From musical debuts to immersive sci-fi experiences, escape rooms to classical-meets-contemporary ballet, the On Sale Live community really packs a punch when it comes to representing the broadest spectrum of live entertainment that audiences can choose from. And in the ongoing battle for attention, which of the experiences currently on offer to audiences are selling out time and time again, and why are others needing to rely more heavily on establishing a pattern of repeat business?

These were some of the questions explored at the second edition of On Sale Live, as a panel of experts, chaired by BlooLoop director Ruth Read, explored the concept of cultural fashion within the experience economy. From shifting audiences and a rising demand for live experiences, through to the economic backdrop and consumer spending shifts, the panel debated what resonates and translates into that all-important booking.

The power of imagination

The relentless bad news cycle and challenging economic climate were cited as key factors leading to audiences craving a heightened level of escapism. And in line with that, experiences providing a complete suspension of reality have the opportunity to court the crowds looking to escape the pressures of such uncertain times. It’s certainly a factor that Bridge Command, the immersive spaceship experience, is looking to leverage, according to creative associate and marketing manager Arathi Suresh, who explained that: “we invite people to come in and be a better version of themselves.”

And the escapism starts with the imagination, added Manu Braff, founder of independent entertainment company Stage Magic. Inviting the audience to “consider the dinosaurs,” he pointed out how much relies on an audiences’ capacity for their imagination, before adding that the next consideration then becomes how to create the appropriate experience. From a VR-based experience, to a walking attraction, or a museum, he referenced the various iterations that can be created around one theme, drawing on the fact that how a child may wish to experience something via movement or drawing will be completely different to how an adult may wish to explore it but crucially, both are relevant.

Stories that endure

While it’s difficult to pinpoint exactly when term ‘immersive experience’ became a recognisable form of live entertainment, the soaring popularity of immersive theatre by the likes of Punchdrunk ensured that from 2000 onwards the term has steadily been adopted across a wide range of experiences. The panel warned that as a result, the term immersive has become somewhat fatigued due to its overuse, covering fully immersive theatre shows through to art projections on a wall.

A popular bet seemed to be exploring stories that endure. Jamiel Devernay-Laurence, founder and CEO at Fundamentally Dance and founder and artistic director of Ballet Nights described the importance of ‘legacy works.’ By identifying stories from the past, and placing them alongside newer works, the audience potential is magnified. “There’s a way to do this for those that may feel ballet is a historic thing. By putting legacy works next to new voices there’s a demand on both sides.”

And finding stories that stand the test of time and continue to fascinate generations can in turn be a key indicator of what brings people together, added Stage Magic’s Braff. “When you look at something like Titanic, a moment where so many people died, it still brings people together”. Bringing real-life stories to generations that didn’t get the chance to see it can work at a global level too, he explained, referencing The Simon & Garfunkel Story, the international hit show that fuses projected photos, original film footage and a live band score to document the meteoric rise of the musical duo.

Make it seamless

When it comes to marketing strategies for selling tickets in the summer of 2026 and beyond, and how best to attract consumers in a climate of financial pressures and adapt to the time-poor nature of many target audiences, the panel agreed that simplicity was key. As J. Park Denning, global operations SVP at TodayTix Group, explained, “it has to be a seamless mobile experience. If you give people the option to put the phone down, they will, so it really needs to be seamless on purchase.”

The onsale and how to engage with customers once the purchase is made is key, as is working with venues and local partners that can also ensure a sell-out. Discussing Ballet Nights, Devernay-Laurence added that the business considered ‘three pillars’ to be integral to its sales success, citing digital performance, venues and then regional and local knowledge.

And while so much importance in marketing an experience is given to the ‘hero’ or ‘Instagrammable’ moment, audiences want substance over spectacle when deciding what to purchase. Crucially, what a marketer may deem the memorable moment may not tally with what the audience take as their moment, and what they choose to share with their friends.

Innovative futures

Looking to the summer ahead, the panel were candid about rapidly changing audience behaviours, and the need to innovate to stay ahead. Discussing how marketers don’t need to chase trends yet can be inspired to design their experiences according to shifts in behaviours, Devernay-Laurence described a growing interest in artist meet-and-greets and audiences wanting to make connections.

Bridge Command’s Suresh felt that chasing too many demographics was unrealistic and that experiences need to be comfortable with not appealing to everyone. Quipping that her gran wouldn’t enjoy the spaceship experience, she stated that “you have to be intentional in some demographics and I’m not going to spend a lot of money on those that won’t come.” She shared that the attraction boasts a 30% return rate and appeals to those who like sci-fi, Star Trek, immersive experiences or world building.

However, TodayTix Group’s Park Denning argued in the battle for attention, businesses can’t become complacent: “you cannot rest on your laurels, you need to attract new audiences and not merely rely on current audiences and repeat trends. You need to embrace all the channels to find your new audience, and it could come from an entirely different place.”

Co-authored by Dawn Farrow and Yasmin Arrigo