Tapticks is the ticketing platform we wished existed when we were running the door at a sound system in 2023. Wallet-native, no resale, settled next-day in JMD or USD, and built by a team that actually goes to the shows.
Ticketing in the Caribbean has been a quiet disaster for twenty years. Foreign platforms that don't take JMD. Fees that double the face value at checkout. Scalper bots dressed up as "official resale". Venues waiting six weeks for settlement on a show they already ran.
We built Tapticks because the people running music, sport, theatre, and culture in Jamaica deserve tools that respect their margins, their fans, and their calendars. Local-first. Wallet-native. Settled in the currency you actually pay your staff in. No surprise fees. No resale. No excuses when something breaks at the gate.
Pinned above every desk in the office. Read before every roadmap meeting. If a feature contradicts one of these, it doesn't ship.
No resale marketplace, no surge pricing, no scalper-friendly tricks. The price the venue sets is the price the fan pays.
We built Tapticks in Kingston, for Kingston — then Mandeville, MoBay, Ochi, Negril. Jamaica gets the best version of the product, first.
Settlement on time. Scans in 250ms. Refunds that actually refund. The unglamorous parts get the most engineering love.
We don't promise the moon. We ship things that work, write down what they cost, and answer the phone when something breaks.
We grew slowly on purpose. Every new venue meant we'd already answered the door call at the last one.
Two laptops, one barcode reader, and a promise we'd never charge a fan a $7 'convenience fee'.
Every order ships an Apple Wallet and Google Wallet pass. Live updates for gate changes, set times, and section swaps.
We ran the country's biggest reggae festival on Tapticks rails. 99.97% scan uptime, next-day settlement to a Jamaican bank.
From a 60-cap rum bar in Treasure Beach to the National Stadium. Same checkout, same wallet, same support team.
Twenty-three people across Kingston, Montego Bay, and Brooklyn. Half of us have run a door at a real show. The other half are learning. Every engineer does at least one Sumfest shift a year.
If you'd rather build the thing than write a deck about building the thing, we'd love to hear from you.