Everyone Hates Ticketmaster — But No One Can Take It Down
wired.com
wired.com
Lynsie was on Mixergy, to talk about it: http://mixergy.com/lynsie-camuso-showclix-interview/
* Gawda and Leffler are obviously hackers. Pretty good ones: Out-program the competition and get more performance (transactions) out of a smaller computer system than their larger competitor who has a much larger (and more expensive) system.
* CEO Rosen has realized that "ticketing isn't about the bands or the fans, it's about the venues". Thus, they have protected the essence of their business, their customer - the venues - by signing long term contracts with them. Bands and fans come and go, venues are here to stay (and be served).
* They have installed right CEOs throughout the decades: In the beginning the already mentioned Rosen who has set the right agenda, "cutthroat" Azoff who has led them thru the major merger and DOJ negotiations and Hubbard who says that he "can't turn on a dime like a startup" but is willing to change when major change is necessary.
* Never change the running system. Yes it isn't the system that fans (and bands) want but it is able to stand their rush like no other. Great quote from Andrew Dreskin, Ticketfly’s CEO and cofounder "A large-scale concert on sale is, in essence, a denial-of-service attack".
* I, once again, am reminded of the following principle: It's not the innovation that wins, it's the leverage. If the innovation IS the leverage then innovate. If it's not, what is it? In the beginning, Ticketmaster was innovative with (ironically) their computer system. While they still use it as leverage, they in the mean time have another, much bigger one: Ties with major venues.
Thankfully, I don't spend much time with Ticketmaster. I go to more indie productions and they almost never use TM. I prefer smaller, more intimate venues. Arena shows? Acoustics are horrible. I also can't stand the scalpers that inevitably come with any big show (thank you American Express and Front of the Line for saving me on a few "Big" shows I've gone to).
For small shows, sure. But for the massive tours with hojillions of fans all trying to buy tickets at the same time? Hard to see how someone gets across that gap.
Can anyone comment on what it might be written in, and why their infrastructure seems to hold up so well to such high traffic spikes?