London Metropolitan Orchestra.
A seated hall buys differently.
A classical ticket sales campaign at Cadogan Hall. Same method. A different audience, a different price point and a different curve.
Classical isn’t a club night.
A longer consideration window. People plan a concert-hall evening. They check the programme, the soloist and who they’re going with. Purchases spread further back from the date.
An older, broader audience. Fewer impulse buys from a feed, more considered decisions. Creative and targeting have to respect that.
A higher ticket price. Higher prices mean planned purchases, so the curve rises more gradually than a gig. The final weeks still matter, but the run-in carries more weight.
Gradual, then firm.
What we set up.
Pages and pixels claimed
The Facebook Page and Instagram profile were claimed and verified, then brought under one Meta business portfolio, so the event has a single clean home for its data instead of a scatter of half-owned assets.
Event listings
Event listings were set up and kept current, so people who register interest in the show are captured as an audience before tickets move.
Customer audiences
Ticket-buyer and website-visitor lists were turned into custom audiences, so the first money spent reaches people already close to buying rather than strangers.
Conversions API
Server-side purchase reporting was connected, so purchases blocked in the browser still reach Meta and reporting matches the ticketing export.
Purchase events
Campaign objectives were set to the one event that fills seats: a real ticket purchase, not a page view or a link click.
Data-led phasing
Budget was phased against the modelled buying curve rather than a flat weekly spend, with the heaviest weight on the run-in to the hall.
Results to follow.
Sell-through and cost per ticket will be published here once the figures are confirmed with the client.
Selling a seated show?
The curve is different. The method holds. Send us your last export.
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