Backwoods at Mulberry Mountain generated an additional $446,000 in ticket sale revenue, above and beyond their normal sales channels between 2018 and 2019 with just a couple of these tactics.
Backwoods generated $404,011.30 through ambassadors over two years.
Backwoods earned an additional $42,284.15 in 2019 by eliminating ticketing fees.
Backwoods also generated 22,293 Organic Social Media Posts through Ambassadors (with a total organic reach of over 25,000,000 impressions), and over 10,757 photographs (proof) of flyers and posters being handed out on the streets.
Promotion was automatically tracked on a GPS map for Backwoods and showed that the Ambassador Program reached all corners of the US for the festival.
Each ambassador on the program sold upwards of $23,000 in tickets for the festival’s producers - and the festival didn’t have to touch hard tickets or collect cash from anyone
Ricky Hong is a Street Team Ambassador and has sold over $20,000 in tickets for music festivals.
Chase Myska has sold over $29,000 to date for music festivals as an Ambassador.
Kicker Country Stampede used this technique to build an ambassador team and help sell out their 80,000 person music festival.
Venue 578, with their festival grounds out back, increased their VIP reservations by 10% with their own branded mobile app and saved over $202,000 in ticketing fees after leaving Eventbrite.
Snails, a globally renowned dubstep and bass DJ has used this method to promote his last two global tours, recruiting over 1,000 ambassadors on their program and selling out multiple shows in several countries.
Lucidity sold an additional $31,853.14 in tickets on their first Ambassador campaign in just a couple months, garnered 8,386 additional organic social posts, and tracked 4,868 other promotional tasks in their first year using this method.
If you are trying to sell out your next music festival or concert, you should keep reading as this is going to be packed with content to make you hundreds of thousands of dollars more profitable on your next event.
If you are trying to get your music festival known nationally or internationally, I’m going to show you how you can get thousands of people begging their friends to buy tickets from you and do the promotion of your event for you.
If you are struggling with marketing, are unsure how much you should be spending, or where you should be spending it to sell out your show, you must keep reading for the very best marketing tactics for music festivals revealed later in this article.
Regardless of who does your talent buying, I’m going to show you exactly how to stop spending ridiculous amounts of money on artists, and stop the guessing game by seeing exactly who your ticket buyers want to see at your event by showing you who they are listening to on Spotify right now.
If you’re suspicious of those evil artist agents and the games they play, you’re in the right place.
If you want the edge against the other promoters in the industry when booking talent - I’ll give you the insider secret to booking acts they never even knew they wish they had.
If you’re worried about the government and how COVID-19 will affect your business this year, you’re in the right place because we’ll show you how to make bank, regardless of the regulations in place, and how to get approval from your state health department.
If you’ve lost thousands, hundreds of thousands, or even millions on an event in the past - this process will guarantee you never do that again.
Basically, if you want to drive mad profits for your next festival and stop risking hundreds of thousands with the potential to lose big, you’ll need to read this all the way through.
I should also say who this is not for.
If you’re not serious about making money from your music festival, or throwing shows is just a hobby of yours on the side - this is not for you. It takes someone serious about their festival to implement these tactics and see results. You’ve got to be determined about growing your business into a multi-million dollar machine.
If you’re the skeptic, and you aren’t willing to make changes in your business to see results because you think you know it all already - you can stop reading right now. The people we work with know that there are still secrets out there they don’t yet know, and they’re willing to pay for that information and make transformations in their businesses, to get ahead of competing festivals and get the results they seek. Besides, if you knew it all already you’d be making millions in profit by now in the promotions biz, and you wouldn’t be reading this web page.
And finally, this information is specific to music festivals. Some of it may work for other types of events, especially music events, but the people who will see the most benefit are music promoters who own or promote music festivals. If that’s you, you’re in the right spot.
The first major problem I'm going to solve to put more money in your pocket and increase your profit margin is that insane ticket service fee which takes 27% on average in the industry, out of your pocket, charged by companies like Eventbrite, Ticketmaster, etc.
Even if you think you’re paying 5%, 10%, or the fee is capped per ticket, I’m going to show you why it’s really higher than you think it is, and I’m going to show you how to completely ELIMINATE that fee.
I will also show you why contrary to popular belief, taking money upfront for a multi-year ticketing deal is killing your profits, and is one of the worst things you can do for your business!
I'm also going to lower many other expenses you’re paying for to increase your profit margin.
The second major problem I'm going to solve for you is your marketing problem, by selling more tickets than you ever have before, with music-specific marketing tools that you aren’t using today, and by accessing thousands of people who will do your promotion for you, without you giving them any money upfront to do so.
See, my team and I are the only people I’m aware of dedicated to making the music event promoter more profitable through better technology, so they can throw more exciting and memorable shows for their attendees.
I don’t mean to brag, and I’m definitely not sharing this with you to impress you. What I really want to show you is how hard this business is, and how we learned from our mistakes to better the experience for attendees and our business. I’ve been in your shoes.
I’ve lost millions of dollars in the early days of my career in the music promotions business. Literally millions. I’ve disappointed investors, I’ve had the worst possible outcomes you could imagine,, and I’ve even been chased out of state by law enforcement that didn’t want our music festival there. After all of that, I was able to turn it all around after applying these methods and start earning mad profits that have helped us throw better events for us and attendees alike.
See, today I own a successful multi-day, multi-stage music festival of my own, and I used to own the third largest concert venue in Central Florida before doubling its revenues and selling it off. I went from losing millions on my events, and booking shows at the venue that just didn’t sell well, to selling millions more in tickets and turning hundreds of thousands in profit annually. We’ve booked Cardi-B, Post Malone, Rebelution, Alison Wonderland, Migos, Odesza, Porter Robinson, Griz, you name it.
It only took us one year to do it once we figured out the formula I’m going to share with you.
I’ve also owned other companies, mostly in the marketing space, which led me naturally to the events promotion business. My ad agency worked for Fortune 500 clients such as Hilton, Ruth’s Chris Steak House, TGI Fridays, Holiday Inn, and more. I had an office in Rockefeller Center in Manhattan, and another in Orlando, Florida.
But the reason I am in this business today, and not designing steaks for billboards anymore, is the same as you. I have passion for live music and events, and I know you do, too. There’s nothing better than the end of the show, when someone comes up to you and says, “thank you” or “this event changed my life.” Essentially they give you the “Nod.”
So, my goal is to spread the wealth and teach others in the music promotions business to do exactly what we did using the same techniques, taking their music festival from doing just so-so, or worse losing money, to making bank.
I feel if I am part of the team that helps you to be successful, I will have a hand in creating more successful events. I’ll be doing my part to give more attendees the opportunity to experience that amazing event you create, and in turn: I’ll get the “Nod” that keeps us all going.
So… enough about me and my history, let’s dig into the activities you’re already doing to produce your festival, and the secrets I’m going to share with you, to turn the ship around and start putting Benjamins in your bank account.
The old way of choosing a ticketing company usually involves the music festival owner looking for the ticketing company that will give them the most money upfront.
The ticketing company earns back what they gave the promoter over time in the form of high fees. They also add a large profit margin to the fee.
Then the promoter passes on the extremely high ticket fee charged by the ticketing company to the ticket buyer at checkout.
Instead, what you should do is use ticketing software that doesn't charge any ticketing fees whatsoever, instantly increasing your profitability. This way, you capture the total amount your attendees are willing to pay to go to your festival, and the high fees your ticketing company once took can go straight into your pocket as profit.
It will be easier to find investors or get low interest loans with a more profitable company, and eliminating your ticketing fees is guaranteed to make you more profitable.
This results in extremely high ticketing fees, because the ticketing company not only has to turn a profit and get back the money they gave you, but they also need to build in additional return for the “cost of capital” like an interest rate, as well as the risk that you may never pay them back or go bankrupt.
This also results in you keeping less of the total amount of money your ticket buyer is willing to pay to go to the show since it forces you to price your event a little lower to make room for that high ticket fee you don’t get to keep.
A study by Eventbrite found that 68% of music festivals struggle with profitability.
Ticketmaster is one of the most hated companies in America with the highest fees of over 30%.
This Forbes Article cited that it takes 5 years for a festival to become profitable.
Your profit margins will be higher, and your risk of losing money on events will be lower.
Your profit increases by up to 15, 20, 25, or even 30% of revenue overnight, depending upon the fees your other ticketing company was charging you.
Not every ticketing company has a ticketing service fee associated with the ticket sale, but many event music promoters don’t know this.
The more a ticketing company is willing to give you upfront, the higher their fees are going to have to be to cover the cost of capital. They have to provide their investors with a return, and they also need to add a margin for themselves on top of that return. They have to build in something for their investor’s risk, their own risk, plus they need to charge you for their ticketing service.
All of this adds up to a ridiculous amount in fees.
Anytime you keep less of what the attendee is willing to pay to go to your event, you are losing money… that’s right... even when you are passing those fees onto the customer.
The higher the fees are, the lower your profit is at the end of the year. Period.
When you calculate it out, the equivalent interest rate the ticketing company charges you over the course of the contract, on the money they give you upfront, is upwards of 150-160% per year!
They did this by eliminating their ticketing fees (switching from Eventbrite), while keeping the gross amount paid by the attendee exactly the same... meaning the cost for the attendee didn’t increase a penny.
Dive into this video and see how much more you could be making in your business by analyzing a couple of typical ticketing deals. Let’s analyze a couple of real ticketing deals together, so you can learn how you should be looking at that upfront money your ticketing company is offering you. I’ll give you the template featured in this video as well, so you can use it for your business.
Here's another analysis on exactly how much you're going to be saving for your music festival and other shows throughout the year by simply eliminating and keeping your ticketing fees.
Music promoters usually book acts that they personally like, that their friends like, and that they think are “hot right now.”
They book acts based on what their agents are telling them, and the relationships they have with those agents from past bookings.
They book artists that they know and have done well with in the past.
Make all of your booking decisions strictly based on data, and not on emotion, hunches, or opinion. The data has to be detailed, thorough, and come from your attendee database or marketing database you’ll be advertising your festival to.
You’ll need to ask the people who plan to attend your festival, or who have attended in years past, to tell you exactly who they want to see, and then book those artists for them this year.
The best way to know what artists your attendees want to see, and how popular they are amongst your database of contacts, is by getting permission from them to see exactly who they are listening to on streaming services such as Spotify. This way, you never miss out on what’s trending, and you’ll always know what artists are most popular with your database.
Music Promoters not selling out their shows because they miss the mark.
They get taken advantage of by agents who are just trying to get their artists on the bill and book shows. The agents could care less how the show will perform as long as they get paid in the end, which is why they want guarantees.
Event promoters overpay for artists because they are guessing as best they can, based on limited data, or based on what their agents tell them.
When you base all of your decisions on data, literally ask the people who plan to attend your events who they want to see, and can access all of their streaming music data, you lower your financial risk and the number of poor booking decisions you make in a major way.
You can decide more accurately what an artist is worth, and save money on artist booking fees.
You’ll never book the wrong artists that don’t move tickets.
You’ll sell more tickets, and increase your chance of selling out your events.
You can plan better, proceed with confidence knowing how a show is likely to perform, and project your festival’s future growth.
You can see exactly what artists your attendees are listening to on Spotify using software that gets their permission to allow you to gather that data.
You can keep that data fresh, literally updating every day, so you always have the latest artists that are trending with your database.
By booking the most popular artists amongst your database, and marketing to them in the future when you announce your show, you can guarantee that you will sell more tickets to your events. You’re giving your attendees exactly what they want.
By seeing exactly how many people in your contact database are listening to a specific artist, you can accurately judge the future sales and ensure you don’t overpay for that artist.
You can also apply this technique by polling your database, but you won’t get nearly as accurate or up-to-date data, and you can’t gather results every day. Collecting 100% of your entire database’s listening data, which is automatically updated daily, is the best way to ensure you have what you need to make the best booking decisions.
You will also spend less money on booking artists, because the artists you pick will move so many tickets (each) that you won’t have to book as many of them to get the same number of attendees. In some cases, you will save hundreds of thousands by essentially eliminating artists that you would have previously booked, that you can now clearly see, aren’t actually that popular with your database. The key is to narrow down the ratio to as little spent on artists as possible, for the highest attendance and most tickets sold as possible.
Backwoods at Mulberry Mountain cut their artist budget by $130,000 in 2018, to a total of $290,000 from $420,000 the prior year, after analyzing their database’s Spotify listener data.
On top of this massive savings, they sold 1,400 more tickets to the event in 2018 than the prior festival, generating over $280,000 in additional revenue.
Check out this video that explains exactly how you too can make $410,000 more when booking artists this year for your festival using data to make all of your talent buying decisions.
Trying to build your ambassador team by recruiting manually through people that you trust, especially if you plan to sell hard tickets for cash.
Using a thousand spreadsheets, Google Docs, etc. to try and organize the team’s schedule, tasks, and keep them on track.
Manually tracking the tasks of your team. The bigger your team, the harder this is to accomplish, especially if they have a lot of tasks to complete.
Manually rewarding your team by issuing them tickets, putting them on the guest list, or writing a check.
Printing out tickets and flyers, and handing them out to only a select few trusted ambassadors so they can try to sell them or pass them out.
Meeting in-person with your team to try to collect cash or tickets that weren’t sold, and keep your records straight as to where tickets are at and how much you’re owed.
Build your ambassador team by automatically recruiting from an international database of proven ambassadors, and supplement them by recruiting from your own database as well.
Eliminate the “trust” requirement with transparency through technology that makes it impossible for tickets or money to get lost, and allow all ambassadors on your team to help you sell tickets.
Use software to organize, create, and assign all of your team’s tasks, so they can easily promote your event.
Use software that will track all tasks completed by your team automatically, including posters and flyers handed out on a GPS map so you can see where promotion is happening on the ground. Online, use the software to automatically seek out all your ambassadors’ social profiles and track all social post requirements you gave them. Save an incredible amount of time and be 100% accurate with your tracking.
Reward your team automatically when the software recognizes that an ambassador has completed all of their tasks. Have the system issue their tickets automatically, so you never have to manage separate guest lists for your ambassadors come show day.
Never print tickets again so you don’t risk losing tickets or cash. Use handheld point of sale software through your ambassadors’ phones to allow them to sell tickets for you, still for cash or credit, but eliminate all risk of loss with the technology.
Meet online in Facebook groups or through other platforms rather than in-person to save time and expand your team over geographic areas far greater than if you had to meet in-person. Mail flyers and posters to them, and let them use mobile software to sell tickets in-person to their friends, so you don’t have to collect cash.
Frustrating. It is very difficult to build a large team since the management is so intensive, and recruitment is limited to your network or database.
Tickets get lost, cash gets lost. You eat the losses.
You can’t trust everyone on your team with tickets and money, so you only select a few people to sell tickets for you, or you opt to not sell hard tickets at all.
You try to track their social media tasks, but realize it is impossible to visit every social media profile for every ambassador and verify all of their posts.
Likewise, you can’t verify where, when, or how many flyers or posters have been hung up or passed out for you.
When providing your team rewards (such as free tickets for helping you promote), you aren’t sure who has actually completed all of the required tasks, since it’s too hard to manage and track, and you end up giving tickets away to people who probably didn’t work as hard as others on your team.
You can’t always track the actual revenue generated by each ambassador or street team member, so it’s difficult to know who your best team members are that actually move ticket volume.
You’ll save an incredible amount of time.
You will have put tracking of tasks completed by ambassadors on autopilot.
Arguments with ambassadors over whether or not they deserve an award (such as a ticket) will be eliminated by letting the system automatically award them when they complete the tasks.
Money is saved by not printing hard tickets.
You will never lose a ticket or ticket money again.
The size of your ambassador team will increase dramatically and you’ll get more promotion for your event.
Your sales will increase dramatically by allowing everyone on your team to sell tickets for you, and not having to worry whether people are trustworthy or not.
The results of your program will be tracked directly back to actual ticket sales, and you will know the exact dollar value provided by the campaign.
Your Ambassador team must be built big, and managed accurately. This is a numbers game.
You need to automate the tracking of tasks you assign to your team so you can scale.
Tapping into a network of thousands of successful ambassadors will make recruiting easy, and allow you to hire people who know what they’re doing.
You’ll build bigger teams, and have everyone selling tickets for you so you’ll sell more tickets overall.
You’ll know exactly where promotions are happening on the ground since you’ll be able to see everything on a GPS map. You’ll be able to easily identify areas that need more promotion, and ensure you blanket as much area as possible with promo.
Backwoods sold $175,797.10 worth of tickets strictly through their Ambassador Program using PromoTix in 2018, and $228,214.20 in 2019.
Backwoods also automatically tracked over 22,293 ambassador social media posts saving $75,000 in social media advertising expenses year over year, while achieving better results due to the organic reach of the ambassador team.
Backwoods also tracked 10,757 photos on a GPS map of flyers and posters being handed out to promote the event and got 1,497 people to register with Spotify to help with their artist listening data through their ambassador program to help them make better booking decisions.
This video shows why properly managed ambassador programs work and can drive hundreds of thousands in additional ticket sales, as well as lower ad spend, and drive promotions.
Sending text SMS messages
Through your website
Spending money on retargeting ads on Facebook, Google, AdRoll, etc.
Printing out schedules of artist set times and handing them out at the festival.
Hiring developers to build custom mobile apps so you can communicate with your attendees in an attempt to streamline communications.
Use a graphical interface application to design and build an inexpensive mobile app, all without developers, which all attendees can use to receive notifications, updates, lineups, set time schedules, and other valuable information about your upcoming events.
Lower profits due to high expenses - spending $0.10 per text, hundreds or thousands spent on paper schedules for festivals, tens of thousands spent on remarketing or retargeting ads, and tens of thousands spent on mobile app development
No centralized communication space for all attendees and potential attendees
Emails landing in SPAM folders and low response rates
Paper schedules are wasted and create trash at the event
Higher profits due to expenses being reduced or eliminated. (Reduced or eliminated SMS Text, No more Printed Schedules, and reduced retargeting spend for current customers.)
Higher response, engagement, and penetration of message communication with your attendees. (Notifications garner higher response than email/text. No more SPAM filters stopping your communication, etc.)
Saves trees and printing of paper schedules
You can build your own mobile app without any developers using a graphical user interface which allows you to input your lineup, performance schedule, and blog or news articles, customizing the experience under your specified logo and brand colors.
You can use this app to send push notifications to attendees, potential attendees, and the like. Include exclusive offers to drive ticket sales, push lineup announcements, push artist schedules, news, connect with attendees on social media, take reservations, and more.
The application can automatically be submitted to both Google and Apple for you, and the approval process is managed for you until your app goes, all without any experience or app store developer accounts opened by you or your company.
You can save by not spending money on printed schedules. You can save by not sending out expensive text SMS messaging, since push notifications from your own app are much less expensive. You can save by not spending money on expensive, and ineffective, email marketing that always ends up in SPAM.
You will save thousands compared to traditional methods of developing mobile apps, since you don’t have to hire expensive developers.
You can save, much more than you will spend doing so.
They also increased VIP Bottle reservations by 10% using the VIP Reservations section in their mobile app.
Backwoods at Mulberry Mountain saved $15,000 per year on a developer to maintain their application since they could now manage their application themselves. They also saved $2,700 per year on printing schedules, and saved $2,200 per year on text SMS costs. They lowered their retargeting ad spend by 15% by removing their customers from the advertising audience whom they began communicating with instead via the mobile app.
Events have mainly been held in-person and at full capacity, so virtual attendance through streaming of events was not as popular.
For those that did stream their events online, it was usually looked at as a way to capture future in-person attendance and typically chalked up to a marketing expense.
Streams were often held on Facebook, YouTube, Twitch, and other platforms which were not associated with their event ticketing company.
Use an event ticketing company that has built in streaming capabilities (not an outside integration.)
The old way of doing events strictly in person has died, due to COVID-19. No longer can you run events strictly in person at maximum capacity. To expand capacity you have to go online and stream your event.
It is difficult to monetize viewership on Facebook, YouTube, or Twitch, requiring you to have thousands of views before qualifying for a small share of ad revenue that the platform receives on your content.
Selling tickets to a live stream on traditional ticketing platforms doesn’t secure the event properly, since the link to access the third party streaming platform could be shared by anyone who has it. This means that you cannot be sure you’ve monetized all of your viewership through the sale of tickets. Some event organizers have seen thousands of views, with just a handful of actual tickets sold.
Most third party streaming services don’t share viewership data with you, so you don’t know who’s actually “checked in” to your event, or who’s watching. The data remains theirs, not yours.
Streaming of large events required expensive production and even hired trucks to edit and beam the stream via satellite.
You can expand the capacity of your in-person events to sell tickets to virtual attendees who can be located anywhere in the world. This is great for limited capacity events, or for times such as these, during a pandemic.
You can monetize each and every viewer, not relying on hitting thousands of views to collect a fraction of ad revenue, but rather capture 100% of the fees you want to charge per view.
You will capture and own 100% of the data associated with viewership of your event stream, and know exactly who’s watched it and when they checked in.
Your event will be secured with a virtual front gate that will validate every ticket ID prior to generating a viewership URL. It will check if the ticket is fake, or has already been used, thus acting just as an in-person event, ensuring each and every viewer has a ticket.
So long as you have access to a high-speed internet connection, you can broadcast with as little as your laptop.
You can remove your capacity limits set by COVID-19 regulations or local health codes to get revenue going again.
Creating unique, one time viewable, session based URLs that are generated with each and every ticket, is the only way to secure an event with ticketing. This can only be done when a ticketing platform has streaming capabilities built in. If your ticketing company sends a “link” to a stream, that link could be shared with thousands of others making your event unsecured and your ability to monetize every view impossible.
When running hybrid events that host both in-person tickets and virtual tickets, event organizers can add extra income by selling virtual tickets for the work they are already doing to host the in-person event.
This was a "world record" set not that long ago. Everyone is attending virtual streamed events today.
recordBar in Kansas City, Missouri, a small music venue is selling an average of 100 additional virtual tickets to their in-person events at $7 a piece.
This is easy money to pad your event’s profit margins whether you’re a huge promoter, or a small venue or festival.
You would post on your social sites organically.
You would boost posts and launch social ads.
You would announce on radio possibly and spend money with a local station.
You would send emails out to your database.
You may send out a press release.
You may announce via a text message blast to your database.
You’ll run a small amount of advertising, or post organically on social media and send out your emails to seed an initial amount of registrations by fans in a viral pre-sale contest registration page.
You’ll offer some amazing prizes for people that register including VIP tickets, backstage passes, or the like.
Those fans will be rewarded if and only if they invite and refer their friends to register as well.
You’ll gamify it and create competition so that only the fans who refer the most, follow your social sites, give you access to their Spotify data, and more have a chance to earn the prizes.
The cycle will continue and your fans will do the heavy promotion for you.
Your organic social posts would reach just 10% of your audience, and if your following wasn’t already large, maybe just a couple hundred people.
You would spend a ton of money on advertisements trying to reach more people on social media.
Radio would produce mediocre results.
Your emails would end up in people’s SPAM.
Your press release would only get picked up by only a few of the smallest blogs and news sites.
You would spend hundreds sending out a text message blast.
You may see a short burst of sales at first, but then it quickly dies off leaving you to work harder to sell the remaining tickets prior to the event.
Your event’s reach and pre-promotion will expand exponentially before tickets even go on sale. The hype will be real and your event will go viral.
Your marketing database will grow to an enormous size with all the registrations coming in since they don’t have to purchase anything to register.
Everyone who registers will be notified the moment tickets go on sale leading to massive sales at “on sale.”
You’ll spend way less on advertising trying to get the word out about your event.
It will all happen automatically saving you time and energy since the fans do the heavy lifting of promotion.
When tickets do go on sale, they’ll be flying off your website. You’ll need to make sure your web servers don’t crash from all the website traffic.
You’ll decide on your top reward. The better you make this reward, the higher your chances for more registrations and a viral event. Think big, you don’t have to give away more than one. Make it a backstage pass for the entire festival, an hour on the tour bus with the headliner, a signed guitar by the headliner - maybe a combination of the above… something big that people interested in your event are really going to want.
Then, set a second place prize, or maybe a few of them, say for the next 9 runners up. This could be a VIP upgrade, free beer for the festival, or some other secondary prize which you are willing to give away to more than just 2nd place. The key here is that you want people registering to know they have several chances to win something.
Next, you’ll need to seed the initial registrations on the page by asking your current database to register for their chance to win the prize. They’ll have just a limited time of 7-10 days before the prizes are awarded, so they’ll need to get to work quickly.
You’ll give them some tasks to earn points towards the competition since the person with the most points wins the prize(s). You’ll have them register giving you their Spotify data so you can see what artists will make them buy tickets, their email and phone number so you can contact them, follow you on social media sites so you can run ads to them if you choose, etc. Most importantly, though, you’ll give them the most points for inviting their friends to register.
When their friends register, they’ll do the same thing, ultimately inviting their friends, and your database of potential ticket buyers will grow exponentially.
When tickets do finally go on sale, everyone will get an automatic notification and email letting them know who won the prizes, along with a link to buy tickets. Since everyone involved is looking to see if they’re the winner, and have been engaged with your business for an entire week inviting their friends to register, you’ll get massive hype the day of your on-sale.
Backwoods sold out their first tier of tickets within 2 hours after posting them on sale and alerting the registrants. Backwoods was also given access to 1,497 attendee’s Spotify accounts with their first contest registration page to help them with booking artists.
But they are not equal in investment, energy, or time.
You can build the technology and software to do these tasks yourself.
You can try to find several different technology solutions that do each step individually, and build any remaining tech or process that doesn't exist.
You can use PromoTix, a music festival event technology platform built for you and your business that acheives these results.
Before, you would pay tens of thousands in ticketing fees to your old ticketing company, but with PromoTix you’ll keep 100% of that money to make yourself more profitable.
Before, you might have polled your audience for their favorite artists or listened to friends, staff, or agents on what’s “hot right now”, but now you can see exactly whom your ticket buyers listen to daily on Spotify, helping you to save money on booking, and book the artists guaranteed to move ticket sales.
Running ambassador programs used to be time-consuming and rarely produced amazing results, but now you can automatically recruit, manage, track, and reward a large ambassador street team and sell more than $150,000 in tickets for your festival through ambassadors.
Since you were unable to build huge ambassador teams in the past, you missed out on thousands of organic impressions for previous events, but now with PromoTix you can lower your social media ad spend and leverage the massive ambassador network.
Before, you may not have known exactly where promotions where happening on the ground, and areas of critical importance may have been missed. Now with PromoTix, you’ll identify areas that need more promotion and be able to send your ambassador team to blanked the area with promo.
Previously you would have to know and trust your ambassadors to even consider allowing them to sell hard tickets for cash to prevent possible losses and theft, but now with PromoTix’s advanced technology, you can have thousands of ambassadors you’ve never met selling tickets for you without the risk of losing tickets or ticket money, crushing your festival’s sales goals.
Prior to what you learned today, you may have struggled to get your event to go viral. But now you can launch a contest registration page in seconds and create incredible demand for tickets by getting fans to refer each other, give you their Spotify data, and spread the word about the event.
If you wanted a mobile app for your festival before, you would have had to hire expensive developers, but now with PromoTix you can create your own in about 5 minutes and lower your marketing cost.
Before today, you had no way to easily and securely monetize a live stream of your festival, but now you can make thousands more by securely ticketing your live stream to attendees around the globe.
If you tried to purchase multiple software products to achieve what PromoTix does, you may pay...
|No Ticketing Fees||~ $100,000 +|
|Spotify Artist Insights Data||$7,500 +|
|Ambassadors Module with Network||$15,000 +|
|Branded Mobile App||$12,000 +|
|Virtual Event Streaming||$5,000 +|
|Viral Contest Registration Pages||$8,000 +|
Potential cost elsewhere:
Normal PromoTix professional package price:
Special price for music festivals:
+ Bonus offer for a limited time
We ensure everyone’s success on the platform, so we cannot take on too many festivals at once. Only a select few annually can sign up to use PromoTix's Promoter and Professional plans.
We can only offer 10 festivals a spot each month because we ensure our team spends the appropriate amount of time with each of client, and there isn’t much time left to plan for the coming season.
You need to apply as soon as possible before the spots are filled, or you may miss out on hundreds of thousands this year in additional sales and profits.
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