We’re excited to announce an official partnership between DynamO Pricing and TRG Arts, bringing together intelligent dynamic pricing technology and three decades of arts and culture expertise.

Through the partnership, DynamO becomes TRG Arts’ preferred dynamic pricing solution, making our technology available to TRG’s global client base.

The partnership gives arts and culture organisations access to pricing technology that responds automatically to real demand, while operating within the pricing parameters and objectives set by each organisation.

Combining sector expertise with intelligent pricing technology

TRG Arts has spent more than 30 years helping arts and culture organisations use data and demand management to strengthen financial sustainability, grow audiences and make more informed commercial decisions.

DynamO adds the technology to put those strategies into action throughout the sales cycle.

Rather than relying solely on static prices or periodic manual changes, DynamO continually responds to changes in demand. Each organisation sets their pricing strategy and boundaries, and the platform operates within them.

As Jill Robinson, Chief Executive of TRG Arts, explains:

"We chose to partner DynamO Pricing for its proven, data-driven platform, built by a cross-disciplinary team of developers, data scientists, and economists specialising in pricing. Their approach aligns naturally with our own, combining evidence, analytical rigour and intelligent automation to help organisations optimise their pricing ethically and effectively. Having already delivered results across sports, live events and attractions, the platform gives arts and culture organisations the benefit of demand intelligence shaped by multiple industries, while ensuring they remain firmly in control of every pricing decision.”

Early results from the partnership

TRG Arts clients have already begun adopting DynamO’s automated pricing, with revenue uplifts – additional ticketing revenue generated by dynamic pricing, versus that generated by static pricing – of 12 to 30%.  

For us, these results reinforce the potential of bringing together sophisticated demand strategy and technology that can respond as buying behaviour develops.

The objective is not simply to increase prices. Arts and culture organisations often need to balance revenue with affordability, attendance, access initiatives and wider audience goals. Dynamic pricing gives organisations another tool for finding that balance, responding to periods of both stronger and softer demand within their chosen pricing framework.

Bence Marosi, CEO and co-founder of DynamO Pricing, says of the partnership:

“Arts and culture organisations should not have to choose between their audiences and their financial health. TRG Arts brings three decades of trusted counsel to this sector, and our platform brings the technology to act on that counsel in real time.”

Expanding our work across arts and culture

The partnership builds on DynamO’s growing work with theatres, festivals, venues and other cultural organisations across Europe and the US.

It also marks an important next step in making intelligent, automated pricing more accessible to organisations across the sector.

We’re excited to work alongside TRG Arts and its clients around the world, combining sector expertise, data and technology to help cultural organisations make smarter pricing decisions.

Want to see what DynamO could deliver?

Send us 12 months of sales history and we’ll model your potential revenue uplift, free of charge. Get in touch through our contact form or email info@dynamopricing.com.

DynamO Pricing has been named Disruptor of the Year at the 2026 Ticketing Business Awards.

In the same evening, Leon Gray, Head of Ticketing and Audience Experience at Edinburgh International Festival, received the Movers and Shakers Award.

The awards recognise leadership and innovation across the global ticketing industry. Taken together, the two wins reflect a shared approach: using pricing not only to drive revenue, but to support access, inclusion and audience development.

DynamO Pricing: Disruptor Award

DynamO was built around a specific challenge in ticketing: the assumption that revenue growth and affordability are inherently at odds.

That assumption is the reframing at the core of DynamO’s approach. Pricing strategies have historically forced organisations into compromise. Increasing yield has often meant excluding price-sensitive audiences, while prioritising access has required absorbing financial risk.

Under CEO Bence Marosi’s leadership, DynamO was designed from day one to dismantle that trade-off, using dynamic pricing to support affordability, inclusion and audience growth alongside stronger financial performance.

DynamO’s results in 2025 were achieved with no up-front platform costs to clients and through an onboarding process measured in days, not months.

By removing the heavy up-front fees and long implementation timelines that have traditionally defined the category, DynamO has opened up sophisticated dynamic pricing to organisations that previously couldn’t access it, supporting long-term financial sustainability.

Edinburgh International Festival: Movers and Shakers Award

With a pioneering ticketing approach and dynamic pricing powered by DynamO, Edinburgh International Festival 2025 achieved its highest ticket sales percentage in over a decade, with more than 88% of all tickets sold, while deepening its commitment to inclusivity and accessibility.

The programme featured its first (sold-out) dementia-friendly concert, and the festival offered its highest-ever number of discounted tickets to D/deaf, disabled and neurodivergent audience members. Half of all tickets were priced at £30 or less.

The 2025 Festival demonstrates the tangible impact a strategically implemented ticketing transformation can have, driving commercial performance while meaningfully broadening access.

This success was led by Leon Gray, Head of Ticketing and Audience Experience, whose approach positioned ticketing as a strategic tool for audience development rather than a purely transactional function. Inclusion and affordability were embedded into planning from the outset, shaping income and attendance targets and integrating concession pricing directly into revenue and capacity projections. Access was treated not as an add-on, but as a core consideration within the Festival’s financial and operational decision-making.

A central part of the transformation was the move to a new dynamic pricing platform with DynamO. As a non-profit, Edinburgh International Festival depends heavily on ticket income, but Leon was clear that price could not become a barrier for price-sensitive audiences, a balance DynamO is committed to with clients across live entertainment sectors globally.

“Ticketing is one of the most direct levers we have for opening the Festival up to new audiences, and we wanted a pricing approach that reflected that. Working with DynamO, we were able to respond to demand and protect our financial position without compromising on access. The result is the strongest sales performance in more than a decade, achieved alongside our most ambitious year yet for inclusive and affordable ticketing.” — Leon Gray, Head of Ticketing and Audience Experience, Edinburgh International Festival

DynamO enabled the Festival to respond intelligently to demand while protecting affordability, achieving its strongest ticket sales performance in over ten years.

A shared approach

The partnership between DynamO and Edinburgh International Festival reflects a shared view: pricing is part of a wider system that connects revenue, access and audience development, not a trade-off between them.

We’re grateful to The Ticketing Business Awards for recognising this work.

“Recognition like this matters because of what it points to. Pricing has too often been framed as a choice between revenue and audience. Our work with partners like Edinburgh International Festival shows that the choice is a false one, and we’re grateful to share this moment with a team that has demonstrated exactly that.” — Bence Marosi, CEO, DynamO Pricing

Find out more

Whether you are a festival, theatre, concert hall, arts centre, museum or cultural venue, DynamO supports smarter ticket pricing for the culture sector through data-led, transparent and adaptable dynamic pricing.

If you’re interested in discovering how DynamO Pricing could help your organisation increase revenue and fill empty seats, get in touch using our contact form or email info@dynamopricing.com. We’d love to hear from you.

Pál Danyi, Chief Research and Development (R&D) Officer at DynamO, has spent more than three decades at the intersection of artificial intelligence and pricing strategy. His career spans telecom, tourism, consulting and academia, with a PhD in artificial intelligence and tenure with leading global organisations including Ernst & Young and Magyar Telekom. This experience now forms the backbone of DynamO’s pricing engine.

He has also co-authored two books, Modern Pricing (2021) and Pricing For Strategic Managers (2025), both reflecting the central idea behind DynamO: pricing in the 21st century must be data-driven, audience-focused and ethical. 

For arts organisations, theatres, festivals and live entertainment venues across the UK, this approach supports smarter ticket pricing, stronger attendance and more sustainable revenue growth.

The data behind the prices

DynamO’s pricing algorithm is a demand-based system designed for cultural events, live entertainment and venues of all sizes.

Pál explains, “Based on sales figures and 30+ other parameters, we predict the demand for events and recommend prices accordingly.”

These parameters include: 

• Venue capacity and configuration
• Event type and genre
• Day of the week and seasonality
• Matinee vs. evening performance
• Audience composition (children vs. adult mix)
• Star power and media impact
• Sales velocity patterns
• Sales period length

This makes DynamO a powerful dynamic pricing solution for theatres, performing arts venues, museums, festivals and cultural organisations looking to improve their ticketing performance.

“We have different algorithms for small venues under 100 seats, for medium-sized venues of 300 or 500 seats, and for large arenas and festivals,” Pál says. “Genre is also very important. The purchasing behavior of theatrical audiences is completely different to that of comedy, concert and sports audiences, for instance.”

Sports events often sell 40-50% of tickets in the final days before the event, while a West End production with a famous name attached will typically generate most sales earlier on in the sales cycle.

Seasonal effects, such as Christmas, as well as audience composition, are also factored into recommendations. The sales curve for a pantomime, for example, which goes on sale far in advance, will be very different to that of a non-seasonal production with tickets on sale much closer to the event itself.

“Our algorithm adapts to these different sales curves and can provide accurate predictions for different types of genres and different days,” he adds

As such, DynamO’s algorithm isn’t universally applied. It recognises structural differences in demand curves and adjusts recommendations accordingly. This differentiation is what separates DynamO from generic dynamic pricing tools. 

“It is not a one-size-fits-all engine: it is a context-aware pricing system,” Pál summarises.

For organisations searching for dynamic pricing software for arts and culture, this context-led approach is especially valuable in sectors where organisational mission, audience development and affordability all matter.

Adaptive goal management

In the early stages of DynamO’s development, most clients defined a single primary goal - usually revenue maximisation. Over time, this evolved.

Today, the algorithm supports changing and layered objectives, such as:

• Maximising attendance during early sales phases
• Switching to revenue optimisation as demand strengthens
• Balancing bums-on-seats and profit for longer sales cycles
• Managing risk in short campaigns versus 6-month sales periods

“The two major goals are filling seats and maximising revenue,” Pál says. “But these goals may change over time, and our algorithm can follow these changes.”

The system dynamically adjusts pricing logic as priorities shift. This is especially important for:

• New productions with uncertain demand
• Emerging artists
• Experimental programming

For new shows with low sales figures, “Of course we can drop prices, but it’s important that they don’t fall too dramatically - because the majority of the audience may come later.”

Different pricing strategies also apply depending on how quickly a venue wants to react to demand signals, and the length of a sales period.

“We have different pricing strategies depending on how fast the client wants to react,” he says. “A one-year sales period has completely different characteristics than a 30-day sales period. Our algorithm can adapt to each.”

“This goal-sensitivity allows clients to treat pricing as a strategic instrument, rather than a reactive tactic.”

Transparency by design

We believe that pricing should strengthen audience trust - not undermine it.

An important pillar of DynamO’s system is transparency and control.

“Sometimes there are scandals in the news that certain shows have skyrocketed prices,” Pál notes, alluding to Oasis-gate. “Control is an important pillar of our approach, and we have designed various features to avoid such surges.”

For DynamO, the 'best' price prioritises both audiences and organisers, with prices both decreasing and increasing. A balanced approach is crucial to protecting this relationship.

“We help clients in their communication with audiences and customers, to help them understand how and why the prices change each day,” he adds.

With minimum and maximum price caps, and alignment with industry best practice, at DynamO ethical dynamic pricing isn’t a marketing slogan - it’s a structural commitment.

In fact, when dynamic pricing is embedded into a ticketing strategy from the outset, it can be an invaluable tool to support organisational mission. 

For example, after switching to DynamO from another provider, Edinburgh International Festival 2025 achieved its highest ticket sales percentage in over a decade, with over 88% of all tickets sold - while also doubling down on its commitment to inclusivity and accessibility. 

Not only did the programme feature its first (sold out) dementia-friendly concert, the festival also offered its highest ever number of discounted tickets to D/deaf, disabled and neurodivergent audience members, with half of all tickets priced at £30 or less – proving that commercial viability and organisational purpose can and should work hand-in-hand. 

Scaling with confidence

One of the clearest demonstrations of DynamO’s robustness is its ability to aid event scaling. The algorithm supports:

• Demand pacing management
• Revenue optimisation across expanding capacity
• Controlled risk when moving into larger venues

“In many cases, DynamO has enabled clients to scale up a show,” Pál shares. “If a production has been successful in a 300 or 400 seat venue, we can scale it up to 2,000 seats.”

In one standout example, a stand-up comedy show expanded from a 300-seat venue to an 18,000-seat arena.

“Scaling up is something producers are typically afraid of because they consider it risky,” he says. “But using our dynamic pricing solution, it’s not a risk anymore.”

For organisers, this transforms pricing from a constraint into an enabler of growth.

This demonstrates how dynamic ticket pricing for arts organisations can support both revenue generation and cultural access - a key priority for many UK venues, events and institutions.

Intelligent, ethical pricing

DynamO’s pricing engine is the product of:

• 30+ years of AI research and academic study
• Tried and tested pricing strategies and implementation across global industries
• Continuous refinement based on real-world event data

“Our primary goal is always understanding our clients and fully meeting their needs,” Pál says.

“At its heart is a simple conviction: pricing should reflect demand intelligently, serve clearly defined goals, and maintain audience trust.”

That is the philosophy guiding DynamO - and the reason its algorithm continues to scale alongside its clients across culture, sports and live events.

Find out more

Whether you are a theatre, festival, concert hall, arts centre, museum or cultural venue, DynamO supports smarter ticket pricing for the UK arts sector through data-led, transparent and adaptable dynamic pricing.

If you’re interested in discovering how DynamO Pricing could help your organisation increase revenue and fill empty seats, get in touch using our contact form or email info@dynamopricing.com. We’d love to hear from you.

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