Building an audience-first approach to selling tickets

Starting with the audience in mind

Preston Symphony Orchestra (PSO) began as a brand-new orchestra in January 2024. When we started the orchestra, our committee agreed that our programmes would be based on performing music that audiences would want to listen to rather than primarily we would like to hear. 

We perform music from stage and screen. For example, at Christmas, we play a good mixture of music from Christmas movies and popular Christmas classical pieces. We also involve the audience, such as inviting the audience to sing along with carols.

When we choose a more classical programme, we look at finding popular music that would be heard on the likes of Classic FM.

Ticketing and refunds

We use Ticket Source and are very happy with it. We ask audience members to pay the ticket fee, which helps us maximise our income. After the concert, Ticket Source deducts their percentage and pays the remaining amount directly into our account within a few days. We have never had any issues with this process, and they have a good, easily accessible support team.

After our last concert, we decided not to offer refunds, as it is an extra administrative hassle that we no longer want. Many promoters do this, so we are not unique in this respect.

Pricing decisions and consistency

We tried a few different pricing strategies but quickly decided to stick with one consistent system (see below). Prices were adjusted based on our concert operating costs, allowing us to make reasonable profits without overcharging our audience. However, some people complained about the changing prices, especially when costs increased due to higher operating expenses. So now we have one across the board pricing system: £15 adult and £8 for under‑18s for every concert. We have never sold a ticket at the door.

Making classical music more accessible

Our latest strategy for promoting more classical concerts is to add a short note under each piece, where there is an appropriate connection, explaining where people might have heard the music before, for example in a film or as a TV theme tune. This helps audience members recognise the music and makes it easier for them to decide whether to come to the concert.

For example, if we advertise Prokofiev’s Dance of the Knights from Romeo and Juliet, many people may not know what the piece sounds like. However, if we add that it is the theme tune to The Apprentice, it creates an immediate and familiar link.

Profitability and financial sustainability

We never put on a concert without the aim of making a profit. Our smallest profit was around £300, but this was from a concert that cost over £4,000 to produce, as we employed a specialist lighting company to support the event.

Our largest profit came from our most recent concert. Costs were approximately £2,800, and we achieved a profit of £1,953.