Content of the study:
The performing arts market - France

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MARKET OVERVIEW

1.1 Market definition and key figures

Live performance is defined as the physical presence of at least one performing artist receiving remuneration for the public performance of a work of the mind.

The live entertainment market in France is structured around the production and distribution of live shows. This market covers a variety of segments (comedy, song, opera, instrumental music, theater, circus, etc.) which, while they do not necessarily share the same customers (the same audience), at least share the same interests.while they don't necessarily share the same customers (the same audience), they do share, at least in part, the same production resources (venues, lighting, sound, scenery, make-up, security, ticketing, advertising and promotion, entertainment workers, production, staging).

The live performance market is thus characterized by the involvement of a large number of operators. Some major operators are integrated players in the live entertainment sector, covering the entire value chain (such as Live Nation or Stage Entertainment). These players coexist with others of significant size, focusing on one link in the chain: venue managers, record majors, ticketing operators and production companies. Above all, however, the live performance market relies on a vast, highly fragmented economic fabric, comprising independent venues, festivals, technical assistance methese include independent venues, festivals, technical assistance companies, intermittent workers and intermittent workers' collectives, artists, directors, security companies, etc.

We note in particular that 6% of performances account for 49% of admissions and 65% of box-office receipts. Conversely, 60% of performances are given in small venues with fewer than 200 admissions, and account for 5% of box office receipts.

As a result, while this market may appear concentrated in terms of box-office receipts and admissions, it is absolutely atomized in terms of the number of performances and jobs.

The live performance market is also geographically concentrated in France, with the Ile-de-France region and Paris in particular occupying a predominant position, both in terms of number of performances and attendance and box-office receipts.

The live performance market in France is relatively mature, due to the saturation of supply and the inelasticity of demand: for consumers/spectators, "consuming" live performance is as much an investment in time as in money. Lowering prices therefore does not significantly increase attendance. On the other hand, a period of economic difficulty is likely to see attendance figures deteriorate. The market's growth potential is therefore limited. However, its fragmented nature leaves considerable scope for internal recomposition and redistribution of market share between shows and operators from one season to the next.

The market for live shows is primarily served by individual customers, followed by companies, notably for team seminars or customer meetings.

1.2 The European live performance market

In ****, the European live performance market was estimated at **.* billion euros, with very strong growth of +**.*% over the ****-**** period.

Sales of cultural and creative industries Europe, ****, in billions of euros Source: ****

1.3 The French live entertainment market is growing strongly

The live entertainment market experienced difficult times in **** and **** with the health crisis. However, **** marks a significant recovery from this terrible period. The Comité National de la Musique(***).

evolution of box office receipts France, ****-****, in millions of euros Source: ****

The graph above shows the disaster that was **** and ****. We can ...

1.4 The impact of the Covid-19 crisis on the live entertainment market

The Syndicat national du spectacle musical et de variété (***) predicts that the live entertainment sector will be hard hit by the crisis at the start of ****. Indeed, in the event of no shows being able to resume before January ****, the union estimates that the sector will lose *.* billion euros in ...

DEMAND ANALYSIS

2.1 Household consumption of leisure and culture

In ****, household consumption of culture and leisure will be worth **.** billion euros. Within this broad category is a sub-category of particular interest to us: "cultural services". This sub-category includes "Cinema, live shows, museums, audiovisual subscriptions, photo printing developments, etc.". [***] The latter represents the *th largest item of expenditure on leisure and ...

2.2 Consumption of live shows

A survey conducted by Harris Interactive for the French Ministry of Culture in September **** reports on the behavior of the French towards live performances. However, this survey is largely focused on the effects of the health pass, which is no longer relevant. Nevertheless, survey participants still answered questions about their consumption ...

2.3 Demand strongly dependent on cultural capital

a survey carried out by Ifop in June **** informs us of the willingness of the French to attend live shows in the coming months, and highlights a greater appetite among socio-professional categories to go to live shows.

Do you intend to attend a music or theater festival and/or concerts and/or ...

MARKET STRUCTURE

3.1 The different types of players in the sector

There are many different types of player in the live performance market:

Public players: either the State or local authorities. In ****, public spending accounted for **.*% of total performing arts sales in France. Performing arts companies, whether specialized in this field or integrated players present at different stages of the value chain. ...

3.2 Employment in the performing arts

In ****, the live performance sector employed more than ***,*** people, the vast majority of them working for live performance companies, and more than *,*** authors or content creators.

Workforce in the cultural and creative industries France, ****, in thousands and as a % of total Source: ****

Source: ****

In ****, there were over **,*** companies in France specializing ...

3.3 Sector concentration

In ****, the Centre National de la Musique has published a report on the activity of musical and variety shows. However, given the complicated context of **** and **** for the sector, which does not reflect the current situation in light of the lifting of restrictions, this same report is based mainly on **** to ...

3.4 The different venues and their characteristics

Venues more geared towards pop or variety concerts:

Source: ****

More classic venues :

Source: ****

OFFER ANALYSIS

4.1 Offer typology

There is a very wide range of live performances, from a contemporary music concert to an opera performance, a festival, a play or a comedy show.

Breakdown of paid performances by type France, ****, in % Source: ****

Rap, hip-hop, reggae or electronic music and pop rock concerts are the types of shows that ...

4.2 Overview of prices and costs

Prices vary widely according to the type of performance: the average price ranges from €** for jazz, blues and improvised music to €** for cabaret.

Average ticket price excluding tax per paid admission France, ****, in Source: ****

Live performance costs

For any show, we need to calculate its production cost (***).

> Production costs

Many ...

REGULATIONS

5.1 Regulations for entertainment companies

This entire section is taken directly from the Guide des obligations socialesissued by the French Ministry of Culture. All legal obligations are listed in this guide.

"There are several legal obligations for entertainment contractors. They are summarized below:

You must register your company with URSSAF Hold an entertainment contractor's license, ...

5.2 Show regulations

"Prior to the start of a show, a number of formalities must be completed:

Declaration prior to hiring employees Application for an object number Drawing up an employment contract Check that the employee is in possession of a medical fitness certificate less than two years old, issued by the occupational medicine ...

5.3 Obligations of the show entrepreneur

"The show entrepreneur must also ensure in particular :

Payment of intellectual property rights (***) Use a ticketing system that complies with the relevant standards and is subject to : VAT at the reduced rate of *.*%, in particular for theater, song and poetry shows, circuses, concerts, variety shows (***), choreographic or lyrical shows, with ticket ...

POSITIONING THE PLAYERS

6.1 Segmentation

As we have seen, the live performance market is concentrated in terms of revenues and admissions, but absolutely atomized in terms of the number of performances and jobs.

The most important players, in terms of size and sales, are :

Integrated players in the live entertainment sector, covering the entire value chain, ...

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Reviews (2)

Reviews (2)

The performing arts market - France

Publicado en 22/11/2022 by Aurelien Hoppley

Étude de marché pertinente.

The performing arts market - France

Publicado en 22/09/2022 by Anais Reteux

Etude généraliste mais très bien réalisée du marché du spectacle vivant dont on trouve assez peu d'analyse aussi complète.


Businesscoot Response:

Merci infiniment Anaïs pour votre retour. Nous sommes ravis d'avoir été à la hauteur de vos attentes!

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