Speakers: Karen Cardy, Marketing and LSO St Luke’s Centre Director, London Symphony Orchestra and Chaired by Sarah Boiling, Deputy Director, Audiences London - Monitoring and profiling your visitors can help you segment your audience into clearly defined groups, making it easier to identify their preferences and respond to their needs. 12 London orchestras and orchestral venues have recently been working together to understand how audiences behave within the orchestral marketplace in London, and are now putting their findings into action through an innovative collaborative marketing campaign. This session is a great chance to think about matching and marketing your offer to the interests and expectations of your visitors.

1. Nuanced visitors – working with segmentsSarah Boiling, Audiences LondonKaren Cardy, Marketing and LSO St Luke’s Centre Director, London Symphony Orchestra © Audiences London 2011

2. Growing audiences for orchestral music – a segmentation approach Background Research The campaign Results What next? © Audiences London 2011

3. Background LSO approached Audiences London Aims Understand the overall market for orchestral music in London and individual organisations within it Collaborative approaches to: Grow size of market Increase engagement Method Audience research followed by campaign Funding Organisations plus Arts Council England (c) Audiences London 2011

4. Cadogan Hall

5. From research to action Segmentation Box office data analysis Qualitative insights Campaign

6. Box office analysis Snapshot – box office data analysis Deeper level of Snapshot coding of event style beyond ‘classical’ Eg core mainstream, baroque, contemporary, popular classics (c) Audiences London 2011

7. How often are audiences attending? (c) Audiences London 2011

8. Can we identify any distinct segments? (c) Audiences London 2011 One time attenders

10. Concerts represent good value

12. Specific to your offer

13. Locatable

14. Big enoughMalcolm McDonald & Ian Dunbar

15. Distinctive  Behaviour - attend infrequently Characteristics – research suggests they are less confident and knowledgeable than frequent attenders Specific to our offer  Have attended classical music Locatable  We have their e-mail and postal addresses Big enough  Yes (c) Audiences London 2011 The ‘one time’ attenders segment

16. The campaign Can we encourage one timers to return; to build a ‘menu’ of options across a range of concerts? Can we develop their confidence and knowledge? Targets from customer databases Postal and e-mail campaign On line experience-led collaborative offer Trusted provider Time Out Trackable

17. (c) Audiences London 2011

18. (c) Audiences London 2011 Be romanced by passionate soaring melodies Be invigorated by high octane drama and excitement Explore musical landscapes that tell a story

19. (c) Audiences London 2011 http://www.timeout.com/london/feature/873/music-to-remember

20. Results so far… Total 40,000 people contacted – response rate 2.5% E mail campaign Open rate – 23% Click-through rate from opened – 23% (c) Audiences London 2011 1061 unique visitors 2.5 mins 4,500 total Pageviews 3.3 av’ Pageviews 25% return visits

21. What next Campaign analysis – Ticket bookings and ROI Site user survey Group continues to meet – other collaborations (c) Audiences London 2011

22. Thank youAny questions? (c) Audiences London 2011