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Writer's picturePamela Kent

Segments not shows: Developing a data driven culture

From 2015-2022 I led the marketing department, for Worthing Theatres and Museum, which was initially council run and then a charity from 2019. Throughout this time my passion was always to embed an audience led strategy that the team understood and that resonated with the community. As both a marketer and a cultural sociologist I believe having the data to inform decisions is essential. Audience Finder offers unparalleled support and a framework to build this data understanding upon, I recall my excitement on being introduced to the platform and knowing this would change how we approached audience development here on in.


From this point we started to test the segment profiles; aligning the core characteristics to potential programme choices, we adapted the tone of our communications to suit segments and directed this through the outlined marketing channels we would see the greatest impact from. We often started small, micro-segmenting a postcard mailout, targeting small geographical areas via a Facebook ad, utilising the map to understand where the greatest density of a certain segment was to ascertain the largest impact.


This helped to develop a culture of thinking in “segments not shows” so targeting became more about developing those audiences than repeating to previous attendees of similar work. This is where the Audience Finder mapping tool became invaluable. If we sensed ourselves becoming too assumptive about the audience, it gave us a platform to challenge that and be data driven.


In 2016 we had the unique opportunity to experiment with segmentation on a larger scale than ever before with a newly conceived contemporary circus festival. Ahead of any public campaign we wanted to make sure every plan we had, came back to the segments and to embed this language in our methodology. Hence, when we applied for funding, we discussed the exact segments we wanted to target and why, providing a common narrative for everyone working on the project across fundraising, programming and marketing. The programme aligned to ensure all targeted segments had work that played to their greatest core characteristics.


By developing a comprehensive understanding of the segmentation profiles and mapping tools in Audience Finder we believed we could develop a strong audience from the following: Commuterland Culturebuffs (12% of local population) keen to engage with less widely attended genres and known to practice circus. Trips and Treats (20%) prioritising their children’s interests and social aspects of culture, to attend family performances and workshops. Dormitory Dependables (18%) their love of the outdoors made them ideal to attend free outdoor performances. Home and Heritage (18%) would mostly combine attendance with socialising so communicating the accessible nature of the programme would be key.


We also wanted to increase attendance from Experience Seekers and Facebook Families and felt the free events would be key to capturing their interest and removing financial barriers. Applying our research to our marketing campaigns Armed with knowledge of the segments we decided to take some risks and to diversify from our established marketing mix; using an array of outdoor media which we knew Trips and Treats responded to while establishing the festival brand to raise community awareness.


We decided to install ground vinyl’s, building banners, 48-sheet billboards, station barriers and lamp-post banners within central, high footfall locations. We improved our website content and customer journey, targeting commuterland culturebuffs, aware they respond to a strong digital presence. We also knew this segment discusses cultural experiences via social media and created more opportunities for sharing content via facebook. Equally, with our Dormitory Dependables strongly engaging with Twitter, we knew the content we provided needed to be unique.


We also recognised that video content would be the most beneficial, highlighting the physicality of the work, but also Worthing-centric, created by us with each company. Choosing to create interviews, behind the scenes rehearsal footage and on occasion creating a trailer together. This ensured we had the content we needed but also built excellent relationships with visiting companies who we gave access to use the videos unrestrictedly. Trips and Treats’ preference for educational fun meant we tailored e-marketing to highlight the interactive elements of the festival. Keen not to forget Home and Heritage who engage most via personalisation, we arranged cultivation events; membership evenings and WI presentations in local village halls. We also targeted the top five postcodes with the highest density of this segment with direct mail, ensuring the material spoke always to their core characteristics.


Results


Within the first year the festival achieved attendance of over 3500 and generated an income of £36.5k, with 33% of those audiences attending a performance for the first time. The festival continued in this format until 2019 and has since grown into a larger outdoor season encompassing a range of outdoor arts. From the festivals inception to 2019 much was achieved; audience attendance grew by 157% in four years, gaining national press coverage from 2017, launching world premieres, even the production of a short film which premiered 2019. With 63 performances, 67 workshops and 1 short film generating 18.7k audience and workshop attendees.




Audience Finder not only supported the growth and success of one specific festival within the programme. It provided an invaluable platform, which fundamentally changed the way the department and then subsequent departments approached audience development.


It became a common language that, led by the self-professed data geeks and surrounding teams could build everything around. It shifted our entire approach reiterating an ethos; always audiences first and beyond this it offered tangible results in sales and footfall, simply because it was data led and pitched to the right audience.




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