| Course | BMB 630 The Business of Music Marketing |
|---|---|
| Module | Module 2 |
| Paper type | graduate assignment segmenting a music venue's customers with purchase data |
| Length | About 1,030 words, 6 pages |
| Format | APA 7 student paper |
| School | Southern New Hampshire University |
| Program | MBA in Music Business |
| Updated | October 2026 |
Free sample paper for BMB 630 Module 2
Ticket Buyer Segmentation Analysis
[Student Name]
Southern New Hampshire University
BMB 630: The Business of Music Marketing
Module Two Assignment
[Instructor Name]
[Date]
The organization, setting and figures below are a composite written as a model document. No real employer, client, colleague or patient is described.
Ticket Buyer Segmentation Analysis
Introduction
The venue sells tickets through a ticketing company that provides buyer data for every purchase: name, email, postal code, date, show, ticket count and amount paid. For this analysis, the venue exported every purchase from July 2022 to June 2025, about 112,000 transactions by about 48,000 unique buyers. The purpose is to divide those buyers into segments that behave differently, measure each segment's size and value, and decide which segments to target in the coming season. The analysis follows the principle that past purchase behavior is the best available guide to future purchases.
Method
Each buyer was scored on three measures. Recency is the number of months since the last purchase. Frequency is the number of separate shows attended in three years. Monetary value is total spending on tickets. Fader et al. (2005) show that recency and frequency together predict future purchasing well, which makes these simple measures more useful than they appear. Each buyer was also assigned a primary genre, based on the shows they attended most, from five categories the venue uses for booking: indie and alternative, hip-hop and R&B, country and Americana, electronic, and comedy and spoken word. Buyers were then grouped by combining the scores and genre, and each group was checked for size and distinct behavior.
The Five Segments
Ticket buyer segments, July 2022 to June 2025
| Segment | Buyers | Share of buyers | Share of ticket revenue | Average annual spend | Main channel |
|---|---|---|---|---|---|
| Regulars, five or more shows a year | 2,900 | 6% | 31% | $310 | Email and venue app |
| Genre loyalists, two to four shows a year in one genre | 6,700 | 14% | 24% | $105 | Email, genre social accounts |
| Big-show buyers, one show for a well-known act | 23,000 | 48% | 26% | $33 | Ticketing site, paid social |
| Lapsed, no purchase in 18 months | 10,600 | 22% | 11% | $29 | Email, low open rate |
| Side-room discoverers, mostly 250-capacity shows | 4,800 | 10% | 8% | $48 | Instagram, local press |
Regulars are the venue's core: they buy early, often bring friends and attend shows across genres, trusting the venue's booking. Genre loyalists follow a style of music and respond to announcements for that genre. Big-show buyers are numerous but come for an artist, not the venue, and most do not return. Lapsed buyers once attended but have drifted away. Side-room discoverers attend small shows of emerging artists and are the youngest segment, with a median age about seven years below the others.
The segments also differ in timing and price sensitivity. Regulars buy a median of 41 days before a show, often at presale, and rarely use discount codes. Genre loyalists buy closer to the date, a median of 18 days, and respond strongly to announcements of artists they already know. Big-show buyers either buy in the first hour of the public on-sale or in the final week, which makes them the segment most exposed to resale and to dynamic pricing. Side-room discoverers buy late, often on the day of the show, and are the most sensitive to price, since side-room tickets average $15. These differences matter for the timing of messages as much as for their content.
Segment Value
Estimated over the next three years, the regulars are worth about $2.7 million in ticket revenue and roughly the same again at the bar, since regulars spend more on drinks. Genre loyalists are worth about $2.1 million. Big-show buyers are worth about $2.3 million in total but only about $100 each, because few return. Lapsed buyers contribute little unless reactivated. Side-room discoverers are worth only about $700,000 today but represent the venue's future regulars, since many of today's regulars began in the side room. Kotler and Keller (2016) emphasize that targeting decisions should weigh both current value and growth potential, and the side room shows why.
Targeting Recommendations
The venue should target regulars first, with a loyalty program offering early access, member presales and occasional free shows, since keeping them is worth more than any other effort. Genre loyalists come second, with genre-specific email lists and social accounts so that each loyalist hears about every show in their genre. Side-room discoverers come third, with offers that invite them to a main-room show by an artist who has grown from the side room. Lapsed buyers should receive a reactivation test, a single offer to a sample of 2,000, to see whether reactivation is worth pursuing. Big-show buyers will still be reached through each artist's own promotion and paid advertising, but the venue will not build its marketing around them.
How Buyers Move Between Segments
Following buyers across the three years shows how segments feed each other. Of the 2,900 current regulars, about 38 percent first bought a ticket to a side-room show, and another 27 percent began as genre loyalists who widened their range. Very few regulars began as big-show buyers, which suggests that a famous act brings people through the door once but rarely creates attachment to the venue. Movement in the other direction is also visible: about 9 percent of buyers who were regulars in the first year had become lapsed by the third, often after moving away or after the venue raised fees in 2023.
This movement changes how the venue should judge marketing spending. Money spent on side-room audiences looks unprofitable in the short run but is the main route to the venue's most valuable customers, while money spent attracting big-show buyers produces revenue for one night and little afterward.
Limitations
The data identify buyers, not attendees: one buyer often purchases several tickets, so segments include more people than the counts show. Genre assignments are approximate for buyers who attend many genres. And the data cover only three years, which may understate the loyalty of long-time patrons. Lemon and Verhoef (2016) point out that customer experience includes touchpoints that purchase data cannot capture, such as how a fan felt at the show, which future surveys could add.
Conclusion
Three years of ticket data divide the venue's audience into five segments with very different value. Regulars, a small group, produce nearly a third of ticket revenue, and side-room discoverers are the source of future regulars. The venue should focus on these and on genre loyalists, test reactivation of lapsed buyers and let artists' own promotion carry most big-show sales.
References
Fader, P. S., Hardie, B. G. S., & Lee, K. L. (2005). RFM and CLV: Using iso-value curves for customer base analysis. Journal of Marketing Research, 42(4), 415-430. https://doi.org/10.1509/jmkr.2005.42.4.415
Kotler, P., & Keller, K. L. (2016). Marketing management (15th ed.). Pearson.
Lemon, K. N., & Verhoef, P. C. (2016). Understanding customer experience throughout the customer journey. Journal of Marketing, 80(6), 69-96. https://doi.org/10.1509/jm.15.0420
What the BMB 630 Module 2 instructions ask for
The Module Two assignment in BMB 630 asks you to segment the audience of a music business and choose target segments. You may be given customer data, survey results or a case description, and you are expected to choose segmentation variables, define distinct and measurable segments, describe each one's needs and behavior, assess their value and recommend targets. Strong papers use behavioral data such as purchase history where available, because what people buy predicts what they will buy better than demographics alone. Graders look for segments that are large enough to matter, different enough to justify different marketing and reachable through channels the business controls. A short explanation of how each segment would be found in the data again next year also helps.
How this BMB 630 Module 2 audience segmentation assignment example is built
The paper uses three years of ticketing data covering about 48,000 buyers. Each buyer is scored on recency, frequency and monetary value, and genre preference is added from the shows they attended. Five segments result: regulars, 6 percent of buyers producing 31 percent of ticket revenue; genre loyalists, 14 percent; big-show buyers who attended once for a well-known act, 48 percent; lapsed buyers with no purchase in eighteen months, 22 percent; and side-room discoverers, 10 percent. A table gives each segment's average annual spend, preferred channel and estimated value. The paper recommends targeting regulars and genre loyalists first, then converting side-room discoverers, with a reactivation test for lapsed buyers.
Where the BMB 630 Module 2 rubric puts the points
The rubric for this assignment usually scores choice and justification of variables, segment definition and measurement, segment profiles, evaluation of attractiveness, targeting recommendations and presentation. Top papers explain their method so it could be repeated, give each segment a size and value, show how segments differ in behavior and channel use, and justify targets by value and the business's ability to serve them. They also note data limitations, such as buyers who attend but did not purchase their own tickets, and they show how segments shift over time. Papers lose credit for demographic segments with no link to behavior, for segments without numbers, and for targeting everyone.
BMB 630 Module 2 help: the mistakes that cost points
Students often segment by age and gender because those fields are easy, but for a music business, behavior tells you more: how often people buy, how recently and what kind of music. Use those variables first and add demographics only if they sharpen a segment. Give every segment numbers, including size, share of revenue and average spend, so the reader can judge its value. Remember that one buyer may purchase tickets for friends, which can understate how many people a segment includes. Finally, make targeting choices rather than describing all segments as important; the point is to decide where to spend effort, and to say what the business will stop doing for the segments it does not target.
Get BMB 630 Module 2 written to your instructions
Send the BMB 630 Module 2 assignment and a description of your customer data. The paper will set out the method, define segments with sizes and value, and recommend which to target and how. Ready in about two days; a first paper is free. The paper above is an original model document written by our desk, not a submitted student paper and not an official Southern New Hampshire University document.
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BMB 630 Module 2 questions, answered
Where can I find a free BMB 630 Module 2 Audience Segmentation sample?
This page offers the complete BMB 630 Module 2 segmentation of a Richmond music venue's 48,000 ticket buyers.
What is RFM analysis?
A method that scores customers by how recently they bought, how often they buy and how much they spend, used to identify the most valuable customers and those at risk of leaving.
How should a music venue segment its audience?
By purchase behavior and genre preference first, such as frequency of attendance and the kinds of shows people choose, then by channel habits and location.
Why target regular customers in music marketing?
Because a small share of frequent buyers usually produces a large share of revenue, and they are cheaper to reach and more likely to respond.
What makes a market segment useful?
It is measurable, large enough to be worth serving, reachable through available channels and different enough from others to justify different marketing.