12 May Theatres and concert halls: what CRM indicators should you follow to know your audiences and better target your communications?
What CRM indicators should be monitored to know your audiences and better target your communications?
Socio-demographic data, consumption data, contact data or behavioural data... The data that a spectator can leave on your various digital tools (ticketing, website, social media...) is colossal. Once this data is centralised in a CRM tool how do you sort it out?
In this article, we give you some advice on the indicators that are relevant to monitor for a venue. But also some ideas of filters to use to segment your database and to imagine targeted campaigns. Because analysing data is good, but putting it to use in targeted communications is even better !
- Size and quality of your base (share of qualified contacts)
- Completeness rate of socio-demographic fields (age, origin)
- Loyalty and life cycle (loyalty, frequency, recency, renewal rate)
- Thematic consumption data
- Performance of your marketing campaigns and conversion tunnel
1. Size, quality and qualification of your database
You have 40,000 spectators in your database? Good for you! But of these 40,000 people, what data do you have exactly? In the world of data, as elsewhere, it is not only size that matters! The completeness of certain fields should be taken into account when judging the quality of a database.
Share of qualified contacts A qualified viewer is a contact about whom you have at least one contact information. Generally: a surname, a first name, and an email address. Let's go back to our previous example: will your database be usable if you only have 2,000 email records out of your 40,000 viewers?
To improve this share of qualified contacts, consider standardising the collection of emails at the time of ticket saleseven when the ticket is sold at the box office. Your ticketing agent can propose to subscribe to the newsletter, but you can also propose it to the spectator at a later stage, as part of a service email (on this subject, see our article "How to communicate with opt-out contacts in the context of a service email?”).
2. Completeness rate of socio-demographic fields
Among all the socio-demographic data you can collect on your viewers, two of them are particularly interesting: age and origin. This data can be collected when a ticket is sold or when a person subscribes to a newsletter. However, we advise you to keep your registration forms relatively short so as not to discourage the registration of new contacts.
You can qualify certain data at a later stage, for example by sending an email encouraging your contacts to complete their profile, or by setting up a competition that will allow you to qualify one or more additional fields such as date of birth or postcode.
The origin (postcode, city, country) is a particularly interesting indicator for targeted communications. Whether you are a large Parisian cabaret (such as the Lido or the Crazy Horse) wishing to target a very specific tourist audience or a theatre in the Paris region wishing to inform certain inhabitants of the arrival of a new transportation mode nearby (a metro line extension, for example), this information can be very useful.
The notion of distance and therefore distance from the theatre is also interesting. It is thanks to this indicator that a certain number of city theatres were able to propose offers to a very local audience during the last transport strikes in Paris. It could be interesting to exploit if the generalisation of teleworking continues. A very local audience that used to attend the venues only at weekends could perhaps be more available to travel to a venue during the week.
Age, through the date of birth, is also a fundamental indicator for all theatres wishing to develop young audiences, through the implementation of a dedicated tariff offer or a specific subscription.
For all these fields, remember to regularly check the completeness rate (the proportion of contacts for which a data item is actually filled in) within your database and to consider qualification operations when necessary.
3. Audience retention and the audience life cycle
The existence of consumption data in your CDM tool will allow you to know a little more about the loyalty of your audience: is a contact only a prospect, a first-time buyer, an occasional buyer or a loyal buyer ?
The categorisation of an audience member as 'loyal' will depend on how a venue views loyalty and on programming criteria (loyalty is not built in the same way when offering one show a year or a variety of new productions). Certain classic indicators can nevertheless be monitored to manage loyalty.
The number of orders in the last 36 months is an interesting indicator. In Arenametrix, the "Loyalty" filter allows you to apply this notion in two clicks on your entire database. This filter can then allow you to set up communications towards your most loyal spectators in a relational reward logic (offer a ticket to any spectator who has bought "x" tickets in the last 12 months). Or to consider an action aimed at up-selling through a subscription offer (offering a discount on the subscription to any spectator who has placed at least 3 orders in the last 18 months).
Recency should also be monitored. This is the number of days that have passed since the last ticket order. Do you have loyal former customers who have not visited you in the last 18 months? Consider sending them an ultra-personalised offer to keep them on the horizon.
The purchase timing is an interesting concept. It gives you an idea of the anticipation with which a spectator buys a ticket before a show. This timing can vary according to the nature of the show and can give you useful information on the anticipation with which you should imagine your communication actions.
If you offer subscriptions, there are other concepts related to this loyalty scheme that can be monitored. The renewal rate (or the churn) can be calculated by comparing your subscriber cohorts from one year to the next.
4. Thematic consumption data
Beyond purely statistical indicators such as recency, purchase timing or loyalty, it is interesting to analyse what your audience has attended, in order to send them targeted information on the genres or themes that interest them.
You can filter your audience by "event". For exemple, a director presented a play in your theatre two years ago and is coming back with a new creation. You can send a targeted email to the audience that attended his first show and draw their attention to this new creation.
In Arenametrix you can also set up "event types" to group your programming by type of audience ("young audience" or "families" for example), by genre ("classical", "contemporary creation"...) or by major social themes ("feminism", "immigration", "inclusion"...). This type of filter can help you to offer interesting information to an audience that is already concerned, but also to offer new genres to your audiences, in addition to what they already like. Because targeting your communications is not only about offering audiences what they are already interested in, it can also help them develop other interests.
If you sell derivativeproducts(catalogues, totebags, a DVDs...), you can also target people who have already bought this type of product, to offer them your new products right after their release.
5. Performance of your marketing campaigns and conversion tunnel
If you send email campaigns, you already know the main indicators that need to be monitored to evaluate the performance of a campaign. The great classics are: deliverability rate, opening rate, click rate or reactivity rate (the reactivity rate is the number of people who clicked on an email among the number of people who received it).
But generally, it gets more complicated when we talk about conversion. If you know how many people opened your emails, do you know who actually bought a ticket online? Not sure. Online ticket sales for a venue are usually done on an online sales page offered by your ticketing company but separate from your website. This does not prevent conversion calculations, but it does require time and some technical skills.
The interest of a data-marketing tool is to bring up your emailing performance statistics and your sales statistics in the same place. If you send a transactional email pushing an offer for a particular show, you can then determine in a few clicks your conversion tunnel and know exactly how many people bought tickets for a show among all the people to whom you sent an email.
Better yet, track metrics such as "best time to open a campaign" and "best time to buy" to determine what day and time your mailings are most likely to engage your audience.
Monitor these indicators with a tool that centralises your data
Monitoring CDM indicators is only really possible with a solution that allows you to centralise the various data on your audiences (ticketing data at the box office and online, shop data, sponsorship data, scattered Excel files, commercial data on sales to groups and local authorities, etc.). Analysing them easily and using them directly in the same tool thanks to the sending of communication campaigns whose performance can be easily measured.
A tool that centralises your audience data, allows you to better target your audiences while evaluating the impact of your communication actions, that's exactly what Arenametrix offers. Don't hesitate to contact us to discover the many features of the tool during a demo!
Solène Jimenez
Would you like to carry out a data & CDP diagnosis of your organisation? Take advantage of 30 minutes of free consulting by reserving your slot.
Apolline Locquet
Would you like to carry out a data & CDP diagnosis of your organisation? Take advantage of 30 minutes of free consulting by reserving your slot.
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Venues: Create a strong relationship with your audiences before, during and after your event.
Venues: Create a strong relationship with your audiences at every stage of your event. The Opéra de Rennes shares its experience with Arenametrix.
Festivals: Ask the festival-goers for their opinion!
Festivals: Ask your festival-goers for their opinions! Towards a personalized spectator experience, by the Fête de l'Humanité.
Venues: Gather feedback from your spectators to improve their experience.
Venues: Steps to get your audience's feedback to improve their experience
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