here - Ticketing Technology Forum
Transcription
here - Ticketing Technology Forum
TICKETING TECHNOLOGY F RUM 27-28 APRIL 2016 • DUBLIN • IRELAND CONFERENCE PROGRAMME & EVENT GUIDE © 2016 SAP SE or an SAP affiliate company. All rights reserved. COMPLEXITY HOPES YOU DIDN’T HAVE ANYTHING IMPORTANT PLANNED FOR THIS WEEKEND. SIMPLE HAS A LIFE. Complexity wastes up to 40% of your people’s workweek, robbing them of the weekends they deserve, and the love they used to have for their jobs. Are you doing everything you can to help your business run simple? Find out more at sap.com/runsimple WELCOME Faster. Sm a rter. Safer. And more.. . Today’s consumers are more demanding than ever. They want their tickets faster, smarter and safer – and they want it wrapped in a more efficient, personalised experience. But what do these mega-trends mean for our business? We trust Ticketing Technology Forum 2016 provides (some of) the answers. Over the next two days we will explore, debate and showcase the latest trends, innovations and technologies which are the building blocks of the next generation of live entertainment ticketing solutions. Firstly, thank you for joining us in Dublin for the fourth edition of Ticketing Technology Forum. and helping cement this meeting as EMEA’s leading ticketing sector event. We all know that the ticketing sector is a diverse and highly fragmented B2B/B2C industry and, with your help, this year’s edition certainly reflects that diversity. Attendance is up again (by >25% on last year) with – as we go to press – more than 400 delegates from 28 countries. Secondly, a big thank you to all our advisors, speakers and panellists, who collectively bring a wealth of knowledge and experience to the debate. This year we welcome new faces from Amazon, Google, Parques Reunidos, SAP, Goldstar, Shubert, Ticketmaster, Ticketfly and many more to the 45+ speakers in the programme line-up. Finally, our thanks to all our sponsors and partners. The ‘demo pods’ feature some of the latest advances – not only in ticketing but also CRM, payment, analytics, fraud detection, printing and distribution solutions. Do take the time to explore The Marketplace. We have two days to roadmap the future, so please do ask those questions. After all, doesn’t everyone need to seek directions when in unfamiliar territory? Ian and all the Ticketing Technology Forum team PS. We are committed to making Ticketing Technology Forum the industry’s most important calendar event – so, if you enjoy your time with us here in Dublin then please tell your colleagues. But if you don’t, please tell us and we’ll get it fixed. Happy ticketing. Join the debate #TTF16 with LET’S SHARE THE NEWS! Twitter feed at @TicketTechForum Twitter.com/TicketTechForum 3 PROGRAMME Wednesday, 27 April 2016 08.00 Registration and Coffee in The Marketplace 09.00 Welcome to Ticketing Technology Forum 2016 Moderator: Karim Fanous, Head of Research and Insight, Music Ally y Opening Keynote ! OPENING KEYNOTE: THE CUSTOMER JOURNEY 09.10 Delivering An Engaging Experience • Understanding the new expectations of your customers in today’s technology-driven multichannel marketplace; • Building an integrated multichannel strategy to engage and understand the customer whenever, wherever and however er they choose to buy; • Evaluating which technology and data choices will really put customer experience and journey at the heart of your ticketing strategy; • Ensuring your strategy offer clear return on investment; • Assessing how to best future-proof your strategy to keep up p with the speed of technological change in the industry. Geraldine Wilson, General Manager, Amazon Tickets PANEL DISCUSSION: SOCIAL TICKETING IN 2020 09.35 Social Media + Live Entertainment: 3 Years From Now • Assessing how social media is evolving and how the ticketing industry should respond to increase sales; • Evaluating which new social media strategies you should be looking at to maximise your marketing reach; • Considering which social networks offer the ticketing industry the best opportunities to innovate; • Assessing how to use social media more effectively to achieve a better understanding of your customers; • Understanding how to best respond to the dangers presented by the explosion of social media usage. Andy Donner, VP Business & Corporate Dev, Ticketfly, USA oll AB Markus Nilsson, Ticket Sales Manager, Hammarby Fotboll AB, Sweden Andrew Collier, Creative Director, Minor Entertainment CASE STUDY: CASHLESS RFID & TICKETING 10.20 Implementing Cashless RFID Into Your Ticketing Strategy A case study on applying cashless RFID technology to a festival experience in order to boost turnover, maximise efficiency and better understand your customers. • Achieving a clearer understanding of the overall benefits of a cashless environment in order to build a solid business case; 5 TICKETING TECHNOLOGY FORUM 2016 • Establishing best practices of implementing cashless RFID into your ticketing strategy on a cost-effective basis; • Understanding the key technology challenges you need to watch out for so you can minimise implementation risks; • Evaluating how to make best use of the data capture opportunity cashless RFID presents; • Communicating transparency to your customers especially when dealing with unspent funds. Saad Afzal, Ticketing Director, Live Nation UK 10.45 Morning Coffee in The Marketplace s! Thi s s i M t n’ Do GUEST SPEAKER: DYNAMIC PRICING LESSONS 11.15 What Key Lessons Can The Live Entertainment Industry dustry Learn From m The Hotel Industry Regarding Dynamic Pricing? Dynamic pricing has been a feature of the hotel industry since the advent of Summer Holidays! Utilising sophisticated pricing mechanisms has allowed hoteliers to maintain high occupancy levels, s, whilst also rewarding loyalty and encouraging group bookings. Our he guest speaker – from Spain’s fast-growing NH Hotel Group – is at the forefront of pricing strategies for more than 380 hotels in 29 countries with up to 53,000 rooms being priced online at any time. ? What can live entertainment learn from business and holiday travel? roup, p Spain p Ana Morillo Arroyo, Global Strategic Pricing Director, NH Hotel Group, PANEL DISCUSSION: DYNAMIC PRICING NOW 11.40 Are We Ready For Dynamic Pricing? • What key lessons can the live entertainment industry learn from the travel industry regarding dynamic pricing? • How can you make dynamic pricing work when there are multiple organisations selling the same tickets? • How can we effectively communicate with our customers in n a dynamic pricing marketplace and remain transparent? • Which technologies offer us the best ways to manage dynamic pricing? • How can the industry ensure they are operating legally and morally within their pricing strategy? • What value does face value serve in 2016? • How can we better understand the demand for expensive and VIP tickets? • Which sectors of the live entertainment industry is dynamic pricing not workable? Our expert panellists include: Eric Valley, Ticket Sales Director, Cirque du Soleil, Canada Áine McVerry, Director of Marketing & Communications, The MAC Belfast, UK Tom Schößler, Deputy Administrative Director, Theaterhaus Stuttgart, Germany Steven Sunshine, CEO, TixTrack, USA José Ignacio, Corporate Director of Revenue Management, Parques Reunidos, Spain 6 edge of “The cutting hnology is ticketing tec at TTF!” all around us ial rds, Commerc Robert Richa nbury Festival sto Director, Gla PROGRAMME THOUGHT LEADER: MOBILE & SOCIAL 12.25 The Convergence of Mobile and Social Two key technology trends – mobile and social – are set to fundamentally change sports and entertainment events. Are you ready? Fadi Naoum, SVP - Application Innovation, Head of Sports and Entertainment, SAP, Germany Carsten Wohlrath, SAP Event Ticketing Expert, SAP, Germany 12.45 Networking Lunch in The Marketplace KEYNOTE: THE MOBILE IMPERATIVE 14.15 The Extinction Path For Ticket Sellers Who Can’t Make The Leap eap p • "How not to suck at mobile" - The story of how my company went from being a laggard to a leader; • The convenience gap - Why underinvesting in mobile plays to our industry's greatest weakness; • Batman and Robin - Stop worrying and learn to love selling tickets on smartphones; • Do I need an app or a mobile website? Yes; • Be patient, quickly. Investing, getting it wrong, not quitting and then getting it right with mobile. Jim McCarthy, Co-Founder & CEO, Goldstar INNOVATIONS SHOWCASE I 14.45 The Latest Developments in Software and Services Keep up to date with new technologies and find out what innovative applications and software are coming to the market in our quickfire session, inspired by pecha-kucha. Each innovator will have under seven minutes to pitch their product and convince you of their revenue driving or cost-cutting benefits. It’s “Dragon’s Den meets X Factor” with scorecards at the ready! This year our innovators include new ideas in: • Mobile Payments; • 3D Seat Mapping; • Artificial Intelligence (AI); • E-commerce/Online Engagement; • Real-Time CRM Data Integration; • On-Sales Demand Management. 15.20 Afternoon Coffee in The Marketplace r at the info desk! lie Cast your vote for industry supp 7 TICKETING TECHNOLOGY FORUM 2016 SPECIAL GUEST: TICKETMASTER’S OPEN PLATFORM 15.50 Simplifying Complexity to Deliver Customer Success 2016 will be the year Ticketmaster provides open APIs, holds s public hackathons and fully engages the developer community nity worldwide. Our special guest speaker heads the Open Platform orm API initiative globally for Ticketmaster. The ticketing industry’s ’s powerhouse has embraced a platform on which third-party product innovators can support and help grow the entire ticketing eco-system. The aim is for Ticketmaster’s APIs to be “loved by developers” who in turn can provide innovative tools and services to serve the needs of customers. Explaining why an “open” platform is critical to Ticketmaster’s business and sharing the progress on the release of empathic APIs to date, we welcome: Ticketm aste API rollo r’s ut Ismail El Shareef, Vice President - Open Platform and Innovation, Technology - Management, USA INNOVATIONS SHOWCASE II 16.20 The Latest Developments in Software and Services Part two of our quickfire presentations, inspired by pechakucha. More ideas to drive sales and improve performance. CASE STUDY: THE BIG DATA TWO-STEP 17.00 Leveraging Your Greatest Asset • How to leverage your greatest asset (that’s data, btw) to achieve deeper customer insight and increased ticket sales; s; • How such data insights have been applied on Broadway; • Massing and segmenting across key data points to reveal new marketing and engagement opportunities; • Putting data to marketing – and vice versa; • Analysing what’s working – across web, email, voice, directt mail and social – and what isn’t! • How do you build a data infrastructure to serve future marketing needs? Kyle Wright, Senior Interactive Marketing and Analytics Manager, The Shubert Organization, USA David Andrews, Senior VP, Shubert Ticketing, USA 17.30 Day one round up 17.40 Networking in The Marketplace (until 18.30) 18.30 Coach Transfers to the Ticketing Technology Awards 2016 at Guinness Storehouse (Ticketholders only). See pages 20-21 for more. 23.30 Coaches return from Guinness Storehouse (Ticketholders only) ts during lunch! Awards ticke Don’t forget to collect your 8 <RXU7LFNHWWR(QWHUWDLQPHQW Visit us at AXS.com For more information: contact@axs.com 9 TICKETING TECHNOLOGY FORUM 2016 Thursday, 28 April 2016 08.30 Registration and Coffee in The Marketplace 08.50 Welcome Back Don’t miss this! THE FIRESIDE CHAT: A LIFE IN TICKETING 09.00 Tommy Higgins - From Record Stores To The Internet Ticketing industry legend Tommy Higgins – whose career path took him from his record shops in Ireland to become Managing Director of Ticketmaster UK and Ireland – reflects on a life in ticketing, the music business and beyond. Tommy operated Ireland’s Star Records in the Tesco Arcade before going into the ticket sales business. He set up Ticketshop in 1992 and went on to revolutionise the concert and sporting worlds with the first computerised ticketing systems. When Ticketmaster bought out his stake in the company back in 2010, he stayed on to run the European operations until 2013. He is currently chair of Accent Media which acquired the Top Level Domain .tickets last year. Tommy Higgins in conversation with Paul Williamson, Managing Director, Sports Ink Associates, UK KEYNOTE: GOOGLE, ENTERTAINMENT & TICKETS 09.30 Selling (More) Tickets With Google & YouTube The internet’s global player provides a range of services and solutions to help promoters, venues and rightsholders sell more re tickets. Joining up the power of Google Search (70% of all live event tickets buyers use search engine in their research process), content delivery of YouTube (billions of sports/music related video views), Android mobile (>60% of all live events queries already coming from mobile) – not to mention Google Maps, Wallet etc. – there are plenty of existing opportunities for Google to enhance and support the industry. Stephanie Kovach, Industry Manager - Entertainment & Ticketing, Google GUEST SPEAKER: SELLING TOMORROW’S EXPERIENCES S 10.00 Marketing Entertainment & Entertainment Marketing The dynamic and budgets of entertainment marketing have always been a little different from more traditional consumer products, but as the world moves towards a creative economy – where products and services are made to engage and delight – entertainment is part of the design. Don ‘Digital Wizard’ Levy, former SVP Marketing & Communications, nicattions ionss, Sony Pictures & President, Smith Brook Farm (Los Angeles), USA 10.30 10 Morning Coffee in The Marketplace kets on tic e l g o o G PROGRAMME Parallel Sessions 11 11.00-15.00 PARALLEL SESSIONS: BREAKOUTS & WORKSHOPS During coffee, the conference programme breaks into parallel sessions until late afternoon – offering a range of specialist breakouts and workshops covering key topics in greater details and intimacy. Pick your own track or ‘chop and change’ throughout the day. Conference returns to plenary for closing debate of the Forum. thr The Marketplace 10:30 MAIN ROOM ROOM 18 ROOM 20 (Ground Floor) (First Floor) (First Floor) MORNING COFFEE 10:45 11:00 11:00-11:45 11:30 11:45 11:15-11:45 MOVE TO MOBILE User Experience 11:15 CLOUD/RECOVERY Battersea Arts Centre DEMOS 11:45-12:15 11:45-12:45 SPORTS TICKETING AS Roma Liberty Stadium England Rugby 12:00 12:15 12:30 ARTS & PRICING Germany 11:30-12:00 MARKET OVERVIEW Poland 12:00-12:30 12:15-13:00 FESTIVALS & APIs Edinburgh Fringe THEME PARKS Pricing Strategies 12:45 13:00 LUNCH 13:15 13:30 13:45 14:00 14:15 14:30 DEMOS 13:45-14:45 13:45-14:30 PANEL: FRAUD & SECURITY Technology & Legislation TECH TALK Beacons, NFC & more CITYWIDE/ARTS Malmö’s venues 14:30-15:15 MAJOR EVENTS World Cups & more 14:45 15:00 14:00-14:45 AFTERNOON TEA 14:45-15:15 DATA INSIGHTS Activity Stream 15:15 15:30 15:30-16:15 15:45 16:00 16:15 16:30 DEMOS THE BIG DEBATE: DEBATE Re-Imagining g g The Box Office ROUND-UP CLOSE OF F FORUM essions age Turn the p se s e h t f o s l i a ll det for fu 11 TICKETING TECHNOLOGY FORUM 2016 MOVE TO MOBILE: UX MAIN ROOM 11.00-11.45 The e Perfect Per erffe fectt Mobile Mobil bilie U UX? • The move from desktop website to mobile device requires a comprehensive rethink of the User Experience (UX); • Understand best practice in mobile UX design and learn some of the common mistakes; • How is the French Open approaching the move to mobile? Andy Budd, Founder & Managing Director, Clearleft, UK Yang Li, Senior Digital Project Manager, French Tennis Federation MARKET OVERVIEW W ROOM 20 11.30-12.00 Poland: oland: A Key Key Opportunity Opp One of the most populous countries in Europe – with the fastest growing economy and a young demographic hungry for more entertainment – Poland represents a great opportunity for ticketing players. • Historical development of Poland’s sports and entertainment sector; • What is the structure of the current ticketing market and who are the key players? • What have been the recent changes. Who are new entrants? • What is the outlook for one of Europe’s brightest prospects? Marcin Kowalik, Managing Director,klub.fm, Poland PERFORMING ARTS/PRICING ROOM 18 11.45-12.15 Germany’s Performing Arts Pricing Strategies – Future Directions • What are the key statistics relating to performing arts ticket sales in Germany? • How do today’s theaters, opera houses and performing arts venues approach their pricing strategy? • What are the challenges (motives, perceptions, external forces) for pricing? • How is demand-oriented pricing perceived by arts leaders? • What role does public funding play in pricing? • Where is pricing and ticketing heading? • What can the ticketing industry learn from the findings? Tom Schößler, Deputy Administrative Director, Theaterhaus Stuttgart, Germany 12 CLOUD-BASED SED DT TICKETING IC CKE KETI ETING TIING T NG ROOM 18 11.15-11.45 -11 45 Turning Disaster Into Opportunity With Cloud-Based Ticketing At the time of last year’s Forum a fire had swept through London’s much-loved and highlyrespected Battersea Arts Centre. However, just two days after the fire, performances went ahead and ticketing services were resumed. This session explores how the BAC team got their venue online and open for business after the disaster. Phillip Payne, Box Office Manager, Battersea Arts Centre, UK SPORTS TICKETING/ACCESSIBILITY MAIN ROOM 11.45-12.45 Ticketing Touchpoints A sampling of the latest solutions and approaches to sports ticketing, season ticket sales, improving accessibility and enhancing the fan experience. We’ll hear how: • AS Roma is gearing up for its new stadium and designing the box office of the future; • Liberty Stadium, home of Swansea City FC, customised its Venuemaster system to enable disabled supporters to purchase tickets online; • Saracens have deployed 3D ticketing applications to boost season ticket and hospitality sales; Eric Solem, Director of Ticket Sales and CRM, Stadio della Roma / AS Roma, Italy David Enstone, Ticket Office Manager, Liberty Stadium Tom Flanagan, Debenture Sales and Marketing Manager, Rugby Football Union #TTF16 @ticke ttechfo rum PROGRAMME THEME PARKS/ATTRACTIONS/PRICING FESTIVALS/APIs/SOCIAL ROOM 20 12.00-12.30 Data For Theme Parks We share insights from one of the world’s largest theme park operators – Madrid-based Parques Reunidos. The Parques Reunidos Group is one of the leading, fastest-growing leisure park operators in the world. With over 45 years’ experience, it owns and operates 55 parks in 12 European and American (USA and Argentina) countries and employs up to 18,000 people worldwide in peak season. How is this global visitor attraction operator looking at big data, pricing strategies and new approaches to ticketing? ROOM 18 12.15-13.00 That Festive Feeling • What’s new in festival ticketing? How are arts and music festivals embracingmobile? • How do we connect citywide ticketing systems with multiple venues to offer the most convenient solutions for festival-goers? • What are the next challenges for ticketing the biggest festivals in the world? José Sanchez, Corporate Director of Revenue Management, Parques Reunidos, Spain 12.30 Lyndsey Jackson, Head of Operations, Edinburgh Fringe Andrew Collier, Creative Director, Minor Entertainment Jan Willem van der Meer, CEO, Paylogic International, The Netherlands Lunch in The Marketplace served through to 14.00 PANEL DEBATE: FRAUD & SECURITY MAIN ROOM 13.45-14.45 Strategies for Survival Fraud in the ticketing sector is reported to be at an all-time high. This briefing examines ways in which the industry can embrace new solutions to combat fraud and malpractice in an increasingly open, dynamic marketplace. What new measures can we take as an industry to remove the threat of fake tickets, digital scams and data thefts? Your expert panellists include: Tim Chambers, Managing Director, TJChambers Consultancy (Moderator) Steven Armstrong, VP Europe North, FELD Entertainment, The Netherlands Ben Herzberg, Security Research Group Manager, Imperva Incapsula, Israel Ben Rapp, CEO, Managed Networks, UK Reg Walker, Director, The Iridium Consultancy TECH TALK: BEACONS AND BITS S ROOM 18 13.45-14.30 What’s New And d What’s Worth Trying? We all need some guidance on the tech front... So here’s our equivalent of Apple’s Genius Bar! • Can using beacon technology improve the customer experience, improve loyalty and drive additional revenue? • Are cloud-based ticketing systems sufficiently robust? • How best to integrate EPOS with ticketing and membership? Lots of tech questions and emerging possibilities under examination with: Leon Gray, Information & Business Systems Manager, Aberdeen Performing Arts, UK Ben Gibbons,Project Manager, g Rugby g y Football Union, UK CITY-WIDE ARTS INTEGRATION ROOM 20 14.00-14.45 Malmö: Four Venues, One Platform Can your rivals across town help to sell your tickets? Could you be selling theirs? s? Is there safety (and market growth) in numbers? These questions – and many, many more – were debated at length by four arts organisations in Malmö before the decision was taken to transfer their collective ticketing databases to oa single platform in the Summer of 2015. Sharing their story of ‘collective power’ and initial user experiences in this venture, we are pleased to welcome: MichelleNordqvist, Sales Manager, Malmö Opera, Sweden Thomas Wickell, Marketing Director, Malmö Opera, Sweden David Thibel, Art Directors, Skånes Dansteater, Sweden Jenny Bång, Marketing Director, Malmö Stadsteater,Sweden 13 TICKETING TECHNOLOGY FORUM 2016 MAJOR EVENTS: BEST PRACTICES ROOM 18 14.30-15.15 Ticketing With Mass Appeal An open mic discussion examining the latest trends and solutions being deployed for future mass events, including the Rio Olympics 2016, FIFA World Cup Russia 2018 and the Rugby World Cup. Paul Williamson, Director of Ticketing, England Rugby 2015, UK Frédéric Longatte, CEO, SecuTix SA, Switzerland D DATA INSIGHTS ROOM 18 14.45-15.15 Customer Moments RO Sustainable strategies on using data to deliver a Su fantastic customer experience. Everything from fa collecting, enriching,visualizing and continuously co an analysing your data to creating actionable insights tthat h empowers your organization tomake a dif difference for your customers. E Einar Sævarsson, CEO, Activity Stream 15.00 15 00 Afternoon Tea in The Marketplace CLOSING DEBATE: RE-IMAGINING THE BOX OFFICE MAIN ROOM 15.30 Does Anybody Still Need A Box Office? There are some who still believe the box office should be ‘the beating heart’ of the connected venue. But, increasingly, we see box office spaces re-purposed into alternative customer services (i.e. retail, catering, visitor centres etc) and box office teams re-assigned and re-trained to broader customer service roles. How will the ticketing customer journey change over the next two years? Can ticket collection be reconfigured to provide other customer-facing actions? Shouldn’t our back of house staff become front-ofhouse ambassadors? We debate the future of the box office with a range of voices: Eric Valley, Ticket Sales Director, Cirque du Soleil Dan Eastmond, Managing Director, Fire Station Arts Eric Solem, Head of Ticketing, AS Roma, Italy 16.15 ce Round-Up/Thanks/Close of Conference 16.45 Close of The Marketplace 17.00 Shuttle bus / taxi to airport Programme correct at time of press but may be subject to change. E&OE 14 SPEAKERS & ADVISORS Speakers & Advisors Saad Afzal Ana Morillo Arroyo TICKETING DIRECTOR, MUSIC AT LIVE NATION UK GLOBAL STRATEGIC PRICING DIRECTOR, NH HOTEL GROUP SPAIN Saad’s ticketing career began with The NEC Group in Birmingham where he developed extensive experience managing every aspect of the in-house ticketing operation. As General Manager, he led the evolution of the box office into a national ticket agent and subsequently launched The Ticket Factory in 2007. He joined Manchester United in 2009 as General Manager of Ticketing & Membership Services to head up the football industry’s largest in-house sales and operations team. In 2013, he moved to Live Nation’s London office to take up responsibility for UK events ticketing, customer experience and more recently, the European VIP Nation business. With over 8 years’ consulting experience in top line growth for companies across numerous industries such as automotive, retail & distribution, Ana is currently responsible for Global Pricing Strategy at NH Hotel Group, a hotel chain operating more than 375 hotels in 30 countries across the world. Her main responsibilities include the definition of the necessary strategic frameworks and vision for the revenue management department in coordination with marketing and sales to ensure top line growth maximisation is achieved with a customer centric approach. Ana has a Bachelors in Business Administration and is a frequent speaker at international conferences and business school programmes on an international level. David Andrews Jenny Bång SENIOR VICE PRESIDENT, SHUBERT TICKETING USA MARKETING DIRECTOR, MALMÖ STADSTEATER SWEDEN David is the Senior Vice President of Shubert Ticketing, the division of the Shubert Organisation responsible for the sale of half the Broadway tickets each year. Working at the forefront of technology in ticketing, David has spent his career testing, implementing and optimising new technologies and advances in live entertainment ticketing. During his tenure at Shubert, his strategic oversight and guidance have facilitated major advances in ticketing including: consumer sales over the phone, online ticketing, API inventory integrations, and enterprise-level wholesale partnerships. Today, one of David’s focus areas is spearheading initiatives that fully integrate attendee and buyer data into the live entertainment experience. Jenny has been the Marketing Director of Malmö Stadsteater (Malmö City Theatre) since 2010 and has much experience in working with communications and sales in the Arts. She has directed the work with Audience Focused Development at Malmö Stadsteater’s Marketing Department, transforming the customer journey, pricing strategy and general marketing strategy into a modern state. Jenny has a university degree in Modern Art History, Stage Technology, Project Management and Gender Studies. Steven Armstrong Jonathan Brown VICE PRESIDENT - EUROPE NORTH FELD ENTERTAINMENT THE NETHERLANDS CHIEF EXECUTIVE, SOCIETY OF TICKET AGENTS & RETAILERS (STAR) UK Steven has over 15 years experience working in the family entertainment sector on brands: such as Disney On Ice, Disney Live, Monster Jam, Ringling Bros and Barnum & Bailey Circus and Marvel Universe Live. He spent the first seven years of his career working in the United States with Feld before moving to Europe to predominantly oversee the UK market; where he was instrumental in doubling revenue since his arrival in 2006. Steven now oversees Feld Entertainment’s business in Europe and is based in Amsterdam. Jonathan is Chief Executive of the Society of Ticket Agents and Retailers (STAR), the selfregulatory body for the entertainment ticket industry. STAR’s membership embraces all the major primary ticket agents in the UK as well as many venues and supporting organisations. Members work to a strict code governing high standards of customer service and information and a dispute conciliation service operates to help resolve customer complaints. STAR also works on behalf of its members through information sharing and cooperation on key matters affecting the ticket industry. Jonathan has represented STAR on ticketing issues in the press and at industry events for many years. 15 TICKETING TECHNOLOGY FORUM 2016 16 Andy Budd Andy Donner CEO, CLEARLEFT UK VP OF BUSINESS AND CORPORATE DEVELOPMENT, TICKETFLY UK User Experience Designer and CEO of Clearleft, Andy is a best selling tech author, curates the dConstruct and UX London conferences and helped set-up The Brighton Digital Festival. Andy created Silverback, a low cost usability testing application for the Mac, and co-founded Fontdeck, a web typography start-up. Andy is a regular speaker at international conferences like SXSW, An Event Apart and The Next Web. Never happier than when he’s diving some remote tropical atoll, Andy is a qualified PADI dive instructor and retired shark wrangler. As head of business and corporate development, Andy is responsible for driving Ticketfly’s growth through strategic partnerships and acquisitions. Andy has nearly two decades of experience working and investing in IT, digital media, and consumer products. Before trading in his suit for a hoodie, Andy spent eight years in venture capital with Unilever Ventures and Physic Ventures, and two years in investment banking with Wasserstein Perella. He honed his operating skills by co-founding a digital marketing venture, heading product marketing at an enterprise software startup, and leading business development at both private and public companies. Andy received his BA from Duke University and his MBA from UC Berkeley. Tim Chambers Dan Eastmond DIRECTOR, TJCHAMBERS CONSULTANCY UK MANAGING DIRECTOR, FIRESTATION ARTS & CULTURE UK An international ticketing specialist and senior executive with over 20 years’ experience within the live entertainment industries. Career expertise includes direct knowledge of Start-Up’s, UK and pan-European M&A including geographical roll-ups, operational consolidation, definition of cost-savings and synergies, and leading corporate growth initiatives. Currently advising a number of European and USbased companies, at various stages of corporate development, which are seeking to transform their business operations. Dan is MD of Firestation Arts & Culture, a social enterprise based in Windsor, UK, which runs a range of projects including The Firestation Centre for Arts & Culture, Lemonade Gallery, Beat Magazine, Prime Studios, and publishing arm Fireythings. His career has taken him from arts co-ops and online communities, from pirate radio to the music industry, and from galleries to entertainment venues. He recently established DEconsulting, specialising in strategy reformulation and future shaping for cultural and creative businesses. Andrew Collier Ismail Elshareef CREATIVE DIRECTOR, MINOR ENTERTAINMENT UK VP - OPEN PLATFORM, TICKETMASTER USA Minor Entertainment creates spectacular family theatre events in unique spaces. Its production In the Night Garden Live tours in an inflatable theatre and is about to enter its 7th year having sold over 680,000 tickets to date. Prior to founding Minor Andrew toured family productions across the UK with Fiery Angel, was retained as a producer for the Barbican Theatre, and produced at the Edinburgh Fringe. Ismail is a technology leader currently serving as the VP of Open Platform and Innovation at Ticketmaster. Here he’s leading the charge of opening up the company’s technical capabilities, including APIs, to help grow the business through partnership integrations and product innovation. Prior to Ticketmaster, Ismail was the Executive Director of Open Platform at Edmunds.com. In that capacity, he built out the Front-End Engineering team before leading the company’s Innovation Pipeline development that’s based on Open APIs, public hackathons and accelerator programs. He helped grow the business through innovation, which most recently lead to an acquisition, and enabling strategic partnerships. SPEAKERS & ADVISORS David Enstone Leon Gray TICKET OFFICE MANAGER, LIBERTY STADIUM UK HEAD - IT BUSINESS STRATEGY PLANNING, ABERDEEN PERFORMING ARTS UK David is the Ticket Office Manager for Liberty Stadium, home to Swansea City AFC and Ospreys Rugby. David was integral to the change over of ticketing system within the Liberty Stadium, in 2014, and the engagement with Ticketmaster. Through speaking with the Clubs Disabled Supporter Association it became apparent there was no means for disabled supporters to purchase tickets on line. This was not yet available through software and a challenge shared by other clubs within the Premier League. David overcame this problem by developing a platform within the software. Prior to joining the Liberty Stadium David headed up ticketing operations for Glamorgan Cricket and Brentford FC. Leon started working for Aberdeen Performing Arts in September 2005 and has moved through the ranks, first as a Systems Administrator, responsible for the day-to-day administration of the Enta ticketing system, to his current role as Information and Business Systems Manager, where he manages the company’s ICT systems and co-ordinates strategy and policy development. When Aberdeen Performing Arts appointed AudienceView as a new ticketing partner in July 2012, Leon project managed the transition between the two platforms. Karim Fanous Tommy Higgins HEAD OF RESEARCH, INSIGHT AT MUSIC ALLY UK CHAIRMAN, ACCENT MEDIA/DOT TICKETS UK At Music Ally we love music, and we love tech. We believe that these worlds should not be battling each other and so our mission for the past ten years has remained the same: to explore ways that the two worlds can work profitably together. Karim consults to clients across the recorded, live and digital music industry. He is also a regular speaker and has delivered keynotes at events including SxSW, Community festival, AIM Music Connected and Midem and chaired and programmed panels at events including the International Live Music Conference and by:Larm. Tommy served as the Executive Vice President of Ticketmaster International, responsible for overseeing all aspects of business and operations in Europe for Ticketmaster. He began his career in the music industry in Ireland in the 1970’s, operating a successful chain of retail music stores. In 1986, Tommy formed a joint venture with a group of investors to bring the HMV specialty retail brand to Ireland. He went on to establish, in 1992, Ireland’s first fully computerized national ticketing company, Ticketshop, which was re-branded Ticketmaster Ireland in 1997 as part of a joint venture with Ticketmaster. Tom Flanagan Lyndsey Jackson DEBENTURE SALES & MARKETING MANAGER, RFU UK HEAD OF OPERATIONS, EDINBURGH FESTIVAL FRINGE SOCIETY UK Tom has worked for the RFU since 2013 and looks after the strategy, sales and marketing of Twickenham Stadium’s 15,000 debenture seats. He previously worked in sales and account management roles at Wembley Stadium and for IMG’s tennis division. Lyndsey oversees the Box Office, operational, financial and administrative aspects of the Charity. Lyndsey joined the Fringe Society in 2013 after six years as a producer and general manager in independent new writing theatre companies in Belfast and Lincoln, preceded by four years managing research support at the University of Manchester. 17 TICKETING TECHNOLOGY FORUM 2016 Stephanie Kovach Yang Li INDUSTRY MANAGER, GOOGLE UK SENIOR DIGITAL PROJECT MANAGER, FRENCH TENNIS FEDERATION After having studied and worked in different cultures, Yang Li joined the French Tennis Federation (FFT) for the sport he is passionate about and entered the ticketing industry. Having gained precious experience in ticketing by leading major e-commerce projects for premier tennis events including Roland-Garros and the BNP Paribas Masters, Yang is moving on to work on a larger scope of digital projects for the FFT. Stephanie is an Industry Manager at Google specializing in the ticketing industry. In her role, she helps customers strategically get the most out of the web and achieve their business goals. By working closely with her clients on projects, she can drive incremental profits in excess of $1M. She has been at Google for three years, and joined from Audible, an Amazon Company. In her ten years with digital, she had a healthy obsession with tracking and a real love for data. Marcin Kowalik Frederic Longatte MARCIN KOWALIK, KLUB.FM POLAND CEO, SECUTIX SWITZERLAND Previously Marcin was developing the business of a performance marketing agency and launched an affiliate marketing network for the biggest banks and insurance companies in Poland. As an affiliate for Eventim, biletin, Bilety.fm, Ticketpro, Ticketonline, ebilet.pl, kupbilecik.pl, he was delivering online ticket sales. He developed the Polish market place of the global life advice leader. The main tasks have included the launch of the brand’s own TV channel, development of cooperations with teleshopping partners, online partners and the development of an online market place. Currently Marcin is helping to find Polish IT / Marketing partners for German companies. Out of Berlin he is managing three e-commerce sites for the DACH region, running from the Polish infrastructure. Frédéric is the CEO of SecuTix, a SaaS ticketing solution provider headquartered in Switzerland. He joined SecuTix in June 2015 to accelerate the company’s growth in Europe in particular in the sports and live entertainment segments. Prior to SecuTix, Frédéric spent 16 years with Accenture, holding management positions in sales, software development and professional services. He launched Accenture’s Software as a Service and Salesforce business unit in France where he established strategic partnerships with SaaS companies and delivered large-scale IT transformation programs for clients across the globe. An international executive, Frédéric lived in the United States, Singapore and Australia. He holds a Master of Science from the Georgia Institute of Technology. Don Levy Jim McCarthy FORMER SVP MARKETING & COMMUNICATIONS, SONY PICTURES & PRESIDENT, SMITH BROOK FARM (LOS ANGELES) USA CO-FOUNDER/CEO, GOLDSTAR USA Don has been at the forefront of the entertainment industry’s digital transformation throughout his career as a senior executive in animation, visual effects, digital media, television and movies. After 17 years as a member of the senior management team at Sony Pictures Digital where he was instrumental in the establishment and growth of the studio’s visual effects, animation, post-production, and digital entertainment businesses. Don launched Smith Brook Farm to help thought leaders and businesses grow. He is a member of the Academy of Television Arts & Sciences and the Academy of Motion Picture Arts & Sciences. 18 Jim is an 18-year veteran of the Internet and e-commerce who has spent his entire career in high-growth businesses and likes to share his knowledge and insight with others. He’s the Editor and main contributor to SellingOut.com, a website for live entertainment and arts marketers. He’s the Curator and Co-Founder of TEDxBroadway. Jim studied English at Harvard University and received an MBA at UCLA Anderson School of Management. Jim is a noted ticketing commentator and also operates a couple of companies, amongst them Goldstar, which is a US-based ‘Members- Only’ discounted / distressed / late availability clearing- house. Very successful, Jim is widely acknowledged as one of the best commercial thinkers regarding ticket pricing (He also has his ‘Selling Out’ Blog). WIRECARD REINVENTING PAYMENT 3RPMRISJĮMRIERHQSFMPI;MVIGEVHMWXLI PIEHMRKWTIGMEPMWXJSVTE]QIRXTVSGIWWMRK ERHMWWYMRK;MXL]IEVWSJI\TIVMIRGI MRXLIQEVOIX;MVIGEVHSJJIVWQSVIXLER GYWXSQIVWWXEXISJXLIEVXXIGLRSPSK]XVERWTEVIRXVIEPXMQIVITSVXMRK WIVZMGIWERHWYTTSVXMRHIZIPSTMRKXLIMV MRXIVREXMSREPTE]QIRXWXVEXIKMIW [[[[MVIGEVHGSYO Meet us at the Ticketing Technology Forum Event 27-28 April, POD 105 XIssuing & Acquiring XmPOS & POS XOmni-channel TICKETING TECHNOLOGY FORUM 2016 Ticketing Technology AWARDS 2016 SALES & MARKETING AWARD • • • • “Only The Brave” – Wales Millennium Centre • Platinum by Ticketmaster 16th FINA World Championships (Kazan) “Masterfan” by Ticketmaster Spain “GoldenTicket” Augmented Reality by Eventim Netherlands RISING STAR AWARD • • • • • Stephanie Lett, Live Nation Liam Yandell, HQ Theatres & Hospitality Mark Fisher, Royal Collection Josh Whittaker-Vyse, Stoke City FC ReplyBuy at Levi’s Stadium/49ers Etix Mobile App We Scan Tickets App SAP Arena App Ticketa Mobile App Kaartjes.nl Mobile Portal CUSTOMER SERVICE AWARD • • • • • ACF Fiorentina’s CRM Liberty Stadium’s Disabled Supporter Services Lisa Cobham, RWC15/Ticketmaster UK The Contact Centre at Wales Millennium Centre Websitealive – Live Chat MOVING ON UP AWARD • • • • • “Audience in Focus” by Malmö Opera Cirque du Soleil’s Demand-Based Pricing Schlösserland Dresden FanThreeSixty Integration VW’s Autostadt Ticketshop EXECUTIVE OF THE YEAR AWARD • Arndt Scheffler, Managing Director, White-Label eCommerce GmbH • • • • Ben Sebborn, Founder/CEO, Skiddle 20 Ticketing Technology Awards recognise leadership, innovation and achievement in the application of technology in ticketing across sports, performing arts, music, cinema, live entertainment and visitor attractions. The awards aim to increase the standards and best practice of ticketing, drive awareness and adoption of future ticketing technology and to improve the customer experience for ticket-buyers across all sectors. Claire Hargreave, Sydney Opera House MOVE TO MOBILE AWARD • • • • • • ABOUT THE AWARDS Javier Andrés Marin, CEO & Founder, Ticketea Sam Isles, VP Artist Services, Ticketmaster Michael Nabarro, Co-Founder & CEO, Spektrix WEDNESDAY 27 APRIL GUINNESS STOREHOUSE 7.30PM - 11.30PM DRESS CODE - BUSINESS SMART THE FINALISTS PRODUCT INNOVATION AWARD TO BE ANNOUNCED ON THE NIGHT…. Industry Supplier of the Year The Judge’s Choice Outstanding Achievement • • • • • • ReplyBuy TodayTix App .tickets domain names Collector Ticket by Ticketmaster Spektrix Customer Segmentation Tool Playpass CRM/DATA TOOL AWARD • • • • • API Integration for London’s West End Purple Seven Insights Ticketmaster Live Analytics Merkle-Adobe Integration Neo-Ticketing Project PREMIUM/VIP TICKETING AWARD • • Experience App from Live Nation • • Festicket Rugby World Cup 2015 Premium Hospitality & Ticketing Programme Club des Loges, French Open SMART+CONNECTED AWARD • • • Arena App, SSE Arena Belfast • • • The Ticket Factory’s Systems Integration Montreal Canadiens‘ Club 1909 Malmö’s Multi-Venue Ticketing Integration (Malmö Opera / Tessitura) Ticketshop v3 from Ticketscript 10-Day Access Control at Winterfest 2016 Mark Flitton PRESENTER Mark has been acting since 1988 and has had success both in theatre and TV. When not acting Mark teaches drama to young people in his hometown of Swindon where he has co founded ‘Swindon Young Actors’, a drama school that caters for over 200 students. If he’s ever not teaching then you will definitely find him in a field with his metal detector. Mark’s television credits include ‘Call the Midwife, ‘Hidden’, ‘Whitechapel’, ‘The Fixer’, ‘Casualty’, ‘Silk’ and ‘Spooks’. More recently you may well have spotted Mark playing DC Jim Conroy in the critically acclaimed ‘Thirteen’ on BBC3 and BBC2. But, If you’re still sat there thinking “where do I know him from?” then its more than likely from his recent portrayal of a London taxi cabby in the recent Go-Compare ‘Fantastic’ campaign. Please don’t hit him! CATEGORY SPONSOR 21 TICKETING TECHNOLOGY FORUM 2016 Áine McVerry Michelle Nordqvist DIRECTOR OF MARKETING AND COMMUNICATIONS, THE MAC IRELAND SALES MANAGER, MALMÖ OPERA SWEDEN The MAC is Belfast’s flagship arts venue in the Cathedral Quarter which opened in April 2012. Áine has been with the organisation since 2004 and was part of the small senior team that delivered the capital build. Previous to this, Áine worked in marketing and fundraising for an international charity. She has also been the Chair of the Belfast Arts Marketing Group and a board member of Audiences NI, Northern Ireland’s first audience development agency. Áine is an English Literature graduate with a MSC in Communication, Advertising and Public Relations. Michelle has been the Sales Manager at Malmö Opera since 2013. She started her career at the box office eleven years ago, and has since then worked within all the different departments of the sales office including groups, agents, B2B and CRM. Two years ago Michelle was assigned as the project manager of the procurement and development of a new ticketing system for all the four companies in the consortium. Since the decision of the new ticketing system, one year ago, Michelle has been the consortiums overall project manager for the implementation. Fadi Naoum Ian Nuttall DEVELOPMENT SENIOR VICE PRESIDENT SPORTS AND ENTERTAINMENT, SAP GERMANY 22 FOUNDER, TICKETING TECHNOLOGY FORUM / XPERIOLOGY UK Fadi is Development Senior Vice President for Sports and Entertainment, the 25th industry at SAP. His key responsibility is the development of flexible and innovative end-to-end-solutions that help sports and entertainment organizations improve their processes and maximize achievement. Its customers include the German Football Association (DFB), San Jose Sharks, TSG 1899 Hoffenheim, SAP Arena, Bayern München and 1. FC Nürnberg. The product portfolio of sports and entertainment comprises e.g. Team Management & Team Performance, Ticketing- & Point of Sale innovations. He been in global leading SAP positions for more than 15 years and began his IT career at Lufthansa AG in 1989, where he was project manager on the implementation of SAP software. Ian Nuttall is the owner and founder of Ticketing Technology Forum, presented by his Xperiology events business. His working life began in sports hospitality events management (including Formula 1, horse racing and Wimbledon) before pursuing an award-winning career in B2B magazine publishing. He has co-launched and edited numerous business titles (ranging from energy and industrial processes through to airport design and Intelligent Transportation Systems). He has also founded many of the sports sector’s most respected publications and news sources. In addition to his ongoing commitments as a sports business writer and speaker, Ian provides highly-valued, specialist consultancy to the sports and entertainment venue sector. Markus Nilsson Phillip Payne EVENT & TICKET SALES MANAGER, HAMMARBY FOTBOLL SWEDEN BOX OFFICE MANAGER, BATTERSEA ARTS CENTRE UK Markus is 26 years old and has been working as the Event and Ticket Sales Manager for Hammarby Fotboll since October 2013. Before that, he worked with the Swedish FA and UEFA Women’s EURO 2013 in Sweden, where he was Head of Ticketing and Communications for the Local Organising Committee. Markus has also previously held the title of Club Manager at two clubs in Damallsvenskan, the top league of women’s football in Sweden. Phillip has worked in theatre and live entertainment venues for twenty years. Whilst completing a degree in Theatre Studies at Lancaster University, he began an accidental apprenticeship in theatre operations and administration at Blackpool Grand Theatre. This led to his first Box Office Management position at the Leas Cliff Hall, Folkestone. Aside from an interregnum running the Sheffield International Concert Season in 2003-05, Phillip has worked in Box Office Management ever since at Sheffield City Hall, the Tricycle Theatre and, since 2007, Battersea Arts Centre. His enthusiasms are music, theatre, cinema, writing, genealogy, tennis, setting quizzes and Twin Peaks. SPEAKERS & ADVISORS Ben Rapp CHIEF EXECUTIVE OFFICER, MANAGED NETWORKS UK Ben founded Managed Networks in 1992 and now presides over a full-service IT company serving hundreds of SMEs as well as some of the biggest multi-nationals such as BT, Diageo and National Grid. Today, Managed Networks looks after 70% of the IT infrastructure serving London’s West End theatre business. He is a Fellow of the British Computer Society, a Chartered IT Professional a Non-Executive Director of Intellect, the UK’s technology trade association. He is also a Freeman of the Worshipful Company of Information Technologists. He is a frequent speaker on IT issues and topics, and holds the globally recognised CISSP information security accreditation. Einar Sævarsson Tom Schößler DEPUTY ADMINISTRATIVE DIRECTOR, THEATERHAUS STUTTGART GERMANY After starting his career in the Automotive Industry, Tom joined Theaterhaus Stuttgart, Germany’s largest Not-for-Profit Theatre Venue, where he is co-responsible for its financial operations. Tom is also a Lecturer for Arts Management, which he has taught at several Universities and other educational institutions. He recently completed a Ph.D. program with a research on the Pricing Strategies of Publicly Funded Theatres in Germany. His findings will be presented at TTF16. Eric Solem CEO, ACTIVITY STREAM ICELAND HEAD OF TICKETING, A.S. ROMA ITALY Einar is the CEO / Co-Founder of Activity Stream. He is passionate about organizational innovation including people, technology, operations and data. Prior to Activity Stream, Einar successfully created ticketing companies in four countries as one of the founders of Venuepoint, a leader in Scandinavian ticketing. Einar holds a degree in industrial engineering. Eric Solem is head of ticketing for A.S. Roma and to become director of ticket sales and CRM for the new Stadio della Roma stadium project in Rome. As head of ticketing Eric created the sales team and CRM platform for A.S. Roma and is involved in building and designing the technology that will run the new stadium. At A.S. Roma Eric has overseen a 50% growth in season ticket sales and the creation of a dedicated premium program at the recently expanded premium area at Stadio Olimpico in Rome. Eric previously worked in numerous technology roles in the UK and in Italy, including director of CRM sales in Europe and three years at Expedia in the UK as head of Affiliates across EMEA. José Ignacio Sanchez Steven Sunshine CORPORATE DIRECTOR OF REVENUE MANAGEMENT, PARQUES REUNIDOS SPAIN PRESIDENT AND CO-FOUNDER, TIXTRACK USA José is a double graduate in Tourism Business Administration and Library & Information Science, having also a Postgraduate Diploma in International Hospitality Management. After graduation, José launched his career in the hospitality industry, where he began his specialization in revenue management. He worked for Hesperia Hotels and Vincci Hotels before joining Meliá Hotels International, where he worked for 9 years, being finally appointed Head of Revenue Management for EMEA. In 2014, José embarked on the ticketing industry to lead one of the most ambitious projects in the theme parks industry, applying dynamic pricing and revenue management strategies. Steven focuses on business strategy and technology innovation at TixTrack. Steven combines his knowledge of statistics and business to oversee a team that is revolutionising ticketing, from inventory visualisation to ticket pricing optimisation, while delivering the results in easy to use products. With more than 40 issued patents and 40 pending patents, Steven is focused on creating new technology that solves customer problems. Steven has a Ph.D. in chemistry from Northwestern University and an M.B.A from the USC Marshall School of Business. 23 TICKETING TECHNOLOGY FORUM 2016 David Thibel MARKETING DIRECTOR, MALMÖ OPERA SWEDEN David started work at Skånes Dansteater in 2013 leading the design, film and development within the marketing and communications department. David has a technical and design based background with well over a decade of experience within advertisement agencies and several years experience running his own company. His past job experience ranges from technical consulting, event design and art direction to brand and concept development for traditional media and digital platforms. David has been a part of the management group for the procurement and development of Malmö’s joint ticketing system, contributing mainly to the UX and technical and conceptual elements of the project. Thomas has been Marketing Director at the Malmö Opera since 2007. Thomas has had the privilege to work with the best in different areas of audience development, whilst realising many of the ideas he believes in, including ticketing, pricing, social media, statistics and new thinking. Under Thomas’ direction, Malmö Opera have changed its ticketing system, optimised their pricing strategy, developed the perception of the brand and have increased their audience with over 50% over the last years. Thomas has previously worked with major public events in sports, music and exhibitions. Eric Valley Paul Williamson DIRECTOR OF TICKET SALES, CIRQUE DU SOLEIL CANADA 24 Thomas Wickell ART DIRECTORS, SKÅNES DANSTEATER SWEDEN FOUNDER, SPORTS INK ASSOCIATES UK Eric has been involved in live entertainment since his teenage years. His career at Cirque du Soleil started in 2001 mainly as a box office and house manager on tour. In 2007 he worked to develop an all new ticketing operation process for their Arena Shows. Since early 2012, he is overseeing ticket sales operations for all of Cirque’s touring productions worldwide. As the Director of Ticket Sales, Eric has recently rethought the revenue management strategies and introduced a new demand based pricing approach currently being deployed on all Cirque du Soleil touring shows. Paul has worked on ticketing projects for many major sports events, including Rugby World Cups, Cricket World Cups and Commonwealth Games. Most recently he was Director of Ticketing at London 2012, which sold 10.99 million tickets, valued at $1 billion. He now leads a consultancy, focusing on reducing ticketing risk and improving revenues at major events. Reg Walker Geraldine Wilson OPERATIONS DIRECTOR, IRIDIUM CONSULTANCY UK GENERAL MANAGER, AMAZON TICKETS UK Reg Walker is the Operations Director of the Iridium Consultancy and is the head of the Commercial Protection Unit at The O2, a position held since 2007. He is also responsible for anti counterfeiting operations at many UK festivals such as the Reading and Leeds Festivals and Download. Walker is generally recognised as the lead expert on ticket fraud and touting within the UK. He is in his 30th year of working within the live music and sporting sectors. Geraldine is General Manager for Amazon Tickets and has a background in launching and running start ups inside and outside Corporates. Before joining Amazon in 2014, Geraldine was Managing Director for Micro Merchants at WorldPay and launched WorldPay Zinc a mobile card payment product for very small businesses. Prior to Worldpay, Geraldine was CEO of mobile telco, Truphone, VP Mobile in Yahoo! Europe and had a variety of roles at Vodafone UK, Group and Sweden for 12 years, where she launched the UK‘s first prepay product. SPEAKERS & ADVISORS Carsten Wohlrath PRODUCT MANAGER AND PRODUCT OWNER, SAP GERMANY Carsten is Product Manager and Product Owner for the Event Ticketing solution at SAP. In this role he collect and evaluate requirements coming from customers, markets and technical innovations and create the strategic and functional roadmap for the ticketing product. He is closely cooperating with customer and development teams to elaborate a secure, performant and future proof ticketing solution to the sports market. His comprehensive expertise in ticketing and CRM he collected as ticket manager at the Bundesliga and in his position as the Head of Product Management at CTS Eventim Sports GmbH and Sportfive Tixx GmbH. Kyle Wright INTERACTIVE MARKETING & ANALYTICS MANAGER, SHUBERT TICKETING USA Working at the intersection of data acquisition and digital marketing, Kyle has spent the last four years developing an integrated data marketing platform which leverages the power of the venue data to better mine audiences and increase ticketing conversion. Integrations with more traditional marketing channels – email, social, and retargeting/re-engagement – provide additional fuel and added value to the platform. Prior to The Shubert Organization Kyle managed marketing for an entertainment marketing startup – Plum Benefits – which provides online access to live entertainment discounts to employees as a corporate benefit through HR departments. Notes .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... 25 SPONSORS & PARTNERS Sponsors & Partners SAP SE SAP SE is a world-leading provider for company software that supports over 300,000 customers in 25 industries with its innovative technology to operate profitably, continuously adapt to new requirements, and grow sustainably. With SAP solutions, sports and entertainment organisations are driving world-class innovation to: Engage fans like never before, improve player and team performance, maximise revenue streams – grow existing and create new ones, help teams, leagues, and venues run simply. SAP for Sports & Entertainment – Get your competitive edge. www.sap.com ACTIVITY STREAM Activity Stream is a next-generation business intelligence and productivity platform that makes your business smarter and your team more productive, proactive and capable. Activity Stream provides your team with complete overview and full visibility, highlighting opportunities and situations that need attention by continuously monitoring and performing intelligent analysis of your business. We combine Business Activity Monitoring, Operational Intelligence and enterprise activity streams with powerful data visualisation to offer a unique solution to businesses that want to improve daily operations, deliver superb customer experience and become truly data driven. www.activitystream.com ARTI GRAFICHE JULIA Arti Grafiche Julia is a leading company in the Italian market for security printing and tickets, including RFID technology, with a variety of tickets for different events; sport, live music, ski passes, public transport and labelling solutions. We currently export all over Europe and across 40 countries in the world, our global production of tickets exceeds 250 million units per year. We manage the whole production from graphic design to shipment, from our premises in the industrial area of Trieste, Italy, offering a fast service with a short delivery time. www.agjulia.it AXS AXS is a global force that provides the live entertainment industry with the most comprehensive, far-reaching and user-accessible tools in the marketplace. AXS not only supplies information and resources directly to consumers through AXS.com, but also offers robust tools and services to content owners (artists, teams) and venues through the AXS Ticketing and Advantage products. Our passionate team uses the latest technologies to offer ticketing services, digital marketing, venue websites and apps, in-venue payment solutions, as well as reporting and analytics. AXS provides fans the opportunity to purchase tickets directly from their favourite venues via a user-friendly ticketing interface, serving all phases of the event lifecycle beyond just ticketing, through our consumer facing website, AXS.com, the AXS App and our Proximity technology. www.axs.com 27 TICKETING TECHNOLOGY FORUM 2016 CARBONHOUSE Venue websites and apps are not our part-time gig; carbonhouse’s team is the only company worldwide dedicated to providing the best interactive solutions for the event industry. carbonhouse thrives on the pressure of building high-profile sites that welcome millions of visitors. Our clients are among the best venues worldwide including The O2, Mercedes Benz Arena (Berlin), Barclays Centre, Staples Centre, Globe Arenas – Stockholm, NJ Performing Arts Centre, Detroit’s COBO Convention Centre, British Summertime Festival, plus more than 200 leading arenas, performing arts and convention centres worldwide. Well architected websites must engage and inform patrons, event planners, sponsors and members of the community. They must also serve staff as a lasting tool for branding and marketing. Combining carbonhouse’s industry experience and award-winning designs with our Showtime CMS, built specifically for venue and event websites, clients have visually stunning, interactive websites that are simple for staff to maintain and update. The ease of use of our Showtime platform allows our clients to concentrate on the big picture – booking events & selling tickets. With offices in North America and Europe, carbonhouse can support clients worldwide including those requiring multiple languages. www.carbonhouse.com CEDAR PACKAGING With over 20 years’ experience, Cedar Packaging is the global market leader in creating brand-enhancing ticket and membership packaging for the Sports and Live Entertainment industries. We manage the whole process, from initial creative concepts and computer visuals, through to the production and the global distribution of the finished product. Custom ticket packaging is a unique and exciting way to engage with your audience, so talk to the Cedar Packaging team today to see what innovative packaging solutions we can create for you. www.cedarpackaging.com CHEETAH SECURITY TICKETS Raising the bar in security ticket printing. After 4 years of research and development, we’re proud to announce the launch of the Demet; a unique fraud-proof ticket, utilising demetalised technology. The Demet comprises of three layers; two outer layers sandwiching the inner demetalised layer. Each layer can be individually designed to meet your specific requirements, including a bespoke App. The Cheetah Demet Ticket was designed and patented by Cheetah MD, Jon Round, who was instrumental in the development of the application of the demetailised strip used in UK bank notes. www.cheetahsecuritytickets.co.uk DOT TICKETS .tickets is a new breed of top level domain (TLD) designed specifically for the world of ticketing. It has been designed to simplify consumer choice, whilst serving the ticketing industry and associated trade sectors within commerce, entertainment, sport, travel and destinations of choice. .tickets is a simple, clean web address that tells your customers exactly where to purchase genuine tickets. Reduce drop off rates by channelling your customers straight to the point of sale with a short, sharp domain that is memorable enough to bring them back time after time. www.tickets.tickets 28 Meet us on pod #133 TICKETING TECHNOLOGY FORUM 2016 HID GLOBAL HID Global is the trusted leader in products, services and solutions related to the creation, management and use of secure identities for millions of customers worldwide. Recognised for robust quality, innovative designs and industry leadership, HID Global is focused on creating customer value and is the supplier of choice for OEMs, integrators and developers serving a variety of markets that include physical access control; IT security, including strong authentication /credential management; card personalisation; visitor management; government ID; and identification technologies for a range of applications. HID Global is an ASSA ABLOY Group brand. www.hidglobal.com TRAFFICDEFENDER TrafficDefender is the enterprise class, web traffic management and queue system. TrafficDefender ensures websites continue to function when the volume of traffic is in excess of what the infrastructure can handle, by initiating a managed, first-in-first-out queue for excess visitors. TrafficDefender guarantees you’ll be able to service your customers even during peak events. Advanced features include UK-based 24/7/365 support, bespoke queue pages with optional video and social media feeds, VIP visitor management, IP whitelisting and blacklisting, and quick and easy implementation with no code changes necessary. Protect your brand and maintain uptime during your biggest ticket sales with TrafficDefender. www.intechnica.co.uk MAKE IT SOCIAL Our mission is to make the world a truly social place. We are making it easier for groups of friends to book activities online, by eliminating problems that make groups fail to finish their bookings. By integrating our solution, organisations can attract more customers by catering for groups directly within their own booking flow. We provide a set of APIs that allow companies to integrate a social group booking functionality with a pre-determined user experience, or as a completely white-labelled solution. www.makeitsocial.com OXYNADE Oxynade, based in Belgium, offers a state-of-the-art white label online ticketing self-service platform for event organisers (fairs, festivals, conferences), venue owners, theme parks, etc. Oxynade are expanding their B2B2C offering in the event management ticketing space. This has proven to work in Belgium by white label partnering with Belgium’s number one multi-purpose multi-venue organiser, TeleTicketService, owner of eight of Belgium’s largest venues (Sportpaleis Antwerp, Lotto Arena Antwerp, etc). Four more international white label partnerships have been established in the UK (WeGotTickets and Eclipse Ticketing), Norway (MyEvents.no) and The Netherlands (Fansplus) with local ticketing partners. All of those partnerships are based on the same Oxynade white label ticketing technology, focused on local ticketing needs and are targeting other segments. While Oxynade operationally runs the ticketing platform and related services, the partner focuses mainly on sales and marketing effort. Interested? Come and meet us. acc.oxynade.com 30 SPONSORS & PARTNERS PACIFA DECISION PACIFA decision is a 6-year old European company which creates and develops innovative solutions to help venue managers in their daily work. We work in staff optimisation and crowd control and are linked to ticketing, access control and CCTV. Our groundbreaking 3D technologies allow reduced operational costs while improving ticketing and hospitality revenues. We are 20 team-mates fully dedicated to permanently upgrading our existing tools and inventing new ones to always be on the cutting-edge of innovations. Our various origins and partnerships allow us to manage up to nine languages (French, English, Spanish, Portuguese, Italian, German, Slovakian, Polish and Russian) because our willingness is to be in direct contact with your own managing teams; in order to work closely together in a friendly and collaborative way, instead of being a basic supplier. Our existing references are our best ambassadors to testify our product works and it is worth the investment! You can follow us on Twitter @PACIFAdecision.www.pacifa-decision.com QUEUE-IT Queue-it is an online queue system for managing website overload during extreme user peaks, such as high interest ticket sales. By adding Queue-it to your website, users exceeding your site capacity limits are offloaded to the queue system. The volume and pace of user inflow to your website is managed dynamically in the browser-based, self-service console. As your site capacity opens up, the users who waited in line are redirected back to your site in the correct order and pace. www.queue-it.com SECUTIX SecuTix offers a white label ticketing engagement platform to entertainment professionals who wish to increase their revenues, create a compelling customer experience and better control their distribution channels. Combining core ticketing, CRM and Analytics in one single software suite, delivered as a “Software as a Service” solution (Saas), SecuTix 360° allows entertainment professionals to directly engage with their audiences across all digital channels before, during and after the event. Designed to enable digital transformation, our ticketing engagement platform helps event professionals reap the benefits of re-internalising their ticketing function, whilst reducing their operational and distribution costs. Founded in 2002, SecuTix is owned by the ELCA group - the largest independent systems integrator in Switzerland and has offices in Switzerland, France, Spain and Vietnam. With more than 100 institutions live on its cloud-based ticketing engagement platform, SecuTix serves customers in various business segments including sport clubs, stadiums and arenas, museums, live entertainment organisations, leisure parks and festivals. www.secutix.com 31 TICKETING TECHNOLOGY FORUM 2016 THE MARKETPLACE s| noun in a town. lā p t k r ce |mä is or was formerly hedlde... la p t e k r t a *ma a marke rld of tr wo here ngs; the space w ial deali c r an open e m m o ena of c • the ar 32 Activity Stream…………..………………………………. 102 Cedar.…………………………………………………..……….. 115 SecuTix……….…………………………..…………..……..… 133 TicketPlan…………..………………………………………….. 103 HID Global.…………………………………………..……… 121 TixTrack.…………………………………………………….… 139 Wirecard…………..……………………………………………. 105 DOT Tickets…………………………………………………… 123 Make it Social…………………………………….……… 141 Oxynade…………..……………………………………………. 107 Ve Interactive..…………………………………….…..… 125 Ticketing3D………………………………………….…..… 143 PACIFA decision…………..……………………………. 109 SAP………………..………………………………………………… 127 Queue-it……..………………………………….………..…. 145 Arti Grafiche Julia…………..……………………….. 111 AXS….…………….……………….………..……………………. 129 Cheetah Security Tickets…………………….. 147 TrafficDefender…………..……………………………. 113 carbonhouse………………………………………………. 131 WWL….………………………………………………..………..… 153 SPONSORS & PARTNERS TICKETING3D Mobile Media Content (MMC) has developed Ticketing3D, a first-of-itskind visual tool that uses video-games technology to model entertainment venues in 3D for different purposes such as Ticketing Premium Experience, Sponsorship Activation, Hospitality Space Design and Crowd Behavior Analytics among others. Ticketing3D does not need a software installation as the service is delivered directly from the cloud. It is available for all kind of technological platforms and devices. Ticketing3D brings great value to organisations because it becomes the main tool for venue and marketing managers both as a flexible tool to visualise structural investments and also as a new interactive communication channel for fans and brands. www.ticketing3d.com TICKETPLAN Established in 1999, TicketPlan were the original innovators of Refund Protection and are now widely recognised as the UK market leader in this sector. An ever-increasing number of ticket sellers are using TicketPlan to protect their customers and achieve a significant incremental income stream. TicketPlan can offer total support and quick, easy implementation within the UK and a broad range of international markets. TicketPlan are Members of STAR. www.ticketplangroup.com TIXTRACK TixTrack provides web-based software for planning, tracking, and optimising revenue from events. The company’s proprietary purchasing and data analysis tools increase its clients’ revenues by tracking inventory status and accurately determining the correct ticket price. Customers include event promoters such as Cirque du Soleil, Feld Entertainment, Nederlander and venues such as Air Canada Centre and The Verizon Center; and sports teams such as The Los Angeles Clippers, New York Islanders and Chicago Cubs. www.tixtrack.com VE INTERACTIVE Ve is a multi award-winning technology company offering a suite of apps across one platform, which help ticketing businesses successfully drive new traffic, reduce bounce rate and minimise website abandonment. The company supports over 10,000 domestic and multi-national online businesses and retailers in the delivery of real-time marketing communications within customers’ journeys. Through dynamic display advertising, Ve harnesses customer data and purchasing intent to deliver successful ad campaigns that meet all advertiser KPIs. Tracking billions of transactions daily, Ve’s comprehensive data set provides unparalleled insights into customer activity, while delivering highly-targeted content to customers based on their purchasing activity and profile. www.veinteractive.com 33 TICKETING TECHNOLOGY FORUM 2016 WIRECARD Wirecard UK & Ireland, with head offices in Dublin (Ireland), provides payment processing, risk management and banking services tailored specifically to the needs of local merchants. As one of the leading fullservice providers in global electronic payments, Wirecard is fully aware of merchants’ needs, both in national and cross-border transactions. The company has predefined solutions designed specifically for the European market. Wirecard UK & Ireland is part of the Wirecard Group, headquartered in Germany, and listed on the Frankfurt Securities Exchange. For further information about Wirecard, please follow us on twitter @wirecard. www.wirecard.co.uk www.wirecard.com WELDON, WILLIAMS & LICK Weldon, Williams & Lick is a security ticket stock and hard ticket printer. If you’d like: your ticket to project the best possible image for your event or ticket system, to eliminate box office down time due to bad or inconsistent ticket stock, your event/promoter/buying public to be able to look at your ticket and know it is secure and/or a supplier who is sensitive to your needs and responds to your deadlines, then drop by our stand in The Marketplace networking area and we will have the solution for you. www.wwlinc.com Notes .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... 34 TICKETING TECHNOLOGY FORUM 2016 Notes .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... 36 SECURE ACCESS. NO CARD REQUIRED. Secure mobile access solutions by HID represent a revolutionary breakthrough in next gen technology by combining convenience, flexibility and the power of Seos. With a simple tap or use of our patented “Twist and Go” gesture technology, you’ll experience the most innovative way to make an entrance—no card required. And because it’s all powered by Seos, issuing, managing and revoking access couldn’t be easier—or more secure. You’ll call it the most advanced way to use your mobile device. We call it, “your security connected.” YOUR SECURITY. CONNECTED | Visit us at hidglobal.com/mobile © 2016 HID Global Corporation/ASSA ABLOY AB. All rights reserved. HID, HID Global, the HID Blue Brick logo, and the Chain Design are trademarks or registered trademarks of HID Global or its licensor(s)/supplier(s) in the US and other countries and may not be used without permission. TICKETING TECHNOLOGY FORUM 2016 Notes .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... 38 NOTES Notes .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... 39 Stop by to learn how: hello@activitystream.com www.activitystream.com NOTES Notes .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... .......................................................................................................................................................................................................... 41 Xperiology’s world-class, B2B meetings for sports, entertainment, ticketing and technology sectors in 2016 NORDIC VENUE FORUM 2016 Our 6th annual meeting of sports, entertainment and arts venues across the Nordic region. Dates/Location: 9-10 March 2016 / Malmö, Sweden Content: Revenue vs Costs - Visitor Experiences - Business Strategy - and more... Web: www.nordicvenueforum.com Twitter: @NordicVenue #NVF16 *Live Tech THE STADIUM BUSINESS TECH DAY 2016 Demos techday TICKETING TECHNOLOGY F RUM *TICKETING !TECHNOLOGY W E N 16 0 2 r o f AW RDS A one-day, expert briefing with live demos of the stadium’s integrated technology solutions. Dates/Location: 5 April 2016 / Twickenham Stadium, London Web: Tech_Day@Twickenham_Link Twitter: @stadiumbusiness #VTD16 #TechDay #1 EMEA’s g ticketing meetin TICKETING TECHNOLOGY FORUM 2016 Europe’s leading entertainment ticketing B2B meeting with 400+ executives. Dates/Location: 27-28 April 2016 / Dublin, Ireland Content: Dynamic - Social - Mobile - API Integration – Cloud - Demos - Payments Web: www.ticketingtechnologyforum.com Twitter: @TicketTechForum #TTF16 TICKETING TECHNOLOGY AWARDS 2016 Dates/Location: 27 April 2016 / Guinness Storehouse, Dublin Attendance: 200+ industry leaders, opinion-makers and worthy winners! Content: Recognising leadership, innovation & achievement in entertainment ticketing Web: www.ticketingtechnologyforum.com Twitter: @TicketTechForum #TTA16 THE STADIUM BUSINESS SUMMIT 2016 { st Specialgis meetin S16 at #SBrid in Mad THE LEVEL SUMMIT VTECH THE VENUE TECHNOLOGY MEETING A world stadium &of new project de arena legations * The world’s leading gathering of stadium, arena and sports venue business leaders. Dates/Location: 31 May-2 June 2016 / NH Eurobuilding, Madrid, Spain Content: Revenue - Events - Operations - Technology – Leadership – and more... Web: www.stadiumbusinesssummit.com Twitter: @stadiumbusiness #SBS16 #StadiumBiz FAN EXPERIENCE FORUM 2016 Date/Location: 31 May 2016 / NH Eurobuilding, Madrid, Spain Attendance: 200+ fan experience ‘engineers’ for sports, music and entertainment. Content: Digital Strategies - Social Media - Monetisation - Fan Engagement Web: www.fanexperienceforum.com Twitter: @FanXpForum #FXF16 PREMIUM SEAT SEMINAR 2016 Date/Location: 31 May 2016 / NH Eurobuilding, Madrid, Spain Attendance: 150+ Directors of VIP, Premium & Hospitality in sports/events. Content: Sales - Service - Renewals - Design - Catering - Data and more... Web: www.premiumseatseminar.com Twitter: @PremSeatSeminar #PSS16 THE STADIUM BUSINESS AWARDS 2016 Date/Location: 1 June 2016 / Santiago Bernabéu Stadium, Madrid Attendance: 350+ industry leaders, opinion-makers and worthy winners! Content: Recognising the best in the stadium business worldwide. Web: www.stadiumbusinessawards.com Twitter: #SBA16 #StadiumBiz THE LEVEL SUMMIT 2016 200+ live entertainment leaders from arenas, theatres and music venues. Dates/Location: 11-12 October 2016 / Belfast, UK Content: Revenue Generation - Customer Experiences - Programming Web: www.thelevelsummit.com Twitter: @TheLevelSummit #LVL16 VTECH: THE VENUE TECHNOLOGY MEETING 2016 } *Venues, Music & Tech ho together sinted parallel CTOs, CIOs, Heads of IT/Digital from sports, arts, entertainment and event venues. Dates/Location: 11-12 October 2016 / Belfast, UK Web: www.vtechmeeting.com Twitter: @VTECHMeeting #VenueTech THE STADIUM BUSINESS DESIGN & DEVELOPMENT SUMMIT 2016 60+ Project delegations representing new stadium, arena and sports venues developments from around the world. Dates/Location: 31 Oct-2 Nov 2016 / Liverpool & Manchester, UK Content: Planning - Design - Engineering - Construction - Fit-Out Web: www.stadiumdesignsummit.com Twitter: #TDS16 #NewStadium More about us at www.xperiology.com /Users/iannuttall/Desktop/XP-Latest-EventsRoster-amended.pages Information correct at 18/03/2016 theatre Visit www.tickets.tickets to register your .tickets domain Grow your business | Protect your brand | Simplify customer choice TICKETING TECHNOLOGY F RUM WE WOULD LIKE TO THANK OUR PARTNERS & SPONSORS FOR THEIR SUPPORT OF TICKETING TECHNOLOGY FORUM 2016