Fighting the Touts: How Twickets Took a Stand Against Ticket Resale Greed
Opinions expressed by Entrepreneur contributors are their own.
You're reading Entrepreneur United Kingdom, an international franchise of Entrepreneur Media.
"As a team we were sick of the profiteering in ticket resale," he says. "But we weren't sure whether enough event goers believed the same way, and whether there was a business in capping resale prices at face value."
Twickets, founded in 2011, started not as a tech platform but as a Twitter account, @Twickets, where users could post spare tickets for sale - so long as they didn't charge more than face value. "As luck would have it, there was plenty of inventory to share to our followers, and we very quickly reached 10,000's of followers," Davies says. That early traction gave him and his team the confidence to invest in building out a full trading platform. Today, Twickets has evolved into a web and app-based service where buyers and sellers can exchange tickets safely, with the company acting as a trusted intermediary.
But Twickets wasn't just solving a problem for fans. The team quickly realised that inflated resale prices were hurting the live events industry itself. "If event goers spend more on their tickets to a gig / festival etc then they'll have less money to buy tickets to future shows, on merchandise or even food and drinks at the venue," Davies explains. "So everyone was losing out other than the ticket touts."
This insight became the foundation of Twickets' growth strategy. Rather than compete with industry stakeholders, they partnered with them. "We approached hundreds of artists, comedians, venues, festivals and even box offices to be their official resale partner," says Davies. "Receiving their endorsement meant not just a seal of authenticity but also a rapidly growing stream of inventory hitting our platform."
Now a profitable and recognised player in the live entertainment world, Davies is also vocal about the lessons he's learned from past ventures - particularly when it comes to funding. "I learned from one of my previous start ups that wherever possible stay away from PE / VC funding, and keep control of your business," he says. "It's something I applied to Twickets and fortunately we've only ever had to take a small amount of investment... from high net worth individuals who can also help grow our business."
His advice to UK startup founders? Keep it lean and grounded: "Test your concept as much as you possibly can before you launch. And when you're finally ready to go, start small and focused, looking to grow steadily and sustainably." And most importantly, he adds, "Where you can, either self-finance or seek investment from those you trust, in order to stay in control of your business."
Twickets' success may not have come from disrupting an industry with flashy tech or aggressive VC backing - but in standing up for fairness and long-term trust. It turns out, that's a business model that fans and founders alike can believe in.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
15 minutes ago
- Yahoo
Report: Liverpool weigh £30m sale as Brentford and others show interest
Ben Doak and Liverpool's £30m Opportunity: Smart Business or Short-Sighted Sale? Transfer Turbulence Around Young Talent Liverpool's summer activity has been relentless, with deals flowing in and out of the club in rapid succession. The latest transfer spotlight, however, is fixed on 19-year-old Ben Doak, a name that barely registered with the casual fan last summer but now finds himself a £30m-rated target for a trio of Premier League clubs. Advertisement Per the Hounslow Herald, Brentford are keen to add Doak to a growing collection of ex-Liverpool talent, having already secured the signatures of Caoimhin Kelleher, Sepp van den Berg and Fabio Carvalho over the past two summers. But they're not alone. Crystal Palace and Brighton have reportedly entered the fray, a development that significantly strengthens Liverpool's hand. Sale May Fund Big-Name Targets Liverpool's motivation is clear. While they've already welcomed Jeremie Frimpong from Bayer Leverkusen and bid farewell to Trent Alexander-Arnold and Kelleher, bigger targets are on the radar. Chief among them is Florian Wirtz. Liverpool to recoup funds to help fund Wirtz and more. With the club still engaged in talks over Milos Kerkez and potentially a striker, Doak's sale could serve a broader strategic purpose. His potential may be considerable, but in a summer of reshaping, even promising youth might be considered expendable to fund marquee arrivals. Market Value and Timing Work in Liverpool's Favour Doak's value, and the timing of this interest, place Liverpool in an advantageous position. Ipswich Town had tried in January, but the Reds didn't want to sell. The mood seems to have shifted, and rightly so. The competition between Brentford, Brighton and Crystal Palace all but guarantees a fee close to the full £30m. Photo IMAGO Given that Doak's 2024/25 campaign was hampered by injury after a strong loan stint at Middlesbrough, it's a bold valuation—but not unrealistic. There's enough performance data, promise and Premier League readiness to justify it, particularly in a summer when even mid-table clubs have serious money to spend. Development Versus Immediate Value Selling Doak would be another sign that Liverpool are prioritising short-term gains and proven quality over longer-term squad depth and player development. That may be a calculated risk worth taking, but it will only pay off if their reinvestments—particularly in the Wirtz deal—yield immediate returns. Advertisement It's a recurring theme under Fenway Sports Group: buy low, develop smart, and sell high. In this case, it might be more about selling smart and buying elite. Our View – Anfield Index Analysis There's no doubt Ben Doak has something about him. Pacey, direct, and fearless—he looks every inch a player suited to Arne Slot's dynamic football. His performances at Middlesbrough hinted at serious potential, and despite injury setbacks, most Liverpool fans would have liked to see him get a proper run in the first team before decisions are made. That said, £30m is no small change for a player who's still largely unproven at Premier League level. If that money helps secure someone like Florian Wirtz, a generational talent who could redefine Liverpool's attacking play, then it becomes more palatable. But it always stings to see homegrown or carefully scouted youth sold on just before they might explode. Advertisement Brentford, Brighton and Palace are all clubs with smart recruitment and solid coaching. If any of them land Doak, he'll probably thrive. The worry then is hindsight. If he becomes a star elsewhere, fans will question why we didn't show more patience. Still, given the bigger picture and financial pragmatism required to stay competitive in the modern game, this looks like a sale Liverpool can afford to make—but only if they get the rest of their summer business absolutely right.
Bloomberg
20 minutes ago
- Bloomberg
ECB's Schnabel Says Now Is Right Time to Boost Role of Euro
European Central Bank Executive Board member Isabel Schnabel sees a favorable moment now to strengthen euro's global role as investors turn to Europe. There's a 'window of opportunity' to increase the international role of the euro, she said in a question to a panel at the 31st Dubrovnik Economic Conference on Saturday.
Yahoo
29 minutes ago
- Yahoo
'I Don't Understand You': Nick Kroll, Andrew Rannells movie inspired by adoption fraud story from filmmakers
While Nick Kroll and Andrew Rannells voice some pretty hysterical characters in Big Mouth, they're now sharing the screen in the horror-comedy I Don't Understand You (now in theatres). Written and directed by married filmmakers David Joseph Craig and Brian Crano, the movie had a particularly interesting starting point. In I Don't Understand You Kroll and Rannells play a couple, Dom and Cole, who have just fallen victim to adoption fraud, but things are looking up. A pregnant woman named Candace (Amanda Seyfried) thinks they're the right fit for the family to adopt her child. But just before that happens, Dom and Cole take a romantic Italian vacation. Things take a turn when they get lost outside of Rome, trying to find a restaurant. As their stranded in an unknown location, the trip turns to bloody Italian chaos. As Craig and Crano identified, the first portion of the movie, up until the couple gets stuck going to the restaurant, is quite close to the real experience the filmmakers had. "We were adopting a child. We had been through an adoption scam, which was heartbreaking, and then had a completely different experience when we matched with the birth mother of our son," Crano told Yahoo. "But we found out that we were going to have him literally like two days before we were going on our 10th anniversary trip." "And we were like, 'Shit, should we not go?' But we decided to do it, and you're so emotionally opened up and vulnerable in that moment that it felt like a very similar experience to being in a horror movie, even though it's a joyful kind of situation." A key element of I Don't Understand You is that feeling of shock once the story turns from a romance-comedy to something much bloodier. It feels abrupt, but it's that jolt of the contrast that also makes that moment feel particularly impactful to watch. "Our sense of filmmaking is so ... based on surprise," Craig said. "As a cinephile, my main decade to go to are outlandish '90s movies, because they just take you to a different space, and as long as you have a reality to the characters that are already at hand, you can kind of take them wherever." "Personally, the situation of adoption was a constant jolt [from] one emotion to another that we felt like that was the right way to tell a story like this, which was literally, fall in love with a couple and then send them into a complete nightmare. And I think you can only get that if you do it abruptly, and kind of manically." While Rannells and Kroll have that funny and sweet chemistry the story needs, these were roles that weren't written for them. But it works because Crano and Craig know how to write in each other's voices so well, that's where a lot of the dialogue is pulled from. Additionally, the filmmakers had the "creative trust" in each other to pitch any idea, as random as it may have seemed, to see if it could work for the film. "When you're with somebody you've lived with for 15 years, there is very little that I can do that would embarrass me in front of David," Crano said. "So that level of creative freedom is very generative." "We were able to screw up in front of each other a lot without it affecting the rest of our day," Craig added. Of course, with the language barrier between the filmmakers and the Italian cast, it was a real collaboration to help make the script feel authentic for those characters. "All of the Italian actors and crew were very helpful in terms of being like, 'Well I feel like my character is from the south and wouldn't say it in this way.' And helped us build the language," Crano said. "And it was just a very trusting process, because neither of us are fluent enough to have that kind of dialectical specificity that you would in English." "It was super cool to just be watching an actor perform a scene that you've written in English that has been translated a couple of times, but you still completely understand it, just by the generosity of their performance." For Craig, he has an extensive resume of acting roles, including projects like Boy Erased and episodes of Dropout. Among the esteemed alumni of the Upright Citizens Brigade, he had a writing "itch" for a long time, and was "in awe" of Crano's work as a director. "Truthfully, in a weird way, it felt like such a far off, distant job, because everything felt really difficult, and I think with this project it just made me understand that it was just something I truly love and truly wanted to do," Craig said. "I love the idea of creative control and being in a really collaborative situation. Acting allows you to do that momentarily, but I think like every other job that you can do on a film is much longer lasting, and I think that's something I was truly seeking." For Crano, he also grew up as a theatre kid, moving on to writing plays in college. "The first time I got laughs for jokes I was like, 'Oh, this is it. Let's figure out how to do this,'" he said. "I was playwriting in London, my mom got sick in the States, so I came back, and I started writing a movie, because I was living in [Los Angeles] and I thought, well there are no playwrights in L.A., I better write a movie.'" That's when Crano found a mentor in Peter Friedlander, who's currently the head of scripted series, U.S. and Canada, at Netflix. "I had written this feature and ... we met with a bunch of directors, great directors, directors I truly admire, and they would be like, 'It should be like this.' And I'd be like, 'Yeah, that's fine, but maybe it's more like this.' And after about five of those Peter was like, 'You're going to direct it. We'll make some shorts. We'll see if you can do it.' He just sort of saw it," Crano recalled. "It's nice to be seen in any capacity for your ability, but [I started to realize] this is not so different from writing, it's just sort of writing and physical space and storytelling, and I love to do it. ... It is a very difficult job, because it requires so much money to test the theory, to even see if you can." But being able to work together on I Don't Understand You, the couple were able to learn things about and from each other through the filmmaking process. "David is lovely to everyone," Crano said. "He is much nicer than I am at a sort of base level, and makes everyone feel that they can perform at the best of their ability. And that's a really good lesson." "Brian literally doesn't take anything personally," Craig added. "Almost to a fault." "And it's very helpful in an environment where you're getting a lot of no's, to have a partner who's literally like, 'Oh, it's just no for now. Great, let's move on. Let's find somebody who's going to say yes, maybe we'll come back to that no later.' I'm the pessimist who's sitting in the corner going, 'Somebody just rejected me, I don't know what to do.' ... It just makes you move, and that's very helpful for me."
