The revenue in the 'Live Music Ticket Sales' segment of the media market in Thailand was forecast to continuously increase between 2025 and 2030 by in total **** million U.S. dollars (+***** percent). After the ***** consecutive increasing year, the revenue is estimated to reach ****** million U.S. dollars and therefore a new peak in 2030.

The statistic shows the average live music ticket sales per capita in selected countries worldwide in 2017. According to the source, live music ticket sales in Germany amounted to ***** euros per capita in 2017.

This statistic displays the live music revenue in Denmark from 2013 to 2017, with a forecast to 2022. In 2017, the live music revenue in Denmark amounted to roughly **** billion Danish kroner.

In recent years, the Danish music industry revenue increased, amounting to roughly *** billion Danish kroner in 2017. By contrast, the revenue was **** billion Danish kroner five years earlier. Moreover, according to another source, the music industry value is projected to continuously grow in the following five years.

Live vs. recorded music in Denmark The revenue displayed here includes recorded and live music income. Comparing both segments, the latter is the most valuable in Denmark, at roughly **** billion Danish kroner as of 2017. Recorded music generated nearly *** million Danish kroner less that year. However, while the recorded music revenue in the country was forecasted to increase in the following five years, live music was expected to decline its income in the same period.

Digitalization of the music industry

As in other media areas, digital music is further on advance, too. In 2017, streaming accounted for the highest proportion of recorded music revenue in Denmark. Additionally, the digital share of the whole Danish music industry highly increased in the past years and amounted to more than ** percent as of 2018.

The global live event market experienced a challenging two years due to the coronavirus pandemic. However, revenues were expected to return to pre-pandemic levels across all live entertainment categories in 2022. Statista estimates that revenue from ticket sales of music events (including concerts, festivals, musicals, and opera) was forecast to reach over ** billion U.S. dollars worldwide. Sports events were predicted to generate slightly higher revenues at ** billion U.S. dollars.

The live event market in Europe experienced a drop in revenues during the coronavirus pandemic. However, as live events returned across the region in 2022, ticket sales were expected to increase to pre-pandemic levels in most live entertainment categories. Statista forecasts estimated that ticket sales from music events (including concerts, festivals, musicals, and opera) would generate approximately **** billion U.S. dollars.

In 2019, global music industry revenues are expected to reach around ** billion U.S. dollars in total, increasing by more than **** billion dollars in the past five years. Digital music streaming has rapidly become the industry’s biggest revenue generator, accounting for over **** of all revenue. The importance of physical sales and digital music downloads is expected to decrease further in the coming years while even more of the market’s revenues shift into streaming. Streaming music The growing popularity of music streaming subscriptions is especially evident when looking at the monthly active user count of some of the industry’s top services. As of 2018, both Spotify and Apple Music were nearing ** million monthly active users, while services such as Pandora and SoundCloud reported numbers of well over ** million. Music industry Although consumption habits have changed dramatically over the years, music has remained a crucial element of the entertainment industry around the world. In addition to recorded music, which accounts for the majority of the industry’s income, live music revenues amount to over ***billion U.S. dollars annually. Some of the world’s top selling artists such as Madonna and Elton John have certified sales in the hundreds of millions, further demonstrating the widespread appeal and influence of the industry and its artists.

YouTube was launched in 2005. It was founded by three PayPal employees: Chad Hurley, Steve Chen, and Jawed Karim, who ran the company from an office above a small restaurant in San Mateo. The first...

Net-Income-From-Continuing-Operations Time Series for CTS Eventim AG & Co. KGaA. CTS Eventim AG & Co. KGaA, together with its subsidiaries, operates in the leisure events market in Germany, Italy, Switzerland, the United States, Austria, the United Kingdom, Spain, Netherlands, Finland, France, Denmark, Sweden, Norway, Chile, Brazil, and internationally. It operates through two segments, Ticketing and Live Entertainment. The Ticketing segment produces, sells, brokers, distributes, and markets tickets for concerts, festivals, theatre, musicals, trade fairs, art, cinema, exhibitions, edutainment, sports, and other events. It markets event tickets through stationary and online distribution EVENTIM.Net; inhouse ticketing products for classical music and theatre through EVENTIM.Inhouse; sport ticketing products through EVENTIM.Tixx; and self-service products for promotors through EVENTIM.Light, as well as provides a solution for ticket sales and admission control through EVENTIM.Access. This segment also operates kinoheld software for cinema operators; and fanSALE platform for the resale of tickets. Its Live Entertainment segment plans, prepares, and performs tours, events, and festivals, including music events and concerts, as well as markets music productions. This segment is also involved in the operation of venues. The company was formerly known as CTS EVENTIM AG and changed its name to CTS Eventim AG & Co. KGaA in May 2014. CTS Eventim AG & Co. KGaA was founded in 1989 and is based in Bremen, Germany.

Net-Income-Including-Non-Controlling-Interests Time Series for CTS Eventim AG & Co. KGaA. CTS Eventim AG & Co. KGaA, together with its subsidiaries, operates in the leisure events market in Germany, Italy, Switzerland, the United States, Austria, the United Kingdom, Spain, Netherlands, Finland, France, Denmark, Sweden, Norway, Chile, Brazil, and internationally. It operates through two segments, Ticketing and Live Entertainment. The Ticketing segment produces, sells, brokers, distributes, and markets tickets for concerts, festivals, theatre, musicals, trade fairs, art, cinema, exhibitions, edutainment, sports, and other events. It markets event tickets through stationary and online distribution EVENTIM.Net; inhouse ticketing products for classical music and theatre through EVENTIM.Inhouse; sport ticketing products through EVENTIM.Tixx; and self-service products for promotors through EVENTIM.Light, as well as provides a solution for ticket sales and admission control through EVENTIM.Access. This segment also operates kinoheld software for cinema operators; and fanSALE platform for the resale of tickets. Its Live Entertainment segment plans, prepares, and performs tours, events, and festivals, including music events and concerts, as well as markets music productions. This segment is also involved in the operation of venues. The company was formerly known as CTS EVENTIM AG and changed its name to CTS Eventim AG & Co. KGaA in May 2014. CTS Eventim AG & Co. KGaA was founded in 1989 and is based in Bremen, Germany.

Total-Other-Income-Expense-Net Time Series for CTS Eventim AG & Co. KGaA. CTS Eventim AG & Co. KGaA, together with its subsidiaries, operates in the leisure events market in Germany, Italy, Switzerland, the United States, Austria, the United Kingdom, Spain, Netherlands, Finland, France, Denmark, Sweden, Norway, Chile, Brazil, and internationally. It operates through two segments, Ticketing and Live Entertainment. The Ticketing segment produces, sells, brokers, distributes, and markets tickets for concerts, festivals, theatre, musicals, trade fairs, art, cinema, exhibitions, edutainment, sports, and other events. It markets event tickets through stationary and online distribution EVENTIM.Net; inhouse ticketing products for classical music and theatre through EVENTIM.Inhouse; sport ticketing products through EVENTIM.Tixx; and self-service products for promotors through EVENTIM.Light, as well as provides a solution for ticket sales and admission control through EVENTIM.Access. This segment also operates kinoheld software for cinema operators; and fanSALE platform for the resale of tickets. Its Live Entertainment segment plans, prepares, and performs tours, events, and festivals, including music events and concerts, as well as markets music productions. This segment is also involved in the operation of venues. The company was formerly known as CTS EVENTIM AG and changed its name to CTS Eventim AG & Co. KGaA in May 2014. CTS Eventim AG & Co. KGaA was founded in 1989 and is based in Bremen, Germany.

The penetration rate in the 'Music Streaming' segment of the digital media market in the Philippines was forecast to continuously increase between 2024 and 2027 by in total *** percentage points. After the ***** consecutive increasing year, the indicator is estimated to reach **** percent and therefore a new peak in 2027. Notably, the penetration rate of the 'Music Streaming' segment of the digital media market was continuously increasing over the past years.Find more in-depth information regarding the number of users concerning the traditional radio segment of the media market in Poland and the revenue concerning the live music ticket sales segment of the media market in the United Kingdom. The Statista Market Insights cover a broad range of additional markets.

Annual music album sales in the United States dropped by roughly ***** percent between 2019 and 2021, amounting to just *** million in the most recent year. This number decreased further to just *** million in the U.S. in 2022. In 2013, sales amounted to ***** million units, a number which had already noticeably decreased from the *** million units sold in 2011. Annual music album sales - additional information The past decade has brought along many changes, both technological and societal, which have forever changed the face of the global music industry. Today, music superstars, such as Beyonce, who was the highest paid musician in the United States in 2016, have money, coverage in all possible mediums, and power like never before. However, as of 2015, the worldwide revenue generated by the music business stood at **** billion U.S. dollars, some **** billion less than in 2002. It seems that the internet, the magical tool that is responsible for the creation of so many music celebrities, might also be responsible for the dismal statistics surrounding the sale of music albums in the United States, once the main revenue stream in the business. As the data shows, annual music album sales in the United States have plummeted from *** million units sold in 2007 to under *** million units sold in 2017. At the same time, digital music revenues, especially from album and single downloads, as well as subscription and streaming services, have been steadily growing in the past years. The fall in record sales is attributed to the rise of illegal music downloading, but also to legal services, which provide music products without the additional costs of production and shipping. Despite changes in the way Americans acquire music, U.S. consumers still enjoy and value music industry products. Recent studies show that more consumers are choosing to use a legal alternative to file sharing, mainly digital music streaming services, such as online radio services like Pandora and Spotify. Additionally, musicians reorient themselves from album sales towards live performances and business deals to boost their incomes. As of 2017, the sales revenue from concert tickets in North America was at an all-time high, with revenue hit ***** billion U.S. dollars for the first time.

This statistic shows the total revenue of the live performance sector in New South Wales, Australia in 2017, by category. That year, about ***** million Australian dollars in revenue were generated by contemporary music live events in New South Wales.

The global live event industry faced a challenging year in 2020 as the coronavirus outbreak created restrictions on mass gatherings and public events. Based on ticket sales, user figures fell across all event types in 2020, with only a slight recovery in 2021 as the pandemic continued. Sports events faired better than others, with around *** million users globally in 2021. Users of sports events were also expected to return to pre-pandemic levels in 2022.

This statistic shows the total revenue of the live performance sector in Western Australia in 2017, by category. That year, about ** million Australian dollars in revenue were generated by live contemporary music events in Western Australia.

This statistic shows the total revenue of the live performance sector in Queensland, Australia in 2017, by category. That year, about ***** million Australian dollars in revenue were generated by live contemporary music events in Queensland.

In 2018, hip-hop and rap music accounted for 21.7 percent of total music consumption in the United States, more than double the percentage of R&B music sales. Other highly popular genres included pop and rock music, whereas just 1.1 percent of all music sold in the U.S. in 2018 was jazz.

Why are some genres more popular than others? 

Whilst music is a highly subjective medium in terms of the listener’s taste and preferences, the top genres in terms of consumption tend not to fluctuate heavily. The catchiness and familiarity of pop music is appealing to a wide range of music fans. Pop songs tend to be easy to listen to and remember, usually feature simple, snappy lyrics to avoid polarizing listeners, making pop overall less divisive than other genres because it is designed to generate mass appeal.

Conversely, religious music by its very nature is a niche genre in that it encompasses, describes or advocates certain beliefs, giving it the equal ability to alienate some listeners while appealing enormously to others, depending on their religious stance.

The hit genre of 2018 was hip-hop and rap, a music style notorious for its tendency to divide listeners. Singer Drake arguably influenced sales within the genre that year, with ‘Scorpion’ topping the list of best-selling albums in the United States based on total streams and ‘Scary Hours’ also making the top ten. Drake came tenth in the list of most successful music tours in North America, with revenue from his live concerts amounting to 79 million U.S. dollars, and second in the ranking was Jay-Z and Beyoncé with 166.4 million dollars in revenue, artists whose music is also strongly aligned with the rap and hip-hop genre.

Other artists in the genre who achieved significant influence in 2018 include Kendrick Lamar, Childish Gambino, Cardi B, Travis Scott and Post Malone, many of whom released songs that year which garnered hundreds of millions of audio streams. The sheer amount of hip-hop and rap music flooding the music industry has had a profound effect on the genre’s popularity, and musicians in the category tend to be prolific songwriters and active social media users. Equally, artists in the genre are arguably passionate about creating music which challenges social norms in a way that rock music has always been famous for.

The average price of music festival tickets in Europe has increased over the last few years. In 2018, the average cost of a ticket was just over *** euros, which is up from an average of *** euros in 2017 and *** euros the year before that. This is part of the changing face of the music industry.

The live music scene

The music scene has reshaped over time. In the past, bands used to tour to promote a new album whereas these days artists release music to promote a tour. The reason is primarily down to the fact that it’s so hard to earn a living from music sales in the age of the internet; the money an artist makes from somebody listening to a track on Spotify is a tiny amount. So, an increase in ticket prices for live music concerts and festivals was always inevitable.

Top music market in Europe?

The top live music market in Europe in 2023 will be, according to forecasts, Germany. By 2023 the German live music market will be worth an estimated *** billion U.S. dollars. After Germany it will be the United Kingdom (UK) and then France.

The revenue of Star India Private Limited in financial year 2024 was around *** billion Indian rupees. This was a six percent decrement from the previous year. The Disney-owned Indian broadcaster with a presence across television, live entertainment, music, movies and digital businesses, was in its final stage of entering a joint venture with Reliance Industries to form a new media corporation, JioStar.