Ticketfly Teams Up with 9:30 Club & Brooklyn Bowl to Help Haiti

Every little bit counts – in an effort to support Haiti’s earthquake victims, several Ticketfly venues have put together amazing shows with proceeds going to various charities.  Ticketfly is following suit and has vowed to donate its’ service fees to these organizations as well.  The Red Cross, Partners in Health Organization, and Yele Haiti could all benefit from our help.  You might have missed Wale at 9:30 Club in Washington, D.C.  last night, but tickets to see Robert Randolph at Brooklyn Bowl this Wednesday are still on sale.  Let’s do this!

Tickets & Donations here: http://www.ticketfly.com/purchase/event/4461

Ticket Summit Keynote Panel

One of our fearless leaders, Andrew Dreskin, was invited to be a part of the keynote panel at this year’s Ticket Summit in NYC. Along with other ticketing heavyweights he discussed, among other things, the merger of Ticketmaster and Live Nation and how it will effect the ticketing industry. There were some interesting insights from all four panelists. Check out the complete coverage from ticketnews.com below.

Ticket Summit primary ticketing panel: Expect Ticketmaster / Live Nation deal to happen

Mon, Jan 18th 2010 4:31 pm EST

By Alfred Branch Jr.

The second-annual Ticket Summit NYC conference and trade show ended late last week with a warning from ticketing industry leaders during a keynote discussion panel: Get ready for a world with a combined Ticketmaster and Live Nation.

During the keynote panel, “Then & Now: The Primary Market,” all four participants said they believed the controversial merger will be approved in some form or another by the U.S. Department of Justice (DOJ), despite a growing opposition to the deal. None of the four – former Ticketmaster President and CEO Sean Moriarty; Veritix President Jeff Kline; Tickets.com CEO Larry Witherspoon; and TicketFly co-founder Andrew Dreskin – predicted when the deal would receive a nod from DOJ, or specifically how the merger will look.

“I think it will go through in some way, shape or form,” Kline said. Among the possible concessions the two companies might have to make to gain DOJ approval are the sale of Ticketmaster’s Paciolan primary ticketing subsidiary; sale of Ticketmaster’s TicketsNow subsidiary; the sale of some Live Nation venues; and the sale of Live Nation’s ticketing operation.

“I expect that some larger venues and promoters will look for alternative companies to handle their ticketing if the deal goes through,” Dreskin said.

“Finding alternatives allows companies to better control their own data,” added Witherspoon.

Talk of the merger permeated the various discussions throughout the conference, where ticket brokers lamented about what the ticketing landscape will look if the deal goes through, and what lies ahead for them with dynamic pricing and paperless ticketing, two things the merged companies plan to ramp up this year.

“Dynamic pricing will take the spread out of undervalued premium ticket sales,” Moriarty said, who last week joined the board of directors of new ticketing and event management company Eventbrite.

“Tickets will move very quickly and easily,” he added, but only if there is transparency and total transferability of tickets across all platforms, formats and companies. Many brokers have complained that paperless ticketing and dynamic pricing is being fostered by Ticketmaster and Live Nation to wall off the marketplace and control all aspects of the primary and secondary ticketing industries.

With an estimated 500 attendees, the conference was deemed a success by organizers from TicketNetwork, hosts of the event and the parent company of TicketNews.

“At this year’s Ticket Summit NYC, we experienced one of the best networking events ever held for the industry,” said Dan Pullium, director of government affairs for TicketNetwork and one of the conference’s organizers. “Nearly every sector of the live entertainment ticketing chain was represented through the attendees and speakers. None of this would have been possible without the outpouring of support from the industry, and we look forward to July when, once again, we can all come together to learn, network and move the industry forward.”

Nebraska-based ticket broker and first-time Ticket Summit attendee Lamond Wilburn said that he plans to attend the Las Vegas Ticket Summit, scheduled for July 14-16. “The entire event was loaded with information and a tremendous opportunity to meet others.”

Mahesh Chaddah, chief technology officer for ticket search engine TicketSizzle.com, agreed.

“This was Ticketsizzle.com’s second time attending Ticket Summit and our first as an exhibitor. The show was exactly what we needed – exposure and direct discussions with ticket resellers that are considering becoming advertising partners on Ticketsizzle.com,” Chaddah said. “The show was so good that we have already registered as an exhibitor for the Ticket Summit show in Las Vegas.”

Los Angeles, we’re yours!

More like the greater LA area, we’re yours. We are very happy to announce that Hollywood’s infamous/famous/fabulous Troubadour and Pomona’s unique/awesome The Glass House have joined the ‘Fly family! We couldn’t think of a better way to start off the year than by welcoming two venues who represent the two things we love the most: great music and a rockin’ til we’re droppin’ atmosphere. Make sure to check the website for updates on shows at these two great venues. I’m a little jealous right now that I’m based in SF and can’t always experience these venues in person. Road trip anyone? Anyone?

The Pollstar Top 50

Pollstar has compiled its annual list of the 50 top grossing tours. Is your favorite act on the list? 2009’s top earner isn’t that big of a surprise, but I found some other stand-outs. My favorite: the Devine Miss M beat out Beyonce! DIVA!

The Pollstar Top 50

Posted on Thursday December 31, 2009 at 04:31 PM

Pollstar has compiled its Top 50 Tours of North America for 2009 and, although there is no surprise as to who came in at No. 1, there were plenty of surprises just the same.

U2 surpassed all other tours by a wide margin, grossing $123 million in North America and selling more than 1.3 million tickets overall. It beat its closest competitor, Bruce Springsteen & The E Street Band, by about $30 million.

With U2 and Bruce charting Nos. 1 and 2, the top five were rounded out by Elton John / Billy Joel, Britney Spears and AC/DC. The Top 10 included the inexhaustibleKenny Chesney, headlining newcomers Jonas Brothers, Dave Matthews Band,Fleetwood Mac and Metallica.

For all of the financial troubles of 2009, the concert business had an up year. The numbers for the Top 50 tours were better, across the board, than for 2008, be it total gross revenue or tickets sold. Last year, Chesney was the only artist to sell more than 1 million tickets. This year, U2, Springsteen, Chesney, Jonas Brothers, DMB and”Walking With Dinosaurs” all topped the million mark.

Newcomers to the list include Lil’ Wayne at No. 26 and Kings of Leon at No. 43.Taylor Swift, who essentially began the year as a support act, wrapped 2009 at No. 36 as country’s newest headline draw.

No Doubt, Blink-182 and Leonard Cohen, which each made splashy announcements that they were returning to the stage, made good on their returns, coming in at Nos. 24, 32 and 44 respectively.

So much for the Great Recession. When it comes to live music, 2009 was worth being around for.

Pollstar Top 50 Tours of North America:

Rank              Total Gross*              Artist

1                   123.0                       U2

2                   94.5                         Bruce Springsteen & The E Street Band

3                   88.0                         Elton John / Billy Joel

4                   82.5                         Britney Spears

5                   77.9                         AC/DC

6                   71.1                         Kenny Chesney

7                   69.8                         Jonas Brothers

8                   56.9                         Dave Matthews Band

9                   54.5                         Fleetwood Mac

10                 53.4                         Metallica

11                 47.4                         Nickelback

12                 46.2                         “Walking With Dinosaurs”

13                 45.0                         Miley Cyrus

14                 43.7                         Trans-Siberian Orchestra

15                 42.8                         Eagles

16                 42.7                         Keith Urban

17                 42.6                         Celine Dion

18                 42.2                         Rascal Flatts

19                 40.8                         Coldplay

20                 40.7                         Paul McCartney

21                 37.2                         Phish

22                 35.4                         Brad Paisley

23                 34.6                         Jeff Dunham

24                 33.9                         No Doubt

25                 33.2                         Cher

26                 32.1                         Lil’ Wayne

27                 30.5                         KISS

28                 30.1                         “American Idols Live”

29                 29.7                         Toby Keith

30                 29.1                         Bette Midler

31                 28.1                         Dane Cook

32                 26.7                         Blink-182

33                 26.4                         The Dead

34                 26.4                         Beyoncé

35                 26.0                         Il Divo

36                 25.5                         Taylor Swift

37                 24.8                         Def Leppard

38                 24.2                         Cirque du Soleil – “Saltimbanco”

39                 23.5                         Mötley Crüe

40                 22.3                         Depeche Mode

41                 22.0                         George Strait

42                 21.9                         Eric Clapton / Steve Winwood

43                 21.8                         Kings Of Leon

44                 21.3                         Leonard Cohen

45                 20.4                         Bob Dylan

46                 19.7                         “So You Think You Can Dance”

47                 19.1                         Barry Manilow

48                 18.8                         Journey

49                 18.7                         Jimmy Buffett

50                 18.5                         Luis Miguel

* In US millions

This exclusive Pollstar chart ranks touring artists for all shows worked during the calendar 2009 year. All figures are in U.S. dollars. Average gross and tickets sold is per city except for the Las Vegas residencies for Cher and Bette Midler where the averages are per show.

–Joe Reinartz

Ticketfly CEO Andrew Dreskin to speak at Ticket Summit

Ticketfly CEO and co-founder, Andrew Dreskin, has been invited to be part of the Keynote Sessions at the January Ticket Summit! Dreskin will join CEO’s from other top ticketing companies, like Tickets.com and Ticketmaster, to discuss the future of ticketing. Ticket Summit is the leading conference and trade show for ticketing and entertainment executives. January’s conference will run over three days from Jan 13-Jan 15. The ‘Fly is honored to be included! Check out the full release below for all the important details.

Top CEOs to Speak at Keynote Session at Ticket Summit

Ticketmaster, Tickets.com, TicketFly and Veritix CEOs to Provide Insight on the Future of the Primary Ticket Market

VERNON, CT–(Marketwire – December 7, 2009) – Ticket Summit, the leading conference and trade show for ticketing and entertainment executives, today announced its notable roster of top CEOs slated to speak at the event’s Keynote session. The Ticket Summit January conference — a three-day event scheduled January 13-15, 2010 at The Waldorf=Astoria in New York City — will include a Keynote session Friday, January 15 featuring Sean Moriarty (Former CEO, Ticketmaster), Larry Witherspoon (CEO, Tickets.com), Andrew Dreskin (CEO, TicketFly), and Jeff Kline (President, Veritix).

The Ticket Summit Keynote session is scheduled to be among the culminating events of the three-day conference, following a variety of sessions ranging from ticket pricing strategies and event promotion, to brand-building, and sports and entertainment. “The Ticket Summit Keynote Session on January 15 is bound to be the conference’s most paramount event yet,” said Dr. Molly A. Martinez, Executive Director, Ticket Summit. “With ticketing agents, event promoters, venue managers, and primary ticket distributors all in the same room, the dialogue on the state of the industry will be extremely insightful.”

More than five-hundred attendees from the United States and throughout the world are expected to attend the upcoming conference. TicketNetwork CEO Don Vaccaro observed: “Ticket Summit is by far the must-attend conference where all the key players in the ticket industry come to network. And with the addition of such a notable keynote session, attendees are going to get to be part of a dialogue that’s truly one-of-a-kind.”

About Ticket Summit

Ticket Summit is the world’s leading conference and trade show for ticketing and entertainment. This event attracts hundreds of global business leaders, entrepreneurs, and entertainment experts in the ticket community. Past attendees and sponsors include: Billboard, eBay, Forbes, Google, Live Nation, NBA, NFL, NHL, StubHub, Ticketmaster, among others. Ticket Summit was founded in 2006 by host company TicketNetwork, Inc. The upcoming Ticket Summit conference and trade show is scheduled to take place at The Waldorf=Astoria in New York, NY, January 13-15. For information, visit www.TicketSummit.org

The ‘Fly Featured in Billboard!

Billboard spoke recently with Ticketfly founders Dan Teree and Andrew Dreskin to discuss the convergence of social media and the ticketing industry.   Check out the full article below!

Tell Your Friends

Ticketfly Uses Social Media To Get The Word Out About Purchases

Technology has lowered the barriers to entry to the ticketing market.  At the same time, social media has emerged as a key influencer.  These two paths converge with the launch of Ticketfly, which aims to be a ticketer, marketer and digital ticketing facilitator, while building fan communities around the ticket-buying experience.

Ticketfly’s founding partners/co-CEOs Dan Teree and Andrew Dreskin—veteran execs of pioneering Internet ticketing company Ticketweb, which Ticketmaster acquired in 2000—are getting traction out of the gate with such clients as the 9:30 Club in Washington, D.C.; Knitting Factory venues;  and the recently signed Troubadour in West Hollywood.  And Ticketfly just raised a fresh round of capital.

In launching Ticketfly six months ago, Teree and Dreskin think they’ve built a better mousetrap, at least when it comes to online opportunities.  “It seemed to us that ticketing software hadn’t changed all that much for the past decade,” Dreskin says.  “You’re looking for a system that does inventory management, doesn’t oversell, you get a check on time.  There are plenty of those that do that.  But promoters seem keen on the next generation of ticketing technology, which will allow them to maximize revenue and have more efficient pricing.”

While Ticketfly is building technologies to deal with such issues as yield management and dynamic pricing, marketing is now a key focus.  In many cases, when the Ticketfly guys think marketing, they’re thinking social media and the opportunity for venues and promoters to leverage the ticket buyer as a sales or marketing channel.

A good example of this is how Ticketfly uses Facebook to reach its growing user base, particularly in the key 20-35 demo.  Ticketfly’s strategies start with such basic initiatives as rewarding Facebook users who share concert experiences with friends.

“Ticketfly is very focused on creating reward programs that excite and stimulate fans to tell their friends about what’s going on in their music lives, rewarding them with free tickets, meet the band, VIP packages, things like that,” Teree says.

“If you think about a kid buying a ticket and sending it to his [Facebook] wall, and all of his friends seeing that ticket having the ability to buy a ticket,” Dreskin adds, “then the kid can generate points, and for every one of those folks that buys a ticket and sends it to their wall, you think about the magnitude of the exponential opportunity there for the promoters.”

Ticketfly also helps venues and promoters coordinate their various digital marketing efforts.

“The way the ticketing world works today is you have silos that don’t really speak to each other, and it creates inefficiencies,” Dreskin says.  “If I’m a promoter and I have the White Stripes or whatever band coming, and when I confirm that act I have to build it into my ticketing software, I have to have it built on my Web site, my e-mail newsletter, Facebook, MySpace, Twitter.  What we’ve done is develop an integrated solution where it’s single data entry and it updates down the line.”

Ticketing clubs and small venues are one thing, but the game changes dramatically when it’s a major tour at a large venue with a hot on-sale.  This is where the scale and experience of a Ticketmaster comes into play.  Live Nation launched an in-house ticketing company this year and attracted attention when a massive Phish tour on-sale melted down the system (Billboard.biz, Feb. 4).

Dreskin says Ticketfly isn’t ready for a huge stadium show—yet.  “The way technology has advanced has made it significantly more possible for young, technology-heavy companies like ours to handle big demand,” he says.  “One thing we set out to do when we started the company was architect the system in a way that allows us to be highly scaleable and handle big demand.  What only Ticketmaster could do 15 years ago with the big iron is just not the case anymore.  While we’re not ready for the big stadium on-sale today, there’s no reason why we won’t be in 12 months or so.”

Does Ticketfly’s rapid growth support Ticketmaster and Live Nation’s contention that their merger won’t prevent other ticketing companies from flourishing?

“That’s certainly crossed our mind,” Dreskin says.  “We’ve been selling tickets for like six months, and we’ve already signed up 10-20 of the best club-sized venues and promoters in the U.S.  We don’t see any reason why we can’t move upstream and handle larger facilities, promoters, and events.  There’s certainly no shortage of competitors, but we’re feeling optimistic for sure.”

Billboard // December 12, 2009 // Ray Waddell

Big Ears Festival “Inner Ear” Weekend Passes!

Ticketfly is happy to announce the sale of the Big Ears Festival 2010 “Inner Ear” Weekend Festival Pass! Big Ears, now in its 2ndyear, is known for showcasing talent that breaks away from the ordinary. This year will be no different with artist in residence Terry Riley. Riley, who inspired generations with the creation of the Minimalist movement, will perform at several shows throughout the festival. Other acts set to appear include: Vampire Weekend, Joanna Newsom, St. Vincent, the xx, Andrew WK, DJ/Rupture, Gang Gang Dance, jj, Clogs, My Brightest Diamond, Javelin, and Nico Muhly.

The Big Ears 2010 “Inner Ear” Weekend Festival Pass offers premium access to all Big Ears 2010 happenings throughout the entire weekend (subject to available capacity for each venue, this will be based on first come, first serve basis) as well as exclusive invitations and access to select special events.

There are only a limited number of badges available so grab one while you can ‘Flyers!  This is sure to be a memorable weekend!

Big Ears Festival Returns in 2010 March 26-27-28 Composer Terry Riley Confirmed As Artist In Residence

KNOXVILLE, TN. The BIG EARS FESTIVAL is proud to announce another weekend of visionary music, exploratory art, and southern hospitality for March 26, 27, and 28 in historic Knoxville, Tennessee.

This time, BIG EARS is especially proud to host the legendary American composer TERRY RILEY as Artist in Residence for the weekend with a series of concerts throughout the weekend celebrating Riley’s 75th Birthday year. In addition, the weekend will feature an exciting array of artists and performers from the worlds of rock, jazz, classical, and avant-garde music along with installations, exhibitions, interactive experiences, talks, and workshops.

One of the most influential musicians and composers of the past century, TERRY RILEY’s impact and influence on contemporary music and art cannot be overstated. In 1964, his revolutionary composition, In C, launched the Minimalist movement in music and his influence is still heard today in the work of Philip Glass, Steve Reich, John Adams and other classical composers. His subsequent early works, A Rainbow in Curved Air and Poppy Nogood, with their kaleidoscopic, psychedelic atmospheres, sent waves across the musical worlds of the 1960s, strongly reflected in the music of The Who, Pink Floyd, and other rock bands of the time. That influence continues today in the music of Radiohead and Animal Collective and even The National and Bon Iver. It’s no surprise that TERRY RILEY was recently selected by the London Times as one of the “1000 Makers of the 20th Century.”

“It’s a tremendous honor to have Terry Riley participate in our festival this year. It’s a dream come true.” says Big Ears founder, Ashley Capps, also a creator and producer of the renowned Bonnaroo Music and Arts Festival.

RILEY himself will perform in several different concerts of his work during the weekend, with a variety of musicians. Also, the Calder String Quartet will present a program of his work. And a sure highlight of the weekend will come when many of the artists performing during the weekend join together for an unforgettable performance of In C,“one of the definitive masterpieces of the 20th Century.”

Additions to the BIG EARS line up along with ticketing information will be released in early December.


Additional Info:

BIG EARS debuted in February 2009 in Knoxville, Tennessee with a line up that included Philip Glass & Wendy Sutter, Antony & the Johnsons, Jon Hassell, the Necks, Fennesz, Pauline Oliveros, Negativland, Michael Gira, Sparklehorse, Ned Rothenberg, Dan Deacon, Neil Hamburger, and others.

The mission of BIG EARS is to offer an exciting and dynamic platform of musical and artistic discovery by artists possessed of singular and unique visions that stand apart from the mainstream.

Response to the first BIG EARS was phenomenal from audiences and artists alike. Here’s a small sampling of what was said:

“It was a tremendous experience….It’s my impression that there’s a real cultural renaissance going on in the south…I look forward to coming back.”Philip Glass

“…the best audience we’ve played for in America.”Wendy Sutter

“You could say that Big Ears was for people who like hearing nuanced music in excellent theaters, in a small town with no hassle…at times, it was heaven.”The New York Times

“…an inspiration…Artists shared advice. Fans shared gratitude. Collaborations abounded. Surprises happened.”Pitchfork

“A phenomenal success. If next year is even half as eclectic and adventurous as the first Big Ears, it will be incredible before it even starts.”Creative Loafing (Atlanta)

“There was something strange and somewhat magical about the atmosphere in downtown Knoxville this weekend.”The Knoxville News-Sentinel

Noise Pop 2010 Badges are Here!

Holiday cheer! Ticketfly is pleased to announce the sale of Noise Pop 2010 festival badges! Noise Pop is one of San Francisco’s most celebrated indie music, art and film festivals. Festival badges grant access to general admission concerts, films, happy hours and other events held between Feb 23 and March 1, 2010. Badges go on sale today, December 9, 2009.

Having a badge also allows you to register for the Industry Noise Conference at a reduced rate, and as a sweet token of appreciation you will be able to add a free subscription to DEATH + TAXES, “the tastemaker’s music magazine,” upon checkout.

Throughout the festival we’ll be bopping our heads at venues across the city. Come experience one of the best weeks in San Francisco music with us!


Magnetic Fields, Mark Kozelek, Rogue Wave, Atlas Sound, The Soundtrack of Our Lives, Four Tet, John Vanderslice, We Were Promised Jet Packs, Wallpaper, Zee Avi, The Limousines & Foreign Born


The 18th Annual Noise Pop Festival Will Take Place February 23 through March 1, 2010

Industry Noise Will Take Place on Saturday February 27th, 2010 At the Swedish American Hall

Dec 7, 2009—San Francisco, CA— Event Producers, Noise Pop Industries, have announced the dates of the West Coast’s premiere celebration of independent music, film and art – Noise Pop 2010. The 18th annual Noise Pop Festival will take place February 23rd through March 1, 2010 at venues throughout San Francisco, CA.

“Noise Pop has been described as one of California’s most important music festivals, and is a perfect opportunity to experience San Francisco’s world renowned music scene, and the 18th year will be no exception.” Co-Founder Kevin Arnold

Early artist confirmations include Magnetic Fields, Mark Kozelek, Rogue Wave, Atlas Sound, The Soundtrack of Our Lives, Four Tet, John Vanderslice, We Were Promised Jet Packs, Wallpaper, Zee Avi, The Limousines & Foreign Born.  More shows will be announced in the coming weeks along with films, art shows, and more.

Industry Noise will take place on Saturday, February 27th, 2010 at the Swedish American Hall in San Francisco. Noise Pop’s mini-conference discusses independent music, technology, and the changing industry. Musicians, independent labels, music bloggers, managers, and others involved in music shouldn’t miss this event. Attendees can meet industry pros, listen to influential speakers, advance their artistic and business ventures, and learn more about current possibilities and opportunities. In addition to panels and speakers, there are small discussion groups and individual mentoring. Panelists and Keynote speakers will be announced soon. Industry Noise Badges go onsale on Wednesday, December 9th for $65 or $50 along with the purchase of a full festival badge.

Noise Pop Festival Badges go onsale Wednesday Dec 9th at Noon for $150. A limited number of badges include access to the Magnetic Fields show at the Fox Theater on Saturday February 27th, or the Herbst Theater on Monday March 1, 2010.  Tickets to individual shows go onsale Saturday December 12, 2009. Noise Pop Festival news updates will also be featured on Noisepop.com

For Press Inquiries Please Contact Kip@TellAllYourFriendsPR.com

The ‘Fly in the New York Times.

Ticketfly founders Andrew Dreskin & Dan Teree were interviewed and featured in an article in the New York Times about the newest crop of ticketing companies. Pretty fly! See the full article below or read it on nytimes.com.

New Web Services Turn Ticket Buying Into a Social Occasion


Nothing in the concert industry has evolved more significantly than how people buy tickets, from the days of walk-up box offices to Ticketmaster’s network of call centers to the almost entirely Internet-based technology of today, in which seats by the thousands can disappear in an instant.

But Andrew Dreskin, a concert promoter and music entrepreneur, thinks the technological evolution is stuck in the ways of Web 1.0, and needs to move to the next phase.

“Ticketing doesn’t seem to have really changed all that much in the past decade,” Mr. Dreskin said. “The software today seems to do mostly what it did in 1997, ’98, ’99,” he added, pointing to the plain, text-heavy design of most ticketing sites and consumers’ limited control over basic aspects like seating choice.

In response, he has helped found Ticketfly, one of several tech-heavy young companies working to bring ticketing into the social-networking age. With Ticketmaster’s proposed merger with the concert giant Live Nation tensing stomachs throughout the music business, Ticketfly (Ticketfly.com) has set itself up as a boutique alternative for clubs and smaller theaters, and in the last year it has signed deals with clubs across the country, including the Knitting Factory’s growing chain, the Double Door in Chicago, Bimbo’s 365 in San Francisco and Brooklyn Bowl.

This week it picked up a big client: the 9:30 Club in Washington, which won top club this year in the nationwide Billboard Touring Awards. Seth Hurwitz, the club’s owner, said that Ticketfly’s advantages are its size and flexibility.

“They’re not Home Depot — they’re the hardware store that specializes in tools,” Mr. Hurwitz said. “Smaller companies are nimbler. They can concentrate on our unique demands and issues as opposed to hiding behind quote-unquote company policy, like the big companies do.”

Those special demands, as Mr. Dreskin sees it, involve streamlined operations and an array of Web marketing tools for promoters. In addition to doing Brooklyn Bowl’s ticketing, Ticketfly built its Web site, brooklynbowl.com, and the company’s software will allow clubs to spread information about their offerings to TwitterFacebook and MySpace, where fans can chat about shows, make plans to meet up and buy tickets with a quick click.

“The needs of a club promoter are different than the needs of a professional sports team,” Mr. Dreskin said in an interview this week at his Lower Manhattan office, a small leased room within the headquarters of Spin magazine, with framed concert posters still waiting to be hung. “Teams are focused on season tickets, big theater groups are focused on subscriptions, that kind of stuff. We are really focused on viral social-marketing technology that will allow music venues and promoters to sell tickets.”

Since ticket selling has migrated online, the barriers for entry into this business have been vastly reduced. No longer must a company employ hundreds of telephone operators or maintain large numbers of retail outlets; the only requirement, promoters and ticketers say, is a better computerized mousetrap. Dan Teree, who founded Ticketfly with Mr. Dreskin, said their company uses the same high-powered software as major hedge funds, and it allows them to “sell massive numbers of tickets in a short amount of time.”

Mr. Dreskin, 40, is no stranger to the strategies of Internet ticketing. In 1995 he was one of the founders of TicketWeb, a pioneering service that sold its first online ticket a full year before Ticketmaster did; in 2000 it was bought by Ticketmaster for $35 million, and Mr. Dreskin, who speaks with the steady, deliberate enunciation of a high school guidance counselor, eventually went on to promote the American edition of the Virgin Mobile festival, in Maryland.

He and Mr. Teree, another TicketWeb vet, started Ticketfly last year and began selling tickets in June. The company has 14 employees in three cities and contracts with 15 clubs and promoters, which will account for an expected 700,000 tickets a year, they said.

In recent years ticket startups have proliferated, many with a focus on social networking. Tom Higley, a dot-com entrepreneur in Boulder, Colo., now runs Iggli (iggli.com), whose namesake product is a Web widget that allows fans to invite friends to events and manage details like how many tickets to buy and who among the invited will pay.

“Events are social by their nature,” Mr. Higley said. “People will actively click a link and buy a ticket when prompted by a friend or acquaintance, versus the same info sent from a venue or a team or an artist. That higher conversion rate is very interesting to people in the ticketed-event industry.”

Front Gate Tickets, based in Austin, Tex., is partly owned by one of the promoters behind C3 Presents, which puts on the Austin City Limits and Lollapalooza festivals, as well as hundreds of club shows. Front Gate sells two million tickets a year, and this month it will start selling by cellphone, according to Jack McCarty, its general manager.

These companies are far eclipsed by Ticketmaster, which last year sold 141 million tickets worth $8.9 billion. But many in the concert industry say that if the Ticketmaster-Live Nation merger — which is now clearing government antitrust hurdles — becomes a reality, some promoters and theaters will want to look elsewhere for a ticketing service. That is because Live Nation is the largest concert promoter in the world, and some impresarios worry about giving it access to confidential sales information.

As Peter Shapiro of Brooklyn Bowl put it, “Why would I sign up for Ticketmaster ticketing, with Live Nation as my competitor?”

For fans, though, the biggest question about any kind of ticketing is simply the fees they have to pay, which have skyrocketed in recent years. Ticketing used to be another line item expense for the promoter, part of the cost of doing a show, said Gary Bongiovanni, editor of Pollstar, a concert industry trade magazine. Now theaters and ticketers split the audiences’ fees.

“Today it is a profit center,” Mr. Bongiovanni said. “That’s why those fees are so high.”

Ticketfly has supplemental charges, like every ticketer, and lives off that money. “We’re like a marketing company that happens to make the bulk of our revenue through service fees,” Mr. Teree said.

Mr. Dreskin said that his company gave clubs the ability to keep the fees relatively low for fans. “Our goal is to offer reasonable fees and to offer clients and consumers more,” he said.

When fans complained on the 9:30 Club Web site, 930.com, about continued fees when it started phasing in Ticketfly, Mr. Hurwitz answered that the charges were no higher than they were before.

“This was NOT done to lower service charges,” he wrote of the switch. “It was done to start working with a company that has a lot of cool ideas.”

Ticketfly Welcomes 9:30 Club!

Ticketfly is thrilled to welcome Washington DC’s preeminent music venue, 9:30 Club! Details in the press release below:

Mon, Nov 9th 2009 1:06 pm EST


WASHINGTON, D.C. (I.M.P.; Ticketfly) November 9, 2009 – The 9:30 Club, which once again just won Billboard’s coveted national honor of Club of the Year Award, announced today that it will use a new online ticketing and marketing provider. I.M.P., one of the nation’s preeminent independent concert promoters has selected Ticketfly to sell tickets for 9:30 Club shows scheduled to take place after January 1, 2010.

Ticketfly is exclusively focused on live music promotion, and plans to create an online community where customers not only buy tickets efficiently, but also discover new artists and events and share event-related experiences. In addition to show information, Ticketfly’s Event page will feature artist images, bios, streaming audio and video links and artist website and social media links. The pages integrate with Facebook and Twitter, allowing consumers to seamlessly invite their friends to concerts through their social networks. Ticketfly is headed by former senior management of TicketWeb, the Internet’s first ticketing company.

“The guys at Ticketfly have proven to be innovators and they’re on to something here,” said Seth Hurwitz, chairman of I.M.P. and owner of the 9:30 Club. “The bottom line is we think it will be more fun for our customers. For years it has just been more of the same in the ticketing space, but this is different. They are creating unique tools and a better experience for our ticket buyers,”

“Although they are obviously a newer company with less volume and they’re investing huge sums on technology, Ticketfly made the commitment to not raise charges,” said Hurwitz. “But as usual customers have options. There are never any service fees when you buy at the door on show night, and only $1 per ticket when you buy in advance at the box office.”

Ticketfly is the brainchild of Andrew Dreskin and Dan Teree, respectively the co-founder/former CEO and former President of TicketWeb, the first company to sell event tickets via the Internet. “We’ve worked with Andrew over many years and he’s clearly a visionary and a businessperson who shares our standards of integrity,” said Hurwitz. In addition to the 9:30 Club, Ticketfly is now serving popular venues in New York, San Francisco, Chicago and other US markets, and is expanding quickly across the country.

“It’s remarkable how little online ticketing has changed in the past decade, “ said Dreskin. “Our integrated ticketing, website and marketing platform streamlines daily life for concert promoters. We address their repetitive and time-consuming daily tasks so that they are now able to focus their energies on more important initiatives.” Teree went on to say, “Ticketfly aims to give promoters and fans relevant technologies that will enhance the already social aspect of seeing a live show. We’re really listening to our clients and the fans to determine how best to use the latest web and mobile goodies and to have a lot more fun.”


Formed in 1980, I.M.P., is a Bethesda, Md.-based concert promoter and event production company. In addition to launching the Virgin Festival in the U.S., the principals at I.M.P. own Washington DC’s legendary 9:30 club, renowned as the premier place to see and hear cutting edge live music of all varieties. I.M.P. also programs and operates Merriweather Post Pavilion in Columbia, MD. Over the last 29 years, I.M.P. and the 9:30 club have put on nearly 10,000 events, hosting millions of music fans.

ABOUT Ticketfly

Ticketfly is a new company from the co-founder and former senior management of TicketWeb, the first company in the world to sell event tickets on the Internet. Ticketfly is an online ticketing and marketing platform for music promoters that increases efficiency and offers next-generation ticketing, website and social marketing tools. Ticketfly offers promoters free website development tools and is the first ticketing company to have built a WordPress plug-in specifically geared to the live music industry. Ticketfly clients also gain access to integrated Facebook Event creation and Twitter tools to make sure their events are being seen and heard on the most ubiquitous social platforms today. For fans, Ticketfly’s goal is to offer an online destination where fans engage around live music experiences and easily communicate with their friends about the artists and events they love. Ticketfly’s clients include the 9:30 Club in Washington D.C., Bimbo’s 365 Club in San Francisco, Troubadour in Los Angeles, Brooklyn Bowl in New York City and Knitting Factory venues nationwide.

Audrey Fix Schaefer
Audrey@schaefer.com, 301-947-1133