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DynamO Pricing was founded in Budapest in 2017 and launched its proprietary dynamic pricing platform in 2020.
Today, the company has roughly 100 active clients across Europe and the US, integrations with platforms including Spektrix and Tickets.com, and a footprint spanning Hungarian arts venues, London’s West End, the Edinburgh International Festival, a global open‑wheel motorsport championship and, this season, at least 12 professional baseball clubs.
SportsPro spoke with Attila Gazdag, the company’s board member and chief revenue officer, about the journey so far and where DynamO Pricing goes next.
What are your views on the commercial landscape in sport right now, and what does that mean for a company like yours?
The macro picture in sport is interesting right now. Media rights look like they may be plateauing. Sponsorship is still growing but concentrated to a fair extent at the top of the market. That puts a real premium on the gate. The ticket is a foundation of the relationship with the fan, and beyond the revenue itself, maximising attendance improves the live product on television.
Against that backdrop we have grown to roughly 100 clients across Europe and the US, and this season alone we have onboarded a dozen professional baseball clubs in the US. The thing I would point to is that we have a platform that genuinely learns across verticals. What we are doing with a baseball club this summer helps inform what we do at the West End next autumn, and what we learn at a major international festival helps inform how we price a motorsport weekend
What is the DynamO Pricing origin story?
DynamO was founded in Budapest in 2017. The first three years were spent building the platform; we launched commercially in 2020. Our earliest clients were Hungarian arts organisations, a country with a deep and serious cultural tradition where theatres, opera houses and comedy venues take pricing very seriously. The first client was Dumaszínház, the country’s leading comedy venue. From there we extended across the Hungarian arts and culture sector and eventually integrated with every major ticketing platform in the country.
How did the company expand from Hungarian theatres to baseball in the US?
In stages. The first move outside Hungary was into the UK arts and culture sector, anchored by an integration with Spektrix and early clients including Soho Theatre. UK work has since extended into the West End and across the country, and into landmark events including the Edinburgh International Festival, where we supported a ten‑year occupancy record and 66 sold‑out performances.
In parallel, we started piloting in US sports through our Tickets.com integration. We ran a series of pilots in Minor League Baseball in 2025 that delivered double‑digit direct revenue uplift on dynamically priced inventory, between roughly ten and 20 per cent across markets, with one mid‑sized market pilot at 19 per cent. We also helped clubs increase attendance, which is just as important commercially as the revenue uplift itself.
Those results, combined with the operational reliability we had built up over five years, gave clubs and ownership groups the confidence to commit for 2026.
DynamO Pricing was named Disruptor of the Year at the 2026 Ticket Business Awards (Image credit: DynamO)
This season, you are live with at least 12 baseball clubs. How significant is that for the company?
It is a significant step up from the pilot footprint of last year, and to our knowledge it is one of the larger single‑season dynamic pricing rollouts in the lower professional tiers of American sport. The clubs span multiple ownership groups and markets. We are not naming specific clubs, but the scale of the commitment is what tells the story.
It also marks a real shift in the company’s centre of gravity. We are no longer a European arts pricing company that is also doing some interesting work in US sport. Sport is now a core part of who we are, alongside the arts.
You have also been active in motorsport. What footprint do you have there?
We have run two motorsport pilots that I think show the platform’s range. The first was a reactive pricing pilot for a major global open‑wheel motorsport event with a long sales cycle and nine ticket types, including premium hospitality. We adjusted price scales in real time in response to secondary‑market signals across multiple marketplaces, producing a 15 per cent revenue uplift.
The second was the FIM SuperEnduro World Championship, the international indoor enduro motorcycle series. The 2024/25 season ran seven rounds across six countries: Poland, Germany, Romania, Hungary, the United Kingdom and France. Dynamic pricing helped the series set a championship attendance record across all six host countries.
Different sport, different operating model, same platform.
What are your points of differentiation? What do you do that established players in this space do not?
A few things stand out, in my view.
First, we are not a self‑serve software license. We sit alongside each client, sport or arts, to define objectives, shape the algorithm, calibrate price scales, review recommendations and report against revenue and attendance goals. The platform is highly customisable, and the algorithm is designed to recognise that the demand pattern of a regional theatre and the demand pattern of a minor league ballpark are very different things. That customisation is part of the service.
Second, our commercial model. Largely commission‑based, no hidden fees, transparent. We win when our clients win.
Third, easy onboarding. We can typically be live within days, not months. That matters when a club or a venue has decided it wants to act on its pricing this season rather than next.
And fourth, the cross‑vertical learning. A pricing engine that has priced thousands of arts events, hundreds of motorsport sessions and a growing book of baseball games is genuinely smarter, on day one, than one that has only ever seen one of those things.
What is next? How does the company plan to grow from here?
A few areas, all active.
We intend to continue growing in baseball, building on the 2026 footprint. Other emerging sports and leagues are very much on our radar. Soccer is a priority for us, with active conversations in multiple countries. College sports is an area we are interested in, particularly outside the very top of the market.
And we are beginning to look seriously at Asia‑Pacific. The combination of ticketing infrastructure, fan demand and event volume in that region is starting to converge in ways that match what our platform does well.
What does the sports industry still need to understand about dynamic pricing?
Two things. The first is that dynamic pricing in this industry has too often been framed as a fight at the very top of the market, the major leagues, the largest venues, the marquee deals. The more interesting commercial story is everywhere else: the clubs, venues, festivals and championships who do not have a 30‑person revenue management team and who, until recently, did not really have a credible partner to do this work alongside them. That is the space we are built for, and that is the space we will keep growing into.
The second is a clarification I think is overdue in this conversation. Dynamic pricing, done well, is not surge pricing. It is not about taking advantage of demand spikes at the fan’s expense. The discipline is to follow best practices: prices can move up and they can move down, and on the same event for different ticket types they often do both at the same time, depending on what is selling and what is not.
The objective is to fill the venue, deliver a strong product live and on broadcast, and produce a fair commercial outcome for the club. That is what we do.
Attila Gazdag, Board Member and Chief Revenue Officer at DynamO Pricing, will be attending SportsPro Investment Summit on 21st July. To find out more about the event, click here.