The year 2024 has been key for the sale of tickets for live events both in Spain and internationally. Among many others, major sporting events of international relevance have stood out, as well as a wide range of music festivals, concerts and theatrical performances in all the autonomous communities in Spain that have broken attendance records. For example, according to a study by APM (Association of Music Promoters in Spain), income from ticket sales in Spain increased by 26% in 2023. The combination of such a diverse cultural and sports offer has consolidated 2024 as an exceptional year for live entertainment.
However, there are various issues in the ticketing sector that need to be reviewed as not all players in the market are satisfied. The artists claim to be able to freely choose the ticket sales provider to be able to have control over the final price of the tickets and the data of the people who buy tickets to be able to connect with them; fans demand transparency with the process and ticket prices; There have been news in all the media about Taylor Swift’s battle against the speculative resale of tickets for her concerts or the reunification of Oasis, which reopened the debate on the rights of artists in the distribution of tickets; etc This situation has even reached the political spheres, demanding that they regulate the functioning of the sector.
For this reason, and thanks to SECUTIX, international provider of digital solutions for the sale and distribution of tickets, we have spoken with Maribel Tabuenca (Ticketing Business Development) and Eduardo Haro (founder and CEO) of Nazaríes Intelligenia, official ticket sales partner in Spain, about the situation of the ticketing sector and how to regain control and restore confidence in ticket sales, as well as the Live Entertainment sector, live entertainment: that is, events in theaters, concerts, festivals…
Situation of the ticket sales market. Need for change
The paradigm of the ticketing industry is changing rapidly as artists, promoters and fans are rebelling against an industry that for years has been dominated by monopolies that control the prices and conditions of ticket sales. Frustration over practices such as reselling at abusive prices and lack of transparency has generated a growing demand for fairer and more decentralized models.
Event organizers are tired of outdated strategies and spectators are demanding more transparency in ticket purchasing, as well as fairer processes. Therefore, companies like SECUTIX play a crucial and necessary role in this new scenario. By ensuring greater transparency, control and security for both promoters and fans, SECUTIX is laying the foundation for a more equitable system.
Its technology allows organizers to better manage ticket sales, avoid illegal resale and create more personalized experiences, contributing to the transformation of an industry that calls for structural changes. Additionally, the company, together with Nazaríes, is leading the charge by offering advanced technological solutions that put the power back in the hands of artists and promoters, while empowering true fans. They are solving this situation by simplifying direct-to-consumer transactions. Its technology reduces the use of “middlemen” in the ticket purchasing process and is consequently helping to rebuild trust in the sector as a whole.
The artists claim to be able to freely choose the ticket sales provider to be able to have control over the final price of the tickets and the data of the people who buy tickets to be able to connect with them.
At the end of the month SECUTIX and Nazaríes will be present at the BIME fair. What is the objective of your presence at this fair?
BIME (Bizkaia International Music Experience) has established itself as the leading professional event for the Spanish-speaking music industry globally. With two events a year, one in October in Bilbao and another in May in Bogotá, BIME transforms both cities into the nerve center of music for a week, bringing together professionals from Europe and America. This meeting seeks to strengthen the cultural and creative industries of both continents through exchange and dialogue between their key actors. BIME not only offers concerts and showcases, but also has an extensive agenda of conferences, panels and networking spaces, where the most recent trends in music and technology are discussed. For ticketing companies, attending BIME is a strategic opportunity to stay updated in an environment where innovation and user experience are key.
For this reason, SECUTIX will be present at the fair together with Nazaríes at stand number 27 to connect directly with promoters, event organizers and other actors in the live ecosystem. In a context where ticket sales are increasingly linked to digital tools – from online platforms to technologies such as big data – participating in the fair will allow both companies to publicize their new solutions, build loyalty among their audiences and explore commercial alliances. . “BIME will be a unique opportunity to share ideas, explore innovations and create valuable connections. And to discover and verify how both companies can help companies and entities transform and innovate their ticket sales system,” adds Eduardo Haro.
Opportunities in Spain in the Live Entertainment sector
During the conversation we had with Nazaríes, they highlighted the importance and great potential of the Live Entertainment projects carried out in Spain (events in theaters, concerts, festivals…) since our country attracts millions of visitors annually, many of them interested in great existing offer. Among others, both companies have collaborated in Spain with the Palau de la Música Catalana, Madrid Destino, Teatre Lliure, Teatro Real de Madrid, Donostia Kultura, Festival Grec, Barcelona y Flamenco or the Vitoria Jazz Festival.
In fact, Eduardo pointed out that “the relationship between cities, their citizens and their visitors must go beyond the occasional sale of tickets, now that technology allows it. It is important to understand culture in a transversal way and propose a global strategy that integrates theaters and other cultural spaces and events in the city with their potential audience, instead of continuing with the traditional approach of everyone waging their own war.”
Both pointed out that we must stop seeing ticket sales as a simple transaction to issue a barcode and begin to understand that it is the first point of contact between the user and the venue. The experience that the user has in this first contact will be decisive in their future relationship with the cultural space, the event or the city. That is why they commented that the digitalization of the relationship with the fan has revolutionized this aspect and that now, with specialized tools, you can interact in a closer and more personalized way before and after purchasing tickets, offering you what you need at each stage of the process. process.
On the other hand, Maribel emphasized another crucial aspect: the security of the user and their data. “The data belongs to the venue or the promoter, and it is vital to guarantee the security of your information. Modalities such as “secure digital tickets on mobile” not only prevent fraud in the purchase of tickets, but also allow the normalization of the official and controlled resale of tickets. This “Fan-to-Fan” modality guarantees that the fan who cannot attend gets his money back fairly, while the buyer obtains a valid ticket without extra costs. Counteracting resale as we know it until now, which affects the fan and harms the artist, is a challenge for which we at SECUTIX already have alternative tools.”
