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MARKET SUMMARY

1.1 Presentation

The ticket industry encompasses the ticket distribution for entertainment events such as sports, musicals, theater and other events. INSEE's (Institut national de la statistique et des études économiques) activity number for ticket distribution can be found under code 7990Z.

The entertainment ticketing market consists of two distribution channels, namely physical points-of-sale and online. Online sales dominate, nevertheless some players are present in both channels. Currently, online ticketing is experiencing the strongest growth, at a CAGR of 4.8% p.a until 2025. Globally, as well as in France, the market is relatively concentrated. Nevertheless, the increasing dematerialization of tickets and subsequent move towards online ticketing is continuing to change how tickets are distributed. In particular, the emergence of online platforms to manage the flow of ticket purchases and sales has been particularly strong. Indeed, large distribution companies have their own systems and also offer show organizers the possibility of provision of integrated solutions.

Moreover, digitalization plays a huge role in this industry. For example, smartphones have made it possible to reach different audiences such as tourists via applications including the geolocation. Digitalization also enhance the mobile application experience, and increases the accessibility of consumer, and hence the revenues generated for market players. 

Finally, the industry is continuing to face headwinds in trying to battle the black market for ticket distribution. In France, the black market accounts for between 10-25% of all sales. Nevertheles, regulatory authorities are actively seeking to mitigate such tendencies.

1.2 A growing global online market

Source: ****

The global market for online ticket sales is expected to grow at CAGR *.*% to reach $** billion in ****. In ****, the market was valued at $**.*; since data on previous years is limited, we simply use the CAGR between **** and **** (***) and discount values to obtain the period between **** to ****.

The growth in global ...

1.3 A volatile French market

Market Value

Source: ****

The French ticket market is volatile; in **** to **** the market increased by **%, whereby it dropped **% between **** and ****. In ****, the ticket market in France was valued at around €*.** billion. If we compare this to the graph in *.*, this represents a global market share of approximately *.**%. Moreover, France in **** will ...

DEMAND ANALYSIS

2.1 Demand Overview - World

Source: ****

The world market for tickets is dominated by music concerts (***).

Source: ****

When measuring the aggregate value of tickets sold (***). By this, we can assume that the average price for sports event are higher than music/concerts since the retail value is higher although tickets sold are lower.

2.2 Profile Analysis: the French Consumer

Source: ****

From the graph above we can see that the most popular entertainment form are music concerts (***) were the least visited events.

Sports

Source: ****

Based on the answers above, football, bicycling, and rugby were the most anticpaated events in France in ****. Although this is not directly correlated to ticket sales, it ...

2.3 Demand Drivers

A cyclical demand

Source: ****

Demand for tickets is cyclical and peaks around the festive season (***).

France’s Festivals Increasing

According to The Ticketing Business, **** was a record breaking year in France for festivals. In total, *.* million visits were paid to the *** largest events.The Festival Interceltique de Lorient had the highest ...

2.4 Demand Trends

Mobile Application Boost Sales

Sales strategies such as flash sales, early bird offers, access codes, and public discounts are intensifying, which, together with increasing internet adoption rates and mobile applications, increases the ability to purchase tickets. Moreover, such applications can also, apart from increasing sales, serve as a marketing opportunity through ...

MARKET STRUCTURE

3.1 Value Chain

The chart above shows us that online sales dominate physical points of sale. As previously argued, the wider penetration rate of the internet is a strong contributing factor to this structure.

3.2 A concentrated market

Source: ****

From the graph above, we find that the market for ticket distribution in France is concentrated, with the top ten players accounting for **% of the distribution. Moreover, from this graph it is clear that one player in particular, FNAC, is a giant in this sector. The company accounts for **% of ...

3.3 Distribution

 Offline

Source: ****

Tickets sold offline amounted to almost €*** million in France in ****. Tickets distributed offline is defined as tickets sold at physical stores. The market share for offline distribution is volatile and has decreased sice ****, mainly due to the cannibalization effect online sales have on offline purchases. The larger value in ...

3.4 The explosion of proximity purchases

Proximity purchases are defined as purchases which are done in a store with a mobile phone.

Source: ****

From the graph above, it is clear that this means of payment has exploded in value. In ****, transactions amounted to €*.* million in France, whereas the equivalent figure in **** was €**.* million, an increase by ****%. Again, ...

ANALYSIS OF THE OFFER

4.1 Ticket price and audience size related

Source: ****

The chart above depicts the distribution of concerts in France based on size. Although there is no clear preference of size, concerts which hold between *** to **** account for **% of the concerts in France. Moreover, almost a quarter of concerts in France can be regarded as large (***).

Source: ****

In France, concert ...

4.2 The Black Market Still Plagues France

In France the Black Market for ticket resales amounts to around ** to **% of all tickets distributed, and for larger concerts this figure increases up to **%. To counter this, a law was passed in **** in which it is forbidden to resell live show tickets. Breaching this law can result in fines between ...

4.3 Pricing

Some important remarks regarding this table is that quotes are based on a standard ticket; it is often the case that additional costs are incurred related to taxes, seating preferences, and availability. Hence, the prices cited above should be seen as a lower threshold since there really is no cap to ...

4.4 Supply Trend - Technology is key

Technavio highlights that the demand growth of *.*% until **** (***) will be driven by the following factors which play a crucial role for supply:

Analytical tools incorporated into online ticket platforms to track consumer behavior, preferences, and identify trends Implementing technology onto sales platforms to automate ticket services and hence reduce costs

In ...

RULES AND REGULATIONS

5.1 Current Regulation

France is part of the European Union and thus the prevailing regulation stems from the European Commission. In particular, the sales of tickets is regulated under the Sale of Tickets (***) Bill ****

On a national level, the French legislative framework for the distribution of tickets is covered in BOFiP. Furthermore, it is ...

POSITIONING OF THE ACTORS

6.1 Segmentation

  • Fnac Darty
  • Carrefour Spectacles
  • Espace Culturel – E. Leclerc Billetterie
  • Passe ton billet
  • Zepass.com
  • Ticketmaster (Live Nation Entertainment
  • Viagogo

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in 40 pages
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Analysts

Hugo S.

chargé d'études économiques, Xerfi

Hugo S.

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Mathieu Luinaud

Associate Consultant

Mathieu Luinaud

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Education Formation
Robin C.

PhD Industrial transformations

Robin C.

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Pierre D.

Analyst

Pierre D.

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Arnaud W.
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Ross Alumni Club France

Arnaud W.

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Amaury de Balincourt
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Analyste de marché chez Businesscoot

Amaury de Balincourt

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Pierrick C.

Consultant

Pierrick C.

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Maelle V.

Project Finance Analyst, Consulting

Maelle V.

Héloise Fruchard

Etudiante en Double-Diplôme Ingénieur-Manager Centrale

Héloise Fruchard

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Imane E.

EDHEC

Imane E.

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Vincent D.

Auditeur

Vincent D.

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Eva-Garance T.

Eva-Garance T.

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Michela G.

Market Research Analyst

Michela G.

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Azelie P.

Market Research Analyst @Businesscoot

Azelie P.

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Cantiane G.

Market Research Analyst @Businesscoot

Cantiane G.

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Jules D.

Consultant

Jules D.

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Alexia V.

Alexia V.

Emil Ohlsson

Emil Ohlsson

Anna O.

Anna O.

Gabriel S.

Gabriel S.