Patternmakers 27/11/23 Patternmakers 27/11/23

Programming, price and planning: What the latest research means for audiences

In this article, we unpack our major Audience Outlook Monitor publication ‘Audiences 2023+’, and offer the key takeaways for audiences themselves.

Unpacking our latest audience research for audiences themselves.

We’ve emerged from some serious analysis, made possible thanks to all 8,816 arts audience members that participated in the latest round of our Audience Outlook Monitor.

If you’re keen to get into the nitty gritty, you can read the full Audiences 2023+ report here. If you’re just looking for the key takeaways, and what the findings mean for audiences just like you, keep reading.

Let’s get into it!

In the mood for fun and uplifting events right now? You’re not alone.

Following the past two years and current cost-of-living pressures, there’s no wonder that most arts audiences are looking for fun and uplifting things (77%), while reviews (63%) and trying new things (55%) are also key drivers.

If you’re not at the stage of email fatigue (and we know many audiences are), it’s worth considering subscribing to your favourite arts venues and organisations – because we found this is really the best way to avoid missing out on programming you’re sure to love.

Arts orgs are a lot more aware of the strain of email marketing than before and are really limiting when they reach out to you – and most are waiting to for the right moment to connect when it’s necessary.

Right now, some audiences are getting their fix without spending big.

Many audiences are looking for free or cheap things to do (55%), and some are keeping it local to enjoy live arts experiences (47%) and staying closer to home to avoid paying the premium of travel and larger productions.

You have likely seen the many reports on Australia’s cost-of-living crisis, especially its impact on young people. Financial pressures are hitting under 35s the most, coming through in our latest Audience Outlook Monitor round, so look out for special concession offers that are likely aimed at the younger age groups.

Financial reasons continue to be the top barrier for audiences to attend arts experiences, affecting 4 in 10 audience members (38%). Keep updated on the ticketing policy changes from your favourite arts organisations, as many are trying to adapt to your changing needs.

Feeling like your plans are getting a bit last minute? Here’s why booking early helps you and the organisations you care about:

Maybe it’s you, your sister or your friend, but audiences are taking longer to make decisions as they weigh up their options. If this sounds like you, you’re likely one of our ‘last-minute bookers’ – 45% of you reported booking in the last 2 weeks before an event and 12% book on the day!

Late booking can mean missing out on tickets, risking schedule clashes with your crew, but also has got the sector a *little* extra under the pump. And the longer audiences wait, the more life gets in the way. Almost a third (30%) of arts audiences said that prioritising other things was a key barrier for them to attend arts and cultural activities.

So, if you really want to go – you should really book it in (it’s a win-win!), and if it’s flexibility you’re after, make sure you’re across the ticketing policies of your favourite venues.

P.S. Opinions matter, so share them!

If you’re curious about the most affordable way to support your favourite arts and cultural organisations - we found that the #1 awareness channel for you arts audiences is…word of mouth! Don’t underestimate the value of talking about your experiences and sharing your thoughts to those around you (and online), because it’s a sure-fire way of supporting the arts.

If you’re interested in exploring how arts audiences are faring in different areas, be sure to keep an eye out on our website for our upcoming report ‘City light to red dirt: Connecting with audiences across Australia’ — launching November 30th.

Thank you to our partners WolfBrown, Creative Australia, and state arts agencies around the country for their support with the Audience Outlook Monitor publications.

Image Credit: Jamie Williams, courtesy of Sydney Writers Festival.

About the Author

Peta Petrakis
Research Analyst

Be in the loop

Patternmakers 18/10/23 Patternmakers 18/10/23

Audiences at the Heart: Key takeaways from the AMA Conference 2023

Our Senior Research Analyst, Bianca Mulet, attended the AMA Conference 2023, with the theme being ‘audiences at the heart’. Read the article for her 4 key insights from the conference.

I recently had the incredible opportunity to attend the 2023 AMA Conference in Leeds, UK. Industry professionals from around the UK gathered for a two-day melting pot of ideas and teabags, delving into this year’s theme: audiences at the heart.

Today I’m sharing just a few of the insights from the jam-packed programme that struck me. As an Aussie in a sea of British accents, I’m grateful for the friendly faces and inspiring speakers I encountered who are paving the way for arts marketers, researchers and comms professionals in all stages of their career.

Scroll on for my highlights from four sessions.

Catching feelings

In “Exploring Emotion and Audience Behaviour”, cultural researcher Dr Ron Evans uncovered the integral role of emotion in the audience experience.

Audiences attend performances with the expectation of having an emotional experience – but only 43% report that they achieved that goal, raising a crucial question for organisations: Are your audiences finding the emotional experiences they seek?

We might get this information from a post-show survey, but this only captures part of it. Over the length of a performance there might be a range of things experienced. So, do you measure the most recent emotion? The strongest?

Dr Evans presented new research in measuring audience emotion during live performance. Participants wore a wristband that collected physiological data over the course of the show, including heart rate, skin conductivity and skin temperature, and at the end they were interviewed about their emotional experience at various points in the performance.

The experiment revealed that there was an increase in physiological reaction during the climax of the performance, most people predominately felt surprise and sadness – and there was crying. Moreover, the tools revealed some valuable insights for arts organisations:

Triggering content has the potential to captivate audiences and spark discussions and reflections about their own life experiences – and we cannot always predict what topics will be sensitive for individuals
Encouraging post-show discussions and feedback through digital or face to face talkbacks can be an effective audience engagement tactic
Organisations can experiment with innovative tools like live word clouds, asking “What do you think the main character was feeling at the end of the first act?”
Monitoring the return of audiences, such as those with access needs, can help organisations tailor their content and offerings.

The future of audiences

The Audience Agency presented the latest findings from the Cultural Participation Monitor (CPM) on what audiences are saying about how they engage with arts and culture. Similarly to our Audience Outlook Monitor, the CPM started out tracking audience sentiment throughout the pandemic and has since evolved to capture further insights around programming preferences, cost-of-living concerns and more.

The recent wave of research shed light on some of the generational differences in audience segments and opportunities look out for when engaging future audiences, as well as insights around the rise of participatory experience and digital/hybrid formats.

The session presented new patterns in values, taste and experiences, underscoring the prevalence of generational and life-stage factors. As the Audience Agency says, “Our future audiences are already here, they’re just younger.”

Here’s what they found about values, tastes and experiences:

Young audiences care about issues like climate change and social justice in a way that people always have – but they’re going to care whether or not the organisations they engage with care about those things (almost double that of older groups - see the British Social Attitudes survey)
Arts organisations should think about how they can transition to being a community resource and a part of the conversations that are already happening

The next generation are shifting from hierarchical traditional artforms to having a more eclectic and unpredictable taste and this is heightened with algorithm-driven content
The experience is going to become more important as we continue to be engulfed in content. Audiences will be more discerning about the ‘how’ than the ‘what’, and there will be emphasis on things worth getting out for.
The post-pandemic era means having a mix of FOMO (fear of missing out) and FOGO (fear of going out). If people are going out it needs to be something different - liveness, presence in a place, intensity: “It’s just a bit harder to get around to doing things. In the past if it was 6.5/10 it would be worth going to – and now it needs to be an 8/10, it has to really grab you”.

What it means for arts organisations:

Don’t shy away from prototyping, testing and experimenting with different audience experience formats, alongside your new content ideas. As the experience takes centre-stage, it’s worthwhile to trial what works for different audience segments.

Become a place of conversation and engage in dialogue with your audiences. Asking “Do you enjoy things that feel and look like this?” instead of “do you like opera?” could reveal more about your audiences habits, desires and interests.
Keep being curious, creative and courageous!

AI: friend, not foe?

AI is demanding our attention, whether we love it or loathe it. Marketing consultant Jo Burnham described how we’re currently in a golden moment to acquaint ourselves with the nuances of AI - even if it's just a few minutes of trialling and testing here and there. Burnham’s session delved into the pragmatic uses of different AI tools to empower arts marketing professionals, along with delving into the crucial aspects of its ethics and challenges.

Burnham asserted that arts marketers hold a distinctive advantage to embolden how we communicate with our audiences in new and captivating ways – and encouraged them to:

Be curious: Most AI tools are free to use – don’t let yourself be sold. A key platform Burnham shared is www.futuretools.io, which collects all the emerging AI software in a user-friendly interface, equipped with categories and audience up-votes. Don’t get deterred by the ‘taboo’ – experiment to build up your own knowledge and even explore how using multiple tools together could empower your work.
Be creative: GPT4, Ask Your PDF, Bing Chat, MidJourney and DALL-E2 are just a few examples of tools that Burnham says arts marketers should be aware of. In terms of what they’re good for, getting a handle on prompt engineering for GPT4, for instance, can assist you with creating social media posts to signpost longform content, critiquing your own copywriting, reducing copy length, directing your own learning and helping you plan marketing outputs.
Be critical: As with any new way of working, it’s important to continually interrogate AI and weigh up its costs and benefits. When traversing this unfamiliar path, some aspects and questions Burnham invited us to start think about include: Is this tool actually producing good content? What’s real and what’s hype? What am I being sold? Data security (when in doubt – don’t!) and systemic bias.

Here are a few reflections from arts marketers shared via Burnham’s presentation:

“These tools are useful for getting keyword and hashtags without paying for an expensive service. It often comes out with answers that are far too verbose. You must be specific.” – Anna Whelan, Head of Marketing and Communications at Tara Theatre

“AI speeds up writing and it sounds more engaging than what I write, but you have to be careful with the accuracy of info and plagiarism.” – Marketing and Communications Manager at a theatre in Wales.

“There is potential that in 10 years’ time, people will look back on his moment and see AI as a transformative event in culture. It feels like there are huge developments happening at phenomenal speed. It feels like a refocusing or a re-framing taking place.” – Steven Franklin, Social Media Manager at the National Archives.

Be Bold; Be Brave

The Conference keynote by Leeds5 – a group of female black and brown cultural leaders – underscored the importance of getting to know your audience before inviting them to buy your tickets.

An analogy by Keranjeet Kaur Virdee, from South Asian Arts and one-fifth of Leeds5, summed it up perfectly: Would you accept an invitation to a wedding if you didn’t know the bride and groom? (Short answer: no.)

It takes time, effort and energy to develop relationships with diverse communities that you want to reach, ensuring you’re conscious of cultural sensitivities requires an on-stage and off-stage approach. Here are some things to consider:

Ditch the familiar: Cultural exchange thrives when we step outside of our comfort zones and reach beyond our safe space. Complacency keeps us tethered to what we know – and hampers our ability to understand the unique needs and perspectives of diverse audiences.
Unlock new perspectives: Kully Thiari of Leeds5 said ‘We know audiences are at the heart, but we continue to make assumptions about them.’ Listening and understanding the community you want to engage with is more than ticking a box – it’s an invitation to take part in real dialogue, absorb diverse experiences and foster meaningful connections.
Solutions over symbols: Leeds5 used the example of Blackout Tuesday to remind us of the importance of moving beyond grand gestures towards concrete actions – and be proactive to foster positive change in our accessibility, inclusivity and sustainability goals.

Despite the challenges of post-pandemic rebuilding and cost-of-living pressures, I left the AMA conference feeling affirmed that the future is as promising as it is dynamic. Armed with inspiration from our colleagues across the pond, I’m excited about how Patternmakers can help shift and shape the landscape of audience research as we look to the next chapter.

About the Author

Bianca Mulet
Senior Research Analyst

Be in the loop

Patternmakers 12/10/23 Patternmakers 12/10/23

A state-specific breakdown of Australian audiences in 2023 and beyond

Download the August 2023 State Snapshot reports to discover the top trends in audience behaviour at a state-level.

Read our State Snapshots to discover the top trends in audience behaviour at a state-by-state level.

Based on data from the August 2023 Audience Outlook Monitor, the State Snapshots explore how audience behaviour is impacted across different parts of the country, especially as economic pressures persist.

Attendance levels have stabilised across the states since the pandemic began, with three states reaching their highest rate of attendance since 2020. However, as disposable income gets squeezed, audiences nationwide are grappling with tough decisions about what, how and when to attend.

There are some important distinctions. New South Wales audiences are attending the most and spending the highest on cultural events. Meanwhile, those in Victoria and Queensland are most likely to be acting more frugal and taking longer to make decisions, staying closer to home and looking for cheap/free things to do. In Western Australia and South Australia, the outlook appears most stable, with audiences the most likely to say their rate of attendance will stay the same in the next 12 months.

Download the NSW, VIC, QLD, SA, ACT and WA reports below for the latest look — including the story on last-minute booking, subscriptions/memberships and online participation — and to explore the opportunities for strategic thinking in 2023 and beyond.

Download the snapshots

Click the buttons below to access the snapshots for each state.

Thank you to the following state arts agencies for their support in delivering the State Snapshots: Creative Victoria, Create NSW, Arts Queensland, Department of the Premier and Cabinet (Arts SA), Department of Local Government, Sport and Cultural Industries (WA) and ArtsACT.

Cover Image Credit: Cecilia Martin, courtesy of Spaghetti Circus.

Read the ‘Audiences 2023+’ report

In case you missed it, click the button below for the key insights from the August 2023 National Snapshot.

Audiences 2023+

Use the dashboard to get results for your artform and region

Survey data from over 8,800 respondents has been uploaded to the dashboard, which now contains insights from 100,000 Australian participants.

You can use the dashboard to explore the findings by state, artform and audience segment.

It’s freely available to access, just click the image below and use the login details provided on the dashboard page.

About the Audience Outlook Monitor

The Audience Outlook Monitor provides the results of a study that has tracked audience sentiment over the course of the COVID-19 pandemic.

Data was collected in six phases throughout 2020-2022 and is again being tracked in 2023.

Government agencies across Australia are collaborating with research agencies Patternmakers (Sydney) and WolfBrown (USA) to produce this resource. The dashboard is freely accessible and designed to help artists and cultural organisations of all kinds to make the best possible decisions.

How to find out more

To receive new releases directly into your inbox, as soon as they are available, you can opt in to receive Audience Outlook Monitor news below.

Subscribers to our regular Culture Insight & Innovation Updates will need to update their preferences to receive all updates about the Audience Outlook Monitor. Just enter your email below and follow the instructions provided.

If you have a question, or an idea for using this data, please contact Patternmakers at info@thepatternmakers.com.au

About the Author

Peta Petrakis
Research Analyst

Delivery partners:

Supporting partners:

Past posts on this blog

Patternmakers 31/8/23 Patternmakers 31/8/23

The top trends shaping Australian audiences in 2023 and beyond

August 2023 results from the Audience Outlook Monitor are now available. Explore 7 topics around current audience behaviour, presenting the datapoints you need for strategic planning, forecasting attendances, remodelling subscriptions and targeted marketing in 2023 and beyond.

Read about the findings and download the National Snapshot report.

1. Attendance trajectories

Attendance rates across the country continue their slow recovery since the pandemic, and with a challenging year ahead, it’s wise to set sights on the right targets.

- In 2023, attendance is reaching its highest point since 2020, and the frequency of attendance is increasing, but the recovery process continues.
- Strategic investment and programming shifts have helped many organisations sustain or increase their capacity in 2022 and 2023, but charting recovery is complex, with mixed attendance results across the market.
- Big jumps in attendance appear unlikely in the next 12 months, with 2 in 3 audience members expecting their attendance levels will stay the same amid a challenging economic outlook.
- Making space to review measures of success and share learnings – internally and externally – may help organisations focus on the right challenges over the coming year.

Click the buttons below to download the August 2023 Snapshot Report, as a PDF, accessible Word version or RTF, or read on for more of the findings.

PDF REPORT

WORD report

RTF REPORT

2. Inflationary pressures and pricing

Economic conditions are limiting what Australian audiences can spend on events, and some segments need targeted thinking to ensure access to arts and culture.

- Financial reasons are the top barrier to attendance, and inflationary pressures are expected to continue in 2023 and 2024.
- Spending levels at arts and culture events are not growing, as audiences weigh up value for money and take longer to make decisions.
- Younger audiences and families continue to be the most impacted.
- A key opportunity is developing sustainable strategies for targeting disadvantaged segments.

3. The desire to inspire

In the wake of the pandemic, audiences are in the mood for uplifting experiences — requiring event organisers to think strategically about creating meaning and building trust in difficult times.

- Australian audiences are showing significant appetite for a wide range of content, though budget pressures are leading some audiences towards ‘safer’ bets or ‘guaranteed fun’.
- Social, uplifting experiences and events with great reviews will continue to reach the widest audience in the coming year.
- Many audiences are hungry for meaning, but care and tact may be needed to when approaching challenging topics.
- Organisations that understand the mood can please crowds today while building trust for tomorrow.

“The arts are so important to keeping my spirits up and my mental health well.

It’s really challenging when you can’t afford to go to an event every now and again that you know will keep you well.”

— Audience member

4. Three segments to know

Younger audiences, families and older audiences are thinking and behaving very differently in 2023, and organisations must build capacity for new ways of working.

- Social and economic pressures impact different generations in different ways, and this is reflected in three key audience segments.
- Young people, families and older audiences show stark differences in mood, entertainment priorities, spending patterns and media consumption.
- Organisations must consider how to create and execute strategies for different segments and build in flexibility to adapt as conditions evolve.

For easy viewing, click below to download the summary of all three key segments.

Summary of segments

5. Online trends

Audiences continue engaging online in large numbers, and in 2023, online content is helping audiences find out about events, discover new artists and participate in digital experiences.

- Digital channels are paramount to audience engagement – with 75% of recent attendees finding out about arts and culture events online.
- Preferred platforms look very different across age groups: email marketing is the priority for 55+, while word-of-mouth and socials are key for under 35s.
- 4 in 10 audiences continue to engage in online arts and culture, and half say digital cultural activities still play a role in their lives, despite spending less.
- It might be time to review online offerings, scrapping what's not working and freeing up resources for more targeted approaches.

“Australian arts audiences are intelligent and open to be challenged...

...This is essential for the future health and development of arts in this country.”

— Audience member

6. Late decision-making

In 2023, last-minute decision making persists, with audiences facing more choices, and busier lives, as commuting, travel and social events pick up. Organisations need to prepare for new phases in campaigns, to reach people at the right time.

- Half are booking less than two weeks out, with 12% on the day of the event
- Analysis of ‘early bookers’, ‘mid-term bookers’ and ‘last-minute bookers’ shows that last-minute ticket buying is most common among younger audiences and lower spenders. Those booking later are also more likely to rely on word-of- mouth.
- Ticketing initiatives to support more price sensitive audiences are important, but last- minute discounting may not be the answer.

7. Subscriptions and memberships

Subscribers and members are vital for many arts organisations, but their needs vary dramatically across age groups, and organisations are adjusting their packages to suit new needs.

- 4 in 10 audiences are members or subscribers– with performing arts subscriptions more common than other types.
- Subscriptions uptake and motivations are very different across audiences in different stages of life.
- Older audiences want to lock their plans in early and show financial support, while younger audiences are more likely to want access to discounted tickets.
- There is a case to test different offers and models, using messaging to target the unique needs of different audience segments.

Cover Image Credit: Jacquie Manning, courtesy of Sydney Writers Festival.

Watch us launch the findings at APAX 2023

Our Managing Director, Tandi Palmer Williams, and Research Analyst, Peta Petrakis, travelled to Cairns to present the data from Audiences 2023+ at APAX 2023, PAC Australia’s annual conference.

Click the image below to watch the recording of the livestream. Simply register to make a free account and press play!

Use the dashboard to get results for your artform and region

Survey data from over 8,800 respondents has been uploaded to the dashboard, which now contains insights from over 100,000 Australian participants.

You can use the dashboard to explore the findings by state/territory, artform and audience segment.

It’s freely available to access, just click the image below and use the login details provided on the dashboard page.

About the Audience Outlook Monitor

The Audience Outlook Monitor provides the results of a study that has tracked audience sentiment over the course of the COVID-19 pandemic.

Data was collected in six phases throughout 2020-2022 and is again being tracked in 2023.

How to find out more

To receive new releases directly into your inbox, as soon as they are available, you can opt in to receive Audience Outlook Monitor news below.

If you have a question, or an idea for using this data, please contact Patternmakers at info@thepatternmakers.com.au

About the Author

Bianca Mulet
Senior Research Analyst

Delivery partners

Supporting partners

Past posts on this blog

Patternmakers 30/8/23 Patternmakers 30/8/23

Use the dashboard

Data is available to explore in a dynamic dashboard, which can be filtered by artform and region.

The dashboard is publicly available, click more to find out how to login.

Use the dashboard to see how audiences feel about attending events in your artform and region

Survey data from over 100,000 Australian respondents has been aggregated in a freely available dashboard, to assist artists and cultural organisations of all kinds to understand how audiences feel about attending events again. You can access the dashboard at anytime - click the button below to get started in the dashboard.

Enter the following login details:

User: access@AOM.com.au

Password: Australia

Access the dashboard

Watch the tour

In the video below, you’ll hear about the data that’s available in the dashboard, how to navigate it and how to apply filters to see the results most relevant to you.

Download the guide

You can also download a short written guide for using the dashboard.

More about the data

Each Phase, data is collected in a cross-sector collaborative survey process involving 130 arts and culture organisations, including museums, galleries, performing arts organisations and festivals.

These organisations simultaneously send a survey to a random sample of audience members who had attended a cultural event since January 2018. Read more about the methodology and the types of events that are included.

By aggregating the data from over 120 participating organisations, this study provides a detailed resource with insights about all different artforms, types of events and demographic groups in all parts of Australia. No individual respondents or organisations are identified.

Join the conversation

Share your insights and reflections on social media using the hashtag #audienceoutlookmonitor

For questions, contact the researchers directly at info@thepatternmakers.com.au

Subscribe for updates

Periodically we publish new factsheets and snapshot reports. To hear of future announcements about the study, subscribe by entering your email address below.

About the Author

Tandi Palmer Williams
Managing Director

Tandi is Founder and Managing Director of Patternmakers. She’s an arts research specialist and leader of the agency’s research projects.

Delivery partners

Supporting partners

Past posts on this blog

Patternmakers 2/8/23 Patternmakers 2/8/23

Why we created the Culture Panel, and what it means for Australian culture

Why we created the Culture Panel, and what it offers.

We share the story of the Panel, and how it came to be.

In 2023, we’ve formalised the Culture Panel, as a database of Australians willing to participate in research about culture, creativity and community. It is founded on the belief that when audiences and culture organisations work together, good things happen.

How did it begin?

At Patternmakers, we’ve been working on research dedicated to culture, creative and community sectors for seven years now. In that time, we’ve heard from over 100,000 participants (crazy huh?), gathering their views, experiences and insights to help make Australian culture and communities stronger.

But it was during the pandemic that we realised there was a new way for us to be working…

Why research is valuable for audiences

In the pandemic, it really hit home that many audiences want to see arts and culture thrive in their communities. They’re willing to contribute time and complete surveys. In fact, many people get a buzz out of being asked. They like helping out - and seeing the questions that arts organisations are asking.

Feedback and input from Australian audiences helps artists, cultural organisations and community causes make better decisions. It improves people’s experiences at projects and events, it helps venues improve their accessibility, and it ensures that every Australian has access to quality cultural experiences.

Why the Culture Panel

Initially, we wanted to keep in touch with past respondents, in case further research was needed, or we wanted to dive deeper into a topic.

Our goal was to provide a way for audiences to opt-in to being contacted - and for artists and organisations to have a way to find research participants.

In 2023, we decided to formalise the Culture Panel to make research easier, more transparent and better quality for all involved.

Those who have been following our work might notice that our process for opting in now has a lot more detail, so audiences can make informed decisions about whether they want to participate.

What is it being used for?

Thousands of Australians are already participating in research through the panel, on topics like:

How cost-of-living pressures are affecting audiences attendance at events
Exhibition ideas at major cultural institutions
Barriers to audience participation in digital theatre and performance
How performing arts organisations can best connect with potential attendees.

What makes research worthwhile

We’re committed to research that adds value. We’re conscious that the way we approach research is important, and we want the experience to strengthen relationships that audiences have with artists and cultural organisations. This is why we…

Keep surveys as short and sweet as possible - ensuring that most people complete them in 10 minutes or less
Incentivise participants with generous incentives that reflect the time and expertise shared
Share the results of research with people who participated, including what changes are being made as a result of the findings
Continually strengthen our systems for data protection and privacy, and minimise storage of personally identifiable information.

Our hopes for the panel are that it provides value to both audiences and cultural organisations, improves Australian cultural research, and ultimately contributes to a more vibrant culture sector in Australia.

If you have questions or suggestions, we’d love to hear from you at info@thepatternmakers.com.au

Learn more About the Culture panel

Haven’t yet joined?

If you attend events like concerts, festivals or exhibitions, and you’re willing to participate in research once in a while, The Culture Panel is for you.

Click the button below to join, and hear about the latest research research opportunities, like surveys or focus groups. As well as the warm, fuzzy feeling of supporting the arts and the satisfaction of having your voice heard, you’ll also be in the running for some great incentives (more on that below!).

JOIN NOW

Image Credit: Missy Husband, Adelaide Fringe Festival 2023. Courtesy of Adelaide Fringe.

Patternmakers 18/7/23 Patternmakers 18/7/23

The 3 audience segments you need to know about in 2023 (and how to reach them!)

Inflationary pressures are impacting three key audience segments, Older and Bolder, Family Frugality, and Young and Restless, in different ways. Read for the insights on each, and suggestions on targeted marketing strategies to ensure no one gets left behind.

In 2023, inflationary pressures are impacting audiences in different ways, with some continuing to spend and attend and others making careful choices.

The data from our latest Pulse Check revealed that audiences are behaving differently right now in response to the current economic climate. More than ever before, this requires targeted strategies for programming, ticketing and marketing.

Read on for the key facts about three key audience segments: Older and Bolder, Family Frugality, and Young and Restless, and suggestions on what to do to ensure no one gets left behind.

Older and Bolder

Arts audiences aged 55+

After several years shaped by the virus and mask-wearing, older audiences are now enjoying higher attendance levels and spending.

As the most likely audiences to experience no barriers to attending right now, this group is open to a range of experiences and are the most likely to seek out challenging, topical works in the next 12 months.
They are spending at higher levels than they were 6 months ago. 40% spent more than $100, compared to 37% in August 2022.
8 in 10 attended a cultural event in the past fortnight, the highest rate seen in the study since it began in March 2020.
Although most see the country’s economic outlook as uncertain, they also generally believe their financial situation will be stable in the year ahead.
Email is the top way they find out about events, so consider ways to continually improve your databases and eDMs.

One such audience member told us what they’ve been attending and why, saying:

“Musicals - Mary Poppins, & Juliet and an art exhibition as well as an open-air rock concert; after COVID lockdown I think I’m more inclined to not miss out on anything.”

— Audience member

Family Frugality

Arts audiences aged 35-55 with children living at home

Rising housing costs are affecting families more than households without children, and audiences with kids at home have reduced their arts spending more than others.

Parents are more likely to cite financial barriers (56% vs 35%) and/or prioritising other things in their life (36% vs 22%) than other audiences.
High numbers are staying closer to home, looking for free/cheap things to do and taking longer to commit, as they weigh up costs for 3 or more people.
Families see the arts as important for their children – and many are prioritising it within their budget.
For Kids and Family shows, consider a pricing and promotion strategy tailored to this group (they’re the most likely group to find out about events on Facebook!).

One survey respondent commented on ticket pricing, saying:

“Over the last year we’ve been to a number of big concerts and shows but I’d seriously reconsider spending more than about $75 a ticket for anything at this point. We just saw Into the Woods at Belvoir St and adult tickets were $82 but they had a student rate of $47 which made it doable as a family.”

— Audience member

Young and Restless

Arts audiences under 35

Young people tend to have lower incomes, and are among the most affected by financial barriers right now.

Although they’re eager to get out and about, young people are attending at slightly lower levels than they did 12 months ago.
They’re facing financial barriers at twice the rate of their parents’ generations – and feel more down about their economic future.
They say other barriers are also inhibiting their attendance – such as ‘lacking energy to go out’ (36%) and ‘prioritising other things in my life’ (31%).
They’re eager to connect socially, attend fun/uplifting events and try new things they haven’t experienced before, but may need support to attend.
Some are looking with keen eyes for student or youth discounts – and ways to cover the costs of travel and eating out.

One audience member mentioned discounts and seeking more for their money, saying:

“I have been to several Melbourne International Comedy Festival acts in the last month as well as the cinema a few times. That was prioritised due to the availability of discount codes and cheaper tickets for certain nights, plus the fact that many variety shows are available where multiple acts can be seen.”

— Audience member

Summary of segments

For easy viewing, click below to download the summary of all three segments as an infographic.

summary of segments

Catch up on the data

In case you missed it, we have a suite of audience research and resources available from our April 2023 Pulse Check. Check it out below!

National Snapshot Report

Read the report for key national insights and the detailed breakdown of the three audience segments.

national snapshot

State Snapshots

Read the snapshot reports for NSW, VIC, QLD, SA and WA to discover the nuances in audience behaviour at a state-level.

State snapshots

Webinar

Watch Tandi Palmer Williams, Managing Director at Patternmakers, and Ella Huisman, Executive Director - Audience at Adelaide Fringe discuss the main findings and results from the Pulse Check.

Webinar

Case Study: Adelaide Fringe

Read our article ‘How Adelaide Fringe sold 1 million tickets in the face of rising inflation’ for the key takeaways from one of the most successful campaigns of the year.

ARTICLE

Cover Image Credit: Samuel Graves, The Garden of Unearthly Delights at Adelaide Fringe Festival 2023, courtesy of Adelaide Fringe.

Author

Melanie Raveendran
Digital Marketing Associate

Past posts on this blog:

Be in the loop

Patternmakers 8/6/23 Patternmakers 8/6/23

State Snapshots on cost-of-living pressures

Download the April 2023 State Snapshot reports to see how inflationary pressures are being experienced differently across the country.

Read our snapshot reports to discover the nuances in audience behaviour at a state-level.

Based on data from the April 2023 Audience Outlook Monitor, find out how audiences across Australia’s states are responding to increasing interest rates and cost-of-living pressures.

While audiences in New South Wales are spoiled for choice right now – almost half are taking longer to make decisions about attending, and they’re taking into account 3 key factors more than usual.

Victorian and South Australian audiences are the most likely to be staying closer to home to keep costs down. There are certain offers marketers need to be aware of.

Things appear most stable in Queensland and Western Australia, with these audiences feeling the most optimistic about the country’s economic outlook. However, half are looking for cheap/free things to do currently, validating the need for certain ticketing initiatives.

Scroll down to access the snapshot reports for key states, VIC, QLD, NSW and SA. Keep an eye out for news about the WA snapshot in the coming weeks.

Download the snapshots

Click the buttons below to access the snapshots for each state.

The state snapshots are also available to download in an accessible version:

Thank you to the following state arts agencies for their support in delivering the State Snapshots: Creative Victoria, Create NSW, Arts Queensland, Department of the Premier and Cabinet (Arts SA) and Department of Local Government, Sport and Cultural Industries (WA).

Cover Image Credit: Concert for the Planet, courtesy of HOTA.

Read the National Snapshot Report

In case you missed it, click the button below for the key national insights from the April 2023 Pulse Check.

NATIONAL SNAPSHOT

Use the dashboard to get results for your artform and region

Survey data from over 1,300 respondents has been uploaded to the dashboard, which now contains insights from 100,000 Australian participants.

You can use the dashboard to explore the findings by state, artform and audience segment.

It’s freely available to access, just click the image below and use the login details provided on the dashboard page.

About the Audience Outlook Monitor

The Audience Outlook Monitor provides the results of a study that has tracked audience sentiment over the course of the COVID-19 pandemic.

Data was collected in six phases throughout 2020-2022 and is again being tracked in 2023.

How to find out more

To receive new releases directly into your inbox, as soon as they are available, you can opt in to receive Audience Outlook Monitor news below.

If you have a question, or an idea for using this data, please contact Patternmakers at info@thepatternmakers.com.au

Subscribe for updates

About the Author

Bianca Mulet
Senior Research Analyst

Delivery partners:

Supporting partners:

Past posts on this blog

Patternmakers 25/5/23 Patternmakers 25/5/23

How Adelaide Fringe sold 1 million tickets in the face of rising inflation

In our latest Audience Outlook Monitor webinar, discussing the April 2023 results on how rising inflation is impacting audiences, Tandi Palmer Williams spoke to Ella Huisman, Executive Director – Audience at Adelaide Fringe, about one of the most successful campaigns of the year so far.

In our latest Audience Outlook Monitor webinar, discussing the April 2023 results on how rising inflation is impacting audiences, Tandi Palmer Williams spoke to Ella Huisman, Executive Director – Audience at Adelaide Fringe, about one of the most successful campaigns of the year so far.

At the Adelaide Fringe program launch, CEO Heather Croall announced a goal to sell 1 million tickets in 2023. With 828,563 tickets sold in 2019, they had been on track to reach 1 million by 2024, but while the festival was able to go ahead throughout the pandemic, progress was stalled, with sales dropping to 623,667 in 2021.

Despite this, the Fringe team got on board and rolled out a ‘mission to 1 million campaign’. At 10pm on the final night of the festival, Ella (who had spent the campaign furiously analysing ticketing data and refreshing dashboards) and her team watched sales tick over to 1,000,000.

So, how did they do it? Watch the recording of the webinar here, or read on for our key takeaways.

Flash sales can help curb last-minute ticket buying behaviour – and corporate sponsorships can ease the financial impact of discounting tickets

The Audience Outlook Monitor has highlighted a trend of last-minute ticket buying. In August 2022, 26% of audience members were most likely to have been booking for events within the next seven days or the next 2-3 weeks (43%) – and qualitative data in April 2023 suggests this trend could be here to stay.

Ella says Adelaide Fringe has observed this trend, calling watching ticket sales crawl in ‘everyone’s worst nightmare’.

One of the tactics they employed was a sponsored flash sale, where audiences get access to cheaper tickets and the sponsor pays the artist the difference – rewarding early ticket-buyers without impacting the artists’ box office return.

All types of audiences are seeking free or cheap events – which the Adelaide Fringe Festival had in the hundreds

The average ticket price at 2023 Adelaide Fringe Festival was $35.25, and there are hundreds of free events available – meaning the Festival had plenty of affordable options for those who are opting to limit their arts spending at the moment.

This is a plus for arts audiences, many of whom have reduced spending or actively sought free/cheap activities in the last 6 months. The proportion spending over $50 on tickets to in-person cultural events has decreased from 63% in August and October 2022 to 59% in April 2023, and 54% of arts audiences say they’ve looked for free/cheap cultural activities to attend over the past 6 months.

With economic conditions affecting segments of arts audiences differently, targeted marketing strategies help sell more tickets, to more people

According to the April Pulse Check results, audiences in different age and households are behaving quite distinctly. In terms of cost-of-living pressures, older audiences are the most likely to say their situation is the same (58%), while parents are the most likely to say they are ‘worse off’ (57%) – and young audiences under 35 are feeling the most negative about the economic outlook. Different groups have different programming preferences too, for example audiences over 55 are more likely to be attracted to challenging, topical things (44% vs 39% of those under 35) – and the best places to reach them differ (over 55s are all over email, parents aged 35-55 are on Facebook and under 35s are best reached through Word of Mouth).

Adelaide Fringe used a range of tactics during their ticket sales campaign, such as eDMs and targeted advertising, based on which genres and themes audiences have purchased in the past, as well as post code targeting for shows outside the CBD to speak directly to the people at the local level.

Ella says they also regularly audit their database so that they’re only targeting engaged people, which involves a series of reengagement emails, including allowing them to choose specific genres or subjects they’re interested in hearing about. Even though it can seem counterintuitive to regularly delete subscribers, Ella says it has many benefits, like increasing open and click through rates, helping them to sell advertising among other things. Ella says,

‘It’s great to say you’ve got 500,000 subscribers but if they’re not actually engaging it’s expensive to have them on your system, your open rates aren’t as good, and you’re wasting time sending messaging to people that aren’t interested.’

The location of events is also impacting 33% of audiences more than usual, and 45% say they are staying closer to home – highlighting a need for campaigns and programming outside metro areas

With costs of parking, fuel, air tickets and hospitality all increasing, qualitative data from the April Pulse Check suggests that proximity to events plays an important role in audiences’ ticket buying decisions.

To tackle this, Adelaide Fringe developed a Near Me Now function on their website, allowing audiences to easily access a list of shows near their current location, ordered by time. The also launched a Fringe Across the State campaign to promote Fringe events outside Adelaide, and provided grant funding to artists to add regional SA locations on a mini-tour.

With cost-of-living and other pressures piling up, clear and simple marketing and ticketing processes can help get indecisive audiences over the line

Being sent to another website to buy tickets, or having to click one too many times to find the information they’re looking, for can be enough to make anyone close the browser and move on. With many audiences prioritising other things or being stricter when choosing where to spend their money, it’s important to make it as easy as possible to find information, buy a ticket and get to your event.

The Adelaide Fringe team have invested in perfecting the user journey to purchase tickets. Ella says,

‘We’ve spent a lot of time and energy to make our platforms really intuitive, focusing on user journey and making the experience of buying a ticket on our website seamless to create a higher box office return for artists.’

With all festival events on sale through the Adelaide Fringe’s website, regardless of the venue, audiences can easily access everything in one place (and Fringe gets access to bucketloads of audience data, helping them deliver their targeted campaigns. Win-win!).

To hear more about the factors in Adelaide Fringe’s success, and how you might apply them in your own campaigns, watch the April Pulse Check Webinar. To dive deeper into the data, download the National Snapshot report.

Cover Image Credit: Veronique Balege. French performance art company Les Commandos Percu’s 'Silence!', performed at Adelaide Fringe, 2023.

About the Author

Caitlin McNaughton
Manager, Research and Insights

Be in the loop

Patternmakers 10/5/23 Patternmakers 10/5/23

How rising inflation is impacting audiences

April 2023 results from the Audience Outlook Monitor are now available. Get the details on how the attendance outlook varies across three key audience segments and the programming, marketing, and ticketing opportunities that exist to improve consumer confidence.

Read about the findings and download the Live Attendance Update.

Rising inflation has put pressure on household budgets, with audiences attending slightly fewer events and spending less

- Increasing interest rates and cost-of-living pressures are impacting consumer confidence around the country. This ‘Pulse Check’ explores how Australian arts audiences are responding to changing economic conditions, based on data from 1,318 past attendees.
- Around 4 in 10 (42%) audience members surveyed say they are ‘worse off’ financially compared to one year ago. 1 in 10 (7%) are ‘better off’ and 5 in 10 (51%) are ‘the same'.
- Arts attendees appear to be faring slightly better than the general population, on average, but are more cautious about the country’s economic outlook, based on comparison of the results with the ANZ-Roy Morgan' Consumer Confidence index.
- Trends vary across segments, confirming the need to tailor strategies for different audiences and events. Older audiences are the most likely to say their situation is the same (58%), while parents are the most likely to say they are ‘worse off’ (57%). Young audiences under 35 are most negative about the economic outlook.
- While three-quarters of past attendees (76%) attended a cultural event in the fortnight before data collection (19-23 April), consistent with October (75%) and August 2022 (76%), the profile of those attending, and their attendance preferences are changing.
- Average spending levels are decreasing, with 6 in 10 (59%) of those attending in the past fortnight spending over $50 or more, down slightly from August (63%) and October 2022 (63%). However, averages should be interpreted with caution, as some segments are actually spending more, and others less.
- Read on or download the report for details on how different segments are behaving.

Click the buttons below to download the April 2023 Snapshot Report, as a PDF or the accessible Word version, or read on for more of the findings.

PDF REPORT

Accessible report

With financial limitations top of mind, many audiences are deliberating longer on factors such as price, location and overall value

- As COVID-related concerns continue to fade, financial reasons are the top barrier to attendance, affecting 4 in 10 audience members.
- A lack of money is not the only consideration – the data also suggests a perceived lack of time and a lack of energy, as lifestyles continue to evolve after the pandemic. Many report feeling busier with the return of office working, commuting, travel and social events – and 24% say they are inhibited by ‘prioritising other things’.
- When asked about their cultural spending over the past 6 months, sizeable numbers say the price they are willing to pay to attend (35%) and/or their frequency of attendance (48%) have decreased.
- When reflecting on the most recent event they attended, 4 in 10 audiences said that price influenced them ‘more than usual’ (39%).
- Around half are looking for free and cheap things to attend (54%) and qualitative data shows that discounts and pricing offers are factoring into a high number of decisions, particulary among families and young people.
- People from different socio-economic backgrounds are ‘splurging’ and ‘saving’ to different degrees – and some are doing both, opting to splash out on events that are important to them, while making savings elsewhere by looking for free or low-cost alternatives.
- Audiences say they have decreased spending on events (50%), donations (36%) and subscriptions/memberships (31%) – though many who engage in these forms of support say they plan to continue, acknowledging tough conditions for artists and a desire to show their support in tough times.

The uncertain economic outlook requires tailored strategies for different segments and scenarios

- Many are taking longer to make decisions (50%), and last-minute ticket-buying appears here to stay for the time being.
- The location of events is also impacting 33% of audiences more than usual and 45% say they are staying closer to home. Qualitative data suggests that proximity to events plays an important role – with costs of parking, fuel, air tickets and hospitality all increasing.
- Some segments are more disadvantaged by travel costs than others, and logistical considerations in scheduling events will be important for catering to a range of audiences.
- When asked about the next 12 months, audience responses confirm enduring appetites for new (53%), uplifting (68%) and challenging arts experiences (42%). Balanced programs are as important as ever.
- When asked to share what they’ve attended recently, and why they prioritised those things, some common themes include a desire to support artists and organisations they value and wanting to return to the works they know and love. Some appear to want a ‘safe bet’ that they will have an enjoyable experience with friends/family.
- Economic conditions are complex, and affect every household differently. However, looking at the trends in three key segments can assist with understanding some of the differences and identifying practical implications (overleaf).
- With an uncertain outlook, and the possibility of a recession, it’s wise to stay flexible and consider how strategies and tactics can be adjusted as conditions change.

Our April 2023 survey received responses from 1,318 past attendees. (Copy)

Swipe to see how inflationary pressures are impacting audiences in different ways

4 in 10 say they are worse off than they were a year ago (Copy)

Financial reasons are the top barrier to attending. As a result, people are: (Copy)

- Looking for free/cheap things to do (54%)

- Staying close to home (45%)

- Taking longer to make decisions (50%)

59% of audiences are spending over $50 on tickets to in-person cultural events, decreased from 63% in August and October 2022 (Copy)

Summary of segments

Inflationary pressures are experienced differently across the population. Three key audience segments are presented below.

Arts audiences aged 55+
- After several years shaped by virus concerns and mask-wearing, older audiences are now enjoying higher attendance levels and spending.
- As the most likely audiences to experience no barriers to attending right now, this group is open to a range of experiences and are the most likely to seek out challenging, topical works in the next 12 months.
- Email is the top way they find out about events, so consider ways to continually improve your databases and eDMs.
Arts audiences aged 35-55 with children living at home
- Rising housing costs are affecting families more than households without children, and audiences with children at home have reduced their cultural spending more than other adults.
- High numbers are staying closer to home, looking for free/cheap things to do and taking longer to commit, as they weigh up costs for 3 or more people.
- Families see the arts as important for their children – and many are prioritising it within their budget.
- For Kids and Family shows, consider a pricing and promotion strategy tailored to this group (they’re the most likely group to find out about events on Facebook!).
Arts audiences under 35
- Despite being eager to get out and about, young people are attending at slightly lower levels than they did 12 months ago and are spending less too.
- They’re facing financial barriers at twice the rate of their parents’ generations – and feel more down about their economic future.
- They’re eager to connect socially, attend fun/uplifting events and try new things they haven’t experienced before, but may need support to attend.
- Some are looking with keen eyes for student or youth discounts – and ways to cover the costs of travel and eating out.

With concerns about the virus fading, audiences over 55 are now attending and spending more (Copy)

Families are facing higher housing costs, and now factor in ticket prices to a greater degree. Parents are the most likely to prefer a different day, time or location to previously (Copy)

Despite being early returners to cultural events, under 35s feel most negative about their financial prospects, and are actively looking for low-cost attendance opportunities (Copy)

Opportunities

As conditions continue to change, opportunities exist in terms of programming, marketing and ticketing. However, the right solutions will look different for every organisation. The ideas outlined below are put forward to get you thinking, and any action should be considered in terms of what’s right for you and your audience.

Programs featuring diverse topics and different price points are likely to reach the broadest audiences.

- Keep in mind audiences’ desire for fun, uplifting events in the post-pandemic era, but don’t forget there are sizeable numbers wanting new, topical and/or challenging things – some audiences have expressed wariness of commercialisation or softening of the cultural activities they love at the expense of creative innovation
- Review the price points of your offerings and consider how audiences in different segments will assess value for money
- Research the demographic shifts affecting your area and explore as a team how behaviours like working from home, commuting and travel are changing
- Keep on top of transport options to your area, such as public transport schedules and initiatives, and consider these when scheduling events
- Consider programming earlier event options/matinees to encourage attendance among cost-conscious parents or outer metro/regional audiences who might catch public transport or drive but want to avoid travel rush or late-night travel
- Looking ahead, consider the right frequency and volume of events for the economic conditions. It might be helpful to plan for different scenarios such as a fast rebound or prolonged recession.

Clear and helpful marketing campaigns can help get indecisive audiences over the line.

- Look at ways to take pressure off audiences by spelling out instructions on how to get to and from events, on your websites, newsletters or pre-event emails
- Consider researching and promoting any money saving transport or parking initiatives, to encourage regional or outer metro attendance at inner city events, or metropolitan attendance at regional or outer metro events
- Consider creating and promoting itineraries for a ‘night out’ based on different budgets e.g., suggested transport, pre-show drink destination and post-show dinner destination
- Take time to get digital marketing right and wherever possible tailor the words, imagery and channel, based on things like prior attendance, post code, age, family status or income (sometimes reaching a smaller group with the right campaign will deliver better engagement than a broad campaign to a bigger group)
- Where one event ticks various boxes, consider A/B marketing tactics to communicate the same event to different segments in different ways – for example, highlight the ‘challenging, topical’ content of a show in an email to over 55s, while featuring any ‘big name artists’ in an email to under 55s.

Ticketing initiatives to support more price sensitive audiences are important, but last-minute discounting may not be the answer. Also, with some arts audiences doing well financially and others struggling, it might be time to introduce alternative payment models.

- Look at ways of rewarding early bookers with earlybird discounts or newsletter subscriber pre-sales, rather than resorting to last minute ‘panic’ discounting
- Consider offering cheaper ticket prices for young audiences and reviewing age limits – i.e. under 35 may be more appropriate than under 30 or under 25 given current conditions, and some artforms may have a case to extend this to under 40
- Consider offering group discounts or family ticket offers (e.g., 2 adults, 2 kids or 1 adult, 3 kids) to relieve cost pressures from price sensitive parents and caregivers, and encourage group bookings
- Review the approach to booking fees and consider a per ticket fee or a scaled offer e.g. percentage of total purchase instead of a set per transaction fee, which has a higher impact on single ticket purchasers
- Clearly communicate where booking fee money is going, and consider investigating a payments solution like ArtsPay, – some audiences are put off by high booking fees but many are keen to support the arts and artists
- Investigate ways to facilitate ‘pay it forward’ tickets, where people in more comfortable financial positions can purchase or subsidise tickets for people more affected by cost of living pressure
- If feasible, options to pay in instalments could take the pressure off audiences splashing out big purchases, and encourage more to book in advance
- For lower cost events, consider a ‘pay what you want’ model with a small pre-purchase deposit to encourage more risktaking from audiences to see something new, topical or challenging, but avoiding risks around no-shows

Cover Image Credit: Audience at Future History Runway. Melbourne Fringe Festival 2022. Photo by Duncan Jacob, courtesy of Melbourne Fringe.

Want to hear more about the findings? Join us for a webinar with the Australia Council on 17 May, 12:00 PM AEST.

Click the button below to register your attendance.

Use the dashboard to get results for your artform and region

Survey data from over 1,300 respondents has been uploaded to the dashboard, which now contains insights from 100,000 Australian participants.

You can use the dashboard to explore the findings by state/territory, artform and audience segment.

It’s freely available to access, just click the image below and use the login details provided on the dashboard page.

About the Audience Outlook Monitor

The Audience Outlook Monitor provides the results of a study that has tracked audience sentiment over the course of the COVID-19 pandemic.

Data was collected in six phases throughout 2020-2022 and is again being tracked in 2023.

How to find out more

To receive new releases directly into your inbox, as soon as they are available, you can opt in to receive Audience Outlook Monitor news below.

If you have a question, or an idea for using this data, please contact Patternmakers at info@thepatternmakers.com.au

Subscribe for updates

About the Author

Bianca Mulet
Senior Research Analyst

Delivery partners

Supporting partners

Past posts on this blog

Patternmakers 4/5/23 Patternmakers 4/5/23

Visitor Research, Interactive Technology and Sausage Rolls

How are museums in Australia and Aotearoa conducting visitor research? Click to read our insights on tried and tested methods, such as surveying, to newer strategies like interactive technology.

How are museums in Australia and Aotearoa conducting visitor research? Read on for our insights on tried and tested methods, such as surveying, to newer strategies like interactive technology.

Recently I headed to Canberra for the Visitor Research Forum at Geoscience Australia. As well as watching earthquake monitoring in action and touching a 3.8-billion-year-old piece of the moon on loan from NASA, it was great to get insight into the ways that museums in Australia and Aotearoa are tackling visitor research.

I was particularly excited to hear from my hometown museum, Te Papa Tongarewa in Wellington. As a kid, I remember wanting to tick off the same things during every visit to Te Papa: the interactive house that recreated the experience of an earthquake, Golden Days, a short film that brought you into an old junk shop to highlight some key historical moments, Time Warp, a high tech (for the 90s) exhibit where a girl with a cool haircut called Rima took you virtual snowboarding in the future, and of course a visit to the café for a sausage roll and hot choc. These experiences are seared into my brain – and I remember feeling a strong sense of ownership and belonging, especially when bringing someone new to the museum.

The State of Visitor Surveying in Australia and Aotearoa

At the forum, Te Papa spoke about their in-house evaluation framework in 2018 called the 'Audience Impact Model (AIM)'. Created out of a drive to move away from 'vanity metrics' and a recognition that 'numbers are only the beginning', the model evaluates impact from visitor experience, looking at metrics like wonder, awe, emotion, learning, influence and change.

Other presenters talked through their different surveying models which ranged from basic on-site surveys capturing key KPIs for reporting to instruments that contribute to impact evaluation such as DoVE (Dimensions of Visitor Experience), an adjective checklist designed by Jan Packer, Roy Ballantyne and Nigel Bond.

While visitor surveys provide important understanding of who is visiting museums, why they’re visiting and how satisfied they are with their experience, most presenters acknowledged that, on their own, surveys are rarely enough.

Image Credit: James Henry, courtesy of ACMI.

Alternative and complementary methods

The Australian War Memorial spoke about a rigorous iterative design process they are undertaking as part of their $500 million dollar redevelopment. The methodology includes a national survey, as well as focus groups and reference/advisory groups formed from people with lived experience, described as ‘story owners’, offering vital qualitative insights from visitors and stakeholders.

At Patternmakers, we’re conscious of survey fatigue and only use surveying strategically. We’re also committed to the idea of ‘collect once, use often’ – such as with the Audience Outlook Monitor, where each phase of data collection is reported in multiple formats, distributed to over 100 participating organisations and shared publicly online.

For us the answer to less surveying often lies in stronger qualitative research. Often, we’re using focus groups and interviews in an exploratory phase, to help design a framework for surveys. Other times, we’re using focus groups to dive deeper into findings identified in quantitative research.

For example, we offer focus groups to our museum and gallery clients, in addition to on-site exit intercept surveying, to help give colour and deeper insight on certain emerging trends or questions we can’t quite interpret from the survey data alone.

Leveraging interactive technology in museums to gather quantitative data

The main thing my formative museum experiences had in common was an interactive or multi-sensory element (and the promise of a snack). Young people are generally more easily engaged by digital and interactive experiences, and more museums and galleries are leaning into interactive and digital elements in their curation – even something as simple as a QR code on an exhibit label is a starting point.

ACMI’s new Strategic Research Lead, Dr Indigo Holcombe-Jones, spoke to this point at the Forum. With a focus on digital and screen culture, ACMI is in a good position to lead in this area, and one exciting innovation is ACMI’s Lens, a free handheld device which allows visitors to tap and ‘collect’ things they saw during their visit and revisit them online later.

As well as encouraging visitors to engage in multi-sensory ways, the Lens has potential to improve understanding of how people are actually interacting with exhibition content. Even if a visitor doesn’t register their lens online, anonymous data can be captured with every tap. This alone might not give a full picture of visitor behaviour – but paired with other data sources like observations, surveying and actual attendance figures, a more complete picture of visitor experience can be painted.

Equally, interactive digital labels on exhibitions can help track who is clicking what, or even QR codes can provide Google Analytics data on which exhibits make people want to read further.

When Te Papa opened in the late 90s it was an exciting and contemporary reimagining of what many New Zealanders thought museums could be. It wasn't just the sausage rolls that got me through the door again and again, and I think 90s Caitlin would have loved a special card to tap every time she visited Te Papa’s Time Warp, or the ability to log in online and hang out with her virtual buddy Rima. Meanwhile, behind the scenes, elements of her visitor journey could have been tracked over the years, and contributed to Te Papa's understanding of its impact.

Cover Image Credit: Shannon McGrath, courtesy of ACMI.

About the Author

Caitlin McNaughton
Manager, Research and Insights

Be in the loop

Patternmakers 2/5/23 Patternmakers 2/5/23

Webinar: How rising inflation is impacting audiences

Join Tandi Palmer Williams from Patternmakers and a special guest as they discuss the latest insights related to arts audiences and the economic outlook in 2023.

Economic uncertainty, being the current top barrier to attending, is impacting audiences in different ways.

This webinar explored how various audience segments are responding to rising cost-of-living pressures and dive into suggestions for how arts organisations can augment their marketing, programming and ticketing initiatives to best engage audiences at this time.

Watch Tandi Palmer Williams, Managing Director at Patternmakers, and Ella Huisman, Executive Director - Audience at Adelaide Fringe, as they discuss the main findings and results from the April 2023 phase of data collection.

This round of data collection was conducted between 19 - 23 April 2023.

The webinar is live captioned and Auslan interpreted.

About the Audience Outlook Monitor

The Audience Outlook Monitor provides the results of a study that has tracked audience sentiment over the course of the COVID-19 pandemic.

Data was collected in six phases throughout 2020-2022 and is again being tracked in 2023.

How to find out more

To receive news and updates directly into your inbox, as soon as they are available, you can opt in to receive Audience Outlook Monitor news below.

If you have a question, or an idea for using this data, please contact Patternmakers at info@thepatternmakers.com.au

Subscribe for updates

About the Author

Tandi Palmer Williams
Managing Director

Tandi is Founder and Managing Director of Patternmakers. She’s an arts research specialist and leader of the agency’s research projects.

Delivery partners

Supporting partners

Past posts on this blog

Patternmakers 23/3/23 Patternmakers 23/3/23

Evolving the Audience Outlook Monitor in 2023

The wild ride of the lockdown era is now behind us, so it’s time for a clear-eyed look at where we’ve landed. In this article, we share the topics that we’ll be researching this year, to ensure you can plan for the challenges and opportunities of the post-pandemic years.

The wild ride of the lockdown era is now behind us, so it’s time for a clear-eyed look at where we’ve landed.

In this article, I share the topics that we’ll be researching this year, to ensure you can plan for the challenges and opportunities of the post-pandemic years.

Over the past few months, our team has been out and about at performances, museums and festivals.

In Sydney alone, it’s been sensational to see the city come alive with World Pride and the excitement of a new flagship gallery Sydney Modern.

Around the country, we’ve seen record sales in the Adelaide festival season, new projects funded and of course Revive, the National Cultural Policy.

So, things have vastly improved over the past 3 years.

But not all parts of the sector are recovering at the same pace. Some concert halls remain stubbornly hard to fill, and some tours are still being cut short after cancelled shows.

In the US, forecasting by IMPACTS Experience projects that while the museum sector may reach almost back to pre-pandemic levels by the end of 2023, performing arts attendances will only reach 78% of 2019 levels.

Our own research shows that some segments in our community are behaving very differently right now. For instance:

Disabled and immunocompromised audiences are the most likely to be participating in online cultural activities (47%, compared to 39% of audiences without access needs)
Young people under 25 are participating in most types of cultural activities more than older audiences — particularly live performance (85%, compared to 75% of older audiences)
Families are more likely to be facing financial barriers at the moment (49%, compared to 38% of other audiences) – and this trend is likely to continue into 2023.

While there’s lots to celebrate, the picture is complex, and I believe it’s vital we look at where we are with clear eyes. Simply waiting for attendances to build further is not a sound strategy.

This year we will be undertaking three projects as part of the Audience Outlook Monitor. We’re delighted to be working with US agency WolfBrown for the fourth year, with support from the Australia Council for the Arts and state arts agencies around Australia.

1. Pulse Check on audiences amid cost-of-living pressures

Right now, our primary interest is the economic outlook, and how Australian audiences are responding amid cost of living pressures.

Before the autumn is out, we’ll be conducting a ‘Pulse Check’ survey of past participants to get an updated picture of their spending, and explore how arts and culture events are faring in a range of household budgets.

It will be interesting to see the segments that are continuing to spend, who is feeling pained but patient, and who is out of the market altogether.

Our sector has been through recessions before, but this situation is unique in that it comes following three years of a pandemic.

As reported in HBR, ‘The deeper and more prolonged a recession is, the greater the possibility that there will be profound transformations in consumers’ attitudes and values.’

The smartest organisations will stay flexible, strategising on the assumption of a worsening slump, but being ready to respond when the upturn comes. Past downturns suggest audiences may be likely to branch out and try a variety of new experiences once the economy improves.

Make sure you’re subscribed to our Culture Insight & Innovation Updates to hear when the insights are available.

2. Full round of the AOM, tracking audience sentiment on a wide range of topics

Alongside the Pulse Check, we’ll also begin working towards a full round of the AOM in July. Full rounds are where we execute a survey in partnership with around 100 Participating organisations nationally. In contrast with our more targeted Pulse checks, our full rounds explore a broad range of topics, from digital attendance to cultural tourism and subscriptions and memberships.

Organisations that have participated in the past will be invited to continue - and we’ll be reaching out to some new organisations to join the cohort.

This year, participating organisations will also be invited to share their situation in an optional benchmarking exercise. By anonymously sharing their attendance results, top challenges and strategies, we’re aiming to provide a stronger picture of recovery across the arts.

We’re excited to see what emerges when we combine audience data with organisation statistics - and hope it will deliver a useful resource for everyone working on audience development.

3. Pulse Check on diverse audiences

For us at Patternmakers, it’s vital that we continue reaching out to different parts of our audience and community, and we’re excited to see what we can learn this year.

Later in the year, we’ll be exploring audience sentiment in a new segment of our audience - stay tuned for that announcement soon.

Research with diverse audiences requires extra time and care, and it’s important not to shy away from challenging topics. We seek advice and input from those with lived experience to ensure our process is appropriate, accessible and ethically sound.

In 2023, I feel like it’s time to tabulate our gains and losses, take stock of everything that we have learned, and strategise for the next chapter. We have left our ‘panic stations’, and are charting a new course in calmer waters.

A lot of organisations will be forming new strategic plans, or updating old ones. It’s a good time for leaders to be recharging their batteries, thinking deeply and marshalling their resources for the next charge.

It feels like there is A LOT going on, a lot of volume returning to our plates and we are wise to pace ourselves.

I hope the research we provide will be helpful to you.

If you have any suggestions or questions for us, please don’t hesitate to get in touch with us at info@thepatternmakers.com.au

Image Credit: Nicole Reed and Michael Oulton, courtesy of ACMI.

Patternmakers 23/1/23 Patternmakers 23/1/23

How the pandemic has changed audience accessibility

Download the Access Report to find out more about how the state of access in our sector has changed, case studies to demonstrate the data through lived experience, and resources and tips to prioritise the access needs of audiences.

Attendance by audiences with access needs is recovering – but at a slower rate than average

In our latest Audience Outlook Monitor publication, we take a look at the attendance insights and barriers for audiences affected by access issues, including the return of crowds, the cost of living crisis and the success and sustainability of digital events.

Click the images below to download a PDF of the full report and an infographic of the key facts:

Report: How the pandemic has changed audience accessibility

The findings are also available in the following accessible versions:

Read on for the key insights:

Attendance levels among audiences with access needs have fluctuated during the pandemic. Data from October 2022 shows that 7 in 10 (69%) disabled audience members attended a cultural event recently – more than three times the level seen in July 2020 (19%). However, these attendance levels are increasing at a slower rate than average.

The fact that arts spaces, including museums, have been less busy has offered some disabled and immunocompromised audiences improved access to cultural activities at certain points in the pandemic.
The availability of digital events dramatically improved access for some segments. In October, 47% said they participated online recently, compared to 39% of those without access needs, though some note a dramatic reduction in the availability of online events.
Attendance has yet to return to pre-pandemic levels – and may take longer than audiences without access needs. 6 in 10 (58%) audiences with access needs are attending performing arts less than they used to, pre-pandemic, compared to 41% of audiences without access needs.
This report highlights insights from the Audience Outlook Monitor surveys, along with four case studies of audiences with access needs. They show that access needs continue to vary widely – and that more work is needed to address continuing and new barriers.

Audiences with access needs are changing their behaviour and require updated strategies

While in general disabled audiences are more likely to face barriers to attending cultural events, the pandemic has led to new and heightened access needs. 26% of audiences surveyed identify as being disabled (10%) or immuno-compromised themselves (10%), or close to someone who is (9%), showing the impact of these issues.
There are signs that more people may be experiencing access challenges due to factors such as long COVID, reduced energy levels and re-entry anxiety.
Audiences with access needs are twice as likely to say their scheduling preferences have changed in light of the pandemic . 1 in 3 (32%) say there has been a change in the time, day or location of events, compared to 17% of audiences without access needs.
Some audiences say that they’re now more likely to attend during the daytime and/or weekdays to avoid crowded times or places, minimise fatigue, and consider the availability of public transport when planning their attendance.
Financial pressures disproportionally affect audiences with access needs. The proportion citing financial reasons as a barrier to attendance is larger among audiences with access needs (49%), compared to those without (39%).
Although digital events can help to overcome barriers to live attendance, their availability is changing, and they are not for everyone. 75% of audiences with access needs see a role for digital events in their lives, but many are eager for opportunities to reconnect with the arts in-person, especially after times of isolation.

The pandemic has shown it’s possible to challenge the status quo to make the arts more accessible

In some senses, the pandemic made the needs and experiences of people with disability more visible. Collective harm minimisation strategies, like lockdowns, encouraged the public to consider the needs of immunocompromised individuals and those at risk of serious health outcomes from COVID-19.
There are signs that work by d/Deaf and disabled artists and disability activists is contributing to a greater cultural awareness of disability and organisational capacity for access. Deaf artist Sue Jo Wright suggests even the presence of Auslan Interpreters at daily press conferences during lockdowns helped bring more exposure to the d/Deaf community.
After being advocated for by people with disability for many years, the livestreaming of arts events became a central part of cultural life during lockdowns – although there’s still work to be done to find sustainable models for digital events.
Some people with disability will be limited in their ability to participate in public life while the virus continues to circulate, and the arts has an essential role to play in maintaining social connection and reflecting these experiences.
The pandemic showed us that it’s possible to reorganise existing social practices for the collective good, especially where accessibility is concerned. Vital conversations, led by people with disability, have taken place – and the lessons learned mean the sector is better-equipped to take action to ensure the arts are accessible and inclusive.
There is an opportunity to review and update Disability Action Plans to capitalise on what has been learned and explore new strategies.

This report also includes four case studies to augment data with lived experience

A series of structured qualitative interviews were undertaken with audience members who identify as d/Deaf or disabled. Hearing from people with lived experience of inaccessibility highlights some of the challenges and opportunities for the arts and culture sector.

Opportunities exist for improving access on-site, online and organisationally

Together, the Audience Outlook Monitor and case study research reveal some practical suggestions that are relevant at this time:

On-site

Provide as much information as possible, ahead of events, whether it’s about venue accessibility, COVID-safety measures or ticketing policies, or the performance or venue itself. Providing information up-front about what to expect will help individuals with access needs plan their attendance on-site.
Check whether all Front of House staff have received Disability Awareness Training, and/or appoint a dedicated roving staff member before, during and after live events to proactively offer support. As we return to in-person events, it’s important to recognise that encountering untrained staff can have an emotional toll for audiences with disability.
With the use of QR codes becoming commonplace during the pandemic, venues might think about using this technology to offer alternative options for ordering food and drink, audio descriptions or Auslan interpretation.
Restore and increase sensory-friendly options such as relaxed performances, noise-cancelling headphones and quiet spaces to ensure audiences with sensory needs are able to fully participate. Tactile experiences weren’t possible during some stages, but most audiences say it’s now time to offer these again.
Review seating options as attendance numbers increase. Find ways to make seating available in most spaces of the event or venue – such as foyers and queuing areas – as well as performance and exhibition spaces. In addition to audiences with mobility needs, 30% of audiences say they need seating to enjoy attending.

Online

Websites:

When welcoming disabled audiences back, look into having a dedicated accessibility page on your website, so that audiences with access needs can simply and easily find the information they need. This avoids placing the ‘burden of asking’ on audiences with access needs and demonstrates a commitment to inclusivity.

Digital productions:

Now that in-person events have returned to a regular schedule, continue investing in digital work that is sustainable for your organisation. The pandemic taught us that digital events play a vital role in accessibility and overcoming barriers to participating in cultural experiences – and many want them to continue.
Hybrid events are one option, but sometimes digital attendees can feel sidelined compared to in-person attendees. Consider digital-only events, or appointing a digital facilitator to ensure people tuning in from home are given the opportunity to engage with performers/speakers and ask questions during Q&A’s.

Marketing/communications:

Use inclusive language and accessible formats in digital advertising, communications and booking systems to let potential attendees know that an event or venue is accessible to all. This includes Plain English resources or Auslan interpretation, audio descriptions, image descriptions and alternative text.

Organisationally

As we look to the next chapter, the conversation about accessibility is evolving. Consider reviewing and updating your Disability Inclusion Action Plan to address the heightened needs of audiences with access requirements.
Incorporate accessibility early, for example when planning and decision-making. Add an accessibility line to your budget templates and develop a checklist for accessibility considerations when conducting important tasks like selecting venues, programming and commissioning works, advertising opportunities, launching major marketing campaigns and ticketing major events.
Involve disabled and immunocompromised people in the planning process of your major programs and projects. This can assist in fostering allyship and creating opportunities for people without access needs to collaborate with disabled and immunocompromised people on access strategies.
With cost of living pressures disproportionately affecting disabled audiences, explore revenue models that address financial barriers such as subsidised ticketing policies, accessibility funds supported through grants, donations or fundraising, or partnering with advocacy groups and support networks.

Further resources

Below is a list of additional resources, with guidance on improving accessibility for audiences.

Accessible Arts resources: https://aarts.net.au/arts-resources/
Arts Hub Artists Essentials Toolkit #9: Accessibility for your arts project: https://www.artshub.com.au/news/career-advice/accessibility-for-your-arts-project-artists-essentials-toolkit-9-2501288/
Melbourne Fringe, Producer’s Guide to Access: https://melbournefringe.com.au/wp-content/uploads/2022/08/Producers-Guide-to-Access-1.pdf
Morwenna Collett Consulting resources: https://www.morwennacollett.com/resources
National Endowment for the Arts, Design for Accessibility: A Cultural Administrator’s Handbook: https://www.arts.gov/about/publications/design-accessibility-cultural-administrators-handbook
Smithsonian Guide for Accessible Exhibition Design: https://www.sifacilities.si.edu/sites/default/files/Files/Accessibility/accessible-exhibition-design1.pdf

Use the dashboard to get results for your artform and region

Survey data from over 5,400 respondents has been uploaded to the dashboard, which now contains insights from 100,000 Australian participants.

You can use the dashboard to explore the findings by state/territory, artform and audience segment.

It’s freely available to access, just click the image below and use the login details provided on the dashboard page.

About the Audience Outlook Monitor

The Audience Outlook Monitor provides the results of a study that has tracked audience sentiment over the course of the COVID-19 pandemic.

Data was collected in six phases throughout 2020-2022. A new approach will be taken in 2023.

How to find out more

To receive new releases directly into your inbox, as soon as they are available, you can opt in to receive Audience Outlook Monitor news below.

If you have a question, or an idea for using this data, please contact Patternmakers at info@thepatternmakers.com.au

Subscribe for updates

About the Author

Bianca Mulet
Senior Research Analyst

Delivery partners

Supporting partners

Past posts on this blog

Patternmakers 21/11/22 Patternmakers 21/11/22

The outlook for recovery across Australia

Download the October 2022 snapshot reports for key states/territories for tailored insights into how Australian audiences are settling into the post-COVID landscape.

Snapshot reports for key states/territories

Based on data from the October 2022 Audience Outlook Monitor, find out how audiences across Australia’s states and territories are settling into the post-COVID landscape, balancing confidence and the desire for innovative experiences with barriers such as financial pressures, re-entry anxiety and lifestyle changes.

Scroll down to access the Snapshot reports for key states and territories, thanks to support from state/territory arts agencies: Creative Victoria, Create NSW, Arts Queensland, Department of the Premier and Cabinet (Arts SA) and Department of Local Government, Sport and Cultural Industries (WA) and artsACT.

Download the snapshots

Navigate and click the images below to access the snapshots for each state.

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Screen Shot 2022-11-21 at 3.18.27 pm.png

Screen Shot 2022-11-21 at 3.14.17 pm.png

Download the following state/territory snapshots in an accessible format:

Use the dashboard to get results for your artform and region

Survey data from over 5,400 respondents has been uploaded to the dashboard, which now contains insights from 100,000 Australian participants.

You can use the dashboard to explore the findings by state/territory, artform and audience segment.

It’s freely available to access, just click the image below and use the login details provided on the dashboard page.

About the Audience Outlook Monitor

The Audience Outlook Monitor provides the results of a study that has tracked audience sentiment over the course of the COVID-19 pandemic.

Data was collected in six phases throughout 2020-2021 and is again being tracked in 2022.

How to find out more

To receive new releases directly into your inbox, as soon as they are available, you can opt in to receive Audience Outlook Monitor news below.

If you have a question, or an idea for using this data, please contact Patternmakers at info@thepatternmakers.com.au

Subscribe for updates

About the Author

Tandi Palmer Williams
Managing Director

Tandi is Founder and Managing Director of Patternmakers. She’s an arts research specialist and leader of the agency’s research projects.

Delivery partners

Supporting partners

Past posts on this blog

Patternmakers 15/11/22 Patternmakers 15/11/22

6 audience trends to prepare for in 2023

Audience behaviour is shifting and it can be hard to know what to expect. Here are six audience behaviour trends to prepare for, according to the data from our October phase of the Audience Outlook Monitor.

Image Credit: Cecilia Martin, courtesy of National Circus Festival.

Audience behaviour is shifting. Here’s what’s going on - and how to make sure you’re ready.

With the release of our latest phase of the Audience Outlook Monitor, we’ve been looking at the major trends in audience behaviour and how it’s different to what we saw pre-pandemic.

If you’re involved in cultural events, you’ve probably already seen some of these trends firsthand. We’re here to tell you you’re not alone - and that these things aren’t going away any time soon. Here’s what we need to be ready for:

1. Attendance is climbing, but it may be a bit of a rollercoaster.

Half (51%) of audiences expect to attend more often in the next 12 months as they settle into post-COVID life. However, hesitation is still a big issue to contend with and 43% say their frequency of attendance will stay the same.

As shown in the chart below, there are a range of factors that will inhibit attendance over the next year. Some of these have been around for a while (risk of transmission), others are relatively new, and increasing (financial reasons).

A little while ago, we reported on this thing called ‘re-entry anxiety’ and recently, 19% of audiences told us they are simply lacking the energy to go out sometimes.

24% are prioritising other things above attending arts and cultural events, such as social events and travel - a natural response as we enjoy our regained freedom and figure out what our post-COVID world looks like.

The bottom line? We need to be clear-eyed about the targets we set for things like attendance and ticket sales. Some things are likely to go well, other things are just not, and that is just the reality.

You might like to ensure your teams and boards are across this data, and everyone is on the same page about what to expect in the year ahead.

2. Price sensitivity is increasing.

Yes, you read that chart correctly: financial limitations are now the top barrier to attendance, affecting 40% of audiences, up from 24% in August 2022. This means that they have now surpassed the risk of transmission.

Economic concerns like the rising cost of living and inflation rates are impacting most people, but some groups are likely to be more vulnerable than others, such as lower income earners. And, as you can see in the chart below, young people are almost twice as likely as audiences over 70 to report financial barriers (58% vs 30%).

Audience members have spoken to these financial limitations, saying:

‘I am now retired and money is not so easy. The cost of tickets has increased so I pick and choose less expensive shows.’

‘Cost of living constantly increasing, I'm about to go back to study, just need to be careful with my funds.’

So, should you offer discounts? Probably not. While it may seem logical to consider cutting admission prices, research from the US has shown that admission is only a small piece of the puzzle when audiences think about the costs to attend. As one audience member in our study said:

‘As I live in a more rural area, it's not just the ticket I need to purchase, it's also travel, accommodation and meals. So the cost becomes significant.’

Admission discounts often have a range of downsides - like impacting customers who have already paid full price. They also influence brand perceptions and market competition

That being said, it is important to be aware of what’s happening and think about pricing strategically. If you’re targeting young attendees in the next little while - program prices should be set carefully. Families are another group that can be extra sensitive to prices, and things like transport recommendations, cheap parking options and dining offers can go a long way.

3. Last minute decision-making is here to stay for a while longer.

August 2022 data revealed that most audience members book events within the next seven days (26%) and the next 2-3 weeks (43%). This is an ongoing trend reflective of the comfort in making last minute decisions, as people continue to struggle with commitment.

Audience members expressed this sentiment, saying:

‘I am someone who has health and energy issues so I often need to take things day by day.’

‘I like to just go to something, rock up there and pay on the day.’

‘Much preferred to booking ahead on the off-chance I will have to cancel.’

From a business perspective, it’s undeniably more difficult when we cannot rely on those early ticket sales to inform our planning for the season, creating a cashflow problem and a confidence problem.

In a recent broadcast of ABC Radio National, guests Sophie Galaise, Managing Director of the Melbourne Symphony Orchestra, and Kip Williams, Artistic Director of Sydney Theatre Company reflected on these very research findings - and shared their take:

Sophie Galaise outlined the MSO approach of offering flexible subscription and single tickets, providing audiences the opportunity to be able to attend a different date if needed.

Kip Williams stressed the elevated importance of marketing at this time, as audiences are often waiting till shows are opened and the reviews are out before buying a ticket.

So, if you haven’t already got strategies in place on how to maximise the opportunity of last-minute sales, now is very much the time.

4. Lifestyle changes are impacting preferences around attending.

1 in 5 audience members say their preferences have changed in terms of time, day or location of events – as lifestyle shifts continue to occur.

Protecting energy and convenience are shaping decisions with audience members saying:

‘I find it harder to attend events on weeknights after work. I am tired faster after the pandemic with less capacity to do multiple things in a day.’

‘I think people started to prefer staying at home to drink and socialise because of the cost and convenience. I prefer to go out after work on a Friday so I can be home for the rest of the weekend rather than going out Friday and Saturday night.’

‘I am much less inclined to attend events on weeknights now. I feel busier than ever and my weeknights have become sacred time. I prefer to attend events on weekends only.’

While some are simply out of practice, and may yet revert to old habits, some are very much here to stay. For instance, working from home is now a reality for many employees, and fewer days commuting into the city means fewer opportunities to drop into events in the CBD:

‘I have been working mostly from home and found that suited me... building energy to head into the inner city to attend events requires determination. I've made the effort when the event really sparks my interest...’

‘I now live in the country and so it is harder to go out at night in the city.’

This trend is going to impact organisations very differently. For instance, venues in outer metropolitan suburbs, and regional hotspots are likely to be seeing the upside of this. Meanwhile, events in the inner city seem to be working harder to rebuild their audiences.

It’s a good time to be testing different things, and seeing what works for your audience. Just remember: a single event doth not maketh a valid experiment. We need to set up our tests over a realistic timeframe and give it time to work. Let us know what works for you!

5. Audiences are looking for variety locally.

For now, people continue to favour their local area/region when attending arts events. Yes more cultural tourism could be on the horizon, but for now many are excited to see touring shows and want to see variety in their communities.

Regional/remote audiences particularly love attending locally – while metropolitan audiences are more keen to explore their region. Local stories are more likely to resonate with regional audiences (48%) – though there is also appetite for ‘big’ name artists (60%). Audiences have told us:

‘The pandemic has taught us that local matters. It's incredibly important to ensure we have a strong local economy, supporting local activities, buying from local people and strengthening our understanding of our local culture and history.’

‘Supporting local artists, organisations and locations is a current priority. Local events have a multitude of benefits including increased environmental sustainability and reduced hassle in terms accessing the event and these events cultivate civic pride.’

Yet, there is still the desire to expand their horizons:

‘Throughout the COVID experience, there has been a strong focus on local – which made good sense and felt right. After nearly three years of a focus on local, I am feeling a bit parochial and really keen to see and experience things that bring a new perspective. I really want to travel for art and culture but don't feel comfortable doing so yet.’

As you can see in the chart, many are keen to return to the things they love, but there is also an appetite for new (58%), uplifting (73%), or challenging cultural experiences (42%). There are a wide range of views out there, so we think that there’s an audience for almost anything.

‘Life can be short and live music and performances are what makes me happy and keeps me going. I'm going to keep attending them as much as I can.’

‘There is enough conflict and challenge in the world today – I don’t want to seek out challenging events for entertainment. I want escapism.’

'I don't need fun, uplifting things, but I do need to be intrigued, challenged and informed. I don't need big names, but I do like professionally run events.’

‘The arts are about innovation and change. we want to see hear and watch new shows, music and arts events.’

‘I like the new and the challenging and will continue to seek those productions and opportunities - with, I feel, an increasing sense of confidence in doing so.’

Basically, balanced programs are key - with enough variety to keep audiences coming back. It’s important to think about targeting different programs at different segments.

For example, as shown in the chart below, younger audiences, such as those under 35 (74%) showed the strongest interest towards trying new things, making them a key demographic to target when innovating.

6. People are happy to go with the flow when it comes to COVID-safety.

In general, cultural venues are still seen as safe in terms of mitigating the risk of transmission, with comfort at live music venues and interactive exhibits at an all-time high.

With the Summer season approaching, the relaxing of COVID-safety rules may leave some audiences nervous to attend. However, we’ve found that most people are happy to wear a mask if they are asked to (and if they are provided one).

Years of mask-wearing have made this a common practice, with one audience member saying:

‘I went to a theatre performance a couple of weeks ago where masks were mandatory, and every single audience member complied without any fuss, we get it.’

It’s worth keeping an eye on this during peak transmission times, especially if you have a vulnerable audience!

Subscribe below for updates - or get in touch with us for any questions or suggestions via info@thepatternmakers.com.au.

About the Author

Melanie Raveendran
Digital Marketing Associate

Key findings: October 2022

October 2022 results from the Audience Outlook Monitor are now available, covering current attendance levels, financial barriers, re-entry anxiety and the desire for innovative arts experiences.

Read about the findings and download the Live Attendance Update.

Audiences are enjoying the buzz of more events, but financial barriers are slowing market recovery

Gradual improvements in confidence are evident in the October 2022 data from 5,438 past attendees. 71% say they are ‘ready to attend now’ or whenever permitted, up from 65% in August and 59% in March 2022.

Audiences are feeling positive about attending events right now, with qualitative data showing many are enjoying more choice and ‘buzz’ in their areas. 3 in 4 (75%) attended a cultural event in the fortnight before data collection (12-16 October 2022), consistent with August 2022 (76%) and higher than March 2022 (70%).
Attendance frequency is yet to return to pre-pandemic levels. For instance, 44% of performing arts attendees are attending less often than they used to, and 52% are attending about the same amount.
Spending levels are not increasing. The proportion spending over $50 on arts and culture in the past fortnight (63%) is consistent with March and August 2022 – with the rising costs of living now playing a role in purchasing decisions.
Full recovery will take time. While most audiences are feeling confident and many are optimistic about increasing their attendance in future, new barriers are emerging related to economic factors and lifestyle changes.

Download the Live Attendance Update or read on for more of the findings.

The report is also available in an accessible format here.

Audience behaviour continues to evolve in line with lifestyle changes and 6 in 10 are seeking new experiences

Gradual increases in attendances are likely, with half of audiences (51%) saying they expect to attend more often in the next year. However, the situation is complex and some are perceiving a lack of appealing events available (32%) or are prioritising other things in their lives at the moment (24%).
Price sensitivity may increase, as financial reasons have now overtaken the virus as the main barrier to attendance. Financial barriers are now affecting 40% of audiences, up from 24% in August 2022. It’s likely to be a bumpy ride, with factors like re-entry anxiety and lacking energy to go out also impacting decisions.
Last-minute ticket purchases are here to stay, with August 2022 data revealing most audience members book events within the next seven days (26%) and the next 2-3 weeks (43%).
Scheduling preferences are changing for 1 in 5 audience members whether it’s the time, day or location of events. Pandemic lifestyle changes – like flexible work and regional migration – are taking root and venues will likely be feeling the effects in their areas.
People continue to favour their local area (65%) or region (45%) when attending the arts, but many are excited for the return of touring and want to see variety in their communities.
There is an appetite for new (58%), uplifting (73%) and challenging cultural experiences (42%) — so balanced programs are key. Audiences under 35 are the most likely to want to try new things (74%), confirming the case for innovation for this important group.

4 in 10 participate in the arts online and virtual opportunities have become a vital form of accessibility

Online channels continue have an elevated importance for connecting with audiences.
Digital marketing is paramount for live events and 83% of audiences are using online channels, such as e-newsletters (55%), websites (54%), Facebook (24%) and online search (11%) to find out what’s on.
Participation in online cultural activities is stable. 4 in 10 audience members (41%) participated in some kind of online arts recently, such as pre-recorded video (21%), online classes/tutorials (18%) and live streamed performances (14%), stable with March 2022 (42%).
Spending on digital activities is steady, in line with stability in cultural spending overall: 33% paid for an activity in the fortnight before data collection, consistent with 34% in March 2022. Among those paying, 39% spent over $50 (down from 44% in March 2022).
Online cultural participation is highest among audiences aged 75+ (44% participating online), audiences who are vulnerable to COVID-19 (47%), audiences with a disability (49%) and those who are more cautious about the risk of the virus (46%) – confirming digital events as a form of accessibility.
Most audiences continue to see a role for digital, with the proportion saying that these experiences continue to ‘play some role’ in their life – though this has declined slightly since March 2022 (68%, down from 73%).
Audiences appreciate the value of digital programs in overcoming barriers to live attendance – a topic that will be explored in detail in an upcoming Fact Sheet and set of case studies.

Use the dashboard to get results for your artform and region

Survey data from over 5,400 respondents has been uploaded to the dashboard, which now contains insights from 100,000 Australian participants.

You can use the dashboard to explore the findings by state/territory, artform and audience segment.

It’s freely available to access, just click the image below and use the login details provided on the dashboard page.

About the Audience Outlook Monitor

The Audience Outlook Monitor provides the results of a study that has tracked audience sentiment over the course of the COVID-19 pandemic.

Data was collected in six phases throughout 2020-2021 and is again being tracked in 2022.

How to find out more

To receive new releases directly into your inbox, as soon as they are available, you can opt in to receive Audience Outlook Monitor news below.

If you have a question, or an idea for using this data, please contact Patternmakers at info@thepatternmakers.com.au

Subscribe for updates

About the Author

Tandi Palmer Williams
Managing Director

Tandi is Founder and Managing Director of Patternmakers. She’s an arts research specialist and leader of the agency’s research projects.

Delivery partners

Supporting partners

Past posts on this blog

Patternmakers 11/10/22 Patternmakers 11/10/22

Webinar: Shapeshifting - Audience Trends for Summer and 2023

Join Tandi and Liz Tomkinson, Manager, Multi-Year Investment at Australia Council for the Arts on Wednesday 26 October, as they discuss the latest audience insights from October 2022.

Audience behaviour is constantly shifting - Let’s discuss how to stay on top of the trends.

This webinar explored how audience behaviour has evolved in 2022, and the trends that will shape the market for cultural events over the next 12 months.

From global uncertainty, to our economy and 'new normal' lifestyles, this webinar looked beyond COVID-safety to the strategies we need to survive and thrive in the next chapter. We took a look at marketing, program trends, buyer behaviour and digital engagement, and how different segments are emerging with very different needs and interest.

Watch Tandi Palmer Williams from Patternmakers and Liz Tomkinson, Manager, Multi-Year Investment at Australia Council for the Arts as they discuss the insights related to live attendance in October 2022.

This round of data collection was conducted between 12-16 October 2022.

This webinar is live captioned and Auslan interpreted.

About the Audience Outlook Monitor

The Audience Outlook Monitor provides the results of a study that has tracked audience sentiment over the course of the COVID-19 pandemic.

Data was collected in six phases throughout 2020-2021 and is again being tracked in 2022.

How to find out more

To receive news and updates directly into your inbox, as soon as they are available, you can opt in to receive Audience Outlook Monitor news below.

If you have a question, or an idea for using this data, please contact Patternmakers at info@thepatternmakers.com.au

Subscribe for updates

About the Author

Tandi Palmer Williams
Managing Director

Tandi is Founder and Managing Director of Patternmakers. She’s an arts research specialist and leader of the agency’s research projects.

Delivery partners

Supporting partners

We cast our mind back to the sell-out stadiums, packed movie theatres, and record-breaking festivals of 2023, to bring you the biggest moments shared by Australian audiences.

The Matildas didn’t win the World Cup but, instead, changed women’s sport for good

Barbenheimer brought us back to the cinema, on the double!

Blockbuster stadium tours showed us how to make friends with strangers

Disability activism inspired new levels of access at events

Festivals brought the fun (and crowds) back into cities

Major institutions turned up the volume on free events

About the Author

Categories

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Our cities, suburbs and regions are different places today and audiences are responding in interesting ways.

Three chapters, three geographic audience segments

Audiences in Big Cities

Audiences in Outer Suburbs

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Unpacking our latest audience research for audiences themselves.

In the mood for fun and uplifting events right now? You’re not alone.

Right now, some audiences are getting their fix without spending big.

Feeling like your plans are getting a bit last minute? Here’s why booking early helps you and the organisations you care about:

P.S. Opinions matter, so share them!

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I recently had the incredible opportunity to attend the 2023 AMA Conference in Leeds, UK. Industry professionals from around the UK gathered for a two-day melting pot of ideas and teabags, delving into this year’s theme: audiences at the heart.

Catching feelings

The future of audiences

AI: friend, not foe?

Be Bold; Be Brave

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Read our State Snapshots to discover the top trends in audience behaviour at a state-by-state level.

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Past posts on this blog

1. Attendance trajectories

2. Inflationary pressures and pricing

3. The desire to inspire

4. Three segments to know

5. Online trends

6. Late decision-making

7. Subscriptions and memberships

Watch us launch the findings at APAX 2023

Use the dashboard to get results for your artform and region

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Past posts on this blog

Use the dashboard to see how audiences feel about attending events in your artform and region

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More about the data

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How did it begin?

Why research is valuable for audiences

Why the Culture Panel

What is it being used for?

What makes research worthwhile

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In 2023, inflationary pressures are impacting audiences in different ways, with some continuing to spend and attend and others making careful choices.

Older and Bolder