Jazz Now Report

Jazz Now! Jazz Audiences in Scotland research and benchmarking for Scottish Jazz Federation

Š The Audience Business

contents 1.

introduction & methodology

3

1.1

stage 1 – desk research and venue audit

3

1.2

stage 2 – jazz audience research

4

1.3

stage 3 – live music audience research

4

1.4

promoter forum

5

2.

audience benchmark key findings

6

2.1

jazz audience in Scotland

6

2.2

profiles

6

2.3

frequency

8

2.4

the price myth

9

2.5

communication

9

3.

the festival effect

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4.

potential audiences

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5.

the jazz experience

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6.

conclusions & recommendations

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7.

audience development proposals

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7.1

Northern Scotland Promoter Networks

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7.2

Jazz 5: Medium Scale Venues Network

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Appendices appendix 1 : stage 1 findings meeting January 2010 presentation

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appendix 2 : stage 2 research June 2010 presentation

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appendix 3 : stage 3 research October 2010 presentation

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appendix 4 : promoters forum November 2010 presentation

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appendix 5 : stage II project proposals to SJF

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1 introduction & methodology This report details findings from research conducted on behalf of the Scottish Jazz Federation

by The Audience Business. Jazz Now! aims to address the knowledge gap about jazz audiences and to introduce evidence based initiatives that grow and develop the jazz audience. key issues      

Benchmarking the jazz audience Mapping attendance versus provision Understanding the festival audience Engaging with the audience Finding potential new attenders Harnessing the jazz experience.

approach and methodology Research was conducted from October 2009 to November 2010. A three staged approach was adopted to allow learnings from each stage to be reviewed and incorporated into later planning.

Stage 1 1 2 2

Methodology Online questionnaire Box office analysis Face to face questionnaire Online questionnaire (follow up)

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Online questionnaire

Respondent type Venue Bookers Jazz audience

Population 500 11,844

Jazz audience Live music audience

Sample size 421

Response 94

Response rate 22%

849 456

160

24%

503

The Audience Business brought Marcus Wilson from HI-Arts on board to augment the team for Jazz Now! with emphasis on provision and marketing in the Highlands and Islands of Scotland. stage one – desk research and venue audit

1.1

The initial stage consisted of desk research and a venue audit.

The venue audit quantified the number and range of venues staging jazz across Scotland including a large number of non traditional arts venues. Consultation with the venues identified issues concerning the frequency of jazz programming and perceptions of risk.

A literature review identified the following key sources:    

Scottish Arts Council Taking Part Scottish Government Household Survey EMJazz Understanding Audiences for Jazz The Source Scotland wide box office analysis.

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Relevant findings from each have been incorporated into the research. stage two – the jazz audience

1.2

Stage one identified a gap in understanding the audience for free / unticketed live jazz events e.g. in pubs, clubs, hotels etc. Stage two was therefore designed to be as inclusive as possible.

Short face to face questionnaires were administered at live jazz events across Scotland between March and September 2010 at:    

40 gigs 27 venues 14 locations Non festival and festival events (namely Isle of Bute, Glasgow, Edinburgh Jazz and Blues, Edinburgh Fringe, Islay)

Mailing lists from relevant venues as well as opt in respondents from the face to face research were then sent a more detailed online questionnaire to increase understanding of jazz attenders in Scotland. stage three – live music attenders

1.3

Having developed a solid understanding of the current jazz audience in Scotland (see „Benchmarking the jazz audience‟) the final stage of research aimed to explore pools of potential new audiences for jazz. Stage three focused on response from live music attenders in Scotland, not just those attending jazz. An online questionnaire was administered and promoted via the following:            

The Skinny The List Usher Hall, Edinburgh Queen‟s Hall, Edinburgh Stonehaven folk festival O2 Academy, Glasgow Edinburgh Jazz and Blues Festival Inner Ear Ltd / Magnetic Radio The Jazz Bar, Edinburgh The Scottish Blues Alliance Other relevant Facebook pages Other relevant Twitter accounts.

ongoing dialogue with the SJF Throughout the project TAB worked closely with the Project Coordinator, Cathie Rae, and at the end of each stage of the research TAB reported findings to members of the project steering group - made up of a Scottish Jazz Federation Trustee and experienced promoters. (See Appendices for findings presentations for each stage).This allowed the steering group to be kept up to date with results and analysis as it came in but also provided an opportunity to discuss the Jazz Now Final Report April 2011 © The Audience Business

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next stage in light of learnings to date, which was particularly useful for the development of the third stage live music attenders research.

1.4

promoters forum

As part of the SJF‟s ongoing capacity building with its members and the sector it hosted an event for promoters across Scotland in November 2010. TAB worked closely with SJF to develop content around the Jazz Now! findings to share learnings about the Jazz audience and create a dialogue between promoters and the SJF about audience development and potential follow on project work. The promoters‟ forum was well attended and well received by promoters keen to learn more about SJF, find out about audiences and shared issues and to discuss opportunities for joint development.

SJF pilot projects After the Promoters‟ Forum TAB worked up several strands of possible activity for the Jazz Now! steering group to consider and developed the preferred options with the Project Coordinator to take forward.

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2 audience benchmark key findings 2.1

jazz audience in Scotland

The most recent Scottish Arts Council Taking Part research (08) found that 5% of the Scottish population had attended jazz in a 12 month period. This quantifies the current jazz audience as 212,748 adults in Scotland, or 468,046 attendances as 50% only attend once per year.

2.2

profiles

Using Experian Mosaic classification we were able to profile the type of people who attend jazz in Scotland.

Mosaic group 16%

16% 15%

15%

14%

14%

11% 11%

10%

10%

10%

9%

9%

9%

7% 6%

6% 5% 4%

2%

A Upper Echelons

B Families on C Small Town the Move Property

D Country Lifestyles

E Urban F Town Centre G Renters Now H Low Income I State Sophisticates Singles Owning Families Beneficiaries Respondents

J Shades of Grey

Scotland

Figure 1. Mosaic Scotland classification of jazz audience (from Stage 2 research) in Scotland compared with Scottish population.

Figure 1 shows the jazz audience in Scotland (from Stage 2 research) by Mosaic Scotland, in comparison to the Scottish population. More affluent groups, particularly Upper Echelons, Families on the Move and Urban Sophisticates are over represented in the jazz sample in Jazz Now Final Report April 2011 Š The Audience Business

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comparison to the composition of the Scottish population. Conversely groups with lower affluence e.g. Low Income Families and Shades of Grey are under represented in the sample.

However, attendance at jazz events in Scotland was found to include a more representative spread across different socio-economic groupings than seen in many other artforms.

Groups such as Upper Echelons and Urban Sophisticates who live in urban areas make up a large proportion of the sample, whereas more rural groups like Country Lifestyles and Town Centre Singles are attending jazz, but to a lesser extent. This suggests that the profile of the jazz audience is influenced by provision – a higher proportion of the sample are from urban areas due to the wealth of provision in those areas, whereas those in more rural areas have less opportunity to attend.

The research identified a difference in the age of jazz attenders compared to attenders at other live music events. The chart below shows that the jazz audience is significantly older than the general live music attending audience. Jazz attenders get started on their jazz acreer later than other music – eg in their 40s. The opportunity for audience development is to generate iniatives which start people attending jazz just five years earlier – this would have a massive impact on audience numbers. This supports the argument for targeting Indie attenders (see Potential Audiences) who have a younger demographic.

Age profile

Music: Base 503. Q: Roughly how often have you attended live music events in Scotland in the past 12 months (at any venue)?

Jazz: Base 590 Q: Roughly how often do you attend jazz at any venue?

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2.3

frequency

Using frequency of jazz attendance, we were able to segment the jazz audience into five distinct groups: fanatics (19% of jazz audience) Fanatics attend jazz once a week or more often. They are likely to be loyal to a particular venue (attending a weekly night for example) and the most likely group to know the performer.

This group was most likely to be found at more informal settings, particularly sessions in pubs and clubs that are free or pay on the door. This group has the lowest average ticket price, perhaps due to the frequency of attendance and type of events preferred. regulars (28%) Regulars attend jazz once or twice per month. 60% of our Regular sample was found at mainstream jazz. These events were slightly more formal, for example a pay on the door or pre-purchased concert at an arts centre. This group had a significantly higher average ticket price and attendance from this group peaked on a Saturday. This suggests Regulars attend jazz as part of a regular treat or night out and are therefore willing to pay. occasional (29%) Occasionals attend jazz every few months or 2-3 times per year. This group are most likely to be attracted by a specific artist rather than venue or timing / day of week. This group was found at concerts where tickets were purchased beforehand, mainly at mainstream and big band.

Arts centres and theatres were the most common venues attended. This group had the second lowest average ticket price and stated a high demand for more jazz. Itâ€&#x;s likely this group has an interest in jazz and are drawn to attend by known artists. annual (13%) Annual attenders attend once a year or less often. This group were found in more formal settings – in concerts where tickets were pre-purchased. Most were attending to see a specific artist, in an arts centre or university / college performance. Thursday was the most common day of attendance and 50% went to big band. first timers (10%) The last group of the jazz audience is those attending for the first time. First timers were found in formal, ticketed concerts in arts centres and theatres. Attendance peaked from Thursday to Saturday. This group had the highest average ticket price suggesting those attending jazz for the first time associate price with quality - attempting to reduce risk and ensure quality by paying more.

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Figure 2: Distribution of jazz audience (Stage 2 research) by frequency

Figure 2 maps the Scottish jazz audience by frequency of attendance. In general frequency appears to increase by level of urbanity – again indicating the influence of provision on attendance.

2.4

the price myth

Jazz Now! started with the hypothesis that more informal, casual jazz events at pubs and clubs could be the gateway for new / less frequent attenders to develop their interest in jazz. As indicated in the group descriptions, we found the opposite. New / infrequent attenders were more likely to attend more formal, concert style jazz and average ticket price was highest among first timers and very infrequent attenders. This indicates that these attenders associate price with quality and are therefore willing to pay more to limit risk. Equally the most frequent attenders were found at the most informal, casual settings and had the lowest average ticket price.

The most fruitful group of attenders seem to be Regulars – who attend once or twice a month yet are willing to pay as part of their Saturday night out or treat.

2.5

communication

The research identified a difference in sources of information used by different attenders to live music (see Music Preferences). Jazz audiences seem to have a greater communication with the venue and hear through more traditional channels. The jazz sector may be missing out on the opportuniteis represented by online channels. Compared to other areas of music, there Jazz Now Final Report April 2011 Š The Audience Business

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appears to be a lack of direct involvement by the artistes themselves in the process of jazz promotion and audience development. Unlike other music styles, where a band has a strong presence online and through social networks, jazz musicians often play in multiple ensembles, and therefore can find it harder to present and promote their work in a straightfoward way.

Also, contemporary jazz music is currently less well-represented through new distribution channels like iTunes, etc., which can aslo prove a barrier to access to the jazz product. This is arguably a "missing part of the promotional jigsaw", and there should be support and encouragement for musicians to build these direct relationships with their audiences.

sources of music info

Base 166, 159, 215, 271. Q: How do you hear about the live music you attend?

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3 the festival effect The following festivals were included in the face to face Jazz Now! fieldwork:     

Isle of Bute Jazz Festival Glasgow Jazz Festival Edinburgh Jazz and Blues Festival Edinburgh Festival Fringe Islay Jazz festival

Over half of the jazz audience from our online questionnaire (stage 2) had attended a jazz festival in the past 12 months. Edinburgh was the most commonly cited festival but others mentioned include Glasgow, Aberdeen, Fife, Dundee, Bute, Peebles, London, Lockerbie and some international. Most had attended jazz festival events in a hotel (82%) and / or open air concert (81%).

The jazz festival event was much less likely to be a „pay on the door‟ style environment and much more likely to be free or paid tickets – indicating a slightly different, more pre-planned decision making process for the audience than if attending non festival jazz events. 50% of jazz festival attenders only attended concert style jazz events where you buy tickets in advance. profiling the audience Using Experian Mosaic classification we were able to profile the type of people who attend jazz in Scotland.

Mosaic group 25%

20%

15%

10%

5%

0% A Upper Echelons

B Families on C Small Town the Move Propriety

D Country Lifestyles

E Urban F Town Centre G Renters H Low Income I State Sophisticates Singles Now Owning Familes Beneficiaries Non Festival

J Shades of Grey

Festival

Figure 1. Mosaic Scotland classification of festival / non festival jazz audience in Scotland.

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Interestingly the proportion of those considered Country Lifestyles is significantly higher for festivals – this suggests that provision of non festival jazz events in more rural areas may restrict attendance. When jazz is available (i.e. at festival time) in more rural areas the local audience takes advantage of provision.

Attendance of Urban Sophisticates also significantly increases at jazz festival events in comparison with non festival jazz. This could potentially be due to awareness or the type of events available at a festival as opposed to non festival jazz.

Jazz festival attenders attend significantly less than non festival jazz attenders. 42% of the jazz festival audience were occasional jazz attenders (please see „the current audience‟ section) and 28% attend annually or less often. This indicates a potential for increased crossover between festival and year round jazz attenders to increase frequency of jazz attendance in general.

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4 potential audiences music preferences In our online questionnaire to jazz attenders in Scotland, only half stated that jazz was the music genre they attended most often. With this in mind we wanted to explore where jazz sits in terms of other live music and find a potential new jazz audience by finding out more about live music attenders in general.

Music preferences Average number selected: 6

Base 488. Q: What type of music have you attended in Scotland in the past 12 months? And which of the following types of live music do you attend most frequently?

Figure 1. Genre of music attended in Scotland in past 12 months and genre attended most often.

Figure 1 charts the response from our online questionnaire to live music attenders.

Respondents were asked music genres attended in the past 12 months and the one genre of music attended most often. On average respondents selected 6 different genres of music – with the most common being indie / alternative. Indie / alternative also had the most loyal audience with 35% of all respondents attending this genre most often; in comparison 8% of respondents attended jazz most often.

The audience for four different genres were profiled: jazz, classical, indie and folk.

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the jazz audience Those attending jazz were most likely to be male but only slightly (55% male, 45% female).

This audience attends live music with their partners (60%) and were the most common genre to attend events alone (32%). The jazz audience are musical omnivores – on average respondents had attended 7 different genres in the past 12 months. A third consider themselves to have specialist music knowledge (33%) and are the most likely to attend in a theatre or arts centre (65%).

classical types The classical audience were predominantly female (59%) and most attend live music with their partner (62%). 94% had attended live music in the past 12 months in a concert hall / music venue. This group had the highest crossover with jazz music – almost half (49%) had also attended jazz in the past 12 months.

folk attenders Those attending folk were also musical omnivores, on average attending 6.5 genres per year.

Whereas the classical and jazz attenders were likely to attend with a partner or alone, the folk audience were most likely to attend with a group of friends (70%) and most likely to attend live music in a more informal environment, particularly at a festival or open air concert. This group of respondents had a high perceived level of music knowledge (45%) and 38% had also attended jazz in the past 12 months.

indie explorers Those attending indie were the least experienced in other genres of music, attending on average 6 genres of music in the past 12 months - however 26% of this group had attended jazz. This group of respondents attend live music in a different way to those currently attending jazz or classical music – 90% had attended in a pub, club or bar environment and the majority (71%) attend with a group of friends. This informal, social experience differs from the more formal setting experienced by those attending other genres.

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attitudinal

Base 481 Q: Please rate your agreement with the following statements...

Figure 2. Attitudinal statements towards jazz

The live music respondents were then asked to agree or disagree with the statements in Figure 2 to determine the potential jazz has with those not currently attending. Encouragingly the level of agreement / disagreement with the statements show the majority of live music attenders are willing to experiment with the type of live music attended and very few reject jazz outright.

The high number of music genres attended in the 12 months preceding the research (6 on average) demonstrates the idea that most attending live music are „musical omnivores’ – attending live music frequently but spreading attendance across several different genres. This opens up the potential market for jazz from the 5% of the Scottish population who currently attend jazz to the 41% who attend live music (Taking Part, 08).

Barriers to jazz Respondents to the survey were also asked what the barriers were which stopped them attending jazz events. The chart below demonstrates that 24% of respondents felt that they didn‟t know enough about jazz. As with classical music, many non jazz attenders feel that they need to know more about jazz before they would feel confident to attend – potentially how to behave at a jazz concert or how to appreciate the music they are listening to. Therefore in promoting access to jazz, it is key to either give potential attender that knowledge, or to persuade them that they don‟t need that knowledge in order to attend and enjoy a gig. Another of the barriers links to this „no-one else interested in attending‟ also relates to perceptions of the

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jazz event experience. Presenting jazz as the exciting, uplifting, exhilarating experience demanded by life music attenders will overcome these identified issues.

reasons for not attending

Base 147 Q. Why have you not attended a live jazz event in the past 12 months?

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5 the jazz experience The following word clouds demonstrate (1) the perception of jazz music by those who currently attend, (2) the perception of live music in general by those who attend, and (3) the perception of jazz music by those who do not currently attend.

The more times a word was stated by respondents, the larger the word:

Figure 1. Current jazz attender perceptions of jazz Base 142. How would you describe the live jazz experience to someone who had never been?

What 3 words would you use?

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Figure 2 Live music attenders perception of live music Base 446. How would you describe a live music experience to someone who had never been?

What three words would you use?

Figure 3. Live music attenders (who do not currently attend jazz) perceptions of jazz music Base 100. What would you expect a live jazz experience to be like? What three words would you use?

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The word clouds provide a fascinating insight into perceptions of attenders of both jazz and live music in general, then importantly people who attend live music but not jazz. It suggests that the live music experience and the jazz experience, as judged by those who attend, have similar triggers and features including excitement, entertainment, fun, emotion, inspiration, and atmosphere. However the perceptions of non attenders are very mixed and on the whole not in line with how they would describe other live music they already attend. In some cases the perceptions are quite negative and suggest real challenges to be overcome.

When asked for suggestions as to how people might be encouraged to attend jazz (see below Figure 4) the comments included issues that can be addressed by improving the infrastructure, profile and marketing of the jazz sector which were fed into the next stages of the project.

Figure 4. Live music attenders. What do you think would encourage more people to attend live jazz events?

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6 conclusions & key themes Drawing the analysis together from the 3 stages of research some clear themes were drawn out from promoters / venues, existing audiences and potential audiences including: Existing audiences – there is a stated desire to see more jazz particularly amongst the infrequent attenders, however this is not the key to growing jazz attendences overall.

Potential audiences – there is scope to develop attendance for jazz amongst existing cultural audiences especially other music genres as there is a propensity for music attenders to cross music styles enjoying the pull of the live experience if the artist is recognised or social contacts recommend or attend. The research suggests that 46% indie attenders and 64% of classical audiences are likely or very likely to attend jazz in the future.

Festival audiences – there is a difference in profile and behaviour for jazz festival attenders which suggests that though the festival experience itself is likely to attract different audiences (as seen with other types of Scottish festivals) there is potential for collaboration to increase festival and non festival audience cross over where provision allows.

The jazz experience – there are some serious issues around perception amongst non attenders including existing music attenders, However some of the barriers to attending have the potential to be overcome through provision, marketing messaging and channels.

Type of jazz – the provision of Jazz and attendance patterns suggest a predisposition to more traditional jazz forms – for example festivals despite having the widest variety still have a striking propensity for traditional and big band attendances - however there is an opportunity to broaden this offer including cross over and unusual pairings between genres.

Music ecology – when considering audience development potential, jazz has to be seen as part of the wider musical / cultural „ecology‟ as audiences are not making decisions in a vacuum. A large proportion of people who are culturally engaged do not actually attend anything more than once a year so activity should look to grow attendance to jazz without „poaching‟ infrequent attendance from other artforms.

Price resistance myth – pricing is not the key barrier to attending nor is the opportunity to introduce new audiences to jazz through free gigs a key driver. It was found that new and infrequent audiences were more likely to attend pre paid concerts often with reasonably high ticket prices.

Attendance versus provision – some promoters are put off programming more jazz by a perceived lack of demand from audiences and a lack of quality product within their budget which leads to feeling that jazz programming is a high risk option.

Engagement with venue – for non-festival audiences engagement with the venue itself can act as a motivator to attend and is important in terms of provision of information about what‟s on.

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Engagement with artists – across all musical genres it was clear that the motivation to attend is largely about the music itself and the artist in particular, with social factors – recommendations or friends attending – acting as secondary drivers. In many instances there are strong links between artists and audiences in other music genres, driving attendance to live gigs, which can be lacking for jazz artists.

recommendations Pulling together the key themes at the end of the research phase for presentation to the Promoters Forum lead to three priority areas to be considered for jazz audiences development – two in relation to audience targets the third a more general consideration for working across the sector.

1. Target Audience – Indie Explorers 2. Target Audience – Classical Cross over 3. Building relationships It should be noted that Folk audiences were also considered as highly attractive potential audiences for jazz cross over activity, however since the numbers are smaller they were not pulled out for the promoters forum presentations, but would be a valid target audience for follow on activity at relevant venues. indie explorers Of the music genres we looked at Indie Explorers were among the least likely to currently attend jazz, but they are important due to:   

the volume of people what fall into this category 46% stated that they were likely or very likely at attend jazz in the future their profile is younger than the current jazz audience

There are 225,000 potential jazz attenders in this segment in Scotland Key factors: Marketing channels – digital and social networking Messages / events –. Need to challenge the perception of jazz through fusion / cross over events and relaxing ambience, increase the digital presence of younger artists. Heightened awareness. classical crossover There is already high existing crossover for this segment and represent a closer market:   

Most similar profile to existing jazz audiences The majority – 64% - stated they are likely to attend in the future Comfortable with concert style venues and etiquette

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There are 90,000 potential jazz attenders in this segment in Scotland.

Key factors: Marketing channels – existing mailing lists and more traditional promotional methods Messages – quality and atmosphere. Relationships can be developed through venues.

building relationships This last area covers several broad issues around practice and expertise within the sector; 

 

 



Partnerships within the sector, particularly between festivals and non-festival promoters and venues. Need to develop infrastructure and availability of product which the sector can help support by working together.

Relationships with audiences including the need for greater data collection at some venues and the potential to share data to grow audiences in particular locations.

Whose relationship is it? Venue / artiste / promoter / festival need to develop relationships between these multiple providers and the audiences to strengthen the sector.

Honest relationships – need to simplify the message to change perceptions. Use labels with care cross pollinate across genres to get away from working in silos.

New marketing techniques around social media and digital technology can be developed and shared which allow potential audiences input, the opportunity to develop interests and share with other fans to create invaluable online word of mouth and community development Role for SJF to bring these partnerships together and support to help develop the sector.

Key factors:  

Partnerships offer the chance to share expertise and resources – to help mitigate risk to increase provision Building relationships of trust with audiences – trusted venues, promoters, artistes or festivals - can help broaden tastes and partnership endorsements can build confidence to try new styles and artistes.

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7 audience development proposals Taking the key themes, priority areas and input from the promoters forum, various project ides were worked up by TAB for discussion with the Jazz Now! steering committee and Project Coordinator. (see appendix 5 for full details)

1. Promoters Network - Network development and marketing support, using existing promoters alongside support agencies.

2. Promoter Best Practice Case Study – Digital media and social networking 3. DATA I - Data Collection / Protection 4. DATA II – Data Sharing 5. Shared Social Media Project 6. Musicians Forum Support 7. Music Genre Crossover Marketing

Planning meetings between TAB team members and the Project Coordinator established a pragmatic mix and match approach using promoter champions to help delivery. This included several practical elements of activity relating to each of the proposals above.

Two project models have been worked up in detail to take forward, which ensures a manageable workload for SJF whilst using an umbrella approach to deliver on several of the key areas, e.g. data sharing, social media, cross music genre activity, building infrastructure, developing product, etc.

projects going forward The two test projects to come out of Jazz Now! will be worked up and delivered through 2011 and 2012. The TAB team will continue to work with SJF at various stages of the projects, e.g. drilling down into research to inform marketing planning, setting measurable targets and building evaluation into the project delivery models, etc.

Project development and initial stages of delivery will be underwritten by the project delivery element of the Jazz Now! budget. The projects will be evaluated, results and best practice shared and potentially rolled more widely over longer periods of time.

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7.1 Northern Scotland Promoters Networks During the research phase of the Jazz Now! project and subsequent discussions with SJF, it became clear that work was needed both to develop provision of jazz in more rural parts of Scotland and to support rural promoters to build audiences for jazz events.

The north of Scotland was identified as a priority for intervention and development, given the significant number of promoters working in this area and the established promoters networks in this area.

Objectives: To identify, establish and promote a number of sustainable jazz touring circuits in the north of Scotland, and to support identified promoters to introduce jazz into their programmes and build audiences for jazz events.

Activity: For the proposed project, we recommend that SJF work to develop touring jazz provision and jazz audience development in partnership with a number of north Scotland agencies including Audience Development agencies GANE (Growing Audience North East, Aberdeenshire) and HI-Arts (Highlands and Islands Arts, based in Inverness), and with the help of established promoter networks PAN (Promoters Arts Network in the Highlands and Islands) and NEAT (North East Arts Touring).

Through these networks, SJF would identify and seek to establish a number of touring circuits for jazz encompassing a range of interested and willing promoters in the north of Scotland.

Initially, support should be provider to these promoters by means of:   

initial period of promoter/venue mentoring from Bill Kyle of Bridge Music, an established, skilled and entrepreneurial commercial jazz promoter. audience development support through existing agencies, GANE and HI-Arts, potentially involving tip sheets or workshops on building jazz audiences. potentially an initial “guarantee against loss scheme” to allow promoters to trial jazz performances at their venue and build audiences.

Initial timeline: A first meeting of interested parties will be convened in early summer 2011, with a view to identifying touring circuits and developing support materials for promoters by the autumn.

Tour / Delivery: It is proposed that first tours of this project take place in autumn 2011, and run through spring 2012 in order to ensure a consistency of jazz product in a range of venues over a sustained period.

Evaluation: Evaluation of the project should take place in late spring/summer 2012, and could be undertaken by GANE or HI-Arts as audience development agencies with responsibility for this region.

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7.2 Jazz 5 – Medium Scale Venues Network Working with Adrian Harris, Chief Executive Queen‟s Hall Edinburgh, as promoter champion the Jazz 5 Network is being scoped to provide a coherent group to pull together medium scale tours to benefit from bigger artists through economies of scale. The proposed venues are:     

Aberdeen Performing Arts (venue tbc) AttFife (venue tbc) Eden Court, Inverness Horsecross, Perth Queens Hall, Edinburgh

Objectives: To create a network of similar scale venues through Scotland with a commitment to developing their jazz programming and audience development.

Creating a regular programme that can be toured across the venues to give additional pull to attract high quality performers – often by using acts that are already coming to other areas of the UK or Europe and can be persuaded to extend their tours by several extra dates with the new network.

Share resources to benefit from combined expertise (programming and artist scoping, marketing etc) and economies of scale (tour planning, marketing campaigns, PR, funding etc).

Activity and initial timeline: Group Development & programming scoping – Summer 2011   

Bring programmers together to scope opportunities and logistics Investigate programming options to bring to the table Create working methods and develop tour options (artists, dates etc)

Marketing and Audience Development – Autumn 2011 Bring marketing teams together to discuss existing audiences, potential audiences and combined marketing opportunities including: cross genre marketing (classical and folk audiences), digital and social networking, data sharing, messages and positioning etc. TAB to work with SJF to deliver. Create marketing strategy, audience targets and tactical plans.

Tour I Delivery – Spring 2012 Deliver test tour to venues both working on campaigns across the venues and within the venues own marketing activity. Anticipate artist (s) would be of a stature that one venue alone would not be able attract giving the venues real opportunity to provide quality programming.

Evaluation – Spring 2012 Review outcomes of the tour in terms of network delivery, audience development and opportunities for sustainability. TAB to work with SJF. Create an longer term plan for developing activity and partnerships.

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appendices

appendix 1 : stage 1 findings meeting January 2010 Slide 3 Slide 1 Project review Jazz Now! Stage 1 Findings Meeting January 2010

Slide 4 Slide 2

Scope of session •

Findings of research to date to include: • • • • •

•

Literature review Market assessment Initial audience benchmark from box office data via The Source project Venue audit Venue survey

Project aim • Aim of project: to address the knowledge gap about jazz audiences and to introduce evidence based initiatives that grow and develop the jazz audience

Stage 2 research: • • •

•

Identification of key questions Identification of key market segments Discussion of methodology

Communication strategy: • •

Participating / prospect participant organisations Wider sector

Jazz Now Final Report April 2011 © The Audience Business

26

Slide 5

Project review • • • • • •

Slide 8

Staged approach Stage 1 – briefing Stage 2 – desk research and venue audit Stage 3 – primary research Stage 4 – development initiatives Stage 5 - reporting

Slide 6

• • • • • • • • •

Slide 9

Provision • SJF audit • Number of gigs in Scotland: • 1,370 (musicians); 1,653 (promoters)

• Key hotspots: • Edinburgh, Glasgow, Aberdeen (musicians) • Highlands, Edinburgh, Glasgow (promoters)

• Demand for more from promoters: • 86% would like to promote more

• Other data identifies pubs as the largest segment of the jazz venue market staging the most regular activity

Jazz Now Final Report April 2011 © The Audience Business

Fragmented sector Limited collaboration Consistent programming Lack specialist knowledge Jazz awareness – media & education Image & perceptions of jazz Jazz attending experience Marketing Funding

Segmentation • Jazz Avid: Attends live music frequently, mainly at jazz (15%) • Jazz Occasional: Occasionally attends live music with jazz more frequent than other styles (9%) • Musical Omnivore: Attends live music frequently but jazz is not their main interest (47%) • Jazz Focused Musical Omnivore: Attends live music frequently with jazz as their main interest (17%) • Dipper: Occasionally attends live music but jazz is not their main interest (9%) • Rare sighting: Rarely attends live music (4%) • (Heather Maitland, Jazz in East Midlands)

Literature review

Slide 7

Issues identified for audience development

Slide 10

Issues from literature review • Consistent issues and profiles emerging from the research • Few examples of evidenced and evaluated audience development for the jazz sector • No studies have looked specifically at free jazz gigs

27

• SAC Taking Part • Scottish Government Household Survey

• Attendance at jazz events:

Market assessment 0 10 20 30

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SAC Taking Part

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Slide 14

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Slide 12

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Slide 11 film at a cinema or other venue None of the above

50 60

exhibition or collection of art, photography or sculpture

other theatre performance (e.g. musical or pantomime)

craft exhibition (not crafts market)

other live music event

traditional Scottish music

street arts event

play/drama

book or writing event

live DJ event

carnival

video or electronic art event

classical music performance

other live dance event

jazz performance

opera/operetta

culturally specific festival (e.g. Feis, Mela, Baisakhi, Navratri)

ballet

contemporary dance multicultural dance

Slide 15 30%

25%

20%

15%

10% 5%

0%

SAC Taking Part

80%

Slide 16

70%

50 Jazz performance (SHS)

30%

20%

30

25

20

15

10

5

0 Don't know

28

Slide 17

Potential market size

Slide 20

• Potential Scottish adult attenders:

• Minority of the population attends (c5%), less than classical music or S traditional • Potential market size c200k attenders and 430k attendances • Distinct profile: educated and affluent • Demand from current and non current • Potential wider latent market

• 212,748 (SAC) • 170,198 (SHS)

• Frequency of attendance: • 50% (SAC) once per year • 45% (SHS) once a year

• Potential Scottish adult attendances: • 468,046 (SAC) • 408,477 (SHS) potential attendances per year

Slide 18

Market assessment • Profile • • • • •

ABC1 Degree educated Living in least deprived communities Marginally more men than women Residents of Edinburgh and the surrounding area

Market assessment summary

Slide 21 Midlands – degree educated, East

ABC1, 54% male, aged over 45 This show a growing audience for jazz which is predominantly male, Initial audience benchmark middle-aged and of socioeconomic groups ABC1 Thanks to The Source

Slide 19

Market assessment • 7% of non current attenders would consider attending a jazz event (SAC) • 70% of current jazz attenders would like to attend jazz performances more frequently (SHS) • The wider audience for jazz is bigger than current attenders with 14% listening to jazz DVDs/downloads, 8% listening on the radio and 8% watching jazz on TV (SAC)

Jazz Now Final Report April 2011 © The Audience Business

Slide 22

Box office data analysis • The Source database • Venues with any jazz performances 06-09: His Majesty's Theatre The Lemon Tree Music Hall Adam Smith Theatre Carnegie Hall Lochgelly Centre Rothes Hall The Byre Theatre Caird Hall Dundee Rep Eden Court Horsecross Macrobert Centre Pitlochry Festival Theatre

Old Fruitmarket City Halls GRCH Arches Brunton Theatre North Edinburgh Arts Centre Queens Hall Traverse Theatre Usher Hall Edinburgh Jazz Festival Fringe

29

Slide 23

Slide 26

Source jazz perfs by region 400

350 Performances 2006-9 300

N

250

200

150

100

50

0 Central

Slide 24

Slide 27

Source jazz activity

East

North

North East

West

Source Mosaic Group 25

2006-2007

2007-2008

Jazz HH (Source) Scottish households

20

274

259

47,956 175 12,218

Tickets sold Tickets per performance CDC HH

15

48,548 187 11,844

%

Performances

10

5

Slide 28

Source jazz activity

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Slide 25

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Group A – Upper Echelons

120

Alastair and Judith – Successful people living in the choicest suburban locations.

100 2006 2007

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Key Features Suburban locations Choicest housing Successful Professional careers High incomes Confident Exotic leisure pursuits Families with children Conservative values Middle-aged

60

40

20

7% of households in Scotland 15% of households in Edinburgh

0 April

May

June

Jazz Now Final Report April 2011 © The Audience Business

July

Aug

Sept

Oct

Nov

Dec

Jan

Feb

March

30

Slide 32

Group E – Urban Sophisticates

Top jazz Mosaic Types (Source)

Ben and Sophie –Young, welleducated singles in city apartments.

8 Jazz HH (Source) Scottish households

7 6

Key Features Young singles Students Well paid professionals Few children Well educated Stylish suburbs Halls of residences Exploration Individuality Internet

%

5 4 3 2 1

Slide 30

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0

6% of households in Scotland

11

Slide 29

Slide 33

Source Mosaic profile with benchmark

Type A01 – Captains of Industry Robin and Hilary – Big houses in the most desirable neighbourhoods.

25

20

Key Features Traditional tastes Powerful elite Expensive homes Desirable locations Well qualified Top professionals Well informed Very wealthy Expensive cars Full nest families

Jazz all except jazz

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Slide 31

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Source Mosaic Group profile by region

Type A03 – New Influentials Graeme and Katherine – High value urban streets with younger professionals.

100 90 80 J Shades of Grey I State Beneficiaries H Low Income Families G Renters Now Owning F Town Centre Singles E Urban Sophisticates D Country Lifestyles C Small Town Propriety B Families on the Move A Upper Echelons

70 % jazz attenders

Slide 34

60 50 40 30 20

Key Features Peaceful areas Well built stone houses Well educated High incomes Professional/managers Well informed Technical occupations Young/teenage children Extrovert Full nest families

10 0 Central

East

Jazz Now Final Report April 2011 © The Audience Business

North

North East

West

31

Slide 38

Mosaic Type profile against benchmark (Source)

Type C11 – Ageing in Suburbia Stanley and Irene – Owner occupied suburbs with older age groups.

8

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Slide 39

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Slide 36

Jazz all except jazz

7

Key Features Theatre and the arts Conservative tastes Savings & investments Semi-detached homes Lively Gardening Plenty of time Empty nest families Grandchildren Middle-aged couples

E1

Slide 35

Drivetime to venue (Source)

Type E19 – Prestige Tenements Jeremy and Kate - Young single professionals and wealthy families.

30

Key Features Young singles & couples Who’s Who of Scotland Top professionals No children Cosmopolitan Lifestyle High incomes Educated Intellectual Well informed Arts, cinema & history

25

Jazz all except jazz

%

20

15

10

5

0 0-5 Minutes

Slide 37

Slide 40 Type A02 Wealth of Experience Howard and Marjorie – Top areas housing older couples of high net worth.

Key Features Many holidays Quality products Wealthy Sound investment Substantial homes Churchgoers Respectable suburbs Retired couples Inner directed Empty nest families

6-10 Minutes

11-15 Minutes

16-20 Minutes

21-30 Minutes

31-45 Minutes

46-90 Minutes

91-180 Minutes

Annual frequency of attendance (Source) 100

10+

80

9

60

8 7

40

80

78

79

6 5 4

20

3

0 2006/7

Jazz Now Final Report April 2011 © The Audience Business

181+ Minutes

2007/8

2008/9

2

32

Slide 41

Slide 44

Initial audience benchmark summary • • • • • • • • •

Slide 42

Jazz attenders also go to

40k tickets sold per year 12,000 households attending Activity not spread over the year or across Scotland Focus on Upper Echelons and Urban Sophisticates (higher proportion than population or other arts attenders) Focus on Captains of Industry, New Influentials and Ageing in Suburbia Regional differences in Mosaic – reflecting the local population.

Balance of provision in Edinburgh influences the population profiles 80% attend once Musical omnivores?

Slide 45

35% % jazz attenders who also attend...

% jazz attending HH (29,577)

30% 25%

Jazz Now! Venue Audit

20% 15% 10% 5%

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Source data 06-09

Slide 43

Attenders to other artforms who also attend jazz

Slide 46

Venue audit

14% % jazz attending HH (29,577)

12%

% attenders to this artform who also go to jazz

10% 8%

• Aim to identify the venues for jazz in • Scotland including: • Number • Type • Distribution

6% 4% 2%

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0%

Source data 06-09

Jazz Now Final Report April 2011 © The Audience Business

33

Slide 47

Hotel Public house Bar/ CafĂŠ Arts Centre Restaurant Other Civic Community Centre Club Town Hall Church College/ University Live music venue Concert Hall Theatre Heritage/ Tourism

Slide 48

Slide 50

Type of venue - audit 90 57 52 47 46 39 29 25 24 21 19 16 14 12 9

Location of venue - audit Glasgow Edinburgh Aberdeen & shire Perth & shire Islands Highlands Fife D&G Lanarkshire Argyll Ayr Borders Strathclyde Dundee & area Lothians Stirling area Renfrewshire

Slide 49

Slide 51

108 104 53 33 30 24 22 19 18 15 13 12 12 11 11 8 7 500

Jazz Now! Venue Survey

Slide 52

Venue survey results

Total database Sent by email Bouncebacks Total sample size Respondents Response rate

Jazz Now Final Report April 2011 Š The Audience Business

500 436 15 421 94 22%

34

Slide 53

Slide 56

Type of venue - survey N theatre/ arts centre music venue village hall/ community centre pub/ club hotel bar/ cafe other community venue (library, school, sports hall etc) restaurant

Slide 54

Venue survey results • 69% had staged jazz in the previous 12 months • 82% had ever staged jazz events • Capacity range 40-3,000 • Majority concert performances • Majority programme the gig • Majority ticketed (paid for)

% 36 20 18 13 11 5 5 4

Type of venue -response rate

44 25 22 16 14 6 6 5

Slide 57

Survey Audit % response theatre/ arts centre 36 59 61 music venue 20 30 67 village hall/ community centre 18 50 36 pub/ club 13 90 14 hotel 11 90 12 bar/ cafe 5 52 10 other community venue (library, school, sports 5 hall etc) 30 17 restaurant 4 46 9

Frequency of jazz programme 40 35

% (base 77)

30 25 20 15 10 5 0 weekly

Slide 55

Slide 58

monthly

several times a year

once a year

less than once a venue for jazz year festival events

Type of jazz 80 70 60

% (base 70)

50 40 30 20 10 0 Traditional Mainstream

Jazz Now Final Report April 2011 © The Audience Business

Modern

Big Band

Fusion

Crossover

Latin

Free

35

Slide 59

Slide 62

Other events at venue

Demand to stage more jazz • Like to stage more jazz events (base 92):

90 80

• • • •

70 % (base 69)

60 50 40 30 20 10

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Slide 60

Slide 63

Achieved capacity 25

Barriers to more jazz programming % (base 73)

Approximate achieved capacity for jazz

0

5

10

15

20

25

30

35

40

45

50

lack of audience demand

20

jazz not a core aspect of programme lack of product at appropriate cost

15 N

lack of product at appropriate scale we programme as much jazz as we want to

10

lack of quality product not a music venue

why not jazz/ more jazz?

5 music not a core aspect of programme lack of product of preferred style of jazz

0 Up to 25%

Slide 61

25%-49%

50%-74%

75%-100%

Slide 64

Trends in jazz audiences 50

• • • •

Not financially sustainable Not sufficient audience Too great risk Cost of performers high (& no underwriting source) • Lack of skills to programme • Type of jazz available

45 40 35 % (base 77)

Comments on issues with jazz programming

30 25 20 15 10 5 0 Growing

Jazz Now Final Report April 2011 © The Audience Business

Static

Declining

Don't know

36

Slide 65

Factors would encourage to stage more jazz

Slide 68

• Product (22) – availability of artists at appropriate cost with appropriate quality for venue. Better information on available product. Artists more prepared to do deals • Money (21) – underwritten costs?

• Audience demand (19) – currently not sustainable given audience numbers • Marketing (10) – support with marketing to audiences including a centralised database of jazz attenders • Network of venues (4) to make touring product easier & more financially sustainable • Support with programming

Slide 66

Audience development ideas

Conclusions and next stage

Slide 69

• Collaboration (10) – networks of venues to support touring circuits, marketing and expertise etc • Promotion (7) – better audience understanding and support with promotion potentially as part of a network • Media (7)– higher profile promotion of jazz including in media • Attracting young people (5) • Jazz associations – demystify jazz, more cross artform, call it a new name, promote a wider diversity of jazz • Better funding (4) • Education programmes (4)

Slide 67

Venue survey summary • Low response from pubs, clubs, hotels etc • Majority of responses from ticketed organisations • Not frequent jazz programming • More „traditional‟ types of jazz • Good achieved capacity and perceptions of audience trends • Demand from promoters for more jazz but doubt about demand from audiences • Issues identified match desk research

Jazz Now Final Report April 2011 © The Audience Business

What we now know • • • •

Potential size of market Venues available for jazz Current market size from Source venues Profile of jazz audiences from secondary data & Source venues • Key issues from venue‟s perspective • Research into jazz from UK & International

Slide 70

Key issues identified • A minority attend jazz events • Only a fraction of market potential achieved through Source venues (48k tickets sold out of potential annual attendances of 430k= 11%) • Issues with regularity of product by Source venues; supported by venue survey; potentially impacts on frequency • Also issues with type of product – majority „traditional‟ • Polarised audience profile from Source; supported by anecdotal evidence from venue survey

37

Slide 71

Key questions

Slide 74

• Key questions we still need answered?

Stage 2 methodology • Decisions to be made:

• Who attends free and paid for?

• Demand for more from audiences?

• What type of jazz do people want to see?

• Key questions to be asked • Key segments • Methodology to deliver

• Key segments of the market not fully explored through Jazz Now! Research or literature review

• Methodological options: • • • •

• Free jazz events • Pubs, clubs etc sector • Jazz in non metropolitan Scotland

Slide 72

Slide 75

Data analysis (Mosaic profiling) Depth e-survey to existing customer databases Fieldwork Depth e-survey to attenders identified in fieldwork

Stage 2 methodology • Fieldwork • Initial concept of fieldwork to create the audience benchmark • How best to use the allocation for fieldwork?

• Focus on key segments of the market where least knowledge exists?

Your thoughts?

• Proposed fieldwork methodology • Venues/promoters paid a small fee (£50) to conduct the research • TAB to provide briefing, fieldwork pack and undertake the data analysis

Slide 73

Slide 76

Stage 2 methodology

Stage 2 methodology • • •

Fieldwork questions Maximum number = 5 Core:

•

Optional:

• Email address (for depth survey) & permission • Postcode (to enable Mosaic profiling and mapping) • • • • • • • •

•

Age Gender Paid/ free etc events attended Type of jazz music attended Other music attended Regularity Demand to attend more Sign up for e-marketing

Venue to supply: • Type of music event, type of ticket, time of event, day of event • Total audience size

Jazz Now Final Report April 2011 © The Audience Business

38

Slide 77

Stage 2 methodology

Slide 80

• Objectives

• From the venue survey we have identified:

• Raise profile of project to wider Jazz Community

• 54 venues with box office data or postal database (Mosaic profiling) • 55 venues with e-databases (depth e-survey) • 50 venues who will/may take part in the fieldwork

• Raise awareness and encourage participation in Stage 3 (and potentially Stage 4) • Build opportunity for SJF to build longer term networks for activity delivery

• Action • Information Release - project over view and next steps • SJF agree distribution and follow up • Out W/c 1 Feb – SJF or TAB websites?

• However venues interested in fieldwork may not match the sample criteria

Slide 78

Stage 2 methodology

Slide 81

Stage 3 Participants • Target individual organisations based on agreed criteria to get buy in

• Decisions to be made: • Key questions to be asked • Key segments • Methodology to deliver

Slide 79

Project Update

• Email / phone follow up – engaged organisations • Proactive recruitment of non-engaged organisations in under represented segments eg pubs – phone / email follow up • Supply briefing notes, field work pack • Contact prior to fieldwork • Follow up post fieldwork – data delivery to TAB • Set up email group for ongoing comms

Slide 82

Ongoing Comms • Develop Jazz Now! e-network

Communication Strategy

• • • •

Regular email updates (regularity tbc/ SJF?) Report project results and next steps Engage with Stage 4 activity Disseminate results and best practice

• Develop physical network?

• Showcase and discuss project outcomes • Training?

• Related to ongoing SJF activity – programming, professional development?

Jazz Now Final Report April 2011 © The Audience Business

39

Slide 83

Slide 86

Next Steps

Slide 84

Next Steps • Timeline • • • • • • • • • • • •

Project update Fieldwork recruitment Fieldwork delivery I Analysis Reporting & Stage 4 development Steering Group meeting Stage 4 roll out Fieldwork delivery II Reporting and recommendations Steering Group meeting Evaluation and reporting Final Steering Group meeting

W/c 1 Feb Feb March – May April – June June June June – Sept June - Sept Sept Sept October November

Slide 85

Any other business?

Jazz Now Final Report April 2011 © The Audience Business

40

appendix 2 : stage 2 research June 2010

Slide 3 Project aim

• To address the knowledge gap about jazz audiences and to introduce evidence based initiatives that grow and develop the jazz audience

Slide 1

Jazz Now! Stage two research June 2010

Slide 4 Learnings from stage one • Pubs identified as largest segment of the jazz venue market staging the most regular activity, however no studies looked specifically at free jazz gigs • Venues state „lack of audience demand‟ as the main barrier to more jazz programming • 70% of current jazz attenders would like to attend jazz performances more frequently.

Slide 2 Structure • • • • • •

• • • •

Project aim Learnings from stage one Methodology F2F findings Mosaic profiling The non festival audience – Audience by frequency of attendance Online questionnaire findings The festival audience – Isle of Bute Summary Further research options…

Slide 5 Methodology Face to face interviews at jazz gigs across Scotland

Online questionnaire sent to F2F respondents with email addresses and jazz e-lists from venues

Jazz Now Final Report April 2011 © The Audience Business

41

Slide 6

Slide 9 Methodology •

• •

• •

Short face to face interviews took place at: • 40 gigs • 27 venues • 14 locations Fieldwork over two months (March – early May 2010) 80 venues contacted at this stage • some no longer programmed jazz (12) • No jazz in survey period (6) • Others uncontactable 21 Edinburgh venues, 30 Glasgow venues, 29 across rest of Scotland 849 completed interviews, 456 were then sent online questionnaire

Slide 7

Slide 10 Methodology •

Incentivised in-depth online questionnaire conducted during same time period

•

Link to questionnaire sent to jazz e-lists from participating venues

•

Link also sent as follow up to those providing email address from F2F fieldwork

•

Link sent to 1000s, 160 responses

•

Poor response rate may be due to length of questionnaire or lack of those who consider themselves „jazz attenders‟

Slide 8

Slide 11

Findings

Jazz Now Final Report April 2011 © The Audience Business

42

Slide 12

Slide 15 Fieldwork locations

Start time

ROTHESAY

26%

GLASGOW

Afternoon: 23%

Evening: 77%

22%

EDINBURGH

33%

18%

LIVINGSTON

7%

ARBROATH

27%

5%

DUNFERMLINE

4%

MUSSELBURGH

4%

PERTH

3%

ELGIN

3%

10% ABERDEEN BIGGAR

3%

INVERURIE

2%

2%

2%

1%

21:00

20:30

20:00

19:45

19:30

19:00

17:00

15:00

14:00

13:15

12:00

2%

Base: 797

4%

4%

3%

MILNGAVIE

8%

8%

2%

Base: 797

Slide 13

Slide 16 Type of venues

Frequency of jazz at venue

26%

32%

21% 15% 19%

14%

14%

18%

13%

10%

6%

6%

5% 3%

Arts Centre

Club

Theatre

Hotel

Community facility

Base: 797

Bar/ pub

University/ College

Other Base: 797

Slide 14

daily

weekly

monthly

every few months

1 per year

other

Slide 17 Day of week

Capacity 32% 28%

Minimum Audience size 15 Venue capacity 30 % capacity 9%

19% 17%

Maximum

Mean

400 850 100%

131 281 57%

3% 2%

0% Monday

Base: 797

Tuesday

Jazz Now Final Report April 2011 Š The Audience Business

Wednesday

Thursday

Friday

Saturday

Sunday

Base: 755, 705

43

Slide 18

Slide 21 Capacity

Type of gig (payment method) 7% 16%

Sold out 14%

75 - 99%

12%

73%

15%

50 - 74%

25 - 49% 42%

Less than 25%

21%

Free Base: 705

Paid tickets

Pay on door

Base: 797

Slide 19

Slide 22 Type of gigs

Type of gigs attended

71%

69%

67%

57%

25%

4% No entry charge concert

Base: 788

session

other

Pay on the door

Tickets in advance

Base: 824 Q: Do you ever attend...?

Slide 20

Slide 23 Type of jazz

Main reason for attendance See the specific artist performing tonight

Other

36%

2% See a jazz performance in general

Modern

18%

Regular attender to this venue

4%

11%

See a live music gig Crossover

10%

10%

Regular attender to this session

8%

I know the performer Traditional

7%

22% Spend time with friends

Big band

Wider night out with eating/ drinking Mainstream

Jazz Now Final Report April 2011 Š The Audience Business

3%

2%

32% It's free

Base: 679

7%

Come to this venue

30%

0.4%

Base: 838 Q: What was your one MAIN reason for attending this event today? (select one only). Not all with be applicable to this gig.

44

Slide 24

Slide 27 Size of party Average party size: 2.6 40%

Mosaic profiling 23%

13%

13%

5%

Base: 797

1

2

3

4

5

3%

3%

6

7+

Slide 25

Slide 28 Demand for more?

Group D – Country Lifestyles Donald and Katie – Rural communities and isolated farmers.

79%

11%

Yes

No

Key Features Cars important Work long hours Children at college Farming, forestry Fishing, some tourism Knowledge of Gaelic Rural communities Retired couples Churchgoers Older working couples

10%

11% of households in Scotland 0% of households in Edinburgh

Not sure

Base: 840 Q: Would you like to attend live jazz events more often?

Slide 26

Slide 29 Festival / Non festival

Group E – Urban Sophisticates Ben and Sophie –Young, welleducated singles in city apartments.

26%

Festival Non festival

74%

Key Features Young singles Students Well paid professionals Few children Well educated Stylish suburbs Halls of residences Exploration Individuality Internet

6% of households in Scotland 32% of households in Edinburgh

Base: 797

Jazz Now Final Report April 2011 © The Audience Business

45

Slide 30

Slide 33 Mosaic group

Si

Mosaic type 80%

16%

16% 15%

15%

14%

14%

F26 Downtown Flatlets E20 Studio Singles 60%

11% 11% 10%

D13 Towns in Miniature D14 Rural Playgrounds

10%

10%

B04 Successful Managers 9%

9%

9%

4% 4% 40%

7% 6%

4%

6%

4%

5% 4%

F28 Small Town Pride A01 Captains of Industry C12 Blue Collar Owners

E23 Inner City Transience

4%

B06 Emerging High Status

4%

C10 Songs of Praise

5%

2%

E19 Prestige Tenements

20%

A03 New Influentials B05 White Collar Owners

6%

C11 Ageing in Suburbia A02 Wealth of Experience

7% A Upper Echelons

B Families on C Small Town the Move Property

D Country Lifestyles

E Urban F Town Centre G Renters Now H Low Income I State Sophisticates Singles Owning Families Beneficiaries

J Shades of Grey 7%

Respondents

Slide 31

Scotland

0%

Slide 34

Mosaic group by venue location

Type E23 – Inner City Transience

40%

Tim and Clare - Multi-ethnic sharers of small purpose built flats.

35%

30%

Key Features Young singles & couples Well educated Strong self-image Ambitious Career focussed Hard working Take work home Living for today… …Looking to the future Won’t stay long

25%

20%

15%

10%

5%

0% A Upper Echelons

B Families on C Small Town the Move Property

D Country Lifestyles All respondents

Slide 32

E Urban F Town Centre G Renters H Low Income I State Sophisticates Singles Now Owning Families Beneficiaries Edinburgh

Glasgow

J Shades of Grey

Rothesay

Slide 35

Mosaic group by festival/non festival

Type C11 – Ageing in Suburbia

30%

Stanley and Irene – Owner occupied suburbs with older age groups.

25%

Key Features Theatre and the arts Conservative tastes Savings & investments Semi-detached homes Lively Gardening Plenty of time Empty nest families Grandchildren Middle-aged couples

20%

15%

10%

5%

0% A Upper Echelons

B Families on C Small Town the Move Property

D Country Lifestyles

E Urban F Town Centre G Renters H Low Income I State Sophisticates Singles Now Owning Families Beneficiaries Festival

Jazz Now Final Report April 2011 © The Audience Business

J Shades of Grey

Non festival

46

Slide 36

Slide 39 Type D13 – Towns in Miniature Magnus and Jessie – Rural service centres and inner cores of fishing ports.

• Upper Echelons most likely to attend theatre (23%) • Bar/pub attracts Families on the Move (42%), Small Town Proprietry (39%) and Groups G-J (34%)

Key Features Self reliant Some investment Tight knit communities Highlands & the coast Low incomes & outgoings Churchgoers Knowledge of Gaelic Traditional gender roles Country pursuits Older singles and couples

Slide 37

Most common venue type by mosaic

• Country Lifestyles (29%) and Town Centre Singles (20%) most likely to attend in community facility • Urban Sophisticates most in clubs (28%)

Slide 40

Mosaic type by venue location

Frequency of attendance by mosaic group

100%

Groups G-J

29%

5%

15%

12%

8%

15%

16%

D17 Scenic Wonderland 80%

11% 8% 4%

11%

E20 Studio Singles

F Town Centre Singles

19%

9%

13%

E Urban Sophisticates

19%

10%

12%

16%

16%

16%

10%

D13 Towns in Miniature

once a fortnight once a month

D14 Rural Playgrounds

60%

11% 7%

B04 Successful Managers

22%

19%

12%

14%

17%

7%

E19 Prestige Tenements 5%

8%

5%

2-3 times a year once a year or less often D Country Lifestyles

C12 Blue Collar Owners

40%

6%

25%

23%

today was my 1st time attending jazz

B06 Emerging High Status 8%

6% 9%

11%

E23 Inner City Transience

4%

13%

every few months

F28 Small Town Pride A01 Captains of Industry

4%

20%

once a week or more often

F26 Downtown Flatlets

5%

4%

7%

10%

10%

5%

C Small town proprietry

C10 Songs of Praise

16%

9%

24%

11%

12%

24%

A03 New Influentials

B05 White Collar Owners

4%

C11 Ageing in Suburbia

B Families on the move

9%

20%

10%

27%

17%

12%

A02 Wealth of Experience

11% 6%

3%

0% Edinburgh

A Upper Echelons

Glasgow

19%

11%

20%

14%

15%

15%

7%

Rothesay Base: 107, 106, 99, 71, 91, 68, 119 Q: Roughly how often do you attend jazz events at any venue?

Slide 38

Slide 41

Mosaic type by festival/non festival 90%

80% D17 Scenic Wonderland

8% 70%

F26 Downtown Flatlets 4%

E20 Studio Singles D13 Towns in Miniature

60%

11%

50%

5%

The non festival audience

D14 Rural Playgrounds B04 Successful Managers

40%

30%

8%

4%

E19 Prestige Tenements

4%

F28 Small Town Pride

4%

A01 Captains of Industry

4%

C12 Blue Collar Owners

5%

E23 Inner City Transience

5%

B06 Emerging High Status C10 Songs of Praise

4% 20% 10% 10%

5%

6% 5% 7%

6%

7%

Festival

Non fest

A03 New Influentials B05 White Collar Owners C11 Ageing in Suburbia A02 Wealth of Experience

0%

Jazz Now Final Report April 2011 © The Audience Business

47

Slide 42

Slide 45

Frequency of audience 29% 28%

19%

13%

10%

once a week or more often

regularly

few times a year

once a year or less often

1st timer

Base: 590 Q. Roughly how often do you attend jazz events at any venue?

Slide 43

Slide 46 Fanatic • • • •

Attend once a week or more Venue loyal audience Most likely to know the performer Prefer informal setting – sessions in pubs/clubs that are free/pay on the door • Lowest average ticket price • Prefer traditional and mainstream jazz • Still want more!

Slide 44

Slide 47 Regular Audience by frequency of attendance

Jazz Now Final Report April 2011 © The Audience Business

• Attend 1 to 2 jazz events per month • Prefer mainstream jazz (60%) • Slightly more formal environment preferred – pay on the door / pre-purchased concert • Attend in arts centres (44%) • Higher average ticket price – prepared to pay • Saturday peak – „night out‟ mentality?

48

Slide 48

Slide 51 Occasional

Attendance

• Attend every few months/ 2-3 times a year • Attracted by specific artist rather than venue or timing/day of week • Attend concerts where tickets are purchased beforehand • Mainstream and big band • Arts centre (37%) and theatre (21%) • 2nd lowest average ticket price • Demand for more jazz (89%)

90%

80%

70%

60%

50%

40%

30%

20%

10%

0% once a week or more often

regularly

few times a year

No entry charge

Pay on the door

once a year or less often

1st timer

Tickets in advance

Base: 115, 161, 173, 75, 50 Q. Roughly how often do you attend jazz events at any venue? Do you ever attend...?

Slide 49

Slide 52 Annual • Attend once a year or less • Formal environment - concert where tickets are pre-purchased • Attending to see specific artist • Arts centre (32%) or University/College performances (20%) • Thursday peak • Half went to big band jazz • Willing to pay – special/rare occasion?

Fanatic: reason for attendance regular attender to this venue

26%

to see the specific artist performing tonight

21%

to see a jazz performance in general

14%

regular attender to this session

12%

I know the performer

11%

to see a live music gig

9%

to spend time with friends

4%

for a wider night out with eating/ drinking

2%

to come to this venue

because it's free

2%

0%

Base: 113 Q. Roughly how often do you attend jazz events at any venue? What was your one MAIN reason for attending this event today?

Slide 50

Slide 53 First timer • • • •

Had never attended jazz before Wanted to see specific artist Least demand for more but still high (63%) Prefer formal ticketed concert in arts centre (46%) or theatre (27%) • Thursday to Saturday attendance • 81% saw big band • Highest average ticket price – associate price with quality?

Regular: reason for attendance to see the specific artist performing tonight

25%

regular attender to this venue

23%

to see a jazz performance in general

20%

regular attender to this session

14%

to see a live music gig

7%

to spend time with friends

5%

I know the performer

2%

to come to this venue

2%

for a wider night out with eating/ drinking

because it's free

1%

0%

Base: 163 Q. Roughly how often do you attend jazz events at any venue? What was your one MAIN reason for attending this event today?

Jazz Now Final Report April 2011 © The Audience Business

49

Slide 54

Slide 57

Occasional: reason for attendance to see the specific artist performing tonight

39%

to see a jazz performance in general

21%

to see a live music gig

14%

I know the performer

12%

regular attender to this session

3%

to spend time with friends

3%

regular attender to this venue

3%

to come to this venue

2%

because it's free

1%

for a wider night out with eating/ drinking

1%

Base: 173 Q. Roughly how often do you attend jazz events at any venue? What was your one MAIN reason for attending this event today?

Slide 55

Slide 58

Annual: reason for attendance to see the specific artist performing tonight

44%

to spend time with friends

14%

I know the performer

11%

to see a jazz performance in general

10%

regular attender to this session

8%

to see a live music gig

4%

for a wider night out with eating/ drinking

3%

regular attender to this venue

3%

to come to this venue

because it's free

3%

1%

Base: 79 Q. Roughly how often do you attend jazz events at any venue? What was your one MAIN reason for attending this event today?

Slide 56

Slide 59

First timer: reason for attendance to see the specific artist performing tonight

Gig type 54% 1st timer

to see a jazz performance in general

93%

7%

16%

to see a live music gig

12%

I know the performer

4%

for a wider night out with eating/ drinking

4%

regular attender to this venue

4%

regular attender to this session

4%

to spend time with friends

4%

because it's free

0%

to come to this venue

0%

Base: 59 Q. Roughly how often do you attend jazz events at any venue? What was your one MAIN reason for attending this event today?

Jazz Now Final Report April 2011 Š The Audience Business

once a year or less often

89%

few times a year

83%

regularly

once a week or more often

10%

16%

74%

23%

30%

51%

concert

session

19%

other

Base: 115, 163, 174, 79, 59 Q. Roughly how often do you attend jazz events at any venue? Type of gig

50

Slide 60

Slide 63 Type of gig (payment method)

Demand for more?

88%

1st timer

63%

15%

22%

84% 74% once a year or less often

70%

13%

18%

61%

few times a year

89%

4%

7%

37%

36% 27%

26% regularly 14%

12%

12%

84%

7%

6%

regularly

few times a year Free

Paid tickets

once a year or less often

78%

13%

1st timer

Pay on door

Yes

Base: 115, 163, 174, 79, 59 Q. Roughly how often do you attend jazz events at any venue? Type of gig (cost)

No

Not sure

Base: 59, 79, 174, 162, 115 Q. Roughly how often do you attend jazz events at any venue? Would you like to attend live jazz events more often?

Slide 61

Slide 64 Ticket price Minimum

Maximum Mean

All respondents Free Once a week Free Regular Free

£15 £15 £15

£7.45 £5.19 £8.25

Few times a year Free Once a year Free

£15 £15

£7.73 £8.59

1st

£15

£8.74

timers

Free

Online questionnaire

Base: 146, 211, 264, 147, 74

Slide 62

Slide 65 Day of week by frequency 40%

Sample

39%

once a week or more often

• Two thirds male

regularly 35%

few times a year 34%

once a year or less often

32%

1st timer 30%

• 81% over 45 years old

28%

• 15% have a professional involvement with jazz/music in general

20%

10%

• 20% consider themselves to have „specialist‟ jazz knowledge 0% Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

Sunday

Base: 115, 163, 174, 79, 59

Jazz Now Final Report April 2011 © The Audience Business

6%

5% once a week or more often

once a week or more often

10%

10%

51

9%

Slide 66

Slide 69 Attending with...

Music over social experience

52%

• 93% of respondents stated the music as their main motivation for attending jazz events (as opposed to „the social experience‟).

• Only 15% prefer a social experience where jazz is part of a wider night out, 58% prefer concert style event focused on the performance (rest no preference).

38% 31%

12%

11%

family

meet people I know at gig

group of friends

myself only

partner

one friend

28%

Base: 160 Q. Who do you generally attend jazz events with? (tick all that apply)

Slide 67

Slide 70 Frequency of attendance

Jazz

9%

27%

Attitude to attendance

55%

6%

4%

29%

Music

16%

46%

once a week

regularly

38%

few times a year

once a year

37%

34%

1%

only attended once

Artists I know well

Base: 160 Q. Roughly how often have you attended jazz events in the past 12 months (at any venue)? Q. How often do you attend live music in general?

Recommended/ well reviewed artists

Any jazz regardless of knowledge

Base: 157 Which ONE of the following statements best describes your attitude to attending jazz?

Slide 68

Slide 71 Travel time

Information sources Email from venue

Average stated travel time: 50 minutes

67%

Leaflet/ brochure picked up

54%

Gig guide/ listings picked up

48%

Word of mouth

47%

Direct mail from venue

46%

Adverts in local press 2% 4%

5%

25%

20%

22%

13%

4% 1% 4%

32%

Posters

26%

Articles in local press

26%

Adverts in national press

25%

Jazz website

24%

Radio

20%

Articles in national press

19%

Email from artist

18%

other website

14%

Social networks (eg Facebook) 0%

10% up to 5

20% 6 to 10

30% 11 to 15

16 to 20

Base: 160 Q. On average how far do you travel to attend jazz events?

Jazz Now Final Report April 2011 © The Audience Business

40% 21 to 30

50% 31 to 45

60% 46 to 60

70% 61 to 90

91 to 120

80% 2-3 hours

90% 3 hours+

100%

10%

Direct mail from artist Jazz blogs

8% 3%

Base: 160 Q. How do you hear about the jazz gigs you attend? (tick all that apply)

52

Slide 72

Slide 75 Jazz preferences

Three words...

70%

60%

50%

40%

30%

20%

10%

0% Big Band

Crossover

Free (music type not £!)

Fusion

Latin

Have attended

Mainstream

Modern

Traditional

any type of jazz

Interested in more

Base: 160 Q. Which of the following types of jazz music have you attended in the past 12 months? Which of the following types of jazz music would you be interested in attending/attending more often?

Slide 73

Base: 142 Q: How would you describer the live jazz experience to someone who had never been? What 3 words would you use?

Slide 76 Venue preferences

Be Aw

Encouraging more...

60%

50%

40%

30%

20%

10%

0% pub/ club/ bar

cafe/ restaurant

hotel

community centre/ community venue

Have attended

concert hall/ arts centre/ theatre

open air venue

no preference

Prefer to attend

Base: 157 Q. At which of the following venues have you attended jazz events in the past two years? Q. At which of the following types of venue would you prefer to attend jazz events?

Base: 133 Q: What do you think would encourage more people to attend live jazz events?

Slide 74

Slide 77 Music preferences Jazz

Festival attendance • Over half (51%) of the online questionnaire respondents had attended a jazz festival in the past twelve months • Edinburgh most commonly cited festival • Also Glasgow, Aberdeen, Fife, Dundee, Bute, Peebles, London, Lockerbie and a few international.

49%

Rock / pop

16%

Classical

16%

Blues 1%

Traditional

World

8%

4%

Country & Western 1%

Dance

0%

10%

20%

30%

40%

Attend most frequently

50%

60%

70%

80%

90%

100%

Have attended

Base: 160 Q. Can you tell us if you have ever attended any live music events for the following types of music and which ONE type of music you attend most frequently?

Jazz Now Final Report April 2011 © The Audience Business

53

Slide 78

Slide 81 Festival venues 82%

81%

63% 57%

57% 51%

Hotel

Open air concert

Pub/ bar/ club

Community centre/ community venue

Concert hall/ arts centre/ theatre

Cafe/ restaurant

Base: 77 Q. At which of the following venues have you attended jazz festival events in the past two years?

Slide 79

Slide 82 Type of jazz 34%

The festival audience 23%

Isle of Bute festival

17% 14% 12%

Big band

crossover

mainstream

modern

traditional

Base: 205

Slide 80

Slide 83 Ticket price

All respondents Isle of Bute

Minimum

Maximum Mean

Free £6

£15 £15

£7.45 £9.17

Base: 755, 205

Jazz Now Final Report April 2011 © The Audience Business

54

Slide 84

Slide 87 Frequency of jazz attendance

Summary • Audience profile related to geography rather than behaviour • Clear behavioural trends by frequency of attendance • All current attenders want more jazz, but non attenders key to fill capacity • Pubs/bars not gateway to new attenders, provide volume of activity for keen attenders • New / infrequent attenders are attracted by specific artists

35%

31%

17% 14%

4%

once a week or more often

regularly

few times a year

once a year or less often

1st timer

Base: 205 Q. Roughly how often do you attend jazz events at any venue?

Slide 85

Slide 88 Reason for attendance

Research options

to see the specific artist performing tonight

– Focus on festivals – Build on online questionnaire response for further analysis

17%

to spend time with friends

11%

to see a live music gig

8%

regular attender to this session

6%

to come to this venue

6%

regular attender to this venue

• Qualitative research – Non / infrequent attender perceptions – Focus groups?

5%

I know the performer

for a wider night out with eating/ drinking

• Continue benchmarking

41%

to see a jazz performance in general

• Other music attenders

4%

1%

Base: 205 Q. What was your one MAIN reason for attending this event today?

Slide 86

Slide 89 Demand for more

Audience development scenarios • Music audiences • Festival / Non festival

75%

16%

9%

• Concert phenomenon first timers • Digital activity

Yes

No

Not sure

Base: 205 Q. Would you like to attend live jazz events more often?

Jazz Now Final Report April 2011 © The Audience Business

55

Slide 90

Questions / Comments?

Jazz Now Final Report April 2011 Š The Audience Business

56

appendix 3 : stage 3 research October 2010

Slide 4

Stage one – key findings • Jazz Avid: Attends live music frequently, mainly at jazz (15%) • Jazz Occasional: Occasionally attends live music with jazz more frequent than other styles (9%) • Musical Omnivore: Attends live music frequently but jazz is not their main interest (47%) • Jazz Focused Musical Omnivore: Attends live music frequently with jazz as their main interest (17%) • Dipper: Occasionally attends live music but jazz is not their main interest (9%) • Rare sighting: Rarely attends live music (4%)

Slide 1

Jazz Now! Stage three research October 2010

Slide 5

Clear behavioural trends by frequency: • Fanatics (19%) – once a week or more, venue loyal, prefer informal sessions in pub/club with lowest average ticket price • Regular (28%) – 1 or 2 jazz events per month, higher average ticket price, Saturday peak – „night out‟ mentality • Occasional (29%) – every few months, attracted by specific artists, concert goers (pre-purchase tickets) • Annual (13%) – once a year or less often, formal environment, prepared to pay (highest ticket price) • First timers (10%) – drawn by specific artist, formal ticketed concert, weekend attendance, highest ticket price.

Slide 2 Structure • • • • • • •

Stage two – jazz audience

Project aim Learnings from previous stages Festival audience Potential audience – live music attenders Summary Key issues for discussion Next steps

Slide 6

Stage three • Increase understanding of Scottish jazz festival attenders

Slide 3 Project aim

• Explore other live music attenders‟ potential to attend jazz and attitudes towards the genre

• To address the knowledge gap about jazz audiences and to introduce evidence based initiatives that grow and develop the jazz audience

Jazz Now Final Report April 2011 © The Audience Business

57

Slide 7

Slide 10 Type of jazz attended 40%

35%

30%

Jazz Festival audience

25%

20%

15%

10%

5%

0%

traditional

Big band

modern

crossover

other

Non Festival

Slide 8

Latin

fusion

Slide 11

Festivals included • • • • •

mainstream

Festival

Isle of Bute Jazz Festival Glasgow Jazz Festival Edinburgh Jazz and Blues Festival Edinburgh Festival Fringe Islay Jazz festival

Slide 9

Slide 12 Type of gig 70%

60%

50%

40%

30%

20%

10%

0%

Free

Paid tickets Non Festival

Jazz Now Final Report April 2011 © The Audience Business

Pay on door

Festival

58

free

Slide 13

Slide 16

Group D – Country Lifestyles

Mosaic type 60% 3% 3%

Donald and Katie – Rural communities and isolated farmers.

3% 4% 3% 3%

Key Features Cars important Work long hours Children at college Farming, forestry Fishing, some tourism Knowledge of Gaelic Rural communities Retired couples Churchgoers Older working couples

4% 4%

4%

40%

5% 8%

4% 4% 5%

20%

6% 4% 7%

0%

4% Non Festival

0% of households in Edinburgh

E20 Studio Singles

B04 Successful Managers D13 Towns in Miniature B05 White Collar Owners

A02 Wealth of Experience 5% 6%

D17 Scenic Wonderland E21 Rucksack and Bicycle A03 New Influentials

6%

4%

11% of households in Scotland

C10 Songs of Praise

A01 Captains of Industry C11 Ageing in Suburbia

7% Festival

E19 Prestige Tenements E23 Inner City Transience

-20%

Slide 14

Slide 17

Group E – Urban Sophisticates

E23 Inner City Transience Tim and Clare - Multi-ethnic sharers of small purpose built flats.

Ben and Sophie – Young, welleducated singles in city apartments.

Key Features Young singles Students Well paid professionals Few children Well educated Stylish suburbs Halls of residences Exploration Individuality Internet

Key Features Young singles & couples Well educated Strong self-image Ambitious Career focussed Hard working Take work home Living for today… …Looking to the future Won‟t stay long

6% of households in Scotland 32% of households in Edinburgh

Slide 15

Slide 18 Mosaic group

E19 Prestige Tenements

25%

Jeremy and Kate - Young single professionals and wealthy families.

20%

Key Features Young singles & couples Who‟s Who of Scotland Top professionals No children Cosmopolitan Lifestyle High incomes Educated Intellectual Well informed Arts, cinema & history

15%

10%

5%

0% A Upper Echelons

B Families on C Small Town the Move Propriety

D Country Lifestyles

E Urban F Town Centre G Renters H Low Income I State Sophisticates Singles Now Owning Familes Beneficiaries Non Festival

Jazz Now Final Report April 2011 © The Audience Business

J Shades of Grey

Festival

59

Slide 19

Slide 22 Frequency

Av an

Demand for more

50%

40% Festival

86%

8%

7%

30%

20%

10%

Non Festival

80%

10%

0% Once a week or more often

Regularly

Few times a year

Once a year or less often

First timers Yes

Non Festival

No

Not sure

Festival

Base 592, 724 Q. Roughly how often do you attend jazz events at any venue?

Base 592, 489 Q. Would you like to attend live jazz events more often?

Slide 20

Slide 23 Type of event 90%

50% festival attenders only ticked advance tickets 80% 70%

Potential attenders

60% 50% 40%

Live Music questionnaire

30% 20% 10% 0% jazz events with no entry charge

jazz events where you pay on the door concert style jazz events where you buy tickets in advance Non Festival

Festival

Base 592, 724 Q. Do you ever attend...? (select all that apply

Slide 21

Slide 24 Reason to attend

Potential attenders

to see the specific artist performing tonight to see a jazz performance in general to see a live music gig to spend time with friends I know the performer to come to this venue

regular attender to this venue regular attender to this session because it's free

for a wider night out with eating/ drinking 0%

5%

10% Festival

15%

20%

25%

30%

35%

40%

45%

50%

Non Festival

Base 592, 489 Q. What was your MAIN reason for attending this event today? Select ONE only

Jazz Now Final Report April 2011 Š The Audience Business

60

10%

Slide 25

Slide 28 Mosaic group

Music preferences

45%

60%

Average number selected: 6.2 40%

50%

35% 40%

8% 35%

9%

30% 8%

30%

15%

3%

25% 20%

38%

20%

33% 27% 10%

15%

21%

6%

3%

15%

17%

3%

2%

26%

21%

16%

16%

15% 8%

10%

6%

6%

6%

4%

0%

5%

0% A Upper Echelons

B Families on C Small Town the Move Propriety

D Country Lifestyles

E Urban F Town Centre G Renters H Low Income I State Sophisticates Singles Now Owning Familes Beneficiaries

Live Music (stage 3)

J Shades of Grey Tick all

Jazz (stage 2)

Most often

Base 488. Q: What type of music have you attended in Scotland in the past 12 months? And which of the following types of live music do you attend most frequently?

Slide 26

Slide 29 Mosaic type

Age profile

80% 32% 3% 3% 3% 3%

70%

29% 26%

4%

60%

C12 Blue Collar Owners

4%

G30 Sought After Schemes

5%

5%

B05 White Collar Owners

4%

H34 Quality City Schemes

5%

3%

C11 Ageing in Suburbia

40% 6%

20%

16%

E21 Rucksack and Bicycle

2%

12%

12%

A03 New Influentials

9%

7%

F28 Small Town Pride

2% 2%

E20 Studio Singles

6%

E23 Inner City Transience

6%

E19 Prestige Tenements

20%

5% 2%

4% 10%

16%

F26 Downtown Flatlets

5%

7%

30%

23%

A01 Captains of Industry

4% 50%

18%

3%

Live Music (stage 3)

Jazz (stage 2)

1%

0%

4%

15-17

18-24

4%

25-34

35-44 Music (stage 3)

0%

45-54

55-64

65+

Jazz (stage 2)

Music: Base 503. Q: Roughly how often have you attended live music events in Scotland in the past 12 months (at any venue)?

Jazz: Base 590 Q: Roughly how often do you attend jazz at any venue?

Slide 27

Slide 30 Frequency

Ja su

Average age by genre 45%

36%

Genre

Average age of attender

All music

36 years old

Indie/alternative

29 years old

Folk

35 years old

Classical

40 years old

Jazz

41 years old

29%

28%

19%

13%

12%

10%

4%

once a week

regularly

few times a year Music (stage 3)

once a year or less often

3%

1st timer / not attended

Jazz (stage 2)

Music: Base 503. Q: Roughly how often have you attended live music events in Scotland in the past 12 months (at any venue)?

Jazz: Base 590 Q: Roughly how often do you attend jazz at any venue?

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Slide 31

Slide 34 jazz

indie

• Average age: 41 years old • Strongest male bias although still slight (55%) • With partner (60%), also most common genre to attend alone (32%) • Attended on average 6.5 different genres (2nd most diverse) • Highest arts centre / theatre attendance (65%) • A third consider themselves to have specialist music knowledge (33%)

• • • • •

Slide 32

Average age: 29 years old Attend pub / club / bar environment (90%) With group of friends (71%) Perceived „specialist knowledge‟ of music (41%) Fewest musical variance (on average attend 5.7 genres) • 26% have attended jazz in Scotland in past 12 months

Slide 35 classical

sources of music info 70%

• • • • • •

67%

63%

Strongest female bias (59%) Average age: 40 years old Attend with partner (62%) Highest crossover with other genres (6.7) Concert hall / live music venue (94%) Almost half (49%) have attended jazz in past 12 months

60% 60% 53% 50%

47%

46%

45%

44%

40% 30%

30%

29% 26%

24% 20%

20%

20%

19%

18%

16% 10%

10%

7% 4%

0%

-10%

Base 487. Q: How do you hear about the live music you attend?

Slide 33

Slide 36 folk

sources of music info 80%

• • • •

Average age: 35 years old Attend on average 6.5 genres With group of friends (70%) More likely to attend at festival (57%) or open air concert (36%) • Highest level of music knowledge (45%) • 38% have attended jazz in past 12 months

70%

60%

50%

40%

30%

20%

10%

0% Word of mouth

Email from venue

Gig guide /listings picked up Jazz

Music website Email from artist

Classical

Folk

Posters

Leaflet / Social networks brochure picked (e.g. facebook) up

Indie/alternative

Base 166, 159, 215, 271. Q: How do you hear about the live music you attend?

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Slide 37

Slide 40 main source of music info

motivation to attend

92%

The music

Base 323. Q: What is your main source of information about music?

8%

The social experience

Base 485 Q: What is your main motivation for attending live music?

Slide 38

Slide 41 reasons to attend Other

ever attended live jazz

4% Indie/alternative

Regular night out

33%

34%

17%

17%

17%

17%

16%

To attend a specific venue

19%

Wider night out with eating / drinking

19%

Folk

21%

Classical Because it's free

45%

13%

51%

17%

19%

20%

To spend time with friends

46%

Jazz

General interest in music

67%

To see a live music gig

68%

92%

Total

To see a particular artist

26%

39%

0%

73%

25% Never attended

Base 485 Q: Please can you identify which of the following options are reasons why you attend live music and which one is your main reason for attending?

6% 2%

16%

50%

Up to 12 months ago

19%

75%

Between 1 - 2 years ago

100%

Over 2 years ago

Base 485 , 27, 215, 159, 166 Q: Have you ever attended a live jazz? Q. How long ago did you attend live jazz?

Slide 39

Slide 42 main reason to attend

likelihood to future jazz

90%

Jazz

80%

56%

28%

13%

2%

70%

Classical

60%

36%

28%

18%

13%

5%

50%

Folk

40%

27%

28%

24%

14%

7%

30%

20%

Indie/alternative

21%

25%

26%

16%

11%

10%

0%

Total To see a particular artist

To see a live music gig

Other

To spend time Wider night out Regular night General interest with friends with eating / out in music drinking Total

Jazz

Classical

Folk

Because it's free

Base 166, 159, 215, 271. Q: Please can you identify which of the following options are reasons why you attend live music and which one is your main reason for attending?

Jazz Now Final Report April 2011 Š The Audience Business

26%

28%

23%

14%

To attend a specific venue

Indie/alternative

Very likely

Quite likely

Neutral

Quite unlikely

Very unlikely

Base 172, 173, 222, 268, 484 Q: How likely are you to attend a live jazz event in the future?

63

9%

Slide 43

Slide 46 reasons for not attending Quality of the venues near me

live music

3%

Quality of the jazz on offer

6%

Other

7%

No live jazz in my area

7%

Cost of tickets

13%

Type of jazz on offer

13%

Don't like jazz music

14%

No one else interested in attending

18%

Too busy

19%

Don't know enough about jazz

24%

Prefer to attend other events

37%

Base 147 Q. Why have you not attended a live jazz event in the past 12 months?

Base 446. Q: How would you describe a live music experience to someone who had never been? What three words would you use?

Slide 44

Slide 47 jazz motivators Other

perceptions of jazz 6%

None of these

12%

If it was available at a venue I attend regularly

14%

If it was less expensive

18%

Recommendations from a music publication (online or printed)

19%

If I knew more about jazz music

31%

Recommendations from friends/family

41%

If my friends were going

44%

Base 148 Q. What would encourage you to attend more jazz / attend more often?

Base 100. Q: What would you expect a live jazz experience to be like? What three words would you use?

Slide 45

Slide 48 attitudinal

summary

I actively dislike jazz music 4% 10%

Collaboration with artists from other genres would attract me to go see jazz music

I'd be most likely to go to see live jazz in a ticketed, concert style environment

I'd like to know more about jazz

Slightly agree

15%

19%

9%

20%

24%

36%

Slightly disagree

8% 5%

24%

33%

39%

Neutral

• Festival attenders

57%

45%

16%

When it comes to live music, I'd try anything once

Strongly agree

13%

32%

35%

12%

12%

10%

8%

– Different profile to non festival – Potential to encourage attendance at non festival

• Live music attenders – Strong differences across genres – Perception of live jazz experience

10% 6%

Strongly disagree

Base 481 Q: Please rate your agreement with the following statements...

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Slide 49 Key issues for discussion • • • • • • • • • •

TAKING PART COMPARISON

Jazz attender benchmark Potential attender profiles Festival audiences The jazz experience Type of jazz Music ecology Attendance versus provision Price resistance myth Engagement with Artist Engagement with Venue

Slide 50 Next steps • • • • •

Dissemination of information Promoters Forum Key issue summaries for website Written report?

Post forum project work

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appendix 4 : promoters forum presentation

Slide 4 research • At live jazz events throughout Scotland including festival and year round events (current audience) • More in depth with current jazz attenders (current audience) • Online research with live music attenders (potential audience)

Slide 1

Jazz Now!

Slide 5 the jazz audience

Slide 2

• Fanatics (19%) – once a week or more, venue loyal, prefer informal sessions in pub/club with lowest average ticket price • Regular (28%) – 1 or 2 jazz events per month, higher average ticket price, Saturday peak – „night out‟ mentality • Occasional (29%) – every few months, attracted by specific artists, concert goers (pre-purchase tickets) • Annual (13%) – once a year or less often, formal environment, prepared to pay (highest ticket price) • First timers (10%) – drawn by specific artist, formal ticketed concert, weekend attendance, highest ticket price.

Intro – Jazz Now! What is Jazz Now! • Commissioned by SJF • Funded by Creative Scotland • Delivered by The Audience Business Objectives • Supply research to fill a knowledge gap about current Scottish Jazz audiences • Create a robust benchmark and profile for current audiences • Develop test marketing initiatives to develop potential audiences for Jazz

Slide 6 the price myth

Slide 3

Intro – these sessions Now • Overview results from cumulative research process • Summary of significant issues & targets arising from research Next • Review and discuss key areas for potential marketing and audience development project delivery

Jazz Now Final Report April 2011 © The Audience Business

fanatics

regulars

occasional

annual

first timers

Base: 115, 163, 174, 79, 59 Q. Roughly how often do you attend jazz events at any venue? Type of gig (cost)

66

Slide 7

Slide 10 Music preferences Average number selected: 6

Base 488. Q: What type of music have you attended in Scotland in the past 12 months? And which of the following types of live music do you attend most frequently?

Slide 8

Slide 11 potential audience

the current jazz attender • Average age: 41 years old • Strongest male bias although still slight (55%) • With partner (60%), also most common genre to attend alone (32%) • Attended on average 6.5 different genres (2nd most diverse) • Highest arts centre / theatre attendance (65%) • A third consider themselves to have specialist music knowledge (33%)

Scottish population – 5.2 million

2,129,540 attended a music event in last 12 months (41%)

745,339 mainly attend indie / alternative

170,363 mainly attend jazz

319,431 mainly attend classical

Sources: Scottish Government Statistics, Taking Part, Jazz Now

Slide 9

Slide 12 Age profile

classical • • • • • •

Strongest female bias (59%) Average age: 40 years old Attend with partner (62%) Highest crossover with other genres (6.7) Concert hall / live music venue (94%) Almost half (49%) have attended jazz in past 12 months

Music: Base 503. Q: Roughly how often have you attended live music events in Scotland in the past 12 months (at any venue)?

Jazz: Base 590 Q: Roughly how often do you attend jazz at any venue?

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Slide 13

Slide 16 indie / alternative

sources of music info

• • • • •

Average age: 29 years old Attend pub / club / bar environment (90%) With group of friends (71%) Perceived „specialist knowledge‟ of music (41%) Fewest musical variance (on average attend 5.7 genres) • 26% have attended jazz in Scotland in past 12 months

Base 487. Q: How do you hear about the live music you attend?

Slide 14

Slide 17 motivations to attend

sources of music info

• 93% of jazz attenders stated the music as their main motivation to attend jazz events (as opposed to „the social experience‟)

• 92% of live music attenders stated the music as their main motivation to attend live music events.

Base 166, 159, 215, 271. Q: How do you hear about the live music you attend?

Slide 15

Slide 18 audience diversity

main source of music info

• The current jazz audience is more socioeconomically diverse than other live music audiences • Festival and year round jazz events attract a different audience.

Base 323. Q: What is your main source of information about music?

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Slide 19

Slide 22 reasons for not attending

Demand for more

Base 147 Q. Why have you not attended a live jazz event in the past 12 months?

Slide 20

Base 592, 489 Q. Would you like to attend live jazz events more often?

Slide 23 jazz motivators

likelihood of future jazz

Base 148 Q. What would encourage you to attend more jazz / attend more often?

Slide 21

Q: How likely are you to attend a live jazz event in the future?

Slide 24 attitudinal

Base 481 Q: Please rate your agreement with the following statements...

Jazz Now Final Report April 2011 Š The Audience Business

three words... jazz

Base: 142 Q: How would you describer the live jazz experience to someone who had never been? What 3 words would you use?

69

Slide 25

Slide 28 three words ... jazz

1. Target „Indie Explorers‟ Why? Because…

• there are LOTS of them • 46% are „likely‟ to attend jazz • they represent a younger audience missing from jazz How many? 225,000 potential attenders How do we reach them?

• social networking? fusion events? event ambience? challenge perceptions of jazz?

Base 100. Q: What would you expect a live jazz experience to be like? What three words would you use?

Slide 26

Slide 29

2. Target „Classical Crossover‟ Why? Because…

• they are the most similar to jazz attenders • the majority (64%) would be „likely‟ to attend jazz How many? 90,000 potential attenders How do we reach them? existing mailing lists? cross-promotion at other music events? traditional promotional methods?

Jazz Now! Recommendations

Slide 27

Slide 30 Recommendations

3. Building Relationships

Based on the research, we recommend three priority areas for jazz audience development.

1.

Target ‘Indie Explorers’

Jazz Now Final Report April 2011 © The Audience Business

2.

Target ‘Classical Crossover’

3.

Build Relationships

Why? Because…

• high demand from festival audience to attend jazz year-round • Some current practices in jazz marketing are not the best fit with potential attenders What do we do?

• Start dialogue with new audiences?

New methods of marketing? Word of mouth?

Enhanced promotion by musicians?

70

Slide 31

Slide 34 Over to you

What next?

In pairs with your neighbour…

Based on the research, we recommend three priority areas for jazz audience development.

1.both identify one question or observation arising from the research (5 mins) 2.Write these down on stickies and post it on a flipchart 3.Take a break …and see what others have written!

4.When you come back, sit down in three groups (see list for your group)

Slide 32

1.

Target ‘Indie Explorers’

2.

Target ‘Classical Crossover’

3.

Build Relationships

Slide 35 Discussion: Ground Rules • All ideas have value, avoid 'idea-killer' language; it is possible to disagree without denigrating.

• Make sure all group members contribute their ideas and opinions.

• No long stories, try to be succinct.

• Limit (or no) side conversations.

• Don't start evaluating ideas during a brainstorming session.

• Listen to understand - let people finish their thoughts.

• Speak for yourself.

• Don't interrupt each other.

Jazz Now! Welcome back

Slide 33

Slide 36

Jazz Now!

Jazz Now!

Issues from the previous session

Plenary Session

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appendix 5 : stage 2 project proposal

STAGE I - RESOURCES AS FINAL PART OF RESEARCH PROJECT 1. Research Resource – Jazz Now! Benchmark Summary of key findings from research and benchmarking with more detailed fact sheets covering key areas of interest including: audience profiles, mapping, marketing impact; music genre cross over etc will be produced as a resource and uploaded onto the SJF website, available to all SJF promotes and partners.

2. Key Issues Notes Key issues notes –common themes drawn out at the Forum eg data (protection, collection, sharing) will be address either as notes for further discussion, How To Guides (see below) and as elements of action research projects (see below).

3. How To Guides How To Guides currently being developed for the Jazz Services website will be available through links from the SJF website. These will be reviewed and will be augmented / contextualised for the Scottish marketplace where required, rather than creating from scratch.

Available in the New Year (following Jazz Services timeline exact dates tbc) STAGE II – AUDIENCE DEVELOPMENT ACTION RESEARCH PROJECTS

8. Promoters Network - Marketing and network support Objectives – to help meet highland / rural / touring promoter support objectives Existing Promoters Network Development PAN (and NEAT) Have sounded out PAN to explore helping their network of promoters to work with SJF to expand jazz promotion to their venues and audiences. Jennie Macfee Current Director, and Former Chair PAN & an active Highland promoter keen to talk further and noted that William Wilson who had attended the SJF Forum was behind the idea.

Outputs   

Support SJF build network with PAN [0.5 days] Scoping meeting - Audience information /mapping & briefing [1.5 days + £100] Analysis repurposed and resources developed for SJF & PAN to develop circuits and support promoters [2 Days]  Tip sheets  Touring marketing blueprint (update PAN existing information) [2.5 days] *Evaluation – Budget as part of long term CS funding*

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9. Promoter Best Practice Case Study Objectives – work with active promoter to test various elements including digital marketing and support to increase breadth of touring promotion to create case study to use with other promoters.

Potential promoter - Bridge Music (2 cities to date and interested in widening network) Outputs Support esp digitally in Ed / Glasgow with view to mentoring and partnering promoter(s) beyond the central belt to develop touring circuit and grows skills, market etc    

Scoping meeting [1 Day – TAB & Inner Ear] Digital strategy development [1 day – Inner Ear] Delivery – project budget for promotion on test tour, especially digital eg regional digital advertising, cross music etc [ £1.5K] Evaluation & Documentation [2 days]

10. DATA I - Data Collection / Protection Objectives – To fill knowledge gap within the sector & increase volume of data collection Outputs –   

Tip sheets – Scottish context. Venues without BO Systems & free events focus. [1 day] Work with test venues to trial best practice eg Glasgow / Aberdeen (Blue Lamp) / other rural [ 6 days – 3 x venues including set up, training, monitoring & follow up] Evaluation & documentation [2 days]

11. Data II – Data Sharing Objectives – to promote joint working and audience cross over and growth SJF lead sector to broker joint working around best practice within data protection guidelines and shared audience growth objectives.

Outputs –



Tips sheets – covered above create best practice paper to support SJF brokering [0.5 day ] Test 1. - Festivals and year round venues eg Aberdeen, Glasgow & Edinburgh. To capitalise on Jazz Festival data capture to build audiences for year-round jazz events.

SJF to broker data sharing, TAB to facilitate sharing (create branded templates for 3rd parties to send, etc.) and advise on legal and best practice. [3 days – 1 day per test]



Evaluation [1 day]



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12. Shared Social Media Project Objectives – test digital platforms to deliver better listings and communications services to existing and new audiences Public facing resource outwith the SJF site with shared ownership between promoters (light touch admin). 3 possible platforms – Facebook, Google events, Eventbrite. Can encourage cross over between music genres and can include musicians input.

Outputs         

Scoping - reviewing best platform and existing models [1 day] Proposal – develop and present to SJF [1 day] Set up & test [2 days] Communications to promoters with SJF [0.5] Training live - key players [1 day] Training digital – wider promoters [0.5] Moderation – evaluation SJF time Project budget – eg Facebook advertising & trial geographically based advertising / special interest [£1k] Evaluation - promoter review & digital users [3 days]

13. Musicians Forum Support Objectives – to bring musicians up to speed with audiences and marketing opportunities.

As part of SJF Musicians Forum or as separate SJF session.

Outputs –     

Mini audience presentation [1.5 days] Digital presentation – tailored to musicians [1.5 days Inner Ear tbc] Case study – UK musician successfully working digitally (Geoff Wright example) [£250 max time and travel] Case study with Scottish musician – Inner Ear develop plan with musician & implement eg advertising and blogging during process [1.5 days & £500 implementation] Evaluation of case study and documentation (in addition to Musician‟s blog) [1.5]

14. Music Genre Crossover Marketing Objectives – to develop case studies for cross selling within and between organisations.

Extension of data sharing above.

Potential Partners – Usher Hall & Queens Hall with aim of the case study being transferable to other venues with multiple music types eg Eden Court Outputs  

Scoping & developing – including with partners [1day] Analysis – segmenting audiences to pinpoint likely crossover, propensity to take musical risks & try new genres. Review over multiple music types – jazz, classical, folk, indie, world & traditional where relevant [2 days]

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 

Implementing – digital where possible [£250 plus additional budget from partners] Evaluation and documentation [2 day

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Š The Audience Business