J'achète l'étude complète
Synthèse
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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- Nombre de pages : 30 pages
- Format : Version digitale et PDF
- Dernière mise à jour : 25/08/2022
Sommaire et extraits
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
Liste des graphiques
- Valeur du marché de la billetterie online d'évènements
- Valeur du marché de la billetterie de spectacle en France
- Achat de tickets en France
- Nombre de tickets vendus par type d'évènements
- Parts de marché en valeur par évènements
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Dernières actualités
Vivendi vend à CTS Eventim ses activités de festivals et de billetterie à l'international - 03/04/2024
- Vivendi va vendre ses activités de festivals et de billetterie à l'international à l'entreprise allemande CTS Eventim
- Les activités concernées sont l'entreprise de billetterie See Tickets (ex-Digitick) à l'international, et des festivals de musique comme Garorock en France et Junction 2 en Grande-Bretagne
- Les activités de billetterie et de festivals de Vivendi ont réalisé un chiffre d'affaires de 137 millions d'euros en 2023»
- 105 millions d'euros viennent des activités de billetterie (en particulier au Royaume-Uni,)
- 32 millions d'euros viennent des activités de festivals.
- CTS Eventim est le premier fournisseur en Europe de services de billetterie et de spectacle vivant, et le deuxième dans le monde
FNAC Darty de plus en plus porté par les services - 23/02/2024
- - Chiffre d'affaires de FNAC Darty en 2023 : 7,9 milliards d'euros, en léger recul de 0,9 %
- - Les services représentent 15 % du chiffre d'affaires du groupe
- - L'abonnement Darty Max a atteint les 1,1 million d'abonnés, une augmentation de 300.000 abonnés sur un an
- - Objectif de 2 millions d'abonnés pour Darty Max d'ici à 2025
- - Le groupe a réparé 2,5 millions de produits en 2023
- - La coentreprise avec Ceva, "Weavenn", vise à générer 200 millions d'euros de chiffre d'affaires et une marge opérationnelle à deux chiffres d'ici 5 ans
Vivendi projet de scission très bien accueilli - 14/12/2023
- Vivendi grimpe de plus de 10% en Bourse à la suite de l'annonce de son projet de scission.
- L'opération porte sur la création de trois entités distinctes autour de Canal+, Havas, et une société d'investissement.
BAM Tickets : billetterie qui veut vendre des tickets de théâtre comme Spotify - 14/12/2023
- BAM Ticket est une nouvelle plateforme de billetterie
- BAM Ticket est une coopérative de théâtres détenue par des opérateurs culturels lancée en décembre 2022 pour regrouper des acteurs indépendants du spectacle vivant.
- L'équipe de BAM Ticket, dirigée par Charlotte Rondelez, comprend cinq collaborateurs.
- Plus de 300 théâtres privés parisiens ont vendu 7,2 millions de places via BAM Ticket en 2022.
- BAM Ticket a réussi à lever environ 1 million d'euros auprès des producteurs de spectacles et d'institutions comme la Banque des Territoires, la BPI et la Région Ile de France.
Billetterie : la France pourrait bientôt perdre son dernier acteur majeur - 12/12/2023
- Vivendi envisage de céder ses festivals et sa billetterie See Tickets, présente dans une dizaine de pays européens et aux États-Unis.
- Les principaux intéressés pour l'acquisition de See Tickets sont l'américain AEG et l'allemand CTS Eventim.
- Le chiffre d'affaires de CTS Eventim s'élève à 1,9 milliard d'euros et sa branche billetterie atteint 541 millions en 2022 avec 69 millions de billets vendus.
- CTS Eventim possède déjà 48% de France Billet, une filiale de FNAC Darty, et prévoit une montée à 65%.
- AEG, par sa filiale AXS, est leader mondial dans l'exploitation de salles de type Arenas et organisateur de nombreux festivals.
- AEG est également actionnaire à 45% de la SAE POPB, qui exploite plusieurs grandes salles en France, et co-propriétaire du festival Rock en Seine.
- Vivendi espère récolter jusqu'à 300 millions d'euros pour See Tickets.
- See Tickets devrait totaliser 43 millions de billets vendus cette année, avec un chiffre d'affaires sur les 9 premiers mois de l'année de 118 millions d'euros, en croissance de près de 14 %.
- Live Nation (et sa filiale Ticketmaster) n'est pas candidat à la reprise de See Tickets
BPCE gère la billetterie des Jeux Olympiques - 30/11/2023
400 000 nouveaux billets vont être mis en vente pour les Jeux Olympiques et Paralympiques de Paris 2024. 7,2 millions de billets ont déjà été vendus pour ces jeux, sur un total prévu de 10 millions (13 millions en incluant les Paralympiques). BPCE, le groupe bancaire unique gérant la billetterie pour Paris 2024, a vendu 2,8 millions de billets lors des phases de vente précédentes pour les Jeux Paralympiques. Le système de billetterie de BPCE fonctionne dans 178 pays et gère des opérations de plusieurs opérateurs de paiement, dont Visa, Mastercard, CB, Union Pay (Chine) et JCB (Japon). Le système de BPCE peut gérer jusqu'à 300 billets vendus par seconde, bien que le pic de ventes n'ait jamais dépassé 30 transactions par seconde. Pour soutenir ce projet, BPCE a mobilisé une équipe de 50 salariés depuis dix-huit mois. Jusqu'à présent, presque 800 000 transactions ont été traitées par les systèmes de BPCE pour la vente de billets pour les Jeux Olympiques et Paralympiques de Paris 2024.
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