I’m in an on/off relationship Lucy Conlan Barbican Centre
<ul><li>Scene setting: Outline of business </li></ul><ul><li>Scene 1: The audience </li></ul><ul><li>Scene 2: The website ...
<ul><li>Background </li></ul><ul><li>Established arts centre </li></ul><ul><li>5 key product areas plus membership </li></...
A flavour…
 
 
The stars <ul><li>Ralph Fiennes, Marianne Faithfull,  </li></ul><ul><li>Damon Albarn, Cecilia Bartoli,  </li></ul><ul><li>...
<ul><li>Challenges </li></ul><ul><li>Surplus of research information </li></ul><ul><li>Deficit of direct and online inform...
Scene 1  <ul><li>The audience </li></ul>
Who does the Barbican attract?
 
How did we target such an audience? <ul><li>Didn’t look at them too hard </li></ul><ul><li>Stepped back and used RFV param...
Do segments behave differently? ….Yes! <ul><li>Open   Click  Forward </li></ul>52% 30% Members/Non members 13% 6% 6% 3%
Value difference <ul><li>Average annual spend per name on list </li></ul>  Non members £63 £7   Members
CRM overview <ul><li>For key product launches: </li></ul><ul><li>Stage 1: Launch online to members first </li></ul><ul><li...
Response by media Launch email Members’ email Contemporary email list Brochure Land Members Brochure Land
Scene 2 <ul><li>The website </li></ul>
Website <ul><li>Why change it? </li></ul><ul><ul><li>Previous website ‘tired’ </li></ul></ul><ul><ul><li>Difficult to navi...
The old website
What does the new website achieve? <ul><li>Personalisation </li></ul><ul><li>Clear navigation </li></ul><ul><li>Events cod...
The new
Does the audience love it? <ul><li>Recent emailed survey: </li></ul><ul><ul><li>87% state booking online is preferred </li...
Scene 4 <ul><li>The emails </li></ul>
The email audience <ul><li>Grows by 3% a month (at 130k) </li></ul><ul><ul><li>prize draw and viral activity </li></ul></u...
Loyalty encouraged by messaging <ul><li>Online offers – ‘exclusive’, ‘launch’ </li></ul><ul><li>Hear of event before the g...
Challenging apathy <ul><li>We haven’t heard from you </li></ul><ul><li>We  still  haven’t heard from you </li></ul><ul><li...
Prize draw – reward for existing
Email creative <ul><li>3 Templates currently – mirror web look </li></ul><ul><li>‘ Newsflash’ </li></ul><ul><li>Poster app...
Keeping them regular
Bespoke E-flyers work better if they target specific audiences A recent season launch flyer generated £180,000 Surprising ...
Being seasonal
A consistent and managed relationship from the point of first booking When they’re new
When they’re committed
When they’re renewing – Trigger!
Scene 4 <ul><li>Audience engagement </li></ul>
All very well but do our customers have a  voice ? <ul><li>Vote for films </li></ul><ul><li>My first panto </li></ul><ul><...
Jack & the Beanstalk <ul><li>Schools marketing – panto example </li></ul><ul><ul><li>Bespoke panto microsite </li></ul></u...
Promoting pantomime
Inspiring schools:  teachers  &  pupils
Bean there, done that
Retention summary <ul><li>Key – repeat attendance </li></ul><ul><li>Forwarding emails </li></ul><ul><li>Participation onli...
Scene 5 the finale <ul><li>The all important results </li></ul>
Has it worked - overall? <ul><li>58% repeat, 42% new  </li></ul><ul><li>Increase in repeat spend -  £1.2 million </li></ul...
Has it worked online? <ul><li>Online sales at 60% (5% in 2003) </li></ul><ul><li>Email – we have 67% of bookers email addr...
Has customer experience improved? 45% increase in positive comments 14% decrease in complaints
So much still to do! <ul><li>Our alternative venue:  </li></ul><ul><ul><li>The website; Barbican without walls </li></ul><...
 
To sum up <ul><li>On/off relationship set to continue, however ‘on’ is in ascendance </li></ul><ul><li>Thank you </li></ul...
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Lucy Conlan E Consultancy Online Masterclass 2007 Talk 15 November Final

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A case study of the groundbreaking digital arts marketing approaches instigated by Lucy Conlan at the Barbican with the aim of boosting online ticket sales and membership.

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  • Good afternoon everyone. I appreciate that ’m the last speaker &amp; replacement speaker at that. However, I will aim to keep this presentation as snappy as possible as I realise that the close of conference drinks are on the horizon The title of my talk hints not at a beleaguered personal life but at my dilemma. At the Barbican– we have aimed to keep our communications integrated; it is hard to talk about the on without the off . It makes for a complicated life but is never dull.
  • Segmentation Members and other segments valuable Demonstrated the worth of using RFV F is the most important Marked differences with the segments Results now are very predictable Poor performers being further refined
  • We directly track the revenue generated from our e-shots Track customer behaviour from the moment of receipt – who opens, when, what do they do, where do they go, what do they book Subject lines important The first few lines Copy Imagery Engagement Call to action E-flyers allow you to be more personal and make the customer think they are special or receiving something no one else has
  • THIS SCHEME IS ABOUT RETENTION What did we do? In September 2005 a New Audience Strategy was established The scheme ensures that those new to the Barbican are welcomed and informed about the breadth of the artistic programme and other features of the centre Further communications are designed to reflect their artistic preferences, but occasionally also encourage them to book for other kinds of events RINGFENCED COMMUNICATIONS – highly disciplined use of data. Clear sequence of future communications No Panic Mailings!!! Planned Sequence of eshots and mailings Communicate breadth of Barbican offer Give them a chance to tell us more about what they like We do not make assumptions about them based on 1 ticket purchase
  • Sense of importance You are being told first Privilege!
  • Lucy Conlan E Consultancy Online Masterclass 2007 Talk 15 November Final

    1. 1. I’m in an on/off relationship Lucy Conlan Barbican Centre
    2. 2. <ul><li>Scene setting: Outline of business </li></ul><ul><li>Scene 1: The audience </li></ul><ul><li>Scene 2: The website </li></ul><ul><li>Scene 3: The emails </li></ul><ul><li>Scene 4: Audience engagement </li></ul><ul><li>Scene 5: Summary results </li></ul>
    3. 3. <ul><li>Background </li></ul><ul><li>Established arts centre </li></ul><ul><li>5 key product areas plus membership </li></ul><ul><li>Sub brands and 600 product lines </li></ul><ul><li>My role: </li></ul><ul><ul><li>To lead on the Barbican’s strategy for customer relationships </li></ul></ul>The Barbican
    4. 4. A flavour…
    5. 7. The stars <ul><li>Ralph Fiennes, Marianne Faithfull, </li></ul><ul><li>Damon Albarn, Cecilia Bartoli, </li></ul><ul><li>Ken Loach, Mike Leigh, </li></ul><ul><li>Deborah Warner, Courtney Pine, </li></ul><ul><li>Amy Winehouse, Dizzy Gillespie </li></ul><ul><li>Valery Gergiev, Roger Moore </li></ul><ul><li>and many many more… </li></ul>
    6. 8. <ul><li>Challenges </li></ul><ul><li>Surplus of research information </li></ul><ul><li>Deficit of direct and online information </li></ul><ul><li>Membership scheme in decline </li></ul><ul><li>No ‘joined up’ customer thinking; teams working in silos </li></ul><ul><li>No testing structure </li></ul>What marketing challenges did I face?
    7. 9. Scene 1 <ul><li>The audience </li></ul>
    8. 10. Who does the Barbican attract?
    9. 12. How did we target such an audience? <ul><li>Didn’t look at them too hard </li></ul><ul><li>Stepped back and used RFV parameters </li></ul><ul><li>Gave accessible names – Active & Rusty </li></ul><ul><li>Members isolated and at top of hierarchy </li></ul><ul><li>Apply segmentation to email and direct mail </li></ul>
    10. 13. Do segments behave differently? ….Yes! <ul><li>Open Click Forward </li></ul>52% 30% Members/Non members 13% 6% 6% 3%
    11. 14. Value difference <ul><li>Average annual spend per name on list </li></ul> Non members £63 £7 Members
    12. 15. CRM overview <ul><li>For key product launches: </li></ul><ul><li>Stage 1: Launch online to members first </li></ul><ul><li>Stage 2: Follow up to non member online audience </li></ul><ul><li>Stage 3: DM (where responders excluded) </li></ul><ul><li>Stage 4: Email follow up </li></ul><ul><ul><li>Non members, and offline customers reminded of benefit of membership and online </li></ul></ul>
    13. 16. Response by media Launch email Members’ email Contemporary email list Brochure Land Members Brochure Land
    14. 17. Scene 2 <ul><li>The website </li></ul>
    15. 18. Website <ul><li>Why change it? </li></ul><ul><ul><li>Previous website ‘tired’ </li></ul></ul><ul><ul><li>Difficult to navigate </li></ul></ul><ul><ul><li>Could end up in a cyber cul de sac </li></ul></ul><ul><ul><li>Limited cross selling opportunities </li></ul></ul><ul><ul><li>Prior to change online sales at 5% </li></ul></ul><ul><ul><li>Box office were too good! Needed to raise the stakes online and gain more advance sales </li></ul></ul>
    16. 19. The old website
    17. 20. What does the new website achieve? <ul><li>Personalisation </li></ul><ul><li>Clear navigation </li></ul><ul><li>Events coded- searchability </li></ul><ul><li>Integrated promotion of membership </li></ul><ul><li>Cross selling opportunity </li></ul><ul><li>Podcast area </li></ul><ul><li>Voting & reviews </li></ul>
    18. 21. The new
    19. 22. Does the audience love it? <ul><li>Recent emailed survey: </li></ul><ul><ul><li>87% state booking online is preferred </li></ul></ul><ul><ul><li>65% use the website to find out more before booking </li></ul></ul><ul><ul><li>Main reasons for booking: </li></ul></ul><ul><ul><ul><li>Choosing their own seat </li></ul></ul></ul><ul><ul><ul><li>Flexibility </li></ul></ul></ul>
    20. 23. Scene 4 <ul><li>The emails </li></ul>
    21. 24. The email audience <ul><li>Grows by 3% a month (at 130k) </li></ul><ul><ul><li>prize draw and viral activity </li></ul></ul><ul><ul><li>Home page sign up </li></ul></ul><ul><li>Customised email system for ‘quick’ targeting solutions </li></ul><ul><ul><li>Last purchase </li></ul></ul><ul><ul><li>Membership status </li></ul></ul>
    22. 25. Loyalty encouraged by messaging <ul><li>Online offers – ‘exclusive’, ‘launch’ </li></ul><ul><li>Hear of event before the general public </li></ul><ul><li>Listen to the artist – try before you buy </li></ul><ul><li>Play the game – dinosaurs & all </li></ul>
    23. 26. Challenging apathy <ul><li>We haven’t heard from you </li></ul><ul><li>We still haven’t heard from you </li></ul><ul><li>Prize draw </li></ul><ul><li>OK, we’ll just talk to you each week </li></ul><ul><li>Reactivates 5% </li></ul>
    24. 27. Prize draw – reward for existing
    25. 28. Email creative <ul><li>3 Templates currently – mirror web look </li></ul><ul><li>‘ Newsflash’ </li></ul><ul><li>Poster approach </li></ul><ul><li>Weekly summary </li></ul><ul><li>Membership monthly </li></ul><ul><li>Creative tested and reviewed </li></ul>
    26. 29. Keeping them regular
    27. 30. Bespoke E-flyers work better if they target specific audiences A recent season launch flyer generated £180,000 Surprising them
    28. 31. Being seasonal
    29. 32. A consistent and managed relationship from the point of first booking When they’re new
    30. 33. When they’re committed
    31. 34. When they’re renewing – Trigger!
    32. 35. Scene 4 <ul><li>Audience engagement </li></ul>
    33. 36. All very well but do our customers have a voice ? <ul><li>Vote for films </li></ul><ul><li>My first panto </li></ul><ul><li>Online surveys </li></ul><ul><li>Complaints via MD office </li></ul>
    34. 37. Jack & the Beanstalk <ul><li>Schools marketing – panto example </li></ul><ul><ul><li>Bespoke panto microsite </li></ul></ul><ul><ul><li>Schools engagement (lessons/activities) </li></ul></ul><ul><ul><li>Children/adult engagement (game) </li></ul></ul>
    35. 38. Promoting pantomime
    36. 39. Inspiring schools: teachers & pupils
    37. 40. Bean there, done that
    38. 41. Retention summary <ul><li>Key – repeat attendance </li></ul><ul><li>Forwarding emails </li></ul><ul><li>Participation online </li></ul><ul><li>Becoming a member </li></ul><ul><li>Rewarding members and key segments </li></ul><ul><ul><li>Hearing first </li></ul></ul><ul><ul><li>Priority booking </li></ul></ul>
    39. 42. Scene 5 the finale <ul><li>The all important results </li></ul>
    40. 43. Has it worked - overall? <ul><li>58% repeat, 42% new </li></ul><ul><li>Increase in repeat spend - £1.2 million </li></ul><ul><li>DM – reduced by half: </li></ul><ul><li>re-investment in online marketing </li></ul>
    41. 44. Has it worked online? <ul><li>Online sales at 60% (5% in 2003) </li></ul><ul><li>Email – we have 67% of bookers email addresses </li></ul><ul><li>Membership base grown 11k to 15k </li></ul>
    42. 45. Has customer experience improved? 45% increase in positive comments 14% decrease in complaints
    43. 46. So much still to do! <ul><li>Our alternative venue: </li></ul><ul><ul><li>The website; Barbican without walls </li></ul></ul><ul><ul><li>Communities </li></ul></ul><ul><ul><ul><li>On the website </li></ul></ul></ul><ul><ul><ul><li>Social networking </li></ul></ul></ul><ul><ul><ul><li>Involving the artists more </li></ul></ul></ul><ul><ul><ul><li>Establishing what is and isn’t in our control </li></ul></ul></ul>
    44. 48. To sum up <ul><li>On/off relationship set to continue, however ‘on’ is in ascendance </li></ul><ul><li>Thank you </li></ul><ul><li>www.barbican.org.uk </li></ul>
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