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Issue 1 – July 2012


Contents 1 Foreword / 2 What we do / 3 Evidence / 4 Projects in 2011 / 5 Engagement / 6 Clicket / 7/8 New Connections / 9 Financial review


‘Our mission is to help every cultural organisation understand and grow its audience. We provide specialist expertise in research, marketing and audience development; wide-ranging opportunities for collaborative working; support and leadership for joint projects and campaigns; and a unique insight into the Edinburgh market.’

Welcome to our Review - an update to our stakeholders on The Audience Business’ achievements over the last year 2011/12. Our specialist role as a key provider of audience analysis, market insights and tailored research services for Edinburgh’s cultural organisations continues to be a cornerstone of our work – supporting subscribers and clients to understand, re-engage and maximise their audiences. Our engagement programme has been more varied than ever in our efforts to serve our subscribers and partners as effectively as we possibly can. went live as our flagship one stop shop for editorial, event information and tickets across the City – and we’re also delighted to be continuing our close working relationship with Festivals Edinburgh in support of We completed reporting on The Source, a two year Scotland-wide data analysis and benchmarking project delivered with our partners, Culture Sparks and the Federation of Scottish Theatre. Numerous smaller scale subscriber projects have also come to fruition. We’ve delivered a series of added value events as part of our new connections agenda, from hands-on training and networking sessions to hosting national and international experts and sharing best practice from cultural organisations further afield. We’re actively increasing our involvement with the city’s tourism sector through close ties with Scottish Enterprise’s Edinburgh Tourism Action Group and its new tourism action plan, jointly looking to fully exploit Edinburgh’s year round cultural assets within the city’s overall destination marketing approach.

Our impact has been recognised by our funders and stakeholders, as demonstrated by their continued commitment and increased support. We recognise that in order to excel at the things our subscribers value, and to create the kind of impact on audiences that we all seek, we constantly need to : • achieve the right balance between ‘big picture’ large scale projects with tangible results, and small scale bespoke projects • be dynamic and innovative in our approach

• work in partnership with other organisations, both within and outside the cultural sector • consolidate and grow our specialist skills and expertise.

Looking ahead through 2012, TAB is committed to achieving this by integrating its business model into a strengthened audience development network for Scotland, and a more formal collaboration between the existing audience development hubs. This promises both challenging and exciting times ahead for all of us, and for our subscribers, clients and stakeholders. To learn more about our work at TAB, visit our website or follow us on Twitter @TABdigital.

Ros Lamont Chief Executive

The Audience Business Review July 2012


TAB what we do‌

The Audience Business works with a diverse range of cultural organisations in Edinburgh and across Scotland – galleries, museums, festivals, theatres, concert halls and national touring companies. Our current business plan sets out four strategic aims - to provide evidence as a call to action, to increase engagement, to make new connections, and to build capacity and skills. We use our evidence base of data, research and market intelligence to generate ideas. We use one of our key assets - development time - to refine and test our thinking in dialogue with clients and subscribers. We secure resources to translate ideas into plans and pilot projects, that we then shape, deliver, track and evaluate – often working on strategic commissions and collaborations with partners.

The sum of all these parts, some tangible and some less so, demonstrates how we deliver added value to our varied subscribers, stakeholders, and clients, and across the cultural sector. It is the sum of all of these parts that makes us who we are.

The Audience Business Review July 2012



This year we analysed 14,497 survey responses and data from over 5,300 events.





Our performing arts benchmark has been a cornerstone of our work since 2007, and is powered by Purple Seven’s Vital Statistics software. This allows us to extract real time box office data on a daily basis from box office systems. We report and analyse it by value, recency and frequency on an organisation specific basis, as well as by art form and citywide. All our reporting is done on households attending, rather than by named individuals, and we use the data set solely for strategic analysis.

The Market Overview is a comprehensive guide to Edinburgh’s existing and potential audiences that’s filled with facts and figures about the resident population. Whist it’s crucial to understand the audience analysis for a particular venue or organisation on a case by case basis, it’s also important to understand the wider market place and operating environment ; changes inevitably impact on cultural attendance.

Our embryonic visual arts benchmark allows individual galleries to compare their own audience profile against the city benchmark and their peer galleries, providing a rich context for decisions on marketing and joint working. It compliments our annual research programme for August’s Edinburgh Art Festival.

The Source is Scotland’s first country-wide benchmarking analysis for performing arts audiences, aggregating reports from over 40 arts organisations including major venues and national touring companies. The two year project (20092011) was delivered as a partnership between the Federation of Scottish Theatre, Culture Sparks and The Audience Business with project funding from Creative Scotland.

We provide 14 bespoke audience reports each year for our venue and performing company subscribers, analysing over 5,300 non-festival events, attended by 236,000 households. In 11/12 (excluding Festivals) we analysed sales of over 1.1 million tickets with a total sales value of almost £20 million. We also provide reports for each of our 8 subscribing Festivals.

We’ve presented the information in Prezi format to highlight the key facts but if more information is needed, zooming in on the charts will give detailed information on specific areas. To view the Prezi, click here.

FESTIVALS RESEARCH We’re regularly commissioned to undertake market research on behalf of Edinburgh’s dynamic festival sector – from e-surveys on behalf of Edinburgh’s Hogmanay, to face-to-face interviews with gallery visitors to the Edinburgh Art Festival. We’ve also supported Festival Edinburgh’s strategic work by preparing overview reports on audiences across all 12 of their member festivals.

Whilst ticketed arts organisations benefit day to day from gathering and analysing box office data, unticketed visual arts organisations have been at a historical disadvantage in terms of audience intelligence. Our benchmark aims to address this imbalance over time, creating a multi art form benchmark for the city. To do this, we’ve developed a standardised methodology that can be rolled out to an increasing number of galleries, delivered in partnership with them each Spring and Autumn, and which can be easily compared to visual arts data sets from other parts of the UK. Initial findings illustrate clear seasonal differences and also show that a significant proportion of attenders are already highly engaged with the visual art sector (visiting to see specific exhibitions, to go to a range of galleries, going often, going confidently with good knowledge of the visual arts).

Box office audience data was analysed and presented to provide strategic context and tactical market intelligence for each participating organisation. The two agencies provided organisations with quarterly reports against the emerging Scottish regional and national benchmark. Other key outputs includes a sector wide training needs analysis, box office systems health checks, forums for information sharing, and data analysis workshops.

The Audience Business Review July 2012


projects in 2011

ORGANISATION Aberdeen Performing Arts

BBC Scottish Symphony Orchestra Brunton Theatre Brunton Theatre Craft Scotland Edinburgh Art Festival Edinburgh Fringe Festival Edinburgh Fringe Festival Edinburgh International Book Festival Edinburgh International Book Festival Edinburgh International Festival Edinburgh International Festival

100% of respondents of the TAB project evaluation survey agreed that the project gave them valuable evidence to support their planning and that they would recommend working with TAB.


Audience data analysis of the three venues in the APA group looking at trends and comparisons. Research with Usher Hall audiences to identify awareness of the BBC SSO concerts and barriers to attendance. Research into cinema attenders (including survey of both current audience and non attenders and market modelling) to inform the new Brunton business plan. Tactical audience mapping to inform direct marketing strategies. Mosaic profiling of audiences to support a wider research project. In-gallery research with visitors to the Edinburgh Art Festival to profile attenders, identify awareness of EAF and measure the added value the Festival brings. Online survey with Fringe attenders and non attenders to undertake profiling, track change and test specific issues such as the potential impact of the Olympics. An e-survey to the Friends of the Fringe evaluating the scheme overall, with specific focus on the impact of the Friends 2 for 1 offer. An e-survey to Book Festival attenders including evaluation of the 2011 festival and identifying areas of interest for future planning. Analysing research with Unbound attenders, identifying differences and distinctions from Book Festival audience at paid events. A pilot project to analyse previous findings from EIF research including survey data, box office data and focus groups. Online survey and focusing primarily on motivations to attend.

Edinburgh Museums & Galleries

Surveys with museum / gallery attenders to gather profile data and test new ideas. Research was also carried out amongst non-attenders to identify

Edinburgh’s Hogmanay

Online survey of both attenders and non-attenders to undertake profiling, evaluate the festival and test strategies for future planning.

Festivals Edinburgh Manipulate National Museums Scotland National Theatre of Scotland ON at Fife Red Note Ensemble Royal Botanic Gardens Edinburgh Royal Lyceum Royal Lyceum/Traverse Scottish Ballet Scottish Chamber Orchestra Scottish Chamber Orchestra Scottish Chamber Orchestra Scottish Jazz Federation, Jazz Now The Fruitmarket, Collective, Stills, Inverleith House, City Art Centre The Queen’s Hall

barriers and explore market opportunities. Data analysis investigating Glasgow audiences for the Fringe to identify potential barriers and opportunities. Box office data analysis to monitor trends and identify whether Manipulate generates a new audience for the Traverse. Desk research into science and design to inform a funding application. Box office data analysis of Beautiful Burnout audiences in comparison with other NTS shows. Audience data analysis of the three venues in the ON at Fife group looking at trends and comparisons and scoping market opportunities. Giving Red Note an understanding of its audience profile and behaviours at venues throughout Scotland for the first time. Online and postal survey to members to evaluate satisfaction with the current membership scheme and identify opportunities for adding value. Analysis of Lyceum audiences looking at each individual show in the season to identify patterns and differences. Research into current attenders at creative learning activities at both venues looking at profile, satisfaction and identifying opportunities for collaborative working. Research with non-attenders to look at barriers to creative learning at the theatres and attitudes to learning in general. Audience mapping for the Scottish Ballet annual report. Following on from concept focus groups, evaluation of the first ‘Big Ears, Little Ears’ series of concerts. Audience analysis of the CL@SIX programme to identify differences in comparison with the standard season audience. A major Scotland-wide research and audience development project which led to the creation of the first jazz audience benchmark. Fieldwork was undertaken at concerts in a wide range of venues throughout Scotland. A TAB led city-wide project to understand visual arts audiences and establish a benchmark. Tactical audience mapping to inform direct marketing strategies.

The Audience Business Review July 2012



TAB’s role as Edinburgh’s specialist audience development agency allows us to facilitate joint working with a reach and scale that no single organisation could achieve for itself.

“An efficiently created and presented survey of our audience’s make-up and behaviour, framed clearly and concisely within well-defined and articulated benchmarks providing very useful information that will inform significantly next year’s marketing plan.” Subscriber Feedback, 2012





A collaborative project across the classical music sector exploring audiences across orchestras, venues and festivals and promoting cross organisation collaboration to increase loyalty to the wider sector. Box office data was used to provide booker analysis and inform strategic recommendations. After a successful direct mail campaign project in the previous year, the group participated in a Clicket project to promote an exclusive ticket deal of 6 concerts in February and March using social media and venue email channels.

An ongoing networking and collaboration forum, convened by TAB to support joint working and sharing best practice. The Delivery Group consists of the education and learning teams from 7 organisations - Festival and Kings Theatres, Filmhouse, Lyceum Theatre, National Museum of Scotland, Scottish Chamber Orchestra, Traverse Theatre and the Usher Hall. Successful collaborations have included Doors Open Day and Big Night Out.

We have completed a programme of family friendly audits across our subscriber venues, including a series of mystery shopping visits to generate additional user feedback. We’ve also analysed box office data for children and family performances to get an overview of provision and attendance patterns, in order to highlight untapped family markets across the Edinburgh city region. We’ll be showcasing our subscribers’ programme for families across the Clicket Kids website through 2012/13, and promoting the site directly to primary school children across the city.

The Five Arts Partnership (5AP) is a group of community arts hubs in Edinburgh - WHALE Arts, North Edinburgh Arts, Out of the Blue, North Edinburgh Arts, Craigmillar Arts Centre and South Edinburgh Arts. Our project was born out of an initial scoping exercise to consider how best to target the potential audiences serviced by, or in the geographical areas of 5AP. We want to engage them both as groups and individuals to encourage attendance at, and enhance existing links with, TAB’s subscribing venues and companies. TAB is well placed to research these hard to reach audiences collectively for subscribers, rather than each individual organisation embarking on their own initiatives which often prove labour intensive and costly. We are actively fundraising to take this forward in 2012.

Participating organisations: Queen’s Hall Usher Hall BBC Scottish Symphony Orchestra Hebrides Ensemble Royal Scottish National Orchestra Scottish Chamber Orchestra

The Audience Business Review July 2012


5,500 events

listed on Clicket in Summer 2011 The concept of the Edinburgh Pilot Portal Project was first discussed as far back as 2005. In 2011 we saw the culmination of six years of hard work and dedication when went live. The project faced a series of technical challenges along the way - not least because it’s a one of a kind project with no pre-existing best practice models to build on. However, the project is now supporting Edinburgh’s global position as a world-beating cultural destination, offering residents and tourists alike a one stop shop for the rich and diverse menu of events on offer in the City. On the face of it, Clicket is a user-friendly content-rich site that enables the cultural explorer to navigate what’s on by theme, art form and date. Behind the scenes though, it’s no ordinary website. The more a visitor uses the website, the more Clicket is able to tailor recommendations based on past interest and searches. Clicket communicates with box offices around the City to update listings and ticket availability in real time, and when tickets are booked through Clicket’s shopping basket function they are processed directly by the venues in one relatively seamless customer journey. As with any innovative new project, we’re continuing to learn and refine the technology, so stay tuned for future developments. We’re delighted with progress to date, and aim to offer the service to a wider range of cultural and tourism organisations in the very near future. The project has been managed by The Audience Business with funding from The City of Edinburgh Council, Creative Scotland and Scottish Enterprise.

“Just what Edinburgh needs!” B&B Owner Frontliner Event March 2012

The Audience Business Review July 2012


new connections “You’re a pleasure to work with and understand our organisation, our needs and how we work” Subscriber Feedback, 2012 WISH YOU WERE HERE Four million visitors come to Edinburgh every year spending £2 billion. In the UK, only London has more visitors than Edinburgh! Edinburgh has a world-renowned year-round cultural offering, but our subscribers struggle to engage tourists outwith the Summer Festival months. In March 2011 TAB hosted a forum Wish You Were Here – Adding Tourists to the Cultural Bottom Line. The event generated extensive discussion on the opportunities for the cultural and tourism sectors to work together.


In support of the tourism agenda, TAB has played an active role in developing the ETAG’s new tourism strategy for the city - focusing especially on winter product development and the need for a “Here All Year” campaign.



TAB held a training session at Edinburgh Printmakers for our subscribers. The objective was to get Marketing Assistants and Officers thinking about how to promote their organisation through designing and screenprinting publicity material. The workshop covered the rationale behind creating branded products, the production process and who the target audience is.

The task of managing volunteers is often seen as a bigger drain on resources than it’s worth. However, with the right management and training, the process can be a much more productive experience. TAB worked with The Volunteer Centre Edinburgh to deliver a training session to help organisations increase their capacity to develop audiences by working with volunteers.

Individual subscribers have had some small successes, though the process has often been time consuming and labour intensive. A joint initiative, with the appropriate partners and stakeholders working together will help achieve more visible and impactful communications.

The Audience Business Review July 2012





TAB ran a series of three training sessions for subscribers looking in detail at three key elements of research activity:

Nick Crosson of the Greater Philadelphia Cultural Alliance came to Scotland in October on a wave of excitement and anticipation, and did not disappoint. The event, co-hosted with Culture Sparks filled up in both cities. He talked about research based advocacy and joint marketing, and the incredible success his organisation has had using this as a lobbying tool for the arts and arts funding.

TAB, as regional Arts Marketing Association representative, organised the regional “Tweet Meet” for local cultural professionals with invited speakers from National Museums Scotland, Edinburgh International Book Festival and UNESCO City of Literature. The session helped unravel the basics including the lingo of hashtags, Twitter etiquette, the best way to get your point across in 140 characters or less and how to overcome fear of Tweeting.

- Spotlight on Research: back to basics - Spotlight on Research techniques - Spotlight on Mosaic Subscribers could attend all three to build on their knowledge or dip in and out depending on their experience. The final session exploring Mosaic profiling was delivered with Experian and gave an in-depth understanding of this useful segmentation tool and how to better utilise it for tactical and strategic planning.

TAB has also hosted seminars on MyCake’s cultural benchmarking, and at Federation of Scottish Theatre and Edinburgh Tourism Action Group (ETAG) events.

Of course Tweeters were also able to join the session remotely.

The sessions were well attended by a cross section of organisations and the feedback was extremely positive – useful, relevant and inspirational.

The Audience Business Review July 2012


financial review Income

Total income: ÂŁ309,357

Grants 58%


Total expenditure: ÂŁ295,294

Wages 68%

Other 0.5%

Marketing 2%

Consultancy 18.5% Projects 25% Subscriptions 23% Rent and Overheads 5%

The Audience Business Review July 2012


The Audience Business Annual Review 2011-12  
The Audience Business Annual Review 2011-12  

Welcome to our Review - an update to our stakeholders on The Audience Business’ achievements over the last year 2011/12.