Somebody wanted to hear the Brahms Double Concerto played live and could not find anywhere to look it up. That is the origin of the Live Music Project. Founder Shia Lyon went looking, and discovered that Seattle alone had around thirty community orchestras publishing their entire concert season as a JPEG. Megan Ihnen is now its executive director.
Key takeaways
An image is invisible to search. Around thirty Seattle orchestras had put their whole season into a picture file, so as far as Google was concerned the concerts were not happening.Listener agency is the product. Filter by piece, composer, instrument, price, house concert against concert hall, or sensory-friendly format.Spontaneous Free Tickets turns donated seats into audience development, with post-concert surveys fed back to organisations that almost never hear from first-time attendees.The software is built in-house by volunteers. Corporate matching hours from Seattle tech employers plus bootcamp graduates who need public-facing portfolio work.They ran the programmes manually for years before automating them. Which is why the automation fits what actually happens.Geographic expansion before new art forms. A deliberate order, and the opposite of what most non-profits do.On this page
The concert season nobody could searchListener agencySpontaneous Free TicketsShipping software on a volunteer dev teamSponsorship that does not extract from the artsPeople, ideas and sources mentionedQuestions this episode answersGo deeperThe concert season nobody could search
She sees that their concert season is a JPEG on their website and realizes like, Google can’t scan this. Google has no idea that this concert is happening, right?
— Megan Ihnen
This is the whole problem in one sentence, and it is not unique to classical music. Any small organisation that publishes its schedule as a designed image has removed itself from search. The information is on the site. It is just not readable.
For a community orchestra the cost is direct. Someone in the same city is actively looking for the thing you are performing, and there is no path from their search to your hall.
Listener agency
The Live Music Project calls itself a classical music advocacy and tech-for-good organisation. Its answer to the discovery problem is a calendar built around how people actually decide to go to a concert.
By piece, so the Brahms Double Concerto search that started all this now returns something.By composer and by instrument.By price, which quietly removes the biggest barrier for new attendees.By format: house concert against concert hall, and sensory-friendly performances.But we’re using technology to make that easy. Just make it easy to be curious.
— Megan Ihnen
Spontaneous Free Tickets
Organisations donate unsold seats. The project gets them to people who would not otherwise come. Then the part that makes it a programme rather than a giveaway: attendees answer a post-concert survey, and the responses go back to the organisation.
Small ensembles almost never hear from a first-time attendee. This closes that loop, which is why it works as audience development rather than charity.
This is a program in which their name can be on every single ticket, every single thank you and really reinforce that community level support.
— Megan Ihnen
Shipping software on a volunteer dev team
All the software is built in-house. The team is volunteers, drawn from two sources: Seattle tech employers with corporate matching hours, and coding bootcamp graduates who need real public-facing work in a portfolio.
The tradeoff is honest. The build pace is slower. What they get in exchange is a product nobody has to pay for and a pipeline of contributors with a reason to stay.
Manual first, automate later
They ran programmes by hand for years before writing code for them, and partnered with a university tech-for-good programme to build the first version. That order matters. Automating a process you have never run by hand means automating your assumptions.
Sponsorship that does not extract from the arts
Two deliberate choices close the episode. Expansion goes geographic before it goes into new art forms, so the model gets tested in another city before it gets stretched into another discipline.
And the corporate sponsorship model is designed not to pull money out of the arts community it serves. A sponsor funds free tickets and gets their name on every one of them, rather than competing with the ensembles for the same donor pool.
People, ideas and sources mentioned
EntityWhat it is
Megan IhnenExecutive director of the Live Music Project
Shia LyonFounder, whose search for a live Brahms Double Concerto started it
Live Music ProjectSeattle-born 501(c)(3), classical music advocacy and tech for good, all software built in-house
Listener agencyFiltering concerts by piece, composer, instrument, price and format
Spontaneous Free TicketsDonated seats plus post-concert surveys, run as audience development
The JPEG concert seasonAround thirty Seattle community orchestras publishing schedules as unsearchable images
Sensory-friendly performancesOne of the filters, and a real accessibility gap in classical programming
Questions this episode answers
Why can Google not read a concert season posted as an image?How do small arts organisations get found in search?What is listener agency and why does it matter for classical music?How do donated tickets become audience development?Can a non-profit build its own software with volunteers?Should a non-profit automate a programme before running it manually?How do you structure corporate sponsorship without competing with the arts groups you serve?Go deeper
Every link above goes somewhere different. These are the ones not already mentioned above.
Andy Choi on profit with purpose, which argues the same point about non-profits needing a commercial mindset.Queen D. Michele on building a programme for Gen Alpha, another founder running a pilot before scaling it.Find the Live Music Project
Everything is at livemusicproject.org: the concert calendar, Spontaneous Free Tickets, the weekend digest emails and the volunteer sign-ups.
Cite this episode
Ihnen, Megan. “When the Concert Season Is a JPEG Google Can’t Read.” Unscripted Green & Non-Profits, 2025. https://unscripted-green-non-profits.castos.com/episodes/megan-ihnen-when-the-concert-season-is-a-jpeg-google-cant-read