Data-driven Arts programming

At a recent Stage Queensland CONNECT Conference + Showcase, Veracity’s Managing Director Bill Owens delved into the critical issue of data-driven arts programming.

As someone who knows a bit about data but not much about programming or performing arts, he’s very interested in how data can shape the future of arts programming in Queensland.

If you missed the conference, we’ve recapped the key points from Bill’s talk below.

Live performance attendance is declining worldwide. Post-pandemic, there was a brief rebound nationally with broad economic and geographic variations, but in Queensland, particularly in regional areas, it is becoming increasingly difficult to attract audiences. This has led venues to invest in international hits over local programming. One major issue is the disaggregation of patron data, which is stored in various silos across marketing, sponsorship, and ticketing systems, inside the organisation and outside by third party partners.

Several headlines validate this worrying trend. Reports from various sources indicate fewer people are attending events, festivals, and cultural activities worldwide. Are we still in a post-pandemic hangover? Are cost-of-living pressures keeping people away from the Arts? Do we really know? There is a need for a deeper understanding of our patrons to reverse the decline.

When we talk about patron data, we often refer to ticket sales data. However, this data only provides a narrow view of the patron. For example, venues don’t usually capture data on visitors who participate in non-ticketed activities, such as yoga classes, park runs, or unticketed art gallery visits. This represents a significant missed opportunity. Bill shared his personal experience at a Queensland precinct, where he spent a quite an amount of money on clients and friends but felt his engagement wasn’t captured or leveraged by the venue – it seemed like a missed opportunity to understand the patron better.

How well do we really know our patrons and patron segments? Is a visitor to a venue considered a patron? If we don’t have a comprehensive understanding of who they are, how can we program effectively? Questions like these need to be addressed to understand the nuances of patron experiences and to tailor our programming effectively.

To program effectively, we need the complete picture of our patrons’ experiences. Are we producing the right shows for the right demographics? Are logistical aspects like parking and interval experiences affecting attendance? Real-life examples, such as QPAC’s parking and queuing experiences, highlight the importance of these factors. While collecting this data might seem challenging and costly, the payoff is bound to be substantial.

Is there a compelling argument for the arts sector to collect, host, and share patron data differently? By understanding audience preferences, price sensitivities, behavioural insights, and forecasting trends, can we enhance customer experiences and tailor programming to meet patron needs? If so, our vision would be to make patron data more accessible and useful across the industry – lifting all boats – and fostering a data-driven approach to arts programming.

In our opinion, the Queensland arts industry must evolve its data collection and sharing practices to stay relevant and competitive. Because if it doesn’t, someone else will.

By leveraging data more effectively, we can ensure that our programming resonates with our audiences and keeps them coming back time and time again.

Is there a gap in how data is shared within the Arts sector? Do you feel you understand your patron as well as you could? Could greater data sharing unlock opportunities within the sector or influence programming choices?

If you can spare a minute or two, we’d love to hear your thoughts via our short survey here. Your insights are invaluable in helping us shape the future of arts programming and data sharing models in Queensland.

If you have any questions or would like to connect, please do get in touch.