Mingo is a ticketing platform where the organiser’s rules survive the first sale. We helped build the product, the brand and the site behind it.
The problem
A ticket stops being yours the moment it sells. That is the whole problem, and most platforms have quietly learned to live with it.
Bots take the good inventory in seconds. Scalpers list it back at three times face value on a site the organiser has no relationship with. The fan either pays the markup or misses the night. The organiser watches the upside leave the building and still gets the complaints.
None of that happens because organisers want it. It happens because a ticket, in almost every system, is just a code. Once the code exists it can be sold, copied or moved anywhere, and the rules written at checkout have no way to follow it. Refund policy, price cap, transfer restriction: all of it is policy, and policy with nothing enforcing it is a suggestion.
The build
The resale engine
This is the part everything else hangs off. Organisers set the rules per event: a ceiling on resale price as a percentage of face value, a commission on every resale, and a window when resale is open. Transfers happen inside the platform, so the ceiling is not a policy anyone has to enforce by hand. A ticket cannot be listed above its cap because the system will not create the listing. That single change turns resale from something done to organisers into something they earn from.
The organiser dashboard
Live sales, revenue and capacity across every event in one view. Full lifecycle visibility, so an organiser can see who holds a ticket now, not just who bought it originally. That sounds like a reporting feature. In practice it is the thing that lets an organiser run a guest list, spot bulk buying, and market to the people who are actually walking through the door.
Verified ownership and entry
Tickets are tied to a verified holder and validated at the door by QR. Duplicates and screenshots do not get in. Bot-bought inventory does not quietly become someone else’s problem later in the chain.
The brand and design system
We created the visual and verbal identity from the ground up: colour system, typography scale, logo rules, motion principles, design tokens as CSS variables, and a written voice guide. Dark-first, because that is where the product actually lives. Everything documented so the team can build new pages and decks without asking a designer first.
The marketing site
Homepage, organiser and fan journeys, platform detail, and the full legal and support set. Built to hold up when a promoter opens it on a phone backstage and when an investor opens it on a laptop.
The call that shaped everything
The single biggest design decision on this project was what to leave out.
Mingo runs on Hedera. That is what makes the resale ceiling enforceable rather than aspirational. But nobody buying a gig ticket wants a lecture on distributed ledgers, and nobody promoting a tour wants their audience to think they have to learn something new to get in the door.
So the chain does the work and stays out of the way. No wallet-first screens. No token language in the buying flow. No blockchain graphics. The interface talks about price caps, commission and entry, because those are the things a promoter and a fan actually care about. Everything technical sits underneath, invisible and doing its job.
It is a harder brief than making a Web3 product look like a Web3 product. It is also the reason the thing is usable by people who would never describe themselves as crypto users.
The result
The platform is live and trading. 2,500+ tickets sold, €120,000+ processed, and a 1,200 capacity event sold out to the last seat with resale running under a cap the organiser set themselves.
More to the point: resale stopped being the part of the night that goes wrong. Fans pay a price with a ceiling on it. Organisers earn from the secondary market instead of watching it happen to them. The rules set at the start of the sale are still the rules at the door.
Where it stands now
Mingo was not a project we handed over and walked away from. Building it put us deep enough into the problem that the involvement carried on past launch, and TEJ’s founder now holds an operating role at Mingo alongside running the studio.
It sits alongside our other work in this space: the BlockCask whiskey cask tokenisation build and the Prelistd private property investment platform.
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