Corinne Lefebvre
In France, where culture thrives and innovation meets tradition, a new book by French industry expert Corinne Lefebvre offers a masterclass in ticketing, marketing, promoting and selling the experiences that bring audiences to the heart of live events. Launched on Nov. 28 with much excitement, “The Ticket Office” sets the stage for a deep dive into the strategies and stories behind building unforgettable customer connections. The book features 30 interviews with ticketing and live performance specialists, adding depth and insight throughout.
“In this book, I aim to share everything I have learned through my diverse experiences, both as a sales manager for cultural institutions and as a project manager for leading ticketing solution providers,” Lefebvre says. “I have compiled everything I wish I had found in a single book throughout my professional journey, as well as the insights I now share in the training sessions I lead, particularly for the Centre National de la Musique (CNM) and bill-a (a training organization dedicated to ticketing and guest services professionals, which Lefebvre founded three years ago). This book offers practical methods that have proven invaluable to me and continue to guide my professional practice.”
Lefebvre continues, “This guide is designed for ticketing professionals and anyone working in related fields such as communication, marketing, sales, public relations, audience development and guest services. It does not focus solely on the technical aspects of ticketing. Through seven main sections, we delve into the entire chain of cultural offering commercialization: French regulatory fundamentals, audience strategies, sales approaches, selling techniques, operations, setting up performance indicators and activity management.”
Distilling the 320 pages of her book into a single key takeaway is no easy task, admits Lefebvre. Still, she captures its essence by explaining that it “highlights how ticketing management is a 360-degree activity, positioned at the crossroads of multiple critical areas: diversification and democratization, sales and distribution, communication and customer relations, as well as performance indicators and operational management.”
She says, “The French context, while unique, offers universally valuable insights. For instance, regulations concerning public venues, the General Tax Code, and the Consumer Code are specific to France but may be of interest to those looking to enter our market. The General Data Protection Regulation (GDPR), which governs data across the EU, also provides a framework of best practices for European professionals. Marketing strategies often originate from Anglo-Saxon countries, but we bring our own French touch to the field. Finally, customer relationship management, along with the particular sensitivity we apply in our approach, is a universal concept that could inspire professionals worldwide.”
Over the past two decades, Lefebvre has solidified her expertise by holding almost every position related to ticketing, spanning cultural institutions and organizations. This includes lille3000, Bourse de Commerce–Pinault Collection, Mucem, Centquatre and the Olympics to software providers Ressources SI, Satori Billetterie (now See Tickets), Vivaticket and SECUTIX.
Her career reflects a deep commitment to learning, adapting and supporting industry professionals in an ever-evolving field. Yet, for many years, Lefebvre hesitated to add the title of author to her long list of accomplishments. Today, she is the first woman with an operational background in ticketing to have written about the subject.
“It was while writing my grandfather’s memoirs three years ago — which enjoyed modest success within our family — and following the suggestion of the CNM, who believed I was the ideal person to write this book, that I gained the confidence I lacked. My experience in designing detailed training programs also provided me with a solid foundation, already validated by hundreds of participants.”
Lefebvre’s connection with CNM dates back more than 10 years, to when she first met Jérôme-Paul Hazard through Eddie Aubin, another ticketing professional.
“At the time, we were working on creating a state-recognized certification for the role of ticketing manager — a dream of mine that remains, despite the administrative complexities involved in achieving it,” Lefebvre explains. “Today, Jérôme is in charge of training programs at the CNM. Recognizing the importance of ticketing in the music industry, he reached out to me three years ago to design and lead a training series titled ‘Regulations, Legislation, and Marketing of Ticketing Systems.’ I continue to deliver this training twice a year for the CNM.”
Lefebvre adds, “When the CNM decided to publish a book on ticketing, Jérôme put my name forward. I then collaborated with the incredible team at CNM’s publishing division: Anne-Sophie Bach, who led the project; Pauline Garrone, the true maestro behind the scenes; and Marine, who brought it all together in production. Thanks to their support, patience and kindness, this first experience writing a professional book became a collective success.”
Readers will discover how ticketing and marketing are deeply interconnected, with one unable to function effectively without the other. “Even though cultural products are unique and possess an almost sacred dimension in their creation, once on the market, they fall under the logic of sales and commerce, like any other product. And there is nothing shameful about that,” Lefebvre says. “However, due to the specific nature of cultural products and the direct and sensitive relationship they create with the audience, the same methods used in other sectors cannot be applied without adaptation.”
She continues, “In France, marketing strategy is often overlooked because the ‘show must go on’ mindset leaves little time to take the necessary step back to anticipate and improve sales actions. Moreover, analysis of results is almost nonexistent: only attendance and revenue are examined, which is a very narrow approach to evaluating such a complex activity.”
When it comes to creating meaningful connections with attendees and audiences, the book delves into strategies that go beyond transactions, as Lefebvre explains: “Audiences should always be at the heart of our concerns, even when an event is temporary. Ticketing represents the final human connection between the artists, the event and the audiences. In a context dominated by digital technology, the relationship with audiences paradoxically becomes even more crucial, regardless of the communication channel used. Yet, this relationship is often sidelined because we are too busy managing various tools and racing against time. And yet, human connection remains the key to audience acquisition and retention.”
For those looking to enter or work in the market, Lefebvre’s book offers insights into the various players marketing cultural offerings in France, categorizing them in broad categories and by whether the sale is direct or indirect. It highlights distributors and resellers specializing in culture, tourism or corporate sales; explores the secondary market; and details the distribution contracts governing the delegation of primary and secondary sales.
To Lefebvre’s knowledge, this is the first book to dedicate a single chapter to the diverse roles in ticketing within cultural institutions and those at software providers, suppliers and distributors. “The ticketing professions within cultural institutions are already little known and rarely recognized, so imagine the situation with service providers,” she explains. “This section [of the book] aims to break stereotypes: ticketing jobs are not just about selling or checking tickets, and digital tools don’t configure themselves. On the service provider side, the tasks are just as fascinating and often better paid.”
Other chapters cover an in-depth look at structuring a price list and why an organization’s brand image is essential, among other topics. “The cultural landscape in France is highly competitive, with an overwhelming abundance of offerings. Institutions often struggle to retain their audiences and make their programs stand out in a saturated environment. In other sectors, audiences tend to form a strong attachment to a brand, its history, and its values. This is still lacking in France. However, our history is rich, and each institution has its own unique characteristics. It is precisely these qualities that can make the difference between two similar programs.”
Lefebvre's book explores ticket sales, emphasizing the continued importance of transacting through physical ticket counters, which are essential for resolving disputes on-site and for selling tickets that cannot be purchased online.
“In France, digital illiteracy is not a myth, and online sales are still not fully accessible to people with disabilities,” she explains. “Eliminating physical sales means excluding a significant portion of the population, which goes against fundamental rights, particularly Article 27 of the Universal Declaration of Human Rights, which states, ‘Everyone has the right to freely participate in the cultural life of the community, to enjoy the arts, and to share in scientific advancement and its benefits.’”
If Lefebvre could share one message with ticketing professionals around the world, it would be: "Be proud of your profession. You are the final and irreplaceable human link between an artistic program and its audiences."
She continues, “Many solutions and innovations are emerging in the field. The profession has never been as technological, although paradoxically, many tasks are still carried out manually, often in a makeshift manner. I would like to add that in 2024 and for the years to come, every innovation should serve, not enslave, humanity. Every new technology should be scrutinized through the lens of the planet, [as well as] people before profit.”
Editor’s Note: Hard copies of “The Ticket Office” are available for purchase through CNM’s online store. Currently, no digital version is available, but an English translation could be considered if there is sufficient demand.
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