The Season Is Dead. Long Live the Show.
Why PACs Must Ditch the Subscription Model to Survive the On-Demand Era
For decades, performing arts centres (PACs) and symphonies built their business models around “the season.” It was neat. Predictable. Fundable. A full lineup announced in spring, subscriptions sold by summer, curtains up by fall.
But here’s the thing: audiences don’t live in seasons anymore.
Just ask Live Nation. Their latest Q1 earnings revealed a modest dip in U.S. arena shows — but that’s not the headline. Look closer, and you’ll find $5.4 billion in deferred concert revenue, up 24% year-over-year. Fans aren’t pulling back; they’re just waiting for the right moment to say yes. Stadium bookings are up 60% this summer. People are still showing up — they’re just showing up on their own terms.
Meanwhile, across the nonprofit arts sector, the news is grim:
Attendance is down 11% since the pandemic
Corporate giving is down 80%
Subscription revenue has dropped a staggering 68%
Off-Broadway productions have been halved
At the root of all this? A rigid commitment to a model that may no longer serve us: the season subscription.
The Season Model: Built for Institutions, Not Audiences
The idea of the season emerged from a 20th-century need: operational predictability. When people subscribed to 5–7 shows at once, PACs could:
Forecast attendance
Allocate resources
Secure upfront revenue
Report success to funders
But today’s patrons don’t want packages. They want options. They want immediacy. They want relevance. And more importantly — they’ve been trained by Netflix, Spotify, and Ticketmaster to expect an on-demand experience.
Even some of Broadway’s most reliable season ticket holders are defecting. They're not anti-arts — they're anti-commitment.
One Show at a Time: The Rise of the Fluid Buyer
In a world of last-minute social plans and algorithmic discovery, audiences no longer plan six months in advance. Data from Spektrix and TRG Arts backs this up: single-ticket buyers now drive the majority of transactions for most regional theatres and arts presenters. In fact, in many cities, the majority of tickets are now sold within 10–14 days of a performance.
So why are PACs still insisting on pushing subscription renewals every spring like it’s 1998?
Because for many, the season is still tied to:
Board expectations
Donor communications
Legacy print schedules
Grant cycles
Institutional tradition
But nostalgia doesn’t pay the lighting bill.
The Opportunity in Change: Learning from For-Profit Entertainment
Let’s look at how the for-profit world is moving forward:
Dynamic Pricing & Demand-Based Scheduling
Live Nation, AEG, and even indie promoters are optimizing showtimes, adjusting pricing based on demand, and scaling runs based on pre-sales — not boardroom guesses made a year in advance.
Rolling Announcements, Not Season Drops
Streaming platforms don’t announce all their 2025 content in one press release. Why do we? A rolling slate allows for real-time relevance and flexibility, especially with guest artists and current events.
Audience-First UX
Buying a single concert ticket online is seamless. But many PAC websites still require patrons to “build a subscription,” create a login, confirm a code, and print a PDF. Who has time?
What a More Adaptive Model Could Look Like
It's time to unbundle the season. Here’s what the future might hold:
1. Rolling Programming Calendar
Rather than locking in a full 10-month lineup, PACs could announce and promote shows on a rolling 3- to 4-month basis, giving marketing teams more agility and artists more room for creative risk.
2. Membership, Not Subscription
Instead of traditional fixed-seat subscriptions, offer flexible memberships — think perks, discounts, and early access for a low annual fee. Let patrons build their own experience.
3. Real-Time Pricing Tools
Leverage platforms like Ticket Track Pro, Priceless.AI, or StellarAlgo to forecast demand and adjust prices dynamically — while still offering early-access price locks for loyal patrons.
4. Micro-Series and Curated Bundles
Offer limited-run “micro-series” (e.g., a three-show jazz pass or a women-in-theatre spotlight) that reflect interest clusters, not calendar constructs.
5. Data-Driven Engagement
Use AI-powered CRM tools to recommend shows based on individual preferences, not general segments. Think Netflix's “Because You Watched...” — for PACs.
What’s Really Holding Us Back?
Let’s be honest — it’s not the audience that’s clinging to the season model. It’s us.
Board members who equate success with subscription numbers.
Marketers too constrained by static print deadlines.
Funders who expect linear planning cycles.
Leadership teams afraid to challenge a model that has "always worked."
But the evidence is clear: it’s not working anymore.
The Path Forward
If we want the performing arts to not just survive, but thrive, we must be as bold with our business models as we are with our programming. That means:
Designing around the patron experience, not internal convenience
Embracing real-time decision-making, not year-long timelines
Allowing marketing to be agile, responsive, and user-focused
Making space for spontaneity — the way live performance is meant to be
The “season” was built for a different time. And we’re not in that time anymore.
So let’s stop trying to make audiences fit the model — and build a model that fits the audience.
