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Summary
The global online ticketing market, expected to grow at a CAGR of 4.8% to reach $68 billion by 2025, indicates significant expansion from its valuation at $46.6 billion. This growth is fuelled by increasing demand for tickets to sporting events such as the Olympic Games and the FIFA World Cup. North America is expected to contribute 37% of this growth, with emerging markets such as China showing rapid development.
By contrast, the French ticketing market is volatile, but shows signs of potential growth thanks to events such as Euro 2020. The French market is also seeing an increase in local purchases via mobile payments, with a significant rise to 92.9 million euros in transaction value from 3.6 million euros. France's largest ticket distributor, FNAC, dominates with a market share of 24%, while the market faces the impact of the black market, accounting for 10-25% of sales, despite regulations prohibiting the unauthorized resale of event tickets. Demand trends show an appetite for concerts and sports, particularly with the French festival industry noting a record 7.5 million visits for the top 100 events. However, price sensitivity remains an issue, with only 51% of French consumers satisfied with ticket affordability. Overall, the ticketing industry is growing steadily, with technology and online platforms playing a central role in sales and the fight against illegal resale.
Cyclical demand dynamics and growth prospects in the French entertainment ticketing market
The French entertainment ticketing market shows dynamic trends deeply influenced by cyclical patterns and technology-driven demand, with notable peaks around festive seasons such as December and summer. The proliferation of digitization and the growing importance of mobile applications are reshaping the way tickets are purchased. The online segment is poised for sustained growth, currently holding the lion's share of the market. Remarkably, music concerts lead the entertainment spectrum in France, capturing 49% of ticket sales by volume and an impressive 35% of the population claiming to have attended at least once.
However, if we consider the value of tickets sold, sporting events outstrip the other categories, securing 39% of market share by value, eclipsed only by cinema tickets, which hold a very close equivalent. The French market is not immune to global economic fluctuations, but it has shown resilience and an upward trajectory, with an overall valuation of around 1.42 billion euros. In terms of numbers, it is estimated that over 31 million tickets were sold, at an average price of around 45 euros.
Demand is also boosted by the dynamism of festivals in France, which recently broke attendance records, illustrating the market's growth potential. With growing numbers of visitors, some events such as the Festival Interceltique de Lorient attracted up to 800,000 people, underlining the important role of ticket sales in the vitality of the sector. Not to be overlooked is the issue of price sensitivity, with the majority of French ticket buyers expressing disagreement with the affordability of tickets, suggesting that a strategic reduction in ticket prices could be a catalyst for increased sales.
In conclusion, the French entertainment ticketing market is marked by a strong inclination towards online sales, cyclical demand patterns aligned with festive periods, a preference for musical and sporting éall complemented by digital advances that facilitate customer access and could potentially drive market growth.
An overview of the key players in the French ticketing market
The French ticketing market is a dynamic landscape where competition is fierce and key players employ a variety of strategies to maintain and strengthen their market position. The market features a variety of entities ranging from multi-channel distributors to online powerhouses and niche players focusing on ticket resale.
- FNAC is a giant in this sector. Although it is primarily known for its retail stores selling a wide range of products, including books, electronics and music, FNAC has a strong presence in the ticketing sector. It provides access to a wide range of entertainment options, underlining its multi-dimensional approach to consumer engagement.
- Carrefour is another multi-channel retailer making its contribution to the ticketing market. Known as one of the world's leading supermarket chains, Carrefour has capitalized on its extensive customer base to offer ticketing services for a variety of events. Its entry into this sector illustrates how traditional retailers can leverage their vast networks to diversify their offerings.
- E.Leclerc is an important name that reflects the adaptability and reach of major retailers in the entertainment ticketing business. With a strong commitment to consumer services, E.Leclerc has entered the ticket distribution business, following in the footsteps of its counterparts in the sector who are moving towards experiential offerings. As far as ticket resale is concerned,
- Pass Your Ticket presents itself as a specialized channel for ticket transactions between individual buyers and sellers. This platform highlights the lateral expansion of the market and the adoption of consumer-to-consumer models within the entertainment ticketing ecosystem.
- Zepass, alongside Pass Your Ticket, also focuses on ticket resale. It has distinguished itself by offering a secure platform for users to buy and sell tickets, positioning itself as a solution provider to the black market challenges plaguing the industry. Purely online players offer another perspective on market structure.
- Ticketmaster is a leading player, facilitating online sales with a robust platform that integrates technological advances to enhance the user experience. Its focus on digital solutions has made it a key player in the online distribution channel.
- ViaGogo is also recognized for its online prowess as a marketplace for ticket sales. Its commitment to providing a platform for secondary market activities has placed it among the leading online players, contributing to the growth of legitimate resale market operations.
This rich tapestry of leading players in the French ticketing market highlights an environment where dominance is built not only by market share, but also by channel diversification, the exploitation of technology, the use of information and communication technology (ICT) and the use of information and communication technology
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- Number of pages : 30 pages
- Format : Digital and PDF versions
- Last update : 25/08/2022
Summary and extracts
1 Market summary
1.1 Definition and scope of study
The entertainment ticketing sector encompasses the distribution of tickets for entertainment events such as sports, musicals, theater and others. The INSEE (Institut national de la statistique et des études économiques) activity number for ticket distribution is 7990Z.
The entertainment ticketing market can be broken down into two distribution channels: physical outlets and online. Online sales dominate, but some players are nevertheless present in both channels. Online ticketing is currently experiencing the strongest growth, with a projected CAGR of 4.8% per year until 2025. Both worldwide and in France, the market is relatively concentrated. Nevertheless, the increasing dematerialization of tickets and the move towards online ticketing continue to change the way tickets are distributed. In particular, the emergence of online platforms to manage the flow of ticket purchases and sales has been particularly strong. Indeed, the major distribution companies have their own systems, and also offer show organizers the possibility of providing integrated solutions.
Digitization plays a huge role in this industry. For example, smartphones have made it possible to reach different audiences, such as tourists, with applications like geolocation. Digitization is also improving the experience of mobile applications and increasing consumer accessibility, and therefore the revenues generated for market players.
Finally, the industry continues to face headwinds as it attempts to combat the black market in ticket distribution. In France, the black market accounts for between 10% and 25% of all sales. Nevertheless, regulatory authorities are actively combating this parallel economy.
1.2 A booming global online market
Market value of online event ticketing World, **** - ****, in billions of US$ Source: Businesswire CAGR **** -**** = *.*%*
Global online ticketing sales will reach US$** billion in ****. The United States is the leading contributor to global sales, with US$** billion generated in ****.
The online ticketing market is a growth market, set to reach ...
1.3 An unstable French market
Entertainment ticketing market value in France France, **** - **** Source: ****
The French ticket market is volatile - in **** to ****, the market grew by **%, while it fell by **% between **** and ****. In ****, the French ticket market was valued at around *.** billion euros. Comparing this figure with Chart *.*, this represents a global market share of ...
2 Demand analysis
2.1 Demand overview - Worldwide
Number of tickets sold by type of event World, ****, in Source: ****
The global ticket market is dominated by music concerts (***).
Market share in value by event World, ****, in % Source: ****
If we measure the overall value of tickets sold (***). We can therefore assume that average prices for sporting events are higher than ...
2.2 Analysis of the French consumer
Which event did you attend at least once this year? France, ****, in % of respondents Source: ****
The graph above shows that the most popular form of entertainment is the music concert (***) are the least-visited events.
Sports
Which sporting event are you most looking forward to? France, ****, in % Source: ****
based on the responses ...
2.3 Demand drivers
Cyclical demand
Seasonality of the "Billet Spectacle" search on Google France, ****-**** Source: ****
Demand for tickets is cyclical, peaking around the festive season, no doubt for Christmas presents.
We note the sharp drop in search in **** linked to the Covid-** pandemic.
French festivals multiply
According to The Ticketing Business, **** was a ...
2.4 Demand trends
Internet increasingly used to purchase tickets
Do you use the Internet to buy tickets for shows? share of respondents going to shows, in %, **** Source: ****
To go to live shows, **% now say they regularly buy their tickets on the Internet. This finding is up +** points since ****.
Share of respondents using the Internet ...
3 Market structure
3.1 Value chain
The chart above shows that online sales dominate physical outlets. As already mentioned, the higher penetration rate of the Internet is a major contributory factor to this structure.
3.2 A concentrated market
Top ** physical ticket machines France, ****, in Source: ****
The chart above shows that the ticket distribution market in France is concentrated, with the top ten players accounting for **% of distribution. What's more, the chart clearly shows that one player in particular, FNAC, is a giant in this sector. This company accounts for ...
3.3 Distribution
Physical distribution:
Evolution of the value of physical distribution France, ****-****, in € millions Source : Euromonitor CAGR : -*.*%
The value of tickets sold in physical stores amounted to nearly €*** million in France in ****. Tickets distributed offline are defined as tickets sold in physical stores. The market share of offline distribution is volatile ...
3.4 The explosion in local smartphone shopping
Proximity purchases are defined as purchases made in a store using a cell phone.
Value of "local" purchases France, ****-****, in millions of € Source: ****
The graph above clearly shows that this means of payment has exploded. In ****, transactions amounted to €*.* million in France, while the equivalent figure in **** was €**.* million, an ...
4 Offer analysis
4.1 Ticket price and audience size
Breakdown of concerts by number of visitors France, ****, in % Source: ****
The graph above illustrates the distribution of concerts in France according to size. Although there is no clear preference as to size, concerts held between *** and **** account for **% of concerts in France. What's more, almost a quarter of concerts in France ...
4.2 The black market continues to flourish in France
In France, the black market in ticket resale accounts for around **% to **% of all tickets distributed, and for major concerts this figure rises to as much as **%. To counter this trend, a law was passed in **** prohibiting the resale of tickets for live performances. Any breach of this law can result ...
4.3 Pricing
It's important to note that the quotes are based on a standard ticket; additional costs are often added due to taxes, seat preferences and availability. Therefore, the prices quoted above should be considered as a lower threshold, as there is no real price ceiling.
4.4 Supply trends - Digitization and use of data
Technavio points out that demand growth of *.*% to **** (***) will be fuelled by the following factors, which play a crucial role for the supply side:
Analytical tools integrated into online ticketing platforms to track consumer behavior, preferences and identify trends Implementing technology on sales platforms to automate ticketing services and thus reduce ...
5 Rules and regulations
5.1 Current regulations
Current regulations come from the European Commission. In particular, ticket sales are regulated by the Ticket Sales (***) Bill ****.
At national level, the French legislative framework for ticket distribution is covered in BOFiP. It is thus illegal in France to sell, offer for sale, display for sale or provide the means necessary ...
6 Positioning the players
6.1 Segmentation
- Carrefour Spectacles
- Espace Culturel – E. Leclerc Billetterie
- Passe ton billet
- Zepass.com
- Ticketmaster France
- Viagogo
- HelloAsso
- Fnac Darty
- Secutix (Elca groupe)
- Shotgun
- Billet Réduc
- Lyte
- TicketSwap
- Leclerc Spectacles
- France Billet
- Imagina
- Yurplan
- Billetweb
- Pass Event -Euro Information (Credit Mutuel)
- Placeminute
- Redtaag Voodootix
- Vivendi
- See Ticket (Vivendi groupe)
- CTS Eventim
- Delight Data
- Natixis Groupe BPCE
- Festik
- SeeTickets
- BAM Tickets
- Movinmotion
- Fnac Spectacles
List of charts
- Value of the online event ticketing market
- Value of the ticketing market in France
- Buying tickets in France
- Number of tickets sold by type of event
- Market share in value by event
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Latest news
BAM Tickets: a ticketing service that wants to sell theater tickets like Spotify - 14/12/2023
- BAM Ticket is a new ticketing platform
- BAM Ticket is a cooperative of theaters owned by cultural operators launched in December 2022 to bring together independent players in the performing arts.
- The BAM Ticket team, headed by Charlotte Rondelez, comprises five employees.
- Over 300 private Parisian theaters sold 7.2 million tickets via BAM Ticket in 2022.
- BAM Ticket has raised around 1 million euros from show producers and institutions such as the Banque des Territoires, BPI and the Ile de France region.
Vivendi demerger project well received - 14/12/2023
- Vivendi climbs over 10% on the stock market following the announcement of its demerger project.
- The operation involves the creation of three separate entities around Canal+, Havas and an investment company.
Ticketing: France could soon lose its last major player - 12/12/2023
- Vivendi is considering selling its festivals and See Tickets ticketing service, which operates in ten European countries and the United States.
- The main parties interested in acquiring See Tickets are the American AEG and the German CTS Eventim.
- CTS Eventim has sales of 1.9 billion euros, and its ticketing arm will reach 541 million by 2022, with 69 million tickets sold.
- CTS Eventim already owns 48% of France Billet, a subsidiary of FNAC Darty, and plans to increase this to 65%.
- AEG, through its subsidiary AXS, is a world leader in the operation of Arenas-type venues and organizer of numerous festivals.
- AEG is also a 45% shareholder in SAE POPB, which operates several large venues in France, and co-owner of the Rock en Seine festival.
- Vivendi hopes to raise up to 300 million euros for See Tickets.
- See Tickets is expected to sell 43 million tickets this year, with sales for the first 9 months of the year up by nearly 14% to 118 million euros.
- Live Nation (and its subsidiary Ticketmaster) is not a candidate for the acquisition of See Tickets
BPCE manages ticketing for the Olympic Games - 30/11/2023
400,000 new tickets go on sale for the Paris 2024 Olympic and Paralympic Games. 7.2 million tickets have already been sold for these games, out of a planned total of 10 million (13 million including the Paralympics). BPCE, the single banking group managing ticketing for Paris 2024, sold 2.8 million tickets in the previous sales phases for the Paralympic Games. BPCE's ticketing system operates in 178 countries and handles transactions from several payment operators, including Visa, Mastercard, CB, Union Pay (China) and JCB (Japan). BPCE's system can handle up to 300 tickets sold per second, although peak sales have never exceeded 30 transactions per second. To support this project, BPCE has mobilized a team of 50 employees over the last eighteen months. To date, almost 800,000 transactions have been processed by BPCE's systems for ticket sales for the Paris 2024 Olympic and Paralympic Games.
Vivendi reinvents its business model with the acquisition of Lagardère - 22/11/2023
- Vivendi's annual sales will rise from 9.6 billion to 17 billion euros following the acquisition of the Lagardère group.
- Vivendi's adjusted operating profit will rise from over 800 million euros to over 1.2 billion euros.
- The number of Vivendi employees will increase from 38,000 to 66,000.
- Vivendi sold Editis to International Media Invest for 653 million euros (including debt).
- Vivendi owns 59.74% of the Lagardère group.
- Other major shareholders in the Lagardère Group are Qatar Holding LLC (11.52%), Arnaud Lagardère (11.11%) and Financière Agache (7.97%).
Vivendi takes control of Lagardère: "A big change" - 22/11/2023
- Vivendi officially takes control of Lagardère on November 21.
Vivendi now holds 57.95% of Lagardère's capital and 50.50% of its voting rights. - Vivendi's sales rise from 9.6 billion euros to 16.5 billion.
- International activities account for 63% of Vivendi's revenues (compared with 54% previously).
- The number of Vivendi employees rises from 38,300 to 65,700.
- Bernard Arnault holds a 7.7% stake in Lagardère via Financière Agache.
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