Music Tourism Market Size, Trends and Insights By Music (Local Music, International Music), By Type (Live Concerts and Festivals, Music Heritage Tourism, Music Cruises and Tours, Others), By Application (Leisure Tourism, Educational Tourism, Cultural and Heritage Tourism), By Vertical (Event Organizers, Travel and Hospitality, Music Education), By Tourist (Pay to Visit, Get Paid to Visit), and By Region - Global Industry Overview, Statistical Data, Competitive Analysis, Share, Outlook, and Forecast 2024–2033
Report Snapshot
| Study Period: | 2024-2033 |
| Fastest Growing Market: | Asia-Pacific |
| Largest Market: | Europe |
Major Players
- Live Nation Entertainment Inc.
- AEG Presents
- Eventbrite
- Ticketmaster Entertainment Inc.
- StubHub
- Others
Reports Description
As per the current market research conducted by the CMI Team, the global Music Tourism Market is expected to record a CAGR of 8.5% from 2023 to 2032. In 2023, the market size is projected to reach a valuation of USD 6.6 Billion. By 2032, the valuation is anticipated to reach USD 13.8 Billion.
The music tourism market involves travel experiences driven by the desire to attend live music events, concerts, and festivals. Enthusiasts embark on journeys to explore diverse music scenes, iconic venues, and cultural music heritage globally.
This dynamic sector is influenced by trends such as mega-festivals, artist collaborations, and the integration of technology for enhanced fan engagement. It creates economic impact for destinations, fosters cultural exchange, and transforms cities into vibrant music hubs.
Music tourism, blending the love for music with travel, offers immersive and unforgettable experiences, attracting a diverse audience seeking to connect with the global music landscape.
Music Tourism Market – Significant Growth Factors
The Music Tourism Market presents significant growth opportunities due to several factors:
- Diverse Music Events and Festivals: The presence of diverse music events and festivals acts as a major driver. Varied genres and niche festivals attract a broad audience, encouraging travel for unique music experiences.
- Artist Fan Engagement: Intense fan engagement with artists, facilitated by social media and personalized interactions, drives the market. Fans travel to witness live performances, meet artists, and engage in exclusive experiences.
- Cultural and Heritage Significance: Destinations with cultural and historical significance in the music world drive tourism. Locations associated with iconic musicians, historical studios, and influential music scenes attract enthusiasts exploring musical heritage.
- Technology and Virtual Experiences: The integration of technology, including virtual experiences and live streaming, serves as a driver. Virtual platforms enable global access to live performances and enhance fan engagement, contributing to the appeal of music tourism.
- Virtual and Hybrid Event Models: The opportunity lies in embracing virtual and hybrid event models. Providing accessible virtual experiences and blending in-person events with online components cater to diverse preferences, expanding the reach and enhancing audience engagement.
- Collaborations with Local Tourism: Collaborating with local tourism entities presents an opportunity. Music tourism can benefit from partnerships with destination marketing organizations, promoting joint campaigns, and creating specialized packages that combine music events with local cultural and tourist attractions, fostering a mutually beneficial relationship.
Music Tourism Market – Mergers and Acquisitions
The Music Tourism Market has seen several mergers and acquisitions in recent years, with companies seeking to expand their market presence and leverage synergies to improve their product offerings and profitability. Some notable examples of mergers and acquisitions in the Music Tourism Market include:
- In 2023, Sweden’s music tourism potential was exemplified as Beyoncé’s Renaissance tour impacted the country’s economy. The inflation rate for May saw a 0.2 percentage point increase, attributed to the success of the tour’s two dates at Stockholm’s 46,000-seat Friends Arena, showcasing the economic influence of high-profile music events.
- In 2023, AIPC (International Association of Convention Centres) forged a strategic partnership with BCD Meetings & Events, enhancing its position in the events industry. This collaboration leverages AIPC’s global network with BCD’s expertise, aiming to offer innovative and comprehensive solutions for the evolving events landscape.
- In 2024, EasyJet will expand its partnership with TUI Musement Tours and Activities, offering customers the option to add experiences to their flight or holiday packages. This collaboration enhances easyJet’s offering, providing travelers with a seamless way to integrate tours and activities into their travel plans.
These mergers and acquisitions have helped companies expand their product offerings, improve their market presence, and capitalize on growth opportunities in the Music Tourism Market. The trend is expected to continue as companies seek to gain a competitive edge in the market.
COMPARATIVE ANALYSIS OF THE RELATED MARKET
| Music Tourism Market | Inbound Meetings Incentives Conferences and Exhibitions (MICE) Tourism Market | Cycling Tourism Market |
| CAGR 8.5% (Approx) | CAGR 8.2% (Approx) | CAGR 8.6% (Approx) |
| USD 13.8 Billion by 2032 | USD 975.5 Billion by 2032 | USD 262.7 Billion by 2032 |
Music Tourism Market – Significant Threats
The Music Tourism Market faces several significant threats that could impact its growth and profitability in the future. Some of these threats include:
- Health and Safety Concerns: Ongoing or future health crises, such as pandemics, pose a significant threat to the music tourism market. Concerns about the safety of large gatherings and travel restrictions can lead to event cancellations, attendance decline, and financial losses for the industry.
- Weather and Environmental Factors: Adverse weather conditions, natural disasters, or environmental factors can impact outdoor music events, leading to disruptions and potential safety hazards. Unpredictable weather patterns may deter attendees and affect the feasibility of hosting successful music tourism events.
- Economic Downturns: Economic downturns and financial instability can negatively impact music tourism. During economic challenges, individuals may reduce discretionary spending, affecting ticket sales, travel bookings, and overall attendance at music events.
- Event Cancellations and Postponements: Unexpected circumstances, such as unforeseen artist cancellations, logistical issues, or unforeseen legal challenges, can lead to event cancellations or postponements, impacting the credibility of music tourism organizers and disappointing attendees.
- Political Instability and Security Issues: Political instability and security concerns in destination regions pose threats to music tourism. Issues like civil unrest, terrorism, or geopolitical tensions can lead to safety concerns, affecting both the decision to host events and attendees’ willingness to travel to specific locations.
Category-Wise Insights
By Music:
- Local Music: Local music tourism centers around exploring and experiencing the vibrant music scenes of specific regions. Enthusiasts engage with local genres, artists, and venues, creating a cultural connection. Trends include the rise of community-driven music festivals, supporting grassroots artists, and promoting regional sounds.
- International Music: International music tourism involves traveling to explore global music landscapes. Enthusiasts seek diverse genres, iconic festivals, and renowned artists. Trends include cross-cultural collaborations, world music festivals, and the integration of virtual experiences, expanding global access to live performances.
By Type
- Live Concerts and Festivals: Encompassing the attendance of live music performances and festivals, this segment defines the core of music tourism. Trends include the rise of mega-festivals, diverse genre-specific events, and an emphasis on immersive and experiential elements beyond the music, enhancing the overall festival-goer experience.
- Music Heritage Tourism: Focused on exploring destinations with historical music significance, this segment involves visiting places associated with iconic musicians, historic studios, and influential music scenes. The trend emphasizes the cultural and historical aspects of music, attracting enthusiasts seeking a deeper connection to musical roots.
- Music Cruises and Tours: This segment involves travel experiences where music is the main attraction on cruises or guided tours. Trends include themed cruises featuring popular artists, music-themed tours exploring iconic locations, and a growing interest in combining leisure travel with exclusive music experiences on the go.
- Others: The “Others” category in music tourism encompasses various emerging trends and niche experiences, including virtual concerts, music-related educational tours, and destination-focused events. It represents the evolving landscape of music tourism, incorporating innovative elements that cater to diverse preferences and interests within the market.
By Application
- Leisure Tourism: Leisure music tourism focuses on recreational travel experiences, with attendees seeking entertainment and relaxation. Travelers attend music events and festivals for enjoyment, leisure, and the pleasure of experiencing live performances, contributing to the overall tourism sector’s vibrancy.
- Educational Tourism: Educational music tourism involves travel for learning purposes, including visits to music museums, and historical sites, and participation in workshops, providing insights into the cultural and historical aspects of music.
- Cultural and Heritage Tourism: Cultural and heritage music tourism explores destinations with significant cultural and historical relevance in the music world. Enthusiasts visit iconic venues, studios, and regions associated with influential musicians, contributing to a deeper understanding of musical heritage.
- Others: The “Others” category in music tourism encompasses diverse applications, such as music-themed wellness retreats, spiritual music journeys, and music-related philanthropic initiatives, expanding the scope of music tourism beyond traditional segments and catering to evolving consumer preferences.
By Vertical
- Event Organizers: Music tourism event organizers curate and manage live music experiences, including festivals and concerts. Trends involve immersive experiences, digital integration, and sustainability initiatives. Collaborations with artists and destination marketing contribute to diverse offerings, attracting global audiences seeking unique and memorable music-related travel experiences.
- Travel and Hospitality: Travel and hospitality services cater to music tourists, providing accommodations, transportation, and curated packages. Trends include personalized travel experiences, partnerships with event organizers, and eco-friendly offerings, enhancing the overall music tourism journey for attendees.
- Music Education: Music education within the music tourism market focuses on providing immersive learning experiences related to music history, culture, and performance. Trends involve destination-based courses, interactive workshops, and collaborative initiatives, attracting individuals keen on combining education with their passion for music and travel.
By Tourist
- Pay to Visit: Tourists pay to attend music events, concerts, and festivals. This traditional model involves purchasing tickets, contributing to the economic impact of music tourism. Trends include the rise of VIP experiences, exclusive access packages, and bundled travel packages, enhancing the overall value proposition for paying attendees.
- Get Paid to Visit: In this innovative approach, tourists are incentivized to attend music events. This emerging trend involves influencers, content creators, or individuals receiving compensation, perks, or sponsorships for attending and promoting events, leveraging their social influence to enhance marketing reach and audience engagement in the music tourism market.
Report Scope
| Feature of the Report | Details |
| Market Size in 2023 | USD 6.6 Billion |
| Projected Market Size in 2032 | USD 13.8 Billion |
| Market Size in 2022 | USD 6.1 Billion |
| CAGR Growth Rate | 8.5% CAGR |
| Base Year | 2023 |
| Forecast Period | 2024-2033 |
| Key Segment | By Music, Type, Application, Vertical, Tourist and Region |
| Report Coverage | Revenue Estimation and Forecast, Company Profile, Competitive Landscape, Growth Factors and Recent Trends |
| Regional Scope | North America, Europe, Asia Pacific, Middle East & Africa, and South & Central America |
| Buying Options | Request tailored purchasing options to fulfil your requirements for research. |
Music Tourism Market – Regional Analysis
The Music Tourism Market is segmented into various regions, including North America, Europe, Asia-Pacific, and LAMEA. Here is a brief overview of each region:
- North America: In North America, the music tourism trend leans towards multi-genre and large-scale festivals. Events like Coachella and SXSW exemplify this trend, attracting diverse audiences. There’s a growing focus on sustainability, with festivals incorporating eco-friendly initiatives and green practices to align with the region’s environmental consciousness.
- Europe: Europe emphasizes a rich blend of music heritage tourism and intimate venue experiences. Music tourists explore historical venues, iconic studios, and cities with deep musical roots. The trend also includes the rise of boutique festivals and events, providing unique and immersive experiences within the cultural fabric of European destinations.
- Asia-Pacific: The Asia-Pacific region witnesses a surge in music tourism driven by mega-concerts and K-pop events. Countries like South Korea and Japan attract global audiences to experience the phenomenon of K-pop. The trend also includes technology-driven experiences, integrating virtual reality and interactive elements to enhance fan engagement during events.
- LAMEA (Latin America, Middle East, and Africa): LAMEA showcases a trend focused on blending music with local cultural celebrations. Events coincide with traditional festivals, creating a unique fusion of music and heritage. The region sees the rise of music cruises, combining scenic travel with live performances. Additionally, there’s an emphasis on promoting indigenous music genres and local talent.
Competitive Landscape – Music Tourism Market
The Music Tourism Market is highly competitive, with a large number of manufacturers and retailers operating globally. Some of the key players in the market include:
- Live Nation Entertainment Inc.
- AEG Presents
- Eventbrite
- Ticketmaster Entertainment Inc.
- StubHub
- C3 Presents LLC
- Songkick
- Pollstar
- Bandsintown
- Festival Ticketing
- SeatGeek
- Front Gate Tickets
- Vivid Seats
- Gigantic Tickets
- Ticketek
- Others
These companies operate in the market through various strategies such as product innovation, mergers and acquisitions, and partnerships.
New entrants like Festicket and Tixel embrace innovation in the music tourism market, utilizing digital platforms and offering streamlined ticketing solutions. Dominant players such as Live Nation Entertainment and AEG Presents maintain market control through extensive networks, strategic acquisitions, and diverse event portfolios.
They leverage data-driven insights for personalized experiences, collaborate with influential artists, and invest in technology to enhance fan engagement. The market leaders’ global presence, established partnerships, and continuous adaptation to evolving trends solidify their dominance, making them key influencers shaping the dynamics of the music tourism industry.
The Music Tourism Market is segmented as follows:
By Music
- Local Music
- International Music
By Type
- Live Concerts and Festivals
- Music Heritage Tourism
- Music Cruises and Tours
- Others
By Application
- Leisure Tourism
- Educational Tourism
- Cultural and Heritage Tourism
By Vertical
- Event Organizers
- Travel and Hospitality
- Music Education
By Tourist
- Pay to Visit
- Get Paid to Visit
Regional Coverage:
North America
- U.S.
- Canada
- Mexico
- Rest of North America
Europe
- Germany
- France
- U.K.
- Russia
- Italy
- Spain
- Netherlands
- Rest of Europe
Asia Pacific
- China
- Japan
- India
- New Zealand
- Australia
- South Korea
- Taiwan
- Rest of Asia Pacific
The Middle East & Africa
- Saudi Arabia
- UAE
- Egypt
- Kuwait
- South Africa
- Rest of the Middle East & Africa
Latin America
- Brazil
- Argentina
- Rest of Latin America
Table of Contents
- Chapter 1. Preface
- 1.1 Report Description and Scope
- 1.2 Research scope
- 1.3 Research methodology
- 1.3.1 Market Research Type
- 1.3.2 Market Research Methodology
- Chapter 2. Executive Summary
- 2.1 Global Music Tourism Market, (2024 – 2033) (USD Billion)
- 2.2 Global Music Tourism Market: snapshot
- Chapter 3. Global Music Tourism Market – Industry Analysis
- 3.1 Music Tourism Market: Market Dynamics
- 3.2 Market Drivers
- 3.2.1 Diverse Music Events and Festivals
- 3.2.2 Artist Fan Engagement
- 3.2.3 Cultural and Heritage Significance
- 3.2.4 Technology and Virtual Experiences
- 3.2.5 Virtual and Hybrid Event Models
- 3.2.6 Collaborations with Local Tourism.
- 3.3 Market Restraints
- 3.4 Market Opportunities
- 3.5 Market Challenges
- 3.6 Porter’s Five Forces Analysis
- 3.7 Market Attractiveness Analysis
- 3.7.1 Market Attractiveness Analysis By Music
- 3.7.2 Market Attractiveness Analysis By Type
- 3.7.3 Market Attractiveness Analysis By Application
- 3.7.4 Market Attractiveness Analysis By Vertical
- 3.7.5 Market Attractiveness Analysis By Tourist
- Chapter 4. Global Music Tourism Market- Competitive Landscape
- 4.1 Company market share analysis
- 4.1.1 Global Music Tourism Market: Company Market Share, 2022
- 4.2 Strategic development
- 4.2.1 Acquisitions & mergers
- 4.2.2 New Product launches
- 4.2.3 Agreements, partnerships, collaboration, and joint ventures
- 4.2.4 Research and development and Regional expansion
- 4.3 Price trend analysis
- 4.1 Company market share analysis
- Chapter 5. Global Music Tourism Market – Music Analysis
- 5.1 Global Music Tourism Market Overview: By Music
- 5.1.1 Global Music Tourism Market Share, By Music, 2022 and – 2033
- 5.2 Local Music
- 5.2.1 Global Music Tourism Market by Local Music, 2024 – 2033 (USD Billion)
- 5.3 International Music
- 5.3.1 Global Music Tourism Market by International Music, 2024 – 2033 (USD Billion)
- 5.1 Global Music Tourism Market Overview: By Music
- Chapter 6. Global Music Tourism Market – Type Analysis
- 6.1 Global Music Tourism Market Overview: By Type
- 6.1.1 Global Music Tourism Market Share, By Type, 2022 and – 2033
- 6.2 Live Concerts and Festivals
- 6.2.1 Global Music Tourism Market by Live Concerts and Festivals, 2024 – 2033 (USD Billion)
- 6.3 Music Heritage Tourism
- 6.3.1 Global Music Tourism Market by Music Heritage Tourism, 2024 – 2033 (USD Billion)
- 6.4 Music Cruises and Tours
- 6.4.1 Global Music Tourism Market by Music Cruises and Tours, 2024 – 2033 (USD Billion)
- 6.5 Others
- 6.5.1 Global Music Tourism Market by Others, 2024 – 2033 (USD Billion)
- 6.1 Global Music Tourism Market Overview: By Type
- Chapter 7. Global Music Tourism Market – Application Analysis
- 7.1 Global Music Tourism Market Overview: By Application
- 7.1.1 Global Music Tourism Market Share, By Application, 2022 and – 2033
- 7.2 Leisure Tourism
- 7.2.1 Global Music Tourism Market by Leisure Tourism, 2024 – 2033 (USD Billion)
- 7.3 Educational Tourism
- 7.3.1 Global Music Tourism Market by Educational Tourism, 2024 – 2033 (USD Billion)
- 7.4 Cultural and Heritage Tourism
- 7.4.1 Global Music Tourism Market by Cultural and Heritage Tourism, 2024 – 2033 (USD Billion)
- 7.1 Global Music Tourism Market Overview: By Application
- Chapter 8. Global Music Tourism Market – Vertical Analysis
- 8.1 Global Music Tourism Market Overview: By Vertical
- 8.1.1 Global Music Tourism Market Share, By Vertical, 2022 and – 2033
- 8.2 Event Organizers
- 8.2.1 Global Music Tourism Market by Event Organizers, 2024 – 2033 (USD Billion)
- 8.3 Travel and Hospitality
- 8.3.1 Global Music Tourism Market by Travel and Hospitality, 2024 – 2033 (USD Billion)
- 8.4 Music Education
- 8.4.1 Global Music Tourism Market by Music Education, 2024 – 2033 (USD Billion)
- 8.1 Global Music Tourism Market Overview: By Vertical
- Chapter 9. Global Music Tourism Market – Tourist Analysis
- 9.1 Global Music Tourism Market Overview: By Tourist
- 9.1.1 Global Music Tourism Market Share, By Tourist, 2022 and – 2033
- 9.2 Pay to Visit
- 9.2.1 Global Music Tourism Market by Pay to Visit, 2024 – 2033 (USD Billion)
- 9.3 Get Paid to Visit
- 9.3.1 Global Music Tourism Market by Get Paid to Visit, 2024 – 2033 (USD Billion)
- 9.1 Global Music Tourism Market Overview: By Tourist
- Chapter 10. Music Tourisms Market – Regional Analysis
- 10.1 Global Music Tourisms Market Regional Overview
- 10.2 Global Music Tourisms Market Share, by Region, 2022 & – 2033 (USD Billion)
- 10.3. North America
- 10.3.1 North America Music Tourisms Market, 2024 – 2033 (USD Billion)
- 10.3.1.1 North America Music Tourisms Market, by Country, 2024 – 2033 (USD Billion)
- 10.3.1 North America Music Tourisms Market, 2024 – 2033 (USD Billion)
- 10.4 North America Music Tourisms Market, by Music, 2024 – 2033
- 10.4.1 North America Music Tourisms Market, by Music, 2024 – 2033 (USD Billion)
- 10.5 North America Music Tourisms Market, by Type, 2024 – 2033
- 10.5.1 North America Music Tourisms Market, by Type, 2024 – 2033 (USD Billion)
- 10.6 North America Music Tourisms Market, by Application, 2024 – 2033
- 10.6.1 North America Music Tourisms Market, by Application, 2024 – 2033 (USD Billion)
- 10.7 North America Music Tourisms Market, by Vertical, 2024 – 2033
- 10.7.1 North America Music Tourisms Market, by Vertical, 2024 – 2033 (USD Billion)
- 10.8 North America Music Tourisms Market, by Tourist, 2024 – 2033
- 10.8.1 North America Music Tourisms Market, by Tourist, 2024 – 2033 (USD Billion)
- 10.9. Europe
- 10.9.1 Europe Music Tourisms Market, 2024 – 2033 (USD Billion)
- 10.9.1.1 Europe Music Tourisms Market, by Country, 2024 – 2033 (USD Billion)
- 10.9.1 Europe Music Tourisms Market, 2024 – 2033 (USD Billion)
- 10.10 Europe Music Tourisms Market, by Music, 2024 – 2033
- 10.10.1 Europe Music Tourisms Market, by Music, 2024 – 2033 (USD Billion)
- 10.11 Europe Music Tourisms Market, by Type, 2024 – 2033
- 10.11.1 Europe Music Tourisms Market, by Type, 2024 – 2033 (USD Billion)
- 10.12 Europe Music Tourisms Market, by Application, 2024 – 2033
- 10.12.1 Europe Music Tourisms Market, by Application, 2024 – 2033 (USD Billion)
- 10.13 Europe Music Tourisms Market, by Vertical, 2024 – 2033
- 10.13.1 Europe Music Tourisms Market, by Vertical, 2024 – 2033 (USD Billion)
- 10.14 Europe Music Tourisms Market, by Tourist, 2024 – 2033
- 10.14.1 Europe Music Tourisms Market, by Tourist, 2024 – 2033 (USD Billion)
- 10.15. Asia Pacific
- 10.15.1 Asia Pacific Music Tourisms Market, 2024 – 2033 (USD Billion)
- 10.15.1.1 Asia Pacific Music Tourisms Market, by Country, 2024 – 2033 (USD Billion)
- 10.15.1 Asia Pacific Music Tourisms Market, 2024 – 2033 (USD Billion)
- 10.16 Asia Pacific Music Tourisms Market, by Music, 2024 – 2033
- 10.16.1 Asia Pacific Music Tourisms Market, by Music, 2024 – 2033 (USD Billion)
- 10.17 Asia Pacific Music Tourisms Market, by Type, 2024 – 2033
- 10.17.1 Asia Pacific Music Tourisms Market, by Type, 2024 – 2033 (USD Billion)
- 10.18 Asia Pacific Music Tourisms Market, by Application, 2024 – 2033
- 10.18.1 Asia Pacific Music Tourisms Market, by Application, 2024 – 2033 (USD Billion)
- 10.19 Asia Pacific Music Tourisms Market, by Vertical, 2024 – 2033
- 10.19.1 Asia Pacific Music Tourisms Market, by Vertical, 2024 – 2033 (USD Billion)
- 10.20 Asia Pacific Music Tourisms Market, by Tourist, 2024 – 2033
- 10.20.1 Asia Pacific Music Tourisms Market, by Tourist, 2024 – 2033 (USD Billion)
- 10.21. Latin America
- 10.21.1 Latin America Music Tourisms Market, 2024 – 2033 (USD Billion)
- 10.21.1.1 Latin America Music Tourisms Market, by Country, 2024 – 2033 (USD Billion)
- 10.21.1 Latin America Music Tourisms Market, 2024 – 2033 (USD Billion)
- 10.22 Latin America Music Tourisms Market, by Music, 2024 – 2033
- 10.22.1 Latin America Music Tourisms Market, by Music, 2024 – 2033 (USD Billion)
- 10.23 Latin America Music Tourisms Market, by Type, 2024 – 2033
- 10.23.1 Latin America Music Tourisms Market, by Type, 2024 – 2033 (USD Billion)
- 10.24 Latin America Music Tourisms Market, by Application, 2024 – 2033
- 10.24.1 Latin America Music Tourisms Market, by Application, 2024 – 2033 (USD Billion)
- 10.25 Latin America Music Tourisms Market, by Vertical, 2024 – 2033
- 10.25.1 Latin America Music Tourisms Market, by Vertical, 2024 – 2033 (USD Billion)
- 10.26 Latin America Music Tourisms Market, by Tourist, 2024 – 2033
- 10.26.1 Latin America Music Tourisms Market, by Tourist, 2024 – 2033 (USD Billion)
- 10.27. The Middle-East and Africa
- 10.27.1 The Middle-East and Africa Music Tourisms Market, 2024 – 2033 (USD Billion)
- 10.27.1.1 The Middle-East and Africa Music Tourisms Market, by Country, 2024 – 2033 (USD Billion)
- 10.27.1 The Middle-East and Africa Music Tourisms Market, 2024 – 2033 (USD Billion)
- 10.28 The Middle-East and Africa Music Tourisms Market, by Music, 2024 – 2033
- 10.28.1 The Middle-East and Africa Music Tourisms Market, by Music, 2024 – 2033 (USD Billion)
- 10.29 The Middle-East and Africa Music Tourisms Market, by Type, 2024 – 2033
- 10.29.1 The Middle-East and Africa Music Tourisms Market, by Type, 2024 – 2033 (USD Billion)
- 10.30 The Middle-East and Africa Music Tourisms Market, by Application, 2024 – 2033
- 10.30.1 The Middle-East and Africa Music Tourisms Market, by Application, 2024 – 2033 (USD Billion)
- 10.31 The Middle-East and Africa Music Tourisms Market, by Vertical, 2024 – 2033
- 10.31.1 The Middle-East and Africa Music Tourisms Market, by Vertical, 2024 – 2033 (USD Billion)
- 10.32 The Middle-East and Africa Music Tourisms Market, by Tourist, 2024 – 2033
- 10.32.1 The Middle-East and Africa Music Tourisms Market, by Tourist, 2024 – 2033 (USD Billion)
- Chapter 11. Company Profiles
- 11.1 Live Nation Entertainment Inc.
- 11.1.1 Overview
- 11.1.2 Financials
- 11.1.3 Product Portfolio
- 11.1.4 Business Strategy
- 11.1.5 Recent Developments
- 11.2 AEG Presents
- 11.2.1 Overview
- 11.2.2 Financials
- 11.2.3 Product Portfolio
- 11.2.4 Business Strategy
- 11.2.5 Recent Developments
- 11.3 Eventbrite
- 11.3.1 Overview
- 11.3.2 Financials
- 11.3.3 Product Portfolio
- 11.3.4 Business Strategy
- 11.3.5 Recent Developments
- 11.4 Ticketmaster Entertainment Inc.
- 11.4.1 Overview
- 11.4.2 Financials
- 11.4.3 Product Portfolio
- 11.4.4 Business Strategy
- 11.4.5 Recent Developments
- 11.5 StubHub
- 11.5.1 Overview
- 11.5.2 Financials
- 11.5.3 Product Portfolio
- 11.5.4 Business Strategy
- 11.5.5 Recent Developments
- 11.6 C3 Presents LLC
- 11.6.1 Overview
- 11.6.2 Financials
- 11.6.3 Product Portfolio
- 11.6.4 Business Strategy
- 11.6.5 Recent Developments
- 11.7 Songkick
- 11.7.1 Overview
- 11.7.2 Financials
- 11.7.3 Product Portfolio
- 11.7.4 Business Strategy
- 11.7.5 Recent Developments
- 11.8 Pollstar
- 11.8.1 Overview
- 11.8.2 Financials
- 11.8.3 Product Portfolio
- 11.8.4 Business Strategy
- 11.8.5 Recent Developments
- 11.9 Bandsintown
- 11.9.1 Overview
- 11.9.2 Financials
- 11.9.3 Product Portfolio
- 11.9.4 Business Strategy
- 11.9.5 Recent Developments
- 11.10 Festival Ticketing
- 11.10.1 Overview
- 11.10.2 Financials
- 11.10.3 Product Portfolio
- 11.10.4 Business Strategy
- 11.10.5 Recent Developments
- 11.11 SeatGeek
- 11.11.1 Overview
- 11.11.2 Financials
- 11.11.3 Product Portfolio
- 11.11.4 Business Strategy
- 11.11.5 Recent Developments
- 11.12 Front Gate Tickets
- 11.12.1 Overview
- 11.12.2 Financials
- 11.12.3 Product Portfolio
- 11.12.4 Business Strategy
- 11.12.5 Recent Developments
- 11.13 Vivid Seats
- 11.13.1 Overview
- 11.13.2 Financials
- 11.13.3 Product Portfolio
- 11.13.4 Business Strategy
- 11.13.5 Recent Developments
- 11.14 Gigantic Tickets
- 11.14.1 Overview
- 11.14.2 Financials
- 11.14.3 Product Portfolio
- 11.14.4 Business Strategy
- 11.14.5 Recent Developments
- 11.15 Ticketek
- 11.15.1 Overview
- 11.15.2 Financials
- 11.15.3 Product Portfolio
- 11.15.4 Business Strategy
- 11.15.5 Recent Developments
- 11.16 Others.
- 11.16.1 Overview
- 11.16.2 Financials
- 11.16.3 Product Portfolio
- 11.16.4 Business Strategy
- 11.16.5 Recent Developments
- 11.1 Live Nation Entertainment Inc.
List Of Figures
Figures No 1 to 34
List Of Tables
Tables No 1 to 127
Report Methodology
In order to get the most precise estimates and forecasts possible, Custom Market Insights applies a detailed and adaptive research methodology centered on reducing deviations. For segregating and assessing quantitative aspects of the market, the company uses a combination of top-down and bottom-up approaches. Furthermore, data triangulation, which examines the market from three different aspects, is a recurring theme in all of our research reports. The following are critical components of the methodology used in all of our studies:
Preliminary Data Mining
On a broad scale, raw market information is retrieved and compiled. Data is constantly screened to make sure that only substantiated and verified sources are taken into account. Furthermore, data is mined from a plethora of reports in our archive and also a number of reputed & reliable paid databases. To gain a detailed understanding of the business, it is necessary to know the entire product life cycle and to facilitate this, we gather data from different suppliers, distributors, and buyers.
Surveys, technological conferences, and trade magazines are used to identify technical issues and trends. Technical data is also gathered from the standpoint of intellectual property, with a focus on freedom of movement and white space. The dynamics of the industry in terms of drivers, restraints, and valuation trends are also gathered. As a result, the content created contains a diverse range of original data, which is then cross-validated and verified with published sources.
Statistical Model
Simulation models are used to generate our business estimates and forecasts. For each study, a one-of-a-kind model is created. Data gathered for market dynamics, the digital landscape, development services, and valuation patterns are fed into the prototype and analyzed concurrently. These factors are compared, and their effect over the projected timeline is quantified using correlation, regression, and statistical modeling. Market forecasting is accomplished through the use of a combination of economic techniques, technical analysis, industry experience, and domain knowledge.
Short-term forecasting is typically done with econometric models, while long-term forecasting is done with technological market models. These are based on a synthesis of the technological environment, legal frameworks, economic outlook, and business regulations. Bottom-up market evaluation is favored, with crucial regional markets reviewed as distinct entities and data integration to acquire worldwide estimates. This is essential for gaining a thorough knowledge of the industry and ensuring that errors are kept to a minimum.
Some of the variables taken into account for forecasting are as follows:
• Industry drivers and constraints, as well as their current and projected impact
• The raw material case, as well as supply-versus-price trends
• Current volume and projected volume growth through 2032
We allocate weights to these variables and use weighted average analysis to determine the estimated market growth rate.
Primary Validation
This is the final step in our report’s estimating and forecasting process. Extensive primary interviews are carried out, both in-person and over the phone, to validate our findings and the assumptions that led to them.
Leading companies from across the supply chain, including suppliers, technology companies, subject matter experts, and buyers, use techniques like interviewing to ensure a comprehensive and non-biased overview of the business. These interviews are conducted all over the world, with the help of local staff and translators, to overcome language barriers.
Primary interviews not only aid with data validation, but also offer additional important insight into the industry, existing business scenario, and future projections, thereby improving the quality of our reports.
All of our estimates and forecasts are validated through extensive research work with key industry participants (KIPs), which typically include:
• Market leaders
• Suppliers of raw materials
• Suppliers of raw materials
• Buyers.
The following are the primary research objectives:
• To ensure the accuracy and acceptability of our data.
• Gaining an understanding of the current market and future projections.
Data Collection Matrix
| Perspective | Primary research | Secondary research |
| Supply-side |
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| Demand-side |
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Market Analysis Matrix
| Qualitative analysis | Quantitative analysis |
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Prominent Player
- Live Nation Entertainment Inc.
- AEG Presents
- Eventbrite
- Ticketmaster Entertainment Inc.
- StubHub
- C3 Presents LLC
- Songkick
- Pollstar
- Bandsintown
- Festival Ticketing
- SeatGeek
- Front Gate Tickets
- Vivid Seats
- Gigantic Tickets
- Ticketek
- Others
FAQs
The key factors driving the Market are Diverse Music Events and Festivals, Artist Fan Engagement, Cultural and Heritage Significance, Technology and Virtual Experiences, Virtual and Hybrid Event Models And Collaborations with Local Tourism.
The “Live Concerts and Festivals” category dominated the market in 2022.
The key players in the market are Live Nation Entertainment Inc., AEG Presents, Eventbrite, Ticketmaster Entertainment Inc., StubHub, C3 Presents LLC, Songkick, Pollstar, Bandsintown, Festival Ticketing, SeatGeek, Front Gate Tickets, Vivid Seats, Gigantic Tickets, Ticketek, Others.
“North America” had the largest share in the Music Tourism Market.
The global market is projected to grow at a CAGR of 8.5% during the forecast period, 2023-2032.
The Music Tourism Market size was valued at USD 6.6 Billion in 2023.
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