Notes on selling tickets

Pixel-based measurement degrades a little more every year. The ticketing system does not, because it is the system of record. Building measurement on it is a one-time change with a permanent payoff.

Tour artwork is designed to be recognised. A performance ad has to answer four questions in about two seconds, and the artwork answers none of them.

Resale platforms outbid official sellers on their own event names, and the demand that paid media creates gets intercepted on the way to checkout. The leak is measurable.

On a high-demand on-sale, the most valuable audience of the campaign is the one that failed to check out. Most campaigns treat them as bounces.

Run-level reporting hides the Tuesday. By the time the aggregate looks wrong, the weakest dates have lost the weeks in which they could have been fixed.

Most dynamic pricing in live entertainment is a set of thresholds wearing the word dynamic. Real price movement requires a forecast, and a forecast requires sales data the pricing tool usually cannot see.

Average cost per ticket flatters every campaign that runs alongside organic demand. Marginal cost tells you what the last thousand euros actually bought.

Retail forecasting assumes infinite inventory and a repeatable customer. Live entertainment has neither. The differences are not details, they change which model can work at all.

Most promoters have been burned by an agency that promised a lot and reported a lot. The problem was rarely effort. It was the model: hours and media buying, judged on platform reports, paid whether tickets sold or not. Seven questions that show what you are actually buying.

A musical does not have an announcement spike. It has 300 performances, each with its own demand. Theatre marketing that works forecasts per performance, runs always-on, refreshes creative on a schedule and measures on real ticket sales. Plus what Blue Man Group taught us about TikTok.

Festivals sell a weekend, not a headliner. A marketing strategy for the full cycle, from early bird to the final weeks: what the line-up can and cannot do, how TikTok changed festival discovery, why community and proof beat scarcity, and how one of Germany's largest festivals sold out for the first time.

Most of the information a run will ever give you arrives in the first three days. Read it properly and the rest of the campaign becomes a series of small corrections instead of a rescue operation.

Concert marketing is a timeline, not a campaign. Five phases from pre-announce to doors, what each channel is for, which audiences buy, what creative sells a feeling instead of a date, how to allocate budget across a tour, and how to measure the whole thing at the box office.

Every promoter has heard it: 80 percent of the tickets come from the artist's brand, not from ads. Often true. The question is what happened to the other 20 percent. Incrementality testing answers it with a number, and it is more feasible for a mid-size promoter than most people assume.

Most event marketing reports are built from metrics the ad platforms invented about themselves. Here are the seven ticket sales KPIs that actually describe a show's health, the platform metrics that belong in the diagnostic drawer, and how to measure ROI on the only number nobody can dispute.

The weak show is usually discovered one week before doors. By then the options are a discount or an empty block. Here is how to diagnose low ticket sales in an hour, which six levers actually move tickets, in which order, and what to stop doing.

Most weak shows are discovered one week before the event. The sales curve knew eight weeks earlier. How demand forecasting works in ticketing, what it reads, what it returns and what a promoter does differently once the forecast is on the table.

Add up the reports of your three ad platforms and every show sold 300 percent of its tickets. Here is why that happens, why it is worse in live entertainment than anywhere else, and what the one number is that cannot be argued with.

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