The festival market - France

The global festival market, particularly music festivals, was booming until it faced a significant downturn due to the COVID-19 pandemic, which brought the industry to a standstill in 2020. In France, prior to the pandemic, there was a 26% increase in the number of festival-goers for the top 100 festivals, with major groups like Vivendi and Live Nation investing in the sector. However, the pandemic led to the cancellation of 85% of major current music festivals, with an estimated direct economic impact between €383 million and €535 million.

Despite the challenges, there is hope for recovery as nearly 95% of festivals surveyed by All Festivals wish to continue in 2021, albeit with reduced capacities, and 81% of festival-goers are reportedly willing to pay more. The geographical distribution of festivals in France is concentrated in the southern half of the country, with Brittany being the most represented region for current music festivals. Overall, the market saw a substantial growth trajectory which was abruptly interrupted by the pandemic, yet there are signs of resilience and willingness to adapt among both organizers and attendees.

French Festival Market Trends and Audience Insights

The festival scene in France, specifically the music festival market, has become an integral part of the country's cultural fabric, with a significant proportion, over half, being music festivals. These events have been attracting an increasing number of attendees, with a 26% jump in the number of festivalgoers, hitting close to 7.5 million for the top 100 festivals. This boom signifies the French populace's strong inclination towards music-related festivities. Festival attendance patterns reveal a sense of loyalty among attendees, with 62% having been to at least one festival before, while around 38% are newcomers. The loyalty is starker when observing that on average, attendees have been to around 10 previous editions. However, most attendees, more than 70%, tend to participate in less than 15% of a festival's programming.

When dissecting the profile of festival audiences, a majority are women, mirroring a broader cultural engagement pattern in France. Geographic proximity also plays a key role, with over half of the participants hailing from the same department as the festival. Age distribution suggests a varied demographic but with fewer attendees in the 35-50 age range. Youth is more pronounced at current music festivals, while jazz and classical music festivals appeal significantly to older demographics. Motivations to attend festivals extend beyond the programming, as 42% of participants were not familiar with the artists prior to engagement. Factors like socializing and experiencing a collective euphoria play substantial roles, particularly among younger audiences.

The French music festival market before the Covid-19 crisis was characterized by steady growth, diversification, and substantial investments by big groups like Vivendi and Live Nation, indicating corporate interest and the potential for commercial expansion. The average festival generates around 54% of its revenue from tickets, with sponsorship and local government grants being other vital revenue streams. Regulations govern these cultural gatherings, mandating declarations or authorizations for public space usage and adherence to safety, licensing, and rights-related legalities.

Despite the robust structure and significant demand, the Covid-19 pandemic has severely impacted the market, compelling cancellations and adaptations like virtual events and anticipations of reduced capacity gatherings in the post-pandemic period. In summary, the French festival market is a vibrant and evolving industry that attracts millions each year and is marked by a diverse and loyal audience.

Though it faces challenges and is subject to regulatory compliance, its steady growth pre-pandemic indicates a resilient potential .

Main Players in the French Festival Market

The French festival market is vibrant and diverse, with a range of players contributing to its dynamism. These entities span from production powerhouses to specialized organizers, each playing a significant role in shaping the experiences that festivals offer to attendees. They leverage their unique capabilities to ensure festivals are not only musically enriching but also operationally successful.

• Live Nation: Known as one of the giants in the live entertainment industry, Live Nation is a key player with a substantial footprint in the festival market. The company has extended its reach by acquiring various festivals over the years. Their complete ownership of the popular Lollapalooza festival since 2017 is a testament to their dominant position. Further, Live Nation's ownership of TicketMaster signifies its involvement in comprehensive festival experiences from staging events to ticketing.
• Vivendi: This French conglomerate has made strategic investments within the festival landscape, aiming to diversify and control every aspect of the festival experience. By fully acquiring Garorock in 2019 and also investing in the production arm via Olympia Production, Vivendi exemplifies its integrated approach to festival organization.
• Sony: On the lookout for opportunities that resonate with its brand, Sony has invested significantly in the festival sector. Their 33% investment in the eco-friendly We Love Green festival in 2014 showcases their commitment to participating in events that share a strong identity and ethos.
• Morgane Group: Not just content to produce festivals such as Printemps de Bourges, Morgane Group has expanded its media presence through investments in Morgane Presse, thereby strengthening its influence over festival culture and reach.
• AEG: A prominent player in the live production scene, AEG has taken strides into the French festival market with significant stakes, like their equitable share in Rock en Seine, indicating their commitment to recurring, high-profile live music events.
• LNEI: Straddling the line between media and festivals, LNEI has used its acquisition of Rock en Seine to further its interests and connections within the cultural sector, merging event organization with its media presence through Les Inrockuptibles.
• Fimalac: An entity focused on diversification, Fimalac has stakes in festivals that speak to varied audiences, including the electronic-centric Les Nuits Electriques. Their presence in ticketing via MyTicket and community engagement platforms like Bandsquare speaks to Fimalac's interest in enhancing the festival experience from multiple angles.

Informations

• Nombre de pages : 30 pages
• Format : Version digitale et PDF
• Dernière mise à jour : 06/07/2023

Sommaire et extraits

Liste des graphiques

• Taux de première participation à un festival
• Intention de participation aux différents spectacles des festivals
• Avec qui va t-on au festival ?
• Répartition hommes - femmes des festivaliers
• Origine géographique des participants à un festival
• Répartition des participants à un festival en fonction de l'âge
• Les 7 motifs les plus cités pour participer à un festival
• Evolution de la fréquentation des 100 plus grands festivals de musiques
• Classement des plus gros festivals par fréquentation totale
• Classement des plus gros festivals par fréquentation journalière moyenne
• Parmi les différents styles de musique suivants, les 3 pour lesquels vous avez assisté au plus grand nombre de festivals ces dernières années
• Répartition des festivals par domaines
• Répartition des dépenses festivalières par type (en moyenne)
• Détail des recettes en ressources propres
• Les différents modes de tarification
• Estimation du marché des festivals de musique en Europe
• Part des plus grands festivals de musiques actuelles ayant été annulés en 2020
• Part des 100 plus grands festivals de musique ayant lieu entre juillet et août
• Répartition du nombre de festivals par date de début
• Répartition des 100 plus grands festivals de musique actuelle en fonction de leur date de création
• Répartition des 100 plus grands festivals de musique en fonction de leur thématique