Where can you find the fans of Dutch national folk singer Frans Bauer? Literally, where are they?
If you’re in cultural marketing, that question isn’t just amusing: it’s strategic. His fans aren’t scrolling artsy Instagram accounts or browsing contemporary theatre newsletters. You’ll find them at the local hair salon, chatting at the nail studio, volunteering at the football club, or enjoying a Friday night bingo.
The smartest marketing teams know this. Instead of casting a wide, generic net, they find their ways to reach out right here to get their seats filled because that’s where the cultural conversation is already happening.
This isn’t guesswork, it’s strategy. And it’s the kind of thinking that Sander Billekens, Marketing Expert at our Dutch partner marketing agency Afdeling Online, will bring to the stage during CultureSuite’s Community Events this September.
In a sector where teams are stretched and stakes are high, audience segmentation is becoming crucial. We sat down with Sander ahead of the event to explore how segmentation works, why it matters, and how you can use it to not just to reach people, but to truly connect.
The great audience mystery: why most marketing misses the mark
Why do some shows sell out effortlessly, while others struggle to fill even half the seats? More often than not, the answer lies in how we define who’s watching.
Marketing teams in the cultural sector face unique challenges. Unlike large commercial organisations, these teams are often small, sometimes just one or two people juggling everything from communications and social media to audience development and ticket sales.
With limited resources and tight budgets, investing in advanced data analysis or detailed audience segmentation can feel out of reach. Yet they are expected to engage a broad and diverse audience across a wide range of shows, each attracting very different types of communities. On top of that, engaging with culture is driven by far deeper motivations than simply making a purchase at the supermarket.
So, what do cultural teams do to reach their audience efficiently? Sander has seen two methods at the cultural venues he consults.
Many venues already do audience segmentation, but it is based on the typical, commonly-used demographic categories, such as age, gender, and whether or not people have children.
But real people are far more complex. A 35-year-old mother from Amsterdam’s cultural scene lives in a completely different reality than a peer in a smaller town balancing childcare and tight finances, yet both are boxed into the same “young families” segment. This isn't effective segmentation.
The other half of marketing teams may execute their campaigns well, but they skip audience segmentation altogether. “Shooting with buckshot always hits something,” Sander acknowledges, “but it’s far from efficient.”
When shows underperform or cultural organisations are looking for growth, broad-brush tactics just don’t cut it. Personalisation becomes essential.
Mapping minds and lifestyles with two segmentation models
“What we really need to focus on,” he explains, “is shifting from demographic assumptions to psychological insight.” The logic is simple: the better you understand your audience, the more relevant your message becomes. That relevance leads to stronger conversion, fuller houses, and more loyal, returning visitors who spread the word.
This is why Sander works mainly with two models that he sees as being used by Belgium and Dutch cultural organisations to understand, find, and engage their communities.
The first model, Het Culturele Doelgroepenmodel, beloved by festivals and theatres nationwide, slices audiences based on cultural preferences and behaviours. Think of it as a cultural taste map that reveals the "Cultural Omnivores" – those adventurous souls who devour everything from experimental dance to classical concerts – alongside the "Wild Culture Lovers" who seek boundary-pushing experiences.
This model emerged from Rotterdam's festival scene but has spread like wildfire through Dutch cultural institutions. It's particularly powerful because it speaks the language that arts organisations inherently understand: the relationship between people and cultural expression.
The second approach comes from Whize (formerly TDA Analytics), segmentation specialists who've been mapping all 8.3 million Dutch households for over 35 years. Rather than starting with cultural preferences, they begin with lifestyle segments like "Luxury Living," "Countryside Freedom," or "Empty Nest Cosiness."
“Whize works with much broader lifestyle categories,” Sander explains, “but the real strength is in the detail.” Rather than targeting vague groups like “older audiences,” you tailor your messages to specific segments like “Empty Nest Cosiness” – people whose children have left home and who are now rediscovering shared experiences and cultural exploration, which distinguishes them from retirees focused primarily on relaxation or caregiving responsibilities.
When strategy meets the real-world
True psychological insight comes when you move beyond demographics and begin to see your audience as real people with unique lives and needs. “You have to step into your audience’s shoes,” Sander explains. “It’s not about shouting your message everywhere. It’s about knowing exactly who you’re speaking to and where to reach them.”
And this is where the magic begins for cultural marketing teams, the part where things get creative and, in a way, playful. It’s about rethinking where your message lives and how it speaks to the people you want to reach.
Got a show perfect for young families? Skip the usual flyers and head straight to the childcare centres – that’s where parents are already in planning mode, juggling snacks and nap times while mentally mapping out weekend activities. Slip your programme into their rhythm, and suddenly your family matinee becomes part of their routine.
Trying to reach the cultural connoisseurs of Leiden? Let your newsletter breathe – make it more artistic, more layered, a little bit bold. These audiences are craving something deeper, something thoughtful. Don’t be afraid to challenge or surprise them – they’ll thank you for it.
And if it’s belly laughs you're selling in Helmond, don’t dress it up too much. Lead with the good times. A cheeky poster in the local supermarket or a meme-worthy Instagram post might do more than any polished brochure ever could. With this crowd, it’s not just what you’re promoting – it’s how you make them smile before they even buy a ticket.
Beyond demographics: the psychology of cultural engagement
Whilst these models excel in traditional marketing channels – print materials, direct mail, strategic partnerships, and media placements – the digital landscape presents interesting challenges. Facebook's algorithm, as Sander notes, "is much more unpredictable" than traditional targeting methods.
But this limitation actually reinforces the model's value. In an age of algorithmic uncertainty, knowing exactly where your audiences spend their offline time, what media they consume, and which community spaces they frequent becomes increasingly valuable.
What makes these models truly revolutionary isn’t just their precision – it’s how they uncover the why behind audience behaviour. Take a household in the so-called “Budget Living With High Hopes” segment: they might skip the theatre not because they don’t value culture, but because cost is a real concern. For organisations committed to cultural inclusivity, this insight unlocks entirely new strategic opportunities. It highlights a target group that may be missing from your current database, yet one you definitely want to engage.
From there, you can connect with the societal themes, special days, places, and interests that truly capture their attention, both in their daily lives and mindset. "Even controversial approaches like hooking Black Friday promotions might work," Sander suggests provocatively. "Theatres say 'that doesn't fit our brand,' but if you have a young and trendy audience segment that responds to these promotions, why not capitalise on that, even just with a subtle nod?"
Getting started as a cultural team
For theatres and cultural organisations ready to embrace precision targeting, Sander Billekens recommends starting by analysing your current audience. By loading your existing customer database and categorising it using a recognised audience segmentation model, you can uncover who is already attending your events, and why. This often leads to surprising insights and a clearer understanding of your core audience.
With this knowledge in hand, you can make smarter decisions about how to expand your reach. Whether your goal is to engage underserved communities or attract new types of visitors, understanding your current audience helps you identify which segments to target next and where to find them. This focused approach replaces guesswork with strategy, ensuring your marketing efforts are purposeful and effective.
Perhaps the most important change, however, happens within the mindset of your team. “It helps to train your team to really think from people’s perspectives, seeing things from the audience’s point of view,” Sander explains. “But it has to stay practical.”
This means shifting the questions you ask. Instead of wondering, “How do we market this show?” start asking, “What does this experience offer to a segment like ‘Empty Nest Cosiness’ households?” Rather than “Where should we advertise?” consider, “Where does our ‘Luxury Living’ audience already spend their time?” And instead of the generic “How do we reach young people?” explore, “Which lifestyle segments include culturally curious younger audiences, and what motivates them?”
Looking ahead, these audience models become even more powerful when combined with artificial intelligence. "You can load entire datasets about specific audiences and create content tailored to those groups," Sander explains. Imagine newsletters, social media content, and even programme descriptions automatically optimised for different audience segments.
Your invitation to learn more
This September, Sander Billekens will be sharing these insights and practical implementation strategies at CultureSuites Community events. Whether you're already using audience models but want to optimise your approach, or you're completely new to strategic audience segmentation, these sessions promise to shift how you think about your community.
"Even if you already work with these models, this is interesting," Sander notes. "I'm not just talking about the cultural sector, but more about the mindset of: how can I get inside my audience's head? How do I connect with broader societal themes, events, and rhythms and get more seats filled for every performance I program?"
Your audiences are out there – flipping through gossip mags at the nail salon, sipping koffie verkeerd at the corner café, cheering on the sidelines of youth matches, or chatting in the queue at the local supermarket. They're waiting for experiences that speak to their specific needs, interests, and life circumstances. The question isn't whether they want culture, it's whether you know how to find them and speak their language.
The models exist. The strategies work. The only question is: Are you ready to crack the code? Join our Community Events in September to learn more.
Sander Billekens will be sharing practical audience segmentation strategies at CultureSuites community events throughout September. Don't miss this opportunity to level up your approach to audience development and see immediate results in your marketing effectiveness.
