The statistic presents data on the growth of the U.S. media and entertainment spending between 2016 and 2021, broken down by sector. The source projected that radio spending would grow by *** percent annually in the presented period.

This timeline presents the value of the North American entertainment and media market from 2007 to 2010 and provides a forecast until 2016. In 2010, the North American market was worth almost 492 billion U.S. dollars. The compound annual growth rate for the period 2012 to 2016 is projected to be 5.3 percent.

In fiscal year 2020, the funding received by the media and entertainment industry of India resurged after having dipped in the previous year, and grossed nearly *** million U.S. dollars. The investment raised by the industry in 2020 was a cumulation of ** funding deals. This was the highest amount raked in by the sector since financial year 2018.

Linear television accounted for the largest video-based media and entertainment sector share at approximately ** percent in 2022. A declining trend in television's market share emerged in 2019 as digital video's market share saw a steady rise. Projections for 2025 predicted that digital video market share would grow at a CAGR of ** percent while linear TV's share would further decline. The slow recovery made by movie studios from the pandemic would result in their market share being the smallest.

The market size of India's video-based media and entertainment segment was estimated to be ** billion U.S. dollars in 2022. Projections for 2025 predicted a growth by ** percent in keeping with the growing trend that emerged in 2016. Video-based entertainment includes television, video streaming, and films, with television constituting the largest market share.

The concert and event promotion industry remains a resilient force in the entertainment landscape, seeing strong attendance even as ticket prices have climbed to all-time highs. Consumer demand for live experiences hasn’t waned, with fans willing to pay premium prices for memorable moments, exclusive packages and VIP perks. Social media virality and livestreaming have magnified the reach of events, propelling artists and concerts into the digital spotlight. While dynamic pricing and add-on services are inflating ticket costs, appetite for live entertainment persists across demographics, signaling ongoing confidence in the industry despite regulatory and market headwinds. Revenue ultimately grew at a CAGR of 19.9% over the years to 2025, including an uptick of 3.1% that year, totaling $62.5 billion. Rising ticket prices, driven by inflation and high demand, have presented challenges, yet fans continue to prioritize unique experiences over cost considerations. Viral concert moments and artist-driven branding have played a crucial role in building anticipation and driving repeat attendance, contributing to profit from ticket and merchandise sales. At the same time, the dominance of Live Nation has stoked regulatory scrutiny, with the Department of Justice launching a high-profile antitrust suit to challenge concentration and boost competition. Meanwhile, advancements such as livestreamed performances and immersive stage technology have opened new promotional frontiers, Over the next few years, total revenue will expand at a CAGR of 2.3%, reaching $70.1 billion in 2030. Continued demand for live event experiences will support revenue growth moving forward. The DOJ’s antitrust battle against Live Nation could reshape the competitive landscape, encouraging diversification of ticketing platforms and giving independent promoters more room to thrive. Meanwhile, the integration of advanced stage production, eco-conscious event management and streamlined travel packages is expected to climb engagement and broaden appeal. While ticket prices are unlikely to drop in the near term because of production costs, ongoing innovation and regulatory changes should lead to greater transparency, richer experiences and a more dynamic market for fans and artists alike.

The statistic presents data on the compound annual growth rate of the media and entertainment spending in Thailand between 2016 and 2020, broken down by sector. The source projects that radio spending will grow by 6.1 percent annually in the presented period.

This data-based effort documents and categorizes the relevant digital games in gaming history by analyzing two types of documental sources: (A) the most playable games (based on reports on sales) and (B) the most acclaimed Digital games by the specialized Critic. (A) The approach to ascertain the most played Digital games was thought by the analysis of the Entertainment Software Association (ESA) (ESA, 2009, 2010, 2011, 2012, 2013,2014, 2016, 2018). Regarding (B), six specialized critics' opinions on the most acclaimed digital games were selected for document analysis. From specialized Digital game journalism, the list of best games on the websites Euro Gamer, GamesRadar, IGN, and Polygon. Two Generalist News Media fonts were added: the British newspaper The Guardian and the American news magazine Time. The last source selected was Metacritic, a specialized entertainment evaluation and criticism website. (A) is justified considering that ESA is a nonprofit association with goals to observe, analyze, and unify the gaming industry, helping in terms of justice support by creating expansion opportunities for associates. ESA has several associates such as ElectronicArts, Konami, Microsoft, Bandai Namco Entertainment, Nintendo, Sony Interactive Entertainment, Square Enix Take-Two Interactive, Ubisoft, Warner Bros, and other companies with a less economic impact on the digital games business. Since 2008, ESA has published its annual report with data illustrating the industry's state in the corresponding year by reporting data as its total revenue. With the digital games selected in (B), it is possible to construct a broader sample and bridge the gaps in the ESA reports. The sources chosen in (B) are based on geographical representation covering both digital and printed press: Eurogamer is a British digital game journalism website publishing in-depth analyses and criticism of digital games and gaming culture. The top 10 games of the generation is a list published in September 2020 by the editor-in-chief. The author invited 19 persons from the game business: game developers, critics, and journalists. They were asked to submit a list of their five favorite games, any kind or platform. "Games Radar", or "GamesRadar+" in its original denomination brand, is an entertainment website dedicated to digital game-related news, previews, and reviews and is a member of the Independent Press Standards Organisation. In its list of The 100 best games ever, the editorial team (50 specialized journalists) picked the most-critical digital games, privileging fun and enjoyment for the Player before the historical significance of the Digital game. "Polygon" is an American Digital game specialized website that publishes reviews, guides, videos, and news on popular culture and entertainment-related. For their list, the editorial staff asked everyone (including the audience) to vote for the best Digital game based on innovation, polish, and durability rather than personal taste. They excluded games released in 2017 to eliminate recency bias (the year before the list was published). They left out sequels and were too similar to the games before them. In addition to gathering votes from the "Polygon" team, the editorial staff worked with a group of external and freelance writers to pull in their input. Collecting all those votes, they combined the data and the final list. "The Guardian" and "TIME" are generalistic press companies from the United Kingdom and the United States of America, respectively. The Guardian's list reflects the authors' vision. (journalists specializing in digital games) on the best 50 video games of the 21st century. TIME's list reports the tech's team of multiple generations of gamers, resulting in a list of 50 digital games. The last documentary source analyzed, "Metacritic," is a specialized critic website on entertainment (digital games, television, cinema, and music). To evaluate media content, "Metacritic" attributes a "Metascore." Any content featured on "Metacritic" gets a "Metascore" when had collected at least four critics' reviews. It was picked from the website the top 100 meta-scores from Metacritic's top-ranked digital games. In addition, the Digital games were selected by their titles, meaning that repeated games (different platforms) were disregarded. The list culminated in 393 different digital games; on the data based, it is possible to check: the documental sources where the digital games were cited; the year in which digital games were published for the first time; the series or franchise were each gama belongs; the Playability mode of each game; the Spatial Dimensionality; The number of platforms louched; the name of Digital Game Protagonist (if applicable); the name of the main playable Character (if applicable); the taxonomy of the playable Character; the perspective of the playable Character; check if there is a Narrative and the digital game genre.

Snapshot img { margin: 10px !important; } Market outlook of the global digital keyboard market

Technavio’s market research analyst estimates the global digital keyboards market to grow moderately at a CAGR of approximately 3% during the forecast period. The high flexibility offered by the digital keyboards is the primary growth driver for this market. Digital keyboards are capable of producing different types of sound and are equipped with various types of pre-loaded sounds, music, genre, and effects that help users while playing music.

The growing number of live performances and concerts is expected to drive market growth during the forecast period. The growing interest, passion, and love for music among the populace are expected to lead to the formation of a wide variety of musical bands, which is resulting in an increased number of concerts and live performances worldwide. Since many people attend such performances, the revenue generated by the artists and event organizers is high. This increase in the amount of revenue generated is envisaged to bolster growth in the digital keyboard market during the forecast period.

Geographical segmentation and analysis of the digital keyboard market

APAC
Americas
EMEA

In this market study, analysts have envisaged the APAC region to account for a market share of more than 41% by 2020. The populace’s increase in disposable income is a major factor that augments the adoption of digital keyboards in this region during the forecast period.

Competitive landscape and key vendors

The global digital keyboard market is highly competitive because of the presence of numerous large and small vendors. Intense competition, rapid advances in technology, and frequent changes in consumer preferences are the primary risk factors for the players in this market. According to the digital keyboard market analysis, in this market, vendors compete on the basis of product differentiation, portfolio, and pricing to gain maximum market prominence during the forecast period.

The top vendors in the market are-

Casio
Korg
Kurzweil Music Systems
Roland
Yamaha

The other prominent vendors of the market include Hammond Organ, Hamzer, Nord Keyboards, Orla Direct, and Technics Keyboards.

Key questions answered in the report

What will the market size and the growth rate be in 2020?
What are the key factors driving the digital keyboard market?
What are the key market trends impacting the growth of the global digital keyboard market?
What are the challenges to market growth?
Who are the key vendors in this market space?
What are the market opportunities and threats faced by the vendors in the global digital keyboard market?
Trending factors influencing the market shares of the Americas, APAC, and MEA?
What are the key outcomes of the five forces analysis of the digital keyboard market?

Technavio also offers customization on reports based on specific client requirement.

Related reports

Global Musical Instruments Market 2015-2019
Global Digital Music Market 2015-2019

In 2023, the Chinese entertainment and media market was estimated to be value at about *** billion U.S. dollars. The figure was expected to expand by a compound annual growth rate of *** percent until 2027. China is the second-largest entertainment and media market after the United States, contributing almost *** percent of the industry revenue.

This timeline presents the value of the entertainment and media market in Canada from 2014 to 2016 and provides a forecast for 2019 and 2020. In 2016, the Canadian entertainment and media market was worth **** billion Canadian dollars. The compound annual growth rate for the period 2016 to 2020 is projected to amount to *** percent.

The graph shows a forecast of the percentage point difference in growth rates between entertainment and media spending and gross domestic product (GDP) in selected countries in 2016. It was projected that the entertainment and media spending in Brazil would outpace Brazilian GDP by *** percentage points in 2016.