Venues & Arenas

Your Building Books 140 Nights.
It Prices Like It Books One.

A comedy night, a hockey game, and an arena tour do not share a demand curve. We price and distribute each one against the calendar you already have on the books.

45 minutes · three of your events · one written page · yours to keep

The Reality

Every show gets the same
price map and the same push.

A building that sells forty different products on one price template gives away margin on the nights that sell themselves and leaves the hard nights unsold at a price nobody will pay.

01

One price map across forty different products

The map that works for a resident team night is the wrong map for a touring bill. Reusing it costs you on both ends of the calendar.

02

Promoter deals decide your pricing for you

When the deal sets the scale and nobody revisits it, the building carries the risk of a price that stopped being right weeks ago.

03

Nobody owns the calendar as one inventory

Shows are priced one at a time by whoever is closest to them, so the building never sees where demand actually sits across the season.

PER-SHOW PRICE BANDS

Arena Tour, SatOPENING$79CURRENT$126SPREAD▲ captured
Comedy, ThuOPENING$54CURRENT$71SPREAD▲ captured
Family Show, SunOPENING$46CURRENT$29SPREAD▼ leaking
Local Bill, WedOPENING$38CURRENT$22SPREAD▼ leaking
Resident TeamOPENING$62CURRENT$88SPREAD▲ captured

ILLUSTRATIVE VIEW · NO CLIENT DATA

SHOWN TO DESCRIBE THE METHOD

What We Run

We don't give you a dashboard
and wish you luck.

Four things we operate on your behalf, inside the system you already run. Your team keeps the final call on every price band.

01

Per-show price bands

Each date on the calendar gets its own band, built from the act, the night, the manifest, and how comparable shows in your building have moved.

WHAT THAT MEANS FOR YOU:

The Saturday tour stops being underpriced and the midweek local bill stops sitting empty at a number nobody will pay.

02

Manifest and hold strategy

We set the scale, the hold release schedule, and the kill dates in writing before the on-sale instead of improvising them week of.

WHAT THAT MEANS FOR YOU:

Held seats go back on sale while they can still sell, not the afternoon of the show.

03

Channel and resale control

Allocation across your own channels, marketplaces, and resale partners, with the release schedule and the rules written down.

WHAT THAT MEANS FOR YOU:

You capture the spread the brokers were taking on your best nights.

04

Weekly operating read

One report and one call each week across the whole calendar: what moved, what we changed, what we are watching next.

WHAT THAT MEANS FOR YOU:

You see the building as one inventory instead of forty separate on-sales.

The Inputs

What the engine reads.
No black box.

Six inputs, weighted for venues. On the audit call we show you which of these move your number most.

Act draw and prior performance in comparable rooms

Day of week and start time

Pace against comparable prior shows in your building

Secondary market ask and clearing prices

Manifest, holds, and kill-date schedule

Competing dates within the local market

How It Works

Four steps.
The first one is free.

0145 MINUTES

Revenue Audit

We review three of your past events and hand you a written page of findings. Yours whether or not we work together.

02WEEK 1–2

Strategy Build

Pricing model, distribution plan, and the guardrails you approve. Nothing goes live until you sign off on the rules.

03WEEK 3

Go Live

We operate inside your system, and your team keeps the final call on every price band.

04ONGOING

Weekly Read

One report, one call, one number that matters. Changes explained before they happen, not after.

The Constraint We Hold

We never move a price outside the band you approved.

You set the floor, the ceiling, and how fast anything can move. We operate inside your ticketing system, your team keeps the final call on every band, and any change to the rules comes back to you in writing before it runs.

Questions

What venues ask.
Answered plainly.

Do we have to change ticketing systems?

No. We work inside the system you already run. Nothing is migrated and nothing is replaced.

What about shows where the promoter sets price?

We work to the deal. Where the promoter owns the scale, we bring the read and the recommendation; where the building owns it, we run the band.

Who has final say on price?

You do. We propose bands, you approve them, and nothing moves outside what you signed off on.

What does the first call actually produce?

A written page on three of your past shows: what we would have priced differently, where inventory leaked, and what it was worth. Yours to keep either way.

Your Next On-Sale Is Already Priced Wrong.
Let's Fix That.

45 minutes. We look at three of your past events and hand you a written page of what we'd change and what it's worth — yours to keep whether or not we work together.

No deck, no procurement, no obligation

WHAT YOU WALK AWAY WITH

  • 45 minutes, one call
  • Three of your past events reviewed
  • One written page of findings
  • Yours to keep either way