AFC Ajax has appointed cloud-based ticketing solution SecuTix and its sister brand TIXnGO, the secure mobile ticket wallet, as the club’s new ticketing technology partners.
Meet SecuTix at the virtual Ticketing Business Forum 2020 and join our Speaker Sessions with Max Reckers, CTO to AFC Ajax and David Hornby, Managing Director of SecuTix UK & Ireland; Andy Duckworth, Senior Sales Manager and Miso Milicevic, Senior Product Manager.
AFC Wimbledon has kicked off a five-year partnership with cloud-based ticketing solution SecuTix, rolling out a new ticketing system designed to provide a best in class supporter experience across both digital and mobile.
In France, with more than 50 major customers in the cultural field, SecuTix is very well established and growing steadily year after year. The arrival of Bertrand Vicainne demonstrates that we are further developing our presence in the French sports world as well.
New revenue stream or threat to cultural institutions? A piece by one of the leading Ticketing Experts for the Museum sector in Europe, Marc Merpillat.
Since the outbreak of the pandemic, visits to our great arts and cultural buildings have given way to TVs, laptops and staying at home on the couch. The economic and health crisis that we are experiencing and yet to emerge from, with the signs of a second wave in some countries, has caused a serious crisis in the world of culture. To give some figures, ICOM (International Council of Museums) has estimated that the pandemic has impacted 95% of the world’s museums. Big museums have lost 75-80% of revenues and it’s predicted that 30% of US museums won’t reopen if they don’t receive financial assistance.
As the doors of museums, theatres and opera houses closed, a new world emerged in the form of virtual culture. But with cultural buildings beginning to reopen in some countries, what does this mean for the future of both the physical and virtual cultural worlds? Can the two live side by side or is virtual culture a threat to ‘real-life’ cultural experiences?
Reaction to giveaway content
The immediate reaction to the crisis was to give away content for free. Some cultural institutions, such as the Louvre Museum in Paris, opened their doors in a virtual way. The response was overwhelmingly positive with daily website visitors going from 40,000 before the pandemic to 400,000 during the quarantine period. To give this some perspective, in one month during the crisis, the Louvre website received as many visitors as the museum did physical ones in the whole of 2019.
Paris Musées, a network of 14 museums in the city, organized digital visits for kids; ran online workshops for families; and repurposed their 3,000 pieces of artwork digital archive during the lockdown. Meanwhile, The Centre Pompidou ran an online web series for kids, guided visits of their exhibition, and streamed masterclasses with artists. The public response showed an appetite to consume culture through a screen.
Of course, the major venues were able to deliver digital content much easier than small museums and venues. But I believe virtual culture is also an opportunity for small museums to seize and promote themselves to a wider audience. Including a public that otherwise – be it due to illness, physical disabilities, etc. – are usually unable to enjoy a museum visit, opera evening. Virtual culture breaks down geographical barriers and allows your offering to ‘travel’ to a global audience.
A new revenue stream
What we’re experiencing is the dawn of something new and different. Admittedly, virtual culture is not yet mature, but I’m confident it will develop. This is an opportunity to discover new ways to experience and present culture.
The challenge now is how to monetize this new virtual culture and how it can compensate, to a degree, some of the losses currently facing the sector. Those in the live entertainment industry – operas, theatres – may only be able to open with a chessboard seating layout, with many empty seats. But what if we can fill those empty seats with digital viewers either by live-streaming or replaying previously filmed content? Of course, they cannot sell a digital show at the same price as a physical one. But they are no longer limited incapacity. In theory, we can sell an unlimited number of virtual seats to a global audience.
Ticketing: The Bridge between website & content hosting platform
Ticketing platforms like SecuTix can be a bridge between a venue’s website and a video platform such as YouTube. Our role is to allow paying visitors to access cultural content. We have already developed features on our platform that can realize the visions of cultural content producers.
The options are endless and it’s possible, through just a simple barcode, to offer different levels of experiences at varying price points. Take for an example a museum. At the lowest entry-level price, visitors could access a pre-recorded tour. For those that pay more, it could be an interactive visit with a guide you can ask questions to. The barcode will allow the virtual visitor to only access the content they’ve paid for.
CRM is vital
My obsession is CRM and it’s the key to unlocking any future income from virtual culture. In order to allow somebody to see virtual content, we need to take the opportunity to build loyalty and capture visitor details for the CRM. We can then offer a person relevant information on content that he or she will potentially be interested in consuming.
By integrating a CRM with the ticketing system, we can retarget virtual visitors with other proposals: a loyalty card to access digital content; access to the venue itself; discount on the next exhibition; a glass of champagne at the end of their next physical visit.
The challenges of virtual culture
With every opportunity, there is also a threat. We don’t yet know if visitors will return in person to cultural venues in the numbers they previously did, preferring instead to opt for a virtual experience from the comfort of their own home.
Digital culture also excludes some people due to their lack of access to technology. Asking payment for virtual culture is not an easy route to take when the manifesto for many cultural institutions around the world is to make the arts accessible to as many people as possible. In some markets, it may very well not be acceptable to start charging for a public museum.
Delivering virtual, digital content also puts cultural institutions in direct competition with other entertainment platforms: Netflix, Google Arts & Culture, YouTube to name a few. There’s no getting away from the fact that cultural institutions will need to complete their openness to the world.
To truly benefit from the opportunities presented by virtual content, cultural venues should focus on building bespoke strategies tailored to them. This could be switching from free to paying or continue to offer a level of free access whilst adding some other paid proposal, or request donations. There may well be different strategies for their local audience from that needed to target foreign audiences. Language and cultural preferences need to be taken into consideration.
If I could wave a magic wand and tomorrow life went back to normal, I still think charging for digital content should become part of your long-term commercial strategy. I’m optimistic about the future and see a world where both physical and virtual cultural content sits alongside each other, not in competition. The last few months have seen the birth of a new way of exploring arts and to be a participant in the cultural world. Virtual culture has been embraced by the public and is here to stay.
Our challenge is to harness this interest to generate vital and much-needed income for our cherished cultural institutions.
Learn how the SecuTix features that are already developed and being used by our customers can support you finding your way into the world of Virtual Culture and how you can reopen your venue the safe way, in correspondence with regional governmental restrictions. Request your personal demo.
We are proud to announce that Andy Major joined our SecuTix UK team! Andy, who joins the team to lead Customer Success at this time of growth for SecuTix and uncertainty for the industry. Major will be responsible for helping new and existing clients, which include Saracens, England Netball and Everton FC, realize the value of the SecuTix platform and its evolving technologies.
Strategist with deep audience insight
Andy is no stranger to using innovative tech solutions to help businesses run more efficiently and effectively. Prior to joining SecuTix, he headed up his own commercial marketing consultancy and before that he was Commercial Strategist at Surrey Sports Park. In the latter role, he instigated the implementation of new systems and technologies to improve customer experience, resulting in a significant rise in company revenue.
“I’m looking forward to working alongside our customers to help them achieve so much more for their businesses by using our products to boost their revenues. I’ve joined SecuTix because I genuinely believe it’s one of the most forward-thinking tech companies right now and I am really excited to be part of the team,” said Andy.
Support in rolling out new technologies designed to help our clients adapt to the current challenges
Commenting on the appointment, David Hornby, Managing Director of SecuTix UK and Ireland, said: “Andy has a stellar track record of delivering an enhanced customer experience and using tech to improve business. I’ve no doubt that his extensive knowledge of strategy, marketing, and audience insight will help our clients use our products to their full potential. Andy joins us as we roll out new technologies designed to help our clients adapt to the current challenging and changing landscape that is ticketing today.”
Would you like to welcome Andy too and congratulate him on the new position at SecuTix? Hit over and connect with him on LinkedIn and celebrate this new chapter with him.
For media enquiries: Catherine Rees, Move PR, email@example.com. Tel: +44 (0)7970 205433
SecuTix UK and Ireland appoints former England Netball Head of Ticketing
SecuTix UK and Ireland, the ticketing engagement platform, announces the appointment of Matthew Breen as Professional Services Manager.
Breen joins SecuTix from England Netball, where he was Head of Ticketing. In that role, he oversaw a record-breaking rise in ticket sales and revenues. Prior to England Netball, he held positions at The Ticket Factory and Ambassador Theatre Group. After the appointment of Andy Duckworth as Senior Sales Manager past April, the SecuTix UK and Ireland team keeps expanding.
“When I was at England Netball, I had first-hand experience of how the SecuTix platform can transform an organisation’s ticketing operations, insight and commercial returns. I’m looking forward to helping clients make the most of this technology to achieve their ambitions.” – Matthew Breen, Professional Services Analyst
"Matthew has a track record of delivering successful ticketing projects across different sectors, from sport and live entertainment to the arts. His experience will help our clients reposition their ticketing operations whilst engaging their fans and customers. He joins at an exciting time in the business as we’re rolling out new technologies and are at the start of some ambitious client projects." – David Hornby, SecuTix UK & Ireland Managing Director
For media enquiries:
Catherine Rees, Move PR, firstname.lastname@example.org. Tel: +44 (0)7970 205433
SecuTix is a pioneer in applying the SaaS model to ticketing and a European developer of an integrated, cloud-based platform for white label ticketing and target group management. SecuTix 360° offers event professionals a multichannel ticketing solution that enables them to control their distribution, reach their audience and thus strengthen customer loyalty and increase sales. SecuTix is a subsidiary of the Swiss systems integrator Elca with headquarters in Lausanne and branches in Paris, Madrid, London and Munich. Numerous museums, cultural institutions, stadiums, sports clubs, municipalities and festivals rely on SecuTix to revolutionize ticket processes and offer their customers a unique experience.
Last Friday, the UK Government announced that a small number of sporting events will be used to pilot the safe return of spectators through late July and early August – with the intention to reopen competition venues with a live audience, while maintaining social distancing, from October 2020.
These new measures towards resuming events allow limited numbers of fans to attend pilot matches across a broad range of indoor and outdoor spectator environments. The pilot events will provide the opportunity to stress-test the Government’s ‘stage five’ guidance, on the return of fans to elite sports events respecting social distancing.
The test events include the World Snooker Championships at the Crucible Theatre in Sheffield from 31 July to 16 August, the Glorious Goodwood racing festival from 28 July to 1 August, and another cricket friendly between Surrey and Middlesex on 26-27 July.
Implementing the SecuTix Ticketing Platform and The Ticket Factory, Warwickshire County Cricket Club will ensure two-metre social distancing is maintained between fans.
Craig Flindall, interim chief executive of Warwickshire CCC, said: “We’re thrilled to play our part in the Government’s pilot programme and for Warwickshire Members to be amongst the first to gain entry to a live sporting event since March. We have good space and excellent facilities at Edgbaston to support this first stage trial. Our ticketing and operations teams are now working closely with our partners Secutix and The Ticket Factory to create a safe and socially distanced match day operation, and it is very exciting that this process can support the wider return of spectators at live sports events.”
Sports minister Nigel Huddleston said: “It’s brilliant news that supporters will be welcomed back to Edgbaston for Warwickshire v Worcestershire as part of the pilot series.”
This pilot illustrates the SecuTix Platform’s flexibility and agility, especially during this pandemic. Something which will be instrumental to handle its ongoing evolution in the world.
For media enquiries: Catherine Rees, Move PR, email@example.com. Tel: +44 (0)7970 205433
SecuTix is a Global technology provider of a Ticketing Engagement Platform that helps organisations boost ticket sales and enhance audiences’ experience before, during and after live events. Our product, SecuTix 360°, is a cloud-based platform that combines ticketing and marketing functionality and is offered as a white-label SaaS service. Used by the largest sports clubs and stadiums, live entertainment businesses, and leading museums and cities across Europe, SecuTix manages the yearly sales of 45 million tickets. Among our clients are Opéra National de Paris, UEFA, Centre Pompidou, Aspro Parks, Saracens RFC, Paléo Festival, Musée Picasso Paris and more. A daughter company of the ELCA Group, SecuTix has a local presence in Switzerland, France, Spain, Germany, Italy, Belgium, the UK, the US.
Southampton FC have announced a partnership with SecuTix that will see the introduction of a new ticketing system for the start of the 2020-21 football season. Tickets through the new platform will go on sale later this month.