Synthèse

The live performance market in France, while concentrated in terms of sales and attendance, is highly fragmented in terms of number of performances and jobs. In 2020, the sector experienced a significant downturn, with a drop of around 32% in salaried employees and around 15% in merchant companies due to the health crisis. Despite this, 2021 showed signs of recovery, although the number of employees has not fully returned to pre-pandemic levels.

The market is mature, with limited growth potential due to the inelasticity of demand, and is geographically concentrated, with the Ile-de-France region playing a predominant role. In terms of structure, the sector comprises a diverse range of players, from public entities to private organizations and technical service companies. The largest shows and venues account for a disproportionate share of admissions and revenues; for example, the top 50 shows accounted for 33% of admissions and over 55% of box-office receipts.

Despite facing significant operational challenges and changing market conditions, the live entertainment sector in France remains complex and dynamic.

Trends and outlook for the live entertainment market in France

The live entertainment market in France is a dynamic and diverse sector, encompassing different forms of entertainment such as comedy, opera, theater and concerts, among others. Despite the diversity of its offering, the market is experiencing a degree of concentration, both in terms of revenues and attendance, but remains highly fragmented in terms of the number of performances and job opportunities. A small proportion of shows attract a substantial share of revenues and audiences - around 6% of shows garner almost half of admissions and two-thirds of box-office receipts. This suggests a market where high-profile shows have significant drawing power, while a myriad of smaller events collectively contribute to the cultural offering, but are less financially successful. Geographical concentration is also evident, with the Ile-de-France region, particularly Paris, dominating in terms of performances, attendance and box-office receipts.

While the growth potential of this market seems limited due to the saturation of supply and inelasticity of demand, the potential for internal recomposition and redistribution of market share from one season to the next remains. Looking at demand for live shows, the consumer base tends to vary with age, with younger age groups - particularly 15-34 year-olds - showing a greater inclination to attend live events than those over 65. The motivations that drive audiences to attend live performances center on social experiences and emotional engagement, with the desire for shared moments and strong emotional experiences topping the list. A significant percentage of the population attends at least one live performance a year, underlining the market's importance in cultural consumption habits.

In terms of market segmentation, the major integrated players involved in several or all stages of the live entertainment value chain, such as Live Nation, are alongside a large number of smaller entities.to a large number of small, fragmented entities, including independent venues, second-tier festivals and a wide range of technical support companies. The players are diverse, ranging from specialist concert halls to multidisciplinary cultural centers and open-air festival venues.

The live performance market also has to contend with various regulations that can have an impact on market dynamics. These include obligations relating to the payment of intellectual property rights, employment contracts and ticketing standards. On the production side, significant costs are associated with artist and staff remuneration, technical production, insurance, etc.

The range of live entertainment on offer is broad, catering to the preferences of different audiences, with concerts in genres such as rap, hip-hop and rock attracting on average more spectators than other categories.

The main drivers of the live performance landscape in France

The French live performance market is rich in creativity and enterprise, with many entities contributing to its dynamism and diversity. Within this vibrant ecosystem, some key players stand out for their global involvement and substantial impact within the sector.

Major integrated players in live entertainment

  • Live Nation, an undisputed industry giant, offers a 360-degree approach to live entertainment, handling everything from tour organization to ticket sales. Likewise, STAGE Entertainment boasts a significant presence, designing and delivering memorable theatrical and musical experiences to a wide audience.

Pioneers in venue management and production

  • LagardèreGroup, exert considerable influence by controlling first-rate spaces where the magic of live entertainment takes place. They offer a wide variety of shows, guaranteeing audiences a high-quality cultural offering. For their part, Fimalac Entertainment and S Pass, as well as Gérard Drouot Production, are distinguished by their focus on the production and organization of live events. These production companies are the creative engines behind many of the world's fastest-growing shows, ensuring a constant flow of live entertainment choices for a diverse range of audiences.

Cultural conglomerates and music majors

  • Vivendi is a cultural conglomerate with interests ranging from music to live entertainment. The group's multi-faceted structure enables it to influence various facets of the market simultaneously. The recording giants are not to be outdone when it comes to live entertainment. Warner Music Group and Sony Music Entertainment, initially spurred on by the digital disruption of the music industry, have extended their footprint into show production, diversifying their business models and revenue streams.

Ticketing pioneers

  • FNAC Darty and Ticketmaster (a subsidiary of Live Nation Entertainment) have acquired a dominant position. They are the gatekeepers to the public, managing the crucial point of contact for ticket transactions. Digitick, although smaller in size, has also established itself as a key player in the ticketing sector, contributing to the dynamic competitive landscape.

These major market players coexist with a wide range of smaller venues, festivals, technical assistance companies, freelancers, artists and security firms, which form the backbone of the live performance sector in France. Each entity plays a unique role in a market characterized by a multiplicity of offerings and experiences. Together, these players orchestrate a grand symphony of cultural commitment,

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  • Nombre de pages : 30 pages
  • Format : Version digitale et PDF
  • Dernière mise à jour : 10/11/2022
Détail des mises à jour

Sommaire et extraits

1 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 ...

2 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 ...

3 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: ****

4 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 ...

5 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 ...

6 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, ...

Liste des graphiques

  • Part de la population assistant au moins 1 fois par an à un spectacle vivant
  • Part de la population assistant au moins une fois par an à un spectacle live
  • Part de la population assistant au moins une fois par an à une représentation de théatre, opéra ou concerts de musique classique
  • Part de la population assistant au moins une fois par an à un spectacle vivant, par type
  • Part de la population assistant au moins une fois par an à un spectacle vivant, par classe d'âge
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Dernières actualités

Concerts Live Nation France porté par l'appétit pour les stars internationales - 11/05/2023
  • Live Nation France emploie 110 personnes
  • Chiffre d'affaires 2023 de Live Nation France : 250 millions d'euros, Chiffre d'affaires avant le Covid : 180-190 millions d'euros
  • Année 2023 record pour Live Nation France 2 800 à 3 000 concerts pour l'année 2023
    • I Love Techno à Montpellier : 20 000 personnes
    • Ftblo avec Sting au château de Fontainebleau : 7 000 personnes
    • Main Square à Arras : 3 jours à 40 000 personnes
    • Lollapalooza à Longchamp : 3 jours à 65 000 personnes et 15 millions d'euros de chiffre d'affaires
    • Arena de Lyon-Décines : 16 000 places
  • Revenus de Live Nation en 2022 : augmentation de 44% par rapport à 2019, 16,7 milliards de dollars
  • Fréquentation en 2022 : augmentation de 24% par rapport à la dernière année pré-pandémique, avec 121 millions de fans assistant à 43 600 événements.
Concerts : la France reste le pays le moins cher mais les stars internationales flambent - 20/06/2023
  • Évolution des prix des billets de 2019 à 2023: +13,6 %
  • Augmentation des tarifs les plus élevés dans les salles Zénith, arénas et stades (2022-2023): +18 % (jauges de plus de 6.000 places) et +23 % (stades)
  • Prix des billets les plus chers: 70 euros (jauges de plus de 6.000 places) et 137 euros (stades)
  • Cachets des stars mondiales: 149 euros en moyenne (catégorie premium) contre 106 pour les artistes francophones
  • Augmentation des premiers prix pour les salles de 1.500 à 6.000 places: +22 % (23 euros)
  • Comparaison des tarifs en Europe et aux États-Unis pour les tournées internationales: par exemple, Muse en 2023 - France: 62 euros, Suisse: 140 euros, États-Unis: 115 euros
  • Écart de prix pour les catégories premium:
    • Madonna - France: 650 euros, Angleterre: 1.124 euros, États-Unis: 2.555 euros;
    • Beyoncé - France: 450 euros, Allemagne: 499 euros, États-Unis: 982 euros
  • Tarifs des festivals avec plus de 30.000 spectateurs par jour:
    • France: moins de 80 euros, Angleterre: 118 euros, Espagne: 125 euros, Belgique: 127 euros.
Musique : les milliards du business des concerts - 04/01/2024
  • Taylor Swift a réalisé 149 concerts dans 20 pays jusqu'en décembre 2024.
  • La chanteuse devrait être la première star de la musique à franchir la barre du milliard de dollars
  • Avant le Covid, le live générait 21,5 milliards de dollars à l'échelle mondiale.
  • En 2023, les revenus générés par le live devraient dépasser 28 milliards de dollars, selon Goldman Sachs.
  • Live Nation, le numéro un mondial du business des concerts, détient plus de 75 % de la vente mondiale de billets via sa plateforme Ticketmaster.
  • En un an, Live Nation a vendu près de 120 millions de billets dans le monde.
  • Le groupe peut remplir l'équivalent de 1500 Stade de France avec ces billets vendus.

Entreprises citées dans cette étude

Cette étude contient un panorama complet des entreprises du marché avec les derniers chiffres et actualités de chaque entreprise :

Live Nation France
Fimalac Entertainment
Lagardère groupe
Vivendi
Gérard Drouot Production
STAGE Entertainment
Warner Music Group
Sony Music Entertainment France
Ticketmaster France
Digitick (Vivendi)
AEG Anschutz
L’Olympia

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Ajouts et mises à jour

  • 06/03/2024 - Ajout des informations de l'entreprise Decibel Production (Warner Group)
  • 01/03/2024 - Mise à jour des données financières de l'entreprise Ticketmaster France
  • 01/03/2024 - Mise à jour des données financières de l'entreprise Sony Music Entertainment France
  • 01/03/2024 - Mise à jour des données financières de l'entreprise Warner Music Group
  • 20/02/2024 - Ajout des informations de l'entreprise France Galop
  • 03/01/2024 - Mise à jour des données financières de l'entreprise Digitick (Vivendi)
  • 03/01/2024 - Mise à jour des données financières de l'entreprise Vivendi
  • 03/01/2024 - Mise à jour des données financières de l'entreprise Gérard Drouot Production
  • 03/01/2024 - Mise à jour des données financières de l'entreprise STAGE Entertainment
  • 03/01/2024 - Mise à jour des données financières de l'entreprise Lagardère groupe
  • 03/01/2024 - Mise à jour des données financières de l'entreprise Fimalac Entertainment
  • 03/01/2024 - Mise à jour des données financières de l'entreprise Live Nation France
  • 11/12/2023 - Ajout des informations de l'entreprise Le Cirque du Soleil
  • 02/12/2023 - Ajout des informations de l'entreprise Le Lido Cabaret (Accor groupe)
  • 10/11/2023 - Ajout des informations de l'entreprise Accord Arena (Accord groupe)
  • 04/11/2023 - Mise à jour des données financières de l'entreprise Warner Music Group
  • 04/11/2023 - Mise à jour des données financières de l'entreprise Sony Music Entertainment France
  • 04/11/2023 - Mise à jour des données financières de l'entreprise Ticketmaster France
  • 02/10/2023 - Mise à jour des données financières de l'entreprise Digitick (Vivendi)
  • 02/10/2023 - Mise à jour des données financières de l'entreprise STAGE Entertainment
  • 02/10/2023 - Mise à jour des données financières de l'entreprise Gérard Drouot Production
  • 02/10/2023 - Mise à jour des données financières de l'entreprise Vivendi
  • 02/10/2023 - Mise à jour des données financières de l'entreprise Lagardère groupe
  • 02/10/2023 - Mise à jour des données financières de l'entreprise Fimalac Entertainment
  • 02/10/2023 - Mise à jour des données financières de l'entreprise Live Nation France
  • 31/08/2023 - Ajout des informations de l'entreprise L’Olympia
  • 25/08/2023 - Ajout des informations de l'entreprise AEG Anschutz
  • 03/08/2023 - Mise à jour des données financières de l'entreprise Ticketmaster
  • 03/08/2023 - Mise à jour des données financières de l'entreprise Sony Music Entertainment France
  • 03/08/2023 - Mise à jour des données financières de l'entreprise Warner Music Group
  • 04/06/2023 - Mise à jour des données financières de l'entreprise Fimalac Entertainment
  • 04/06/2023 - Mise à jour des données financières de l'entreprise Gérard Drouot Production
  • 04/06/2023 - Mise à jour des données financières de l'entreprise STAGE Entertainment
  • 04/06/2023 - Mise à jour des données financières de l'entreprise Digitick (Vivendi)
  • 21/05/2023 - Mise à jour des données financières de l'entreprise Lagardère groupe
  • 21/05/2023 - Mise à jour des données financières de l'entreprise Vivendi
  • 21/05/2023 - Mise à jour des données financières de l'entreprise Live Nation France
  • 02/05/2023 - Mise à jour des données financières de l'entreprise Ticketmaster
  • 02/05/2023 - Mise à jour des données financières de l'entreprise Sony Music Entertainment France
  • 02/05/2023 - Mise à jour des données financières de l'entreprise Warner Music Group
  • 03/03/2023 - Mise à jour des données financières de l'entreprise STAGE Entertainment
  • 03/03/2023 - Mise à jour des données financières de l'entreprise Digitick (Vivendi)
  • 03/03/2023 - Mise à jour des données financières de l'entreprise Gérard Drouot Production
  • 03/03/2023 - Mise à jour des données financières de l'entreprise Fimalac Entertainment
  • 20/02/2023 - Mise à jour des données financières de l'entreprise Vivendi
  • 20/02/2023 - Mise à jour des données financières de l'entreprise Groupe Lagardère
  • 20/02/2023 - Mise à jour des données financières de l'entreprise Live Nation
  • 01/02/2023 - Mise à jour des données financières de l'entreprise Sony Music Entertainment France
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