SportsTech and Wearables Pitch Night at Startup Victoria

Appropriately hosted within Melbourne’s Olympic Park, last week’s Startup Victoria pitch night featured four companies working in SportsTech. It was further evidence of the breadth and variety within the local startup sector even if, on this showing at least, there was a little less innovation than we have seen at other monthly pitch nights.

First, there were a couple of presentations from Catapult and Genius Tech Group, to help provide some context to the topic, especially helpful for people who may not be familiar with this sector. However, I’m not convinced that referencing Australia’s Olympic medal tally as a key rationale for building a sports technology industry necessarily set the right tone. For a start, despite some gold medal success in the 2000, 2004 and 2008 summer games, Australia has seen a rapid decline in medal performance at the past two Olympiads. Then there are the cultural and governance issues at the AOC itself.

Then came the pitches, in order of appearance (website links in the titles):

TidyHQ

With the slogan “tribes are everywhere”, this business is all about getting the off-field performance right. TidyHQ is supporting smarter sporting clubs and organisations by helping them with things like governance and succession planning, and by having all their back office operations in one place. Essentially a white label portal solution that offers branded websites (“SaaS doesn’t work in this market”), the service is designed to support grassroots clubs and associations, across all sports.

Using a freemium subscription model, the main sales channels are local and regional AFL leagues. Sales are helped by a viral effect – given that in small towns and regional areas, there is quite an overlap of club officers.

TidyHQ also takes a clip from sales of multi-stream products and services sold through their customer sites, which includes a diverse range of clients such as yoga studios, play groups, plus a number of US sororities, fraternities and law schools.

Competition comes from different quarters: vendors like TeamSnap and SportsTG; incumbent club officials and their spreadsheets; even social media. One challenge, however is managing and harnessing the “volunteer mindset” associated with community sports clubs, especially when it comes to budgets and adapting to change.

RefLIVE

This company has built an app for soccer referees that works on smart watches. Referees typically use stopwatches to record match time and stoppages which, with constant match use have an average life of 2-3 years. Yet referees also have to keep track of player substitutions, match scores as well as the yellow and red cards they hand out.

At a price point of $60 per annum for referees, and annual fees of between $5k and $50k for soccer leagues and associations, an ideal entry point for RefLIVE would seem to be local, short-form knock-out tournaments, where the full range of features can be deployed in one place.

Currently scaling to take advantage of international market opportunities, RefLIVE is currently receiving enquiries from youth soccer leagues in Japan, as well as Germany and China.

Considered to be (literally) a game changing app for the Apple smart watch, RefLIVE is
also seeing interest from AFL, Rugby Union, Rugby League and field hockey.

At the moment, the platform does not support a live back-end, and there are no real plans to distribute or commercialize the data. While live data could be pushed to a server via WiFi, a bigger obstacle is getting the refs themselves on board – even though it has the potential to enhance their on-field performance and help them with off-field administration.

Spalk

Spalk (“crowd-sourced sports commentary”) enables custom audio streaming for TV sports, via some proprietary technology to synchronise secondary content with traditional broadcasts. Due to the high costs and copyright issues associated with TV broadcast rights for professional sports (only made more complex by “over the top” platforms), Spalk is mainly licensed by broadcasters for coverage of amateur competitions.

The international basketball body, FIBA, sees an opportunity for Spalk to help drive international engagement, through the use of localised and translated commentary. However, in many cases, Spalk will need sports that retain their own D2C content rights. (Anyone familiar with the challenges of listening to overseas test matches will be aware of Guerilla Cricket, and its predecessor, Test Match Sofa.)

Part of Spalk’s “special sauce” is in integrating and synchronizing multiple audio tracks, which can provide better UX compared to social media streams and viewer posts, commentary and Tweets. Another key to success is the ability to integrate with existing broadcasting commentary technology and vendors.

SPT

Finally, SPT (sports performance tracking) is a GPS monitoring system aimed at amateur and grass-roots clubs and leagues. Offering analytics for all teams, SPT is cloud-based, multilingual and claims to be “efficient, simple, affordable”. So simple, that unlike the aforementioned Catapult, clubs don’t even need to hire sports scientists….

Currently supporting 800 clubs, and 65% of revenue coming from overseas (despite claiming to have spent only $300 on marketing), the main appeal is probably the $299 price point per device, and the core user base is amateur leagues.

SPT has so far relied on viral effects and referrals, plus an element of FOMO. While SPT may not be as sophisticated or as detailed as similar platforms used in professional sports, it has managed to demonstrate the data validation when compared to some camera-based apps. In any event, according to the founders, a 2-3% margin for error is OK for this audience. And if users can compare their own performances against those of professionals, that is an added bonus.

However, one issue facing the collection, use and sharing of sports analytics has recently surfaced in a spat between the England team manager, Gareth Southgate, and Manchester United boss, Jose Mourinho. Which may make some clubs reluctant to upload their data.

Following a tally of the judges’ votes, Spalk was declared the winner, but only by a margin of 0.25 points….

POSTCRIPT: While I think the decision to present thematic pitch nights was a good call, there are a few logistical aspects to the current series of events that the organisers need to address:

  1. Choice of venues: the room used for the sports tech pitch night had an unfortunate layout – there was a pillar right in front of the stage, which must have been off-putting for the presenters. (Also, there was only a very small screen to display the pitch deck slides, so most people in the audience wouldn’t have been able to see them.)
  2. AV tech: I’ve said this before, but organisers need to arrange for a second monitor in front of the presenters, so they don’t need to keep looking over their shoulders at their slides. And please, please check that clickers are working (or that presenters know how to use them!)
  3. Audience participation: At previous pitch nights, the MC would field questions from the audience. Now, no more. And the audience voting system (people’s choice) has gone awry. Makes it feel less engaging.

Next week: The network(ing) effect

Startup Vic’s E-commerce #Pitch Night

A new venue, and a new theme – last week’s Pitch Night organised by Startup Victoria was hosted at Kensington Collective, and featured four contestants each working in different areas of e-commerce.

With some high-profile judges (including Ahmed Fahour, outgoing CEO of Australia Post, and Kate Cornick, CEO of LaunchVic), and an audience warmed by hot soup and mulled wine on a very cold and wet Melbourne night, it was not surprising that the event was packed out, despite the weather.

In addition to hearing the competing pitches, attendees were also able to meet with a number of other e-commerce startups exhibiting in “silicon alley”, including: VolStreet (a new market place for consumer goods), Liven (a loyalty program for restaurants), Buying Intelligence (data on retail trends from the fashion industry) and Straight From Farmers (a D2C platform for agricultural produce).

As per the usual practice of this blog, the startups appear in the order in which they pitched (and click on the startup names for their website links):

 Passel

Passel’s business model is built on a crowdsourced solution for same day deliveries, so that shoppers can get their purchases quicker from omnichannel retailers. According to the founders, a high percentage of online cart abandonment is due to freight costs, and delivery times.

Using something akin to the Uber model, retailers will book a delivery that could be fulfilled by one of their own staff on the way home, or by another shopper if they are in the vicinity. Same day delivery is apparently more secure, and with a registration process for delivery “agents” and no charge to the retailer until proof of delivery, Passel is also designed to de-risk the delivery service. But, not quite delivery drones across suburbia!

Currently running a limited trial at Bayside Mall in Frankston, Passel is putting most of its efforts in to training staff at the stores they work with, to make sure the process is bedded down.

The judges had a range of questions and observations about the business proposition and assumptions behind the pitch, such as: Retailing can be quite a separate function to distribution and fulfillment, and for larger retailers stock management may cover several stores, or be handled by core distribution centres – so how will shops retailers be able to match orders and deliveries on a same day basis? Within large outlets, the time taken for delivery staff to actually locate an item may become burdensome, so has Passel considered geo-coding within stores? What is the opportunity outside Australia?

My own observations about this pitch included: what are the issues with insurance, what is the fit with click’n’collect services, and is there a bigger opportunity in solving current problems with the use of contract couriers on demand?

Vesta Central

Describing itself as “a marketplace for destination partners“, Vesta Central is also one of a growing number of Product Data Distribution Platforms (PDDP), between suppliers and retailers. Essentially, it offers an API to allow manufacturers to upload their inventories to support downstream distribution and sales.

Citing technological, time and cost barriers for product suppliers and retailers to upload and distribute product data, Vesta Central’s main proposition is to help move from physical to digital, via a centralised master data platform. From here, retailers can pull product data in real-time.

I’ve seen similar startups and businesses that also provide product manuals, technical specifications and even product training to sales staff, so the judges also felt that the founders need to gain a better knowledge and understanding of the competitor landscape. Another word of advice they had for the pitch was, “Let go of the PowerPoint…”

To Me Love Me

With a tag line of “Fashion Tech – Made To Measure“, this startup is trying to address the issue of incorrectly fitting clothes which is creating retail dissatisfaction.

Using key measurements and six data points, the service develops personal profiling
based on a proprietary algorithm according to body shape and style preferences. In return, it can offer curated, personalised, and even some custom-made suggestions and recommendations – but mostly ready-to-wear brands.

Aiming to help brands bond with their customers, the service also introduces social elements via peer/customer feedback. The service provides a seamless experience and offers a level of control to customers – but essentially, it’s a data play: collecting, aggregating and distributing customer statistics and profiles to the industry.

Although the pitch mentioned a SaaS model (with three tiers of service and pricing), the economic model was not fully outlined. However, the judges were clearly impressed by the founders’ international contacts in the US, UK & Europe, and their global ambitions.

CableGeek

With one simple sales proposition (“selling trusted mobile accessories at low prices“), CableGeek aims to address three common problems in this retail product category: Inconsistent product quality, high retail mark-ups, and difficulties in buying online (especially the shipping costs on lower-price items).

The CableGeek solution includes: free shipping from Australian suppliers, offering global brands, a focus on mobile (ApplePay), and key partnerships (instant pickup via Blueshift’s IBP, and fulfillment via eStore Logistics).

With a Google customer review rating of 4.8, CableGeek must be doing something right. Asked about what sets it apart from the competition, and how it will fend off competition, the founders cited the end-to-end automation plus their own full stack development – so any challenge is more likely to come from large retailers (who don’t necessarily have the focus or the in-house technical capabilities?).

However, given that the business was started by Ryan Zhou, who is also a co-founder of CoinJar, the judges wondered whether he would be over-stretched, or unable to commit 100% to this new business – especially as in this type of retail business, the only way to succeed is by dominating market share, which requires full-time commitment.

The judges were obviously won over by To Me Love Me‘s approach, as it took out first place on the night. There was also a sense that it was the only pitch that clearly had a real eye on international opportunities, and had demonstrated some serious industry credentials.

It was also interesting that a couple of the pitches referred to issues with delivery costs in Australia, especially for smaller, lower value items – something that the incoming CEO at Australia Post might want to address?

Finally, it was disappointing that there was no opportunity for questions or input from the audience – with one of the largest turnouts ever for a regular pitch night, Startup Victoria needs to think about how to incorporate more audience participation – these events should not just be a spectator sport.

Next week: Law & Technology – when AI meets Smart Contracts…

 

Music Streaming Comes Of Age

Last Saturday was the 10th International Record Store Day, an annual event to celebrate independent music shops. A key feature is the list of exclusive and limited edition vinyl releases, most of which can only be bought in selected participating stores – in person and on the day. But there are also loads of other promotions and live events, designed to get people browsing the racks in their local retail outlet. In an age when streaming services now account for the bulk of US music industry revenues, what is the future of the neighbourhood record shop (those that are still left, that is)? Will streaming services kill off digital downloads, as well as sales of physical product like CDs and records?

Despite the sense of doom that has permeated the record industry in recent years (if not decades!), there is also a feeling that, just as the internet has not yet managed to kill off the publishing industry, digital has not yet killed the radio star. The independent music industry in particular has found a way to survive, and retail stores are still an important part of the business.

So, what are the recent trends in music industry sales and business models?

First, the continued rebound in vinyl sales (at least in the UK) show that there is renewed interest in this 70-year-old format, with industry data showing a 25-year high (but not yet a return to the 1980s’ peak). Record Store Day is generally credited with boosting vinyl sales. And to be fair, even music streaming services have contributed to this growth, through curated content, recommendation engines and user preferences: meaning that listeners get exposed to a wider range of music and artists than they would from traditional Top 40 radio, and they get to explore and discover new music.

Second, digital downloads, once seen as the industry growth engine, are facing a pincer attack, from streaming services as well as vinyl sales. No wonder that Apple is expected to slowly and quietly retire the iTunes download store, and shift more focus onto its own Apple Music subscription service. The music industry (especially the dwindling number of major labels) didn’t really “get” the internet. Having just competed in the CD-format wars, the major labels then competed on digital file formats, and tried to lock their digital content to proprietary players and software protocols. Some of this reticence was justified – thanks to digital piracy and illegal file sharing – but they didn’t (and still don’t) help themselves by poor CX on their retail websites (if they have an e-commerce presence at all), and adherence to arcane geo-blocking.

Third, many musicians are benefiting from increased exposure via streaming services – although with Apple Music and Spotify seemingly leaving the other platforms far behind, the downside risks from a dominant duopoly don’t need spelling out. Especially as the royalty payments from streaming are generally much smaller than they would have been from physical sales, “traditional” downloads and radio airplay. This source of friction between labels, their artists, music publishers and online content platforms surfaced again earlier this month, in a spat with YouTube over fees for video streaming.

Fourth, in a new move in the streaming wars and the battle to win mobile screen real-estate, Australian startup Unlockd has just secured a deal with MTV UK to stream free music videos in return for viewing ads. It’s also a move designed to counter ad-blockers and locked screens, while finding another way to distribute sponsored content. Elsewhere, some mobile carriers are now including music streaming services as part of customers’ un-metered data consumption, although what this may mean for artist royalties and the revenue share from ad-supported content on Spotify etc. is unclear.

Fifth, as another example of how the music industry is having to adapt, UK startup Secret Sessions is using a combination of social media, independent/unsigned artists and major brand licensing deals to find new ways to generate revenue streams for artists that can no longer count on income from traditional sales-based royalty deals, especially with the diminished licensing revenues from streaming services.

Sixth, as further evidence that all is not well in the world of music streaming, SoundCloud continues to lose its way. Once the music service of choice for user-contributed content created by independent and unsigned musicians, it got greedy and has been subject to recent speculation about its financial health and future.

Initially, SoundCloud was all about the makers and producers – helping artists connect with their audience, via a simple but effective website and mobile app. It also meant that at first, SoundCloud charged musicians and labels under a “pay to publish” model, while listeners could simply stream (and sometimes download) all this content for free. Then, it alienated many of its earliest supporters and champions, by introducing “ad-supported” streaming (with priority access going to labels and artists with big marketing budgets, who could also attract/demand the lion’s share of the advertising revenue).

SoundCloud also seriously messed with the app, making it far less useful to artists, and then introduced its own subscription-based streaming service, SoundCloud Go. Only, it wasn’t satisfied with just one subscription model, and recently announced an “upgrade” – whereby the “old” service became “SoundCloud Go+“, and a “new” SoundCloud Go was launched. Confused? You will be….

Meanwhile, Bandcamp continues to outperform the industry, in terms of annual sales growth, and has become a unique platform that offers music streaming, digital downloads and even physical product. (Frustratingly, Bandcamp is still blocked from selling digital content directly via iOS devices – even though much of this content is unavailable on either iTunes or Apple Music. Surely that’s anti-competitive?) And now there’s an amusing string of “SoundCloud vs Bandcamp” memes doing the rounds which may say a lot about the respective fortunes of these rival services.

Finally, the last word on the current state of music streaming and digital downloads should go to the artist known as L.Pierre. He has just announced the release of his latest and final (vinyl-only) album under that particular moniker, with an accompanying artist statement which could be seen as both an indictment upon and a requiem for the music industry.

NOTE: Apologies to my readers for any confusion regarding the timing and accessibility of this post. Thanks to WordPress, this article “missed” its scheduled time, and the outgoing e-mail notification had a faulty link. Normal service will hopefully be resumed next week…

Next week: Startup Vic’s E-commerce Pitch Night

Investor #pitch night at the London Startup Leadership Program

For the most recent pitch night I attended, I had a welcome change of scenery: I was invited to join fellows from the London chapter of the Startup Leadership Program (and a few from Paris) as they pitched to an audience of investors, mentors and well-wishers at Deloitte’s HQ.

In no particular order, the pitches were as follows (the names link to the startup websites):

Selified

This FinTech business is making customer identity management as easy as taking a selfie and photos of relevant documents, combined with multifactor verification. They claim to be able to “verify people anywhere in the world in less than a minute”.

Selified certainly seems capable of streamlining and automating new account on-boarding, and reducing the time it takes banks and card companies to collect customer data for loan and credit applications. However, there are many similar solutions out there, and some, like Proviso, are already installed at major banks. So, the challenges for Selified include: demonstrating a valid USP (or maybe the combination of what it does?); working out a SasS plus transaction pricing model; and new client installations versus displacement sales.

Re-Imagi

Declaration of interest: I have been working with, and sometimes mentoring the team at Re-Imagi for the past year or so. (Hence my ticket to tonight’s event). So, I’ll try to be objective!

Re-Imagi describes itself as “enabling decision makers to unlock human capital inside their organisation through collaboration”. By harnessing in-house innovation, creativity and collaboration among employees (through the use of design thinking, employee engagement, and unique data capture and analysis) Re-Imagi was able to change the behaviour of 42% of participants at a global bank, within the course of a two-week programme.

From experience, one challenge for the team is describing the essence of the business – since it cuts across innovation, enterprise platforms, people analytics and design thinking. At its core, it acts as a prism through which to view a range of social movements that all companies are struggling with: e.g., the Future of Work, the Future of Ageing, the Future of Money etc. But key to success will be connecting with corporate champions who “get” what the benefits are, and are willing to embrace change and welcome some external input and perspective to their current processes.

0tentic8

A very topical subject, namely a blockchain-based solution enabling agricultural producers to access financial services, and provide more transparency on supply chains.

According to the founders, there are around 500 million farmers in the developing world who do not have bank accounts. The platform will verify each stage in the supply chain – from providing a digital ID for each farmer through to tracking end customer purchases.

Part of the goal is to give farmers a verifiable financial profile that can enable financial inclusion and access to bank services, as well as supporting “field to table” provenance.

Unfortunately, on the night, the presentation was a little unclear as to strategy and execution. It’s certainly a great idea, and one of a number of AgriTech startups looking to deploy blockchain technology along the food production, manufacturing and distribution supply chains.

Secret Sessions

Here’s a business that is aiming to turn the music industry on its head. In some ways, it’s an A&R agency for the digital age; in others, it’s a curated service linking artists, fans and consumer brands, that can potentially generate more revenue for bands (from sponsorship, content creation and licensing) than traditional record label deals or license fees from streaming services.

With backgrounds in video production, digital media and music distribution, the founders are well-placed to execute on their strategy. Secret Sessions is already working with some major consumer brands who want to connect with new artists who have established a core fan base via social media, a dedicated YouTube channel, and special live events.

As a part-time musician (and one-time recording artist myself), I recognise the changing economics of the music industry. The model has been totally disrupted by digital, and the days of multi-album deals with multi-million dollar advances are long behind us. However, I can’t help thinking that if the only way people can discover and connect with new music is via a branded advertising campaign, does it in any way compromise or impoverish the artistic merit of the content? In the 1980’s and 90’s, when household brands started sponsoring world tours by major artists, it generated a bit of a fan backlash – but maybe I’m just old-fashioned, and no doubt I’m not the target demographic.

Owlmaps

Owlmaps is targeting the enterprise SaaS market, offering their take on a knowledge management platform. Organisations need a way to identify and access “hidden” skills that lie within their existing workforce, and Owlmaps does this using a talent-mapping and skill-matrix tool.

It aims to provide a dashboard solution so that users can identify skills distribution, and skills in demand, as well maintain an audit of current staff. Owlmaps places itself at the intersection of enterprise content management, learning management and collaboration solutions, and has launched several pilots with startup accelerators, academic programmes and member-based organisations. The business model is based on tiered SaaS subscriptions.

There are a plethora of software solutions that address, in some way the problem of “in-sourcing” the right skills and experience, especially for new projects or ahead of planned restructures. These platforms are either part of “traditional” HR tools (what I sometimes refer to as “human accounting software”), project management tools, or ERP applications. No doubt, some organisations are also using their recruitment tools to maintain “current” (at the time of hiring) profiles of their employees. But they are often laborious to use and update, and the tools themselves become the process…

Owlmaps may need to demonstrate it can integrate with legacy tools, but it may also need to help end users (employees) understand what’s in it for them – maybe it can serve as a prompt to take some further professional development or skills training? I also wonder if Owlmaps needs to identify a specific industry sector, rather than trying to appeal too broadly?

imby.bio

I have to say that I really like the intent behind this startup – helping a new generation of urban gardeners connect with their back yards. It’s essentially a gardening app with some built-in smarts, that also acts as a channel to market for the retail horticultural sector, by enabling users to connect with and buy from suppliers direct.

A few of the app features seem so obvious when you think about them: take a photo of an unknown plant and get it identified; use your location data to get tips and recommendations on which plants to grow, and how to care for them; get reminders to water/weed/feed your plants. But why haven’t any of the existing gardening brands taken this market by storm? Apparently, this retail sector is very fragmented, with a large number of independent nurseries and garden centers, who rely on loyal, local customers. And many gardeners still like to use traditional printed seed catalogues from their regular suppliers.

The path to market is also slightly complex, since imby.bio is planning to work with local, offline communities to begin with, and offer the app for free (initially, at least). There are other market segments that could present opportunities (such as education, botanical gardens and parks, gardening clubs, even gardening magazines and TV shows), although the synergies between them are not entirely obvious. Plus there may be an opportunity to sell or license data captured via the app, although this is not a priority. But I applaud the vision, and an app that can help us to plant the right flowers to support our bee populations has to be encouraged.

Eligent

This is a solution born out of the founder’s personal need and experience – a multi platform task management tool for virtual collaboration within creative, digital and advertising agencies. The solution is designed to streamline the production process at each stage of a project, help co-ordinate better communication between teams (especially those working remotely), and track costs.

Also using a freemium and tiered pricing model, this cloud-based application already claims to have 100 active users across 20 teams. And with strong industry experience, the founders are pretty confident of their solution design. (There was also mention of a re-seller programme, although no details were provided.)

However, it does seem a crowded space, with the range of collaboration and project management tools seemingly growing by the month. And while I’m sure there are some unique aspects as to how the creative industries work, are they so really different? I myself have seen at least two other similar tools pitched before – Coin-Craft (architects), and Studio Ninja (photographers) – and in each case, the founders were adamant that their fields had specific needs that justified dedicated platforms just for their professions.

Capium

Capium is a suite of cloud-based productivity, client management and practice management tools for the tax and accounting profession. As part of the UK’s digital tax regime, everyone will need to have their own Personal Tax Account, and annual tax returns will be increasingly submitted online. So, Capium’s mantra is “making tax digital”.

In their two years of trading, Capium has secured 380 paid-for accounts with professional firms, representing 38,000 businesses profiles, plus around 4,000 freemium accounts (SMEs) being serviced direct.

So, rather like the successful Xero business model, Capium is recruiting accounting firms as their re-sellers and advocates. The founders also recognise that there are a range of new and existing competitors (with high, mid and low-tier solutions), but Capium is showing some impressive growth rates.

I’m not so familiar with the UK tax and accounting market, but my significant other is an Australian CPA and BAS agent, so I know what she likes (and dislikes) about each of the accounting platforms she has to use – meaning that no system is perfect, and each has one or more feature or function that is better than their competitors! Finally, even leading platforms like Xero, Quickbooks and MYOB have to build and maintain different versions for each market they serve, which can be an expensive operating model.

Taste Of Kenya

There was no doubting the founder’s passion and personal investment in this business – a project connecting coffee growers direct to retailers. Designed to offer growers a better deal and ensure they are paid in a more timely fashion, Taste Of Kenya is attempting to disrupt the existing supply chain by buying direct from Kenyan growers, and removing 5 levels of intermediaries to supply coffee retailers in the UK. Taste of Kenya pays at source at the time of purchase, and manages the processing, shipping and logistics.

Because of the competition, and due to their current limited capacity, Taste of Kenya has decided to target coffee retailers who want to source more ethically and more directly from growers. From four container shipments in the first year, volumes are designed to grow to 15 containers (240,000 kg) in year 3.

With around 30 farmers on their shortlist, and a target market of 200+ coffee retailers in London, I suspect that this may never be a business that can scale. But that’s OK (after all, weren’t we once told that “small is beautiful”?) as the business model and the social objectives are clear. Maybe the real opportunity will be in showing others how they can do the same?

Clikd

Clikd is a dating app with a couple of key features – first, it is photo-based; second, it allows users to set their own questions for prospective dates if they don’t want to use the built-in content. The founders describe it as “photo-social”. The pitch included a working demonstration, and it certainly looks like a lot of fun to use.

I’m somewhat wary of dating apps. I’m not the target audience, I’ve never used one, and I know that some investors dislike the business model – there’s the reputation risk, plus if the app is really good at its job, customers won’t be subscribers for very long, so there is considerable churn.

But, maybe it appeals to the social media generation, who are more comfortable using these tools, or who have different social attitudes. Certainly for people who have just moved to a new city where they don’t know anyone, such an app could help them meet new friends.

User adoption is key to success, and the founders have scoped an in-depth marketing and launch campaign. They have also formed a significant partnership with an outdoor media brand.

Adalys

This MedTech business is enabling smart medical data through patients’ profiles and unpublished clinical trial data, by structuring, analyzing and aggregating the growing volumes of medical data and delivering it to doctors, clinicians, pharmacies, hospitals, Big Pharma and health care groups.

Part of the goal is to make clinical trials more effective (by providing structure to the data, and making greater use of data analytics), and by allowing new data to build on existing and real-time data more easily, it should help take some of the data costs of current practices. The business model is based on SaaS subscription revenues.

With a number of trials and installations at hospitals, plus 700 individual patients on the platform, Adalys is connecting “clinical trials with real world data”. E-health solutions for managing patient records, resource planning and tracking prescription drug costs are high on most governments’ public health agendas. However, issues of patient privacy, low take-up among GPs and a lack of “incentives” makes traction challenging.

Or Du Monde

This was probably a first for me – a jewellery startup. Not only that, Or Du Monde claims to be the leading green jewellery business in France, by only using ethically sourced diamonds, recycling gold, and as far as possible using local craftspeople, to support its sustainable goals. Gold mining generates huge amounts of ore waste, and most people will be aware of the issues associated with “blood diamonds”.

The gems used by Or Du Monde are sourced direct from mines that have established appropriate working conditions, also enabling country of origin certification.

With a strong family presence in the industry, the founders probably knew their business better than anyone else in the room. But one thing that wasn’t quite explained was the B2C click and mortar retail model. From my limited knowledge, the diamond market is closely controlled by just a handful of companies, so I’m not sure how direct sourcing works. Also, on the retail side, there are obviously high-end luxury brands, and mass-market high street chains.

I’m guessing that Or Du Monde aims to sit in between, as a niche or boutique brand, appealing to a certain customer profile. The pitch made reference to the “branded jewellery” sector (representing 20% of the market, and growing), but I assume this involves intensive brand marketing and strong distribution networks – again, not much explanation, although the business plans to have 9 stores around the world by 2020.

Finally, because much of the business is made-to-order, they company does not have to hold large inventories, and more than half of the revenues come from online sales.

Checkit-Out

Quoting some research that 90% of buyers use online customer reviews, Checkit-Out is aiming to update this now well-established model. In fact, the founders believe that there has been “no evolution in 15 years”, and there is some suggestion that customer reviews are now a less trusted source. (I suppose search result rankings and paid-for SEO have distorted the market?)

Incorporating gamification and aiming for an “influent” audience base, Checkit-Out allows users to upload 1 minute videos of their restaurant visits, from the restaurants themselves. (This is the first market segment the founders are targeting.)

I wasn’t sure what the revenue model was – restaurants pay a commission on bookings or referrals made via the app? – and it wasn’t clear how or how often the video content gets updated. I’m also sure that some restaurants may not be too happy about diners filming their experiences and posting them online, while they are still dining – managers and waiters probably have enough to do coping with diners taking photos of every dish for their social media pages….

Finally, as with most user-defined and user-contributed content platforms, we tend to gravitate to the reviewers whose views and tastes appear to align with our own – understanding how that model works would be incredibly valuable.

 

Note: I’m extremely grateful to Steven Hess, Program Leader, and the team at Re-Imagi for inviting me to participate in the dress rehearsals, and to attend the pitch night itself. It was a very interesting and worthwhile experience, and noticeable that the program fellows had taken on board much of the feedback that myself and other mentors had provided at the rehearsals.

Next week: Tribute