoop Dogg’s acclaimed documentary “Reincarnation” shows Diplo as a friend and respected producer of Snoop and many others, and the Reincarnation album was mainly produced by Diplo. 

Mad Decent Block Party is an international concert series featuring talent from the impressive record label, as well as a few outside acts who are hand selected to take the party to the next level. The bill changes by location, but this year features the likes of Zed’s Dead, Dillon Francis, Action Bronson, Flume, Big Gigantic, DJ Snake, and Diplo (with his side project Major Lazer), all for the price of an average concert ticket. 

Nearly every EDM festival in the world hopes to secure a spot for Diplo on their lineup, and if he is playing near you it’s absolutely worth your time to see what this man is all about. His sets include a wide array of genres and are sure to get the crowd going wild. 

–Andrew Cordivari

Is Electric Forest The Best North American Music Festival?

There is no quantifiable method to prove which festival is the “best, but there are a handful of reasons why many fans consider Electric Forest the most comprehensive festival experience in the U.S.

-The Setup

Electric Forest takes place each summer in the cool, green woods of Rothbury, Michigan. Bonnaroo, Coachella, and EDC Las Vegas take place in climates that frequently peak past 95 degrees by early afternoon, and this is not to be understated for the campers in attendance. When I attended Bonnaroo in 2012, no one in my group could sleep past 10 am regardless of the time we returned to the tent the previous night due to the sweltering heat.

However, there is much more to the forest than just cool weather. The trees are perfectly manicured in a massive grid formation and the forest is interspersed with intricate abstract art installations. At night the forest truly comes alive, as the lights and lasers from the four surrounding stages project deep into the forest and dance around the tree silhouettes for a truly surreal experience. The forest is equipped with luxurious bars, dozens of futuristic hammocks for fans looking for some rest, and smaller stages that offer the opportunity for intimate performances.

The event staff is incredibly energetic, friendly, and helpful even with a wide range of ages within the volunteer pool. You never need to worry about getting lost between stages or losing your orientation while exploring the forest. There is even a team of “Electric Forest” police (volunteers) that comb through the forest after 4 am to check on everyone, clear them out to their tents until it reopens in the morning, and warn fans that the real police will come through around 5 am…follow the policies and you’ll have no problems!

The Lineup

This year features a truly astounding spread of talent from different genres, including some of the most sought-after live performers within all of EDM. The Glitch Mob, STS9 (two shows), Excision, Flying Lotus, Zedd, Moby, MK, and many, many more. EF also features 3 shows by the String Cheese Incident and 2 shows by Umphrey’s McGee for the faithful jam band community. The diversity of talent speaks for itself…check it out here http://www.electricforestfestival.com/lineup.php

Electric Forest is officially SOLD OUT this year for general admission camping. I can’t fathom what this means based on the scope of the festival last summer, but there is no doubt that everyone is looking forward to the time of their life.

Missed your chance to snag a 4 day festival pass? Don’t worry! We have an awesome deal where you can win a free 4 day GA camping pass for promoting the event. Sign up here (http://buff.ly/1kKYhdvand invite your friends- by driving clicks and selling tickets through your link you’ll accumulate points, and the top three promoters win a 4 day GA festival pass!

Don’t sleep on this festival. You are guaranteed to see some amazing talent, meet some great people, and experience an atmosphere unlike anything else.

–Andrew Cordivari