The cultural sector finds itself at a pivotal crossroads. As funding landscapes become increasingly challenging, cultural enterprises are recognising that commercial focus is no longer optional but essential for sustainability. This paradigm shift formed the foundation of a compelling panel discussion at the Cultural Enterprises Conference, chaired by James Berzins, CEO of TXGB, featuring industry experts Catherine Warrilow (Founder at The Plot), Nick Hall (CEO at Digital Tourism Think Tank) and Janet Uttley (Head of Industry Development at VisitEngland).
The discussion centred on a fundamental question: How can cultural organisations grow their audiences, attract new customers and improve their commercial outlook through strategic distribution and digital transformation? This article synthesises the key insights from this panel while expanding on the broader implications for the cultural and heritage sector.
The Digital Transformation of Cultural Bookings
As Nick observed, "The last 15 years or so everything has moved 100% online". This transformation has created an increasingly sophisticated landscape for discovering and booking cultural experiences. The COVID-19 pandemic accelerated this shift, making online reservations the norm even for free and openly accessible experiences. While there has been a slight drop in digital-first approaches post-pandemic, the sector remains primarily digital in its approach to access management.
The panel highlighted how artificial intelligence has enabled significant advances in personalisation, emphasising how AI has dramatically changed what's possible in terms of curating deeply personalised experiences adapted to users' contexts, personal interests and schedules. Although still in its early stages, AI presents exciting opportunities for the sector to create tailored experiences that resonate more deeply with visitors.
Catherine emphasised the importance of approaching technology from the visitor's perspective. This means brands need to understand where visitors want to engage with content and information, whether through WhatsApp for customer service, authentic partnerships with influencers or leveraging platforms like TikTok that are increasingly functioning as search engines for travel and experiences.
The key is identifying the moment when a potential visitor shifts from a general "struggle" (What am I going to do while I'm in Liverpool?) to a specific "trigger" that prompts action. Technology should join the dots that enable this transition, whether by providing accessibility information, highlighting inclusive features or telling compelling stories that resonate emotionally.
Cultural Venues as Products: Challenging the Mindset
There is a clear paradox when it comes to the perception of product for cultural enterprises. A significant barrier to commercial success for many cultural venues is a reluctance to think of themselves as "products" to be sold. The panel explored how this mindset affects bookability and visibility. Janet addressed the challenge directly: "If you are targeting an audience that perhaps is coming to you and it's expecting that to be a free experience, this nonetheless has to be funded in some way".
Catherine pushed back against the term "product" itself: "The word product is really boring. Product suggests that it is confined, it's in a box, it's one thing, it's quite static and black and white and that's not what we do". She emphasised that cultural experiences are "diverse, interesting, ever-moving, ever-changing" and that internal rigidity around product definition can stifle innovation.
The panel advocated for more sophisticated approaches to pricing and revenue generation. Janet encourages cultural venues to "be dynamic in the pricing", suggesting that organisations should "switch [pricing] on, switch it off" based on seasonal demand, visitor flow management and strategic objectives.
Catherine also highlighted the importance of revenue diversification: "Dynamic pricing is also about diversifying your pricing model so that you haven't got all of your eggs in one basket". She cited examples of social enterprises offsetting free community offers with premium corporate bookings and organisations maintaining accessible entry prices while developing premium "behind the scenes" or "after hours" experiences.
Nick introduced the concept of digital products as an untapped opportunity: "One thing that we never really talk about is creating digital experiences. I think this is a really exciting area". He referenced the potential of XR (extended reality), AR (augmented reality) trails and immersive experiences driven by cultural content, citing a potential partnership with Europeana's collection of 54 million artefacts as an example of how digital experiences can leverage culture and heritage content to create experiences that extend beyond physical venues.
The Distribution Challenge: Reaching New Audiences
A recurring theme was the opportunity presented by Online Travel Agencies (OTAs) and distribution platforms to be considered as strategic partners. Janet challenged the perception that OTAs are something to fear: "I don't think we should see online travel agents with something to fear or to think 'this is not for us', because this is not just talking about Booking.com or Expedia. It's the whole ecosystem and that involves a whole lot more".
Catherine reinforced this point with practical insights: "Especially if you're welcoming visitors from the US or Asia, China for example, the top two search results [for] 'things to do in' are 'Visit Britain' and 'Day Out with Kids'. People are not going to find your experience directly 95% of the time if they're coming from a major market, with a broad interest". This reality makes strategic partnerships with OTAs essential for international visibility.
The panel acknowledged the power of user-generated content, particularly on platforms like TikTok, which Catherine described as "worth its weight in gold". While social content offers authenticity that official marketing cannot match, the panel noted the trade-off in editorial control as one that ultimately pays dividends.
Janet also emphasised the importance of distribution beyond London: "A big part of our work is to get people out into the regions and to make sure that we have that dispersed". She stressed that even if individual venues don't prioritise digital distribution, their destinations benefit when cultural attractions are bookable online, creating a collective imperative for regional visibility.
To succeed with this, the panel advocated for collaborative approaches to distribution challenges. Janet suggested that smaller organisations should "work in partnership" and "be clever about that collaboration in the destination itself", with Nick agreeing that: "Destinations play a really key role here because they can amplify, and it's about a collective effort".
Highlighting the potential of brand collaborations, Nick cited the Cartier exhibition at the V&A as an example and drew parallels with the fashion industry's innovative digital approaches. He described Gucci's immersive app for Apple Vision Pro as an example of how heritage brands can create "indescribably powerful" digital experiences that extend their reach through stores, social media and content creators.
Catherine encouraged a practical approach to distribution: "Think of what one thing could I do today so I appear in more search opportunities where my customers are looking to be inspired by really brilliant things to do". James emphasised the value of experimentation: "It doesn't have to be something that you commit to for 12 months. Experimentation is key, you can test and learn and see what the right blend is for you".
As Catherine eloquently stated in conclusion, cultural enterprises are not offering static products. The digital transformation of distribution channels represents not a threat to this dynamism but an opportunity to share these experiences with new audiences.
The future of cultural enterprise distribution lies in balancing commercial imperatives with cultural authenticity, leveraging technology without being defined by it and collaborating while maintaining distinctive identities. By reimagining business models and distribution strategies, cultural organisations can ensure their sustainability while fulfilling their fundamental mission of connecting people with transformative cultural experiences.
The panel discussion at the Cultural Enterprises Conference revealed that this transformation is already underway, driven by innovative leaders who recognise that in today's digital landscape, being bookable and distributed is no longer optional but essential for cultural enterprises that wish to thrive rather than merely survive.
Practical Recommendations for Cultural Enterprises
- Adopt a customer-centric approach to technology: Understand where your audiences want to engage with content and information.
- Diversify revenue models: Balance free entry with premium experiences and alternative commercial opportunities.
- Embrace digital bookability even for free experiences: This captures valuable visitor data and creates opportunities for upselling.
- Strategically partner with relevant OTAs: Research which platforms your target audiences use when searching for experiences.
- Collaborate within your destination: Work with other cultural organisations and your DMO to amplify visibility.
- Experiment with dynamic pricing: Use pricing strategies to manage visitor flow and maximise revenue during peak periods.
- Develop digital products beyond your physical space: Explore AR, XR and other technologies to extend your experience.
- Leverage user-generated content: Create experiences that inspire visitors to share content on platforms like TikTok.
- Start small and test channels: Begin with one strategic distribution initiative rather than trying to do everything at once.
- Take advantage of free training resources: Leverage resources like VisitBritain's training programmes and the Digital Tourism Think Tank's upcoming Impact Programmes to build knowledge and capabilities.
Looking Forward: Co-Designing Solutions at X. Design Week 2025
The discussion aligns perfectly with the upcoming X. Design Week 2025's Culture & Heritage track. Nick mentioned this connection directly: "We're also doing an event together with Destination North East England, TXGB and Europeana later this year in Newcastle, which is all about co-designing innovation and collaborative experience design, where the cultural and heritage sector is one of our four main thematic clusters".
This co-design approach represents the future of problem-solving in the cultural sector. By bringing together diverse stakeholders, including cultural venues, technology providers, destination marketers and representatives of the wider experience economy, X. Design Week 2025 will tackle distribution challenges through collaborative innovation processes.
The event will build on the foundations laid in this panel discussion, moving from theoretical understanding to practical solution design. Key focus areas will include:
- Creating seamless digital booking journeys that respect the uniqueness of cultural experiences.
- Developing collaborative distribution models for smaller cultural enterprises.
- Designing pricing strategies that balance accessibility with commercial sustainability.
- Exploring AI-powered personalisation that enhances rather than diminishes cultural authenticity.
- Building cross-sector partnerships that amplify cultural visibility in new markets.
You can find out more about X. Design Week here, where we have special discounts available for the Cultural and Heritage sector, just reach out through the chat to learn more.
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