Buy a ticket before the lineup exists. Vote every week on the venue, the headliner, the support acts, the camping. Once the crowd has made the show, sell your ticket for what it is now worth, or buy more. The platform takes a small fee on every ticket traded.
You find out who is playing after you have paid, or you wait and pay a broker. Either way the show was decided without you, by people guessing what you want.
Booking is a wager placed months out on other people's taste. A wrong headliner sinks the year, and the promoter finds out on sale day.
The difference between face value and what a ticket is actually worth is real money. Today it goes to resale bots and brokers, not to the fans who made the show worth seeing, and not to the event.
Every one of those is the same problem. The people with the most information about what the crowd wants, the crowd, are the last to be asked and the last to be paid.
Prediction markets like Kalshi proved two things. A crowd with money on the line makes sharp collective calls. And it comes back every week to keep making them.
Show of Hands borrows the mechanics: buy in, hold a position, trade it as new information arrives. The difference is what you hold. It is not a bet on an outcome. It is a ticket to the outcome, and your vote helps decide what the outcome is.
Every ticket is a seat, a vote, and a position at the same time. Hold it because you want to go. Vote because you want the show to be yours. Sell it if the crowd takes the show somewhere you don't want to follow, and someone who does will pay you for it.
The founders' round sells 3,000 tickets at a flat $100. No venue, no lineup, just a date and a promise: you will decide both.
Ten rounds, one a week. Venue first, then headliner, then support, then everything from camping to set times. Ranked choice, one ticket one hand.
After each round the ticket reprices. Sell to someone who wants in, or buy more if you believe. Every trade happens on the platform and carries a fee.
Whoever holds the ticket on the day scans it at the gate. The crowd that walks in is the crowd that booked it.
The first 3,000 tickets sell at $100, flat, to anyone. No early-bird tiers, no dynamic pricing. When the 3,000th ticket sells, the founders' round closes, the first ballot opens, and the market switches on.
Committed before a venue is named. Enough to sign the venue shortlist and put real guarantees on the artist ballot.
A paid, verified electorate. Big enough to be a real crowd voice, small enough to sell out fast and mean something.
The only price a founder ever pays. Everything they hold after that, the crowd made.
Scarcity is the whole engine. If 3,000 seats are the only way in for ten weeks, the people who want the show most buy first, vote hardest, and tell everyone. Later buyers pay what those 3,000 made the show worth.
The first ballot. The venue vote, the biggest single decision, is founders only. After that every holder votes, but the founders picked the ground the show stands on.
Every ticket votes once. A verified person can hold at most four voting tickets, so nobody buys the ballot.
The vote travels with the ticket. Sell on Tuesday and the buyer votes on Friday. The market never has to pause.
Rank your top three. Five similar bands can't split the vote and hand the win to a niche pick that most of the crowd didn't want.
Every artist and venue on a ballot signed up in advance, confirmed the dates, and set their price. Whoever wins is booked. There is no "they said no."
Ten rounds, biggest decisions first. Everyone knows what is being decided this week and what comes next, so trading has something to anticipate.
Anyone can check the tally against the ledger. No black box, no recount arguments, no "the promoter picked anyway."
Open question for the pilot: whether the vote should be visible while the round is open, which drives trading and campaigning, or sealed until close, which keeps it calmer. The demo on the cover shows it open.
The order is the point. The venue sets the budget, the headliner sets the tone, and everything after that is the crowd furnishing the house it chose.
Founders only. Three to five pre-signed sites with capacity, camping and cost on the card. This vote sets the size of everything that follows.
The biggest swing. Artists on the ballot have already confirmed the venue shortlist and their guarantee.
A different lane from week 2, so the top of the bill has range.
Pick four from a ballot of twelve.
Four more. Rising acts and local favourites.
Electronic, or comedy, or silent disco. The crowd picks the after-dark.
Glamping tiers, showers, family zones, quiet camp.
Which artists and builds get the commission budget.
Vendor shortlist, local producers, the bar policy.
The final ballot: who closes which night, and when the gates open.
After week 10 the show is fully specified. Tickets keep trading until the gates open, and new waves release at the market price up to the venue's capacity.
Artists and venues opt in before a round opens. That is what makes every winner bookable, and it turns the ballot into a campaign the artist wants to run.
Capacity, camping, a hold on the dates, and an all-in cost. The venue ballot shows those numbers to voters, so the crowd is choosing a budget as much as a place.
Venues that lose the vote keep their listing fee and go to the front of the ballot next time. Losing artists get the same. The ballot should be somewhere people want to be even when they don't win.
Founders paid $100. After the headliner vote the same ticket is a seat at a show with a name on it, and it trades like one.
The platform never owns the risk of the show. It earns a percentage on primary sales, both sides of every resale, and a listing fee from artists and venues who want on the ballot. Move the sliders to see one festival. all rates are placeholders
Platform revenue is separate from the event itself. The primary ticket sales above, minus the platform fee, are the promoter's to book the show with. For the pilot that promoter is us, so the first event earns both sides.
Primary sales happen once. Resale happens every time the crowd changes its mind, which is every week for ten weeks. A ticket that changes hands twice earns the platform more than it did on the day it was sold.
Fans pay by card and see a ticket, a ballot and a price. Under that, each ticket is a token and each vote is a signed message, which is what makes four promises cheap to keep.
Identity is verified once and tied to the ticket. The four-ticket cap is enforced by the ledger, not by a policy nobody can check.
Every hand raised is on the record. The tally is public and can't be edited after the fact, by us or anyone.
One token, one seat. It can't be screenshotted, duplicated, or sold twice. The gate scans the ledger, not a barcode.
Seller paid, buyer seated, fee collected, in one step. No escrow, no chargeback window, no broker in the middle.
Technical choices to make with the build partner: which low-fee chain, which card on-ramp, and which identity provider. None of them changes what the fan sees.
Four tickets per verified person. Every trade on the platform, with a fee. A ticket bought to flip is a ticket that voted, paid a fee, and can be seen. That is the opposite of a bot farm.
The cap is on voting tickets, per verified identity. A promoter who wants to swing a headliner vote would need 750 real people. At which point they are just the crowd.
If the event is cancelled, every holder is refunded what they paid on the platform. No change-of-mind refunds. That is what the market is for.
They can't win without signing first. Every ballot option has confirmed dates and a price before the round opens. The runner-up is the contractual fallback.
This is the question investors and regulators will ask, and the design answers it deliberately. The ticket is admission first. It has no share of revenue, no dividend, no promise of profit. Its price moves because the show it admits you to changed, the same way a sold-out ticket is worth more than a sold-in one. Legal review per jurisdiction is a line item in the ask, not an afterthought.
Concrete constraint for the pilot: some Australian states cap ticket resale at 10% above the original price, including New South Wales and Queensland. Western Australia and the Northern Territory do not. That affects which end of the eclipse path the venue ballot can include, or means resale is capped where the law requires. Either is workable; both need a lawyer before the first ticket sells.
A total solar eclipse crosses Australia on 22 July 2028, from the Kimberley to Sydney. The date is fixed, the demand is proven, and the venue is a genuine open question along a two-thousand-mile path. It is the ideal first ballot. dates below are placeholders
Founders' round opens. 3,000 tickets at $100. Target: sold out in under a week.
Ten weekly rounds. Venue first. The market opens the day the founders' round closes.
Waves release at market price up to capacity. Artists announced in the order the crowd chose them.
Final set-time ballot. Gate scanning and identity checks tested on site.
Totality. The crowd that booked it is in the field.
How fast 3,000 people say yes to nothing but a date.
Vote turnout per round, and whether it holds through week 10.
Trade volume and fee revenue against the calculator on slide 9.
Which rounds move the price, and which ones the crowd doesn't care about.
| Platform | Buy a ticket | Resell it | Vote on the show | Hold it before it exists |
|---|---|---|---|---|
| Ticketmaster, StubHub | Yes | Yes, and the fee goes to them | No | No |
| Kickstarter-style crowdfunding | Yes, as a reward | No | Rarely, not binding | Yes |
| Kalshi and prediction markets | Nothing to attend | Yes | No | Yes |
| Fan-voted lineups and polls | Yes, later | No | Yes, non-binding | No |
| Show of Hands | Yes | Yes, on-platform | Yes, binding | Yes |
Market size figures for live-event ticketing, the secondary market and prediction-market volume belong on this slide with sources. to be added before the deck goes out
The Bailey Perspective built and operated the crew media platform, live switching, press desk and public galleries for an international eclipse festival in 2026, in the field, on festival WiFi, with thousands of files a day moving through it. Show of Hands is the same team pointed at the ticket instead of the camera.
Use of funds, in order: build, legal, pilot marketing, artist guarantee float. split to confirm
For festival owners: Show of Hands can run your next event's ballot and market under your brand, on a revenue share, with your crowd as the founders. Ask us about that version.
Show of Hands is a concept from The Bailey Perspective. If you own a festival, book artists, or invest in live events and want to build the first one with us, get in touch.
admin@thebaileyperspective.com
Prices, fees, timelines and the ask are placeholders for discussion. Artist names in the demo ballot are invented.