Market Report: Australia
In 2024, Australia’s ticketing market stands at a crossroads of innovation and resilience. As digital solutions reshape the industry, economic headwinds test its adaptability. Yet, from global stadium tours to grassroots local scenes, the sector showcases remarkable diversity.
The hot tours of 2024 have been scorchers. Taylor Swift’s Eras Tour, covering two cities and seven stadiums (promoted by Frontier Touring) smashed presale records. P!nk’s Summer Carnival (Live Nation) became Australia’s second-largest tour ever, selling 970,000 tickets, just behind Ed Sheeran’s Divide tour.
Fred again..’s pop-up arena tour (TEG) sold 230,000 tickets without marketing, an unprecedented feat. However, music festivals have struggled, with several major events, including the iconic Splendour in the Grass and Spilt Milk, either taking a hiatus or cancelling outright in 2024.
Primary ticketing
The Australian ticketing market in 2024 is marked by a blend of well-established players and innovative newcomers, each adapting to the swiftly changing landscape of live entertainment. The primary market leaders include Ticketek (owned by TEG Group), Ticketmaster, and leading independent Oztix, while companies like Tixel are making significant progress in the secondary market.
Gavin Taylor, managing director of Ticketmaster Australia, sheds light on the current state of ticketing technology: “Digital tickets represent more than 80% of sales in the Australian market. We still see paper tickets in use at rural green-site events with limited signal.”
“The pipeline of tours and shows planned for 2024 through to 2026 is looking extremely strong”
The adaptability of the Australian ticketing market is evident in the performance of major players such as TEG Group. CEO Geoff Jones reports: “TEG has had a solid year. We continue to focus on touring at every level. Some examples are ground-breaking tours like Fred again.., Fisher’s Out 2 Lunch Festival, and Punjabi superstar Diljit Dosanjh, and we are just about to tour global K-pop superstars aespa.
Distribution of sales
The shift towards digital ticketing has been one of the most significant trends in the Australian market.
Expanding on the current digital ticketing landscape, Ticketmaster’s Taylor notes: “We’re constantly enhancing the digital experience with our digital ticketing product SafeTix, giving fans the confidence and convenience to easily share and sell their tickets.”
The move towards digital ticketing also allows for more sophisticated data collection and analysis, enabling ticketing companies and event organisers to better understand their audience and tailor their offerings accordingly.
Value of market
The Australian live entertainment industry appears to be in a period of resurgence following the disruptions of recent years.
Harley Evans, managing director of independent ticketer Moshtix, offers an optimistic view of the market. “Current indicators show that demand for live is stronger than ever at every level of the industry. We expect a continued high volume of stadium shows, driven by a ‘new wave’ of superstars like Taylor Swift alongside the enduring popularity of legends like Bruce Springsteen.”
“Scalping and scamming have always been an issue, but they’re rife at the moment on certain tours due to over-whelming demand and short supply”
Jones corroborates this positive outlook, stating: “The pipeline of tours and shows planned for 2024 through to 2026 is looking extremely strong. There is a very strong resurgence in arena shows and still solid stadium bookings.”
The strength of the market is further evidenced by the diversity of events being successfully staged, from intimate local gigs to massive stadium tours, indicating a robust ecosystem that can support various types of live entertainment experiences.
Secondary ticketing
The secondary ticketing market continues to be an evolving sector. As primary ticket sales for popular events often sell out quickly, the secondary market has become an important avenue for fans to access tickets. However, this market also presents challenges in terms of fraud and scalping.
Zac Leigh, CEO and co-founder of Tixel, provides insight into the measures being taken to address these issues: “We’ve made additional investments this year in fraud detection and prevention of scammy behaviour in line with this uptick in people trying to capitalise on hot demand and the sometimes- desperate risks fans will take to secure a ticket. Scalping and scamming have always been an issue, but they’re rife at the moment on certain tours due to over-whelming demand and short supply creating favourable conditions for criminals.”
As technology evolves, ticketing companies are increasingly leveraging advanced tools and strategies to detect and prevent fraudulent activities.
International/domestic splits & genres
The market in 2024 continues to attract a mix of international superstars and homegrown talent, catering to diverse audience preferences across various genres.
Ticketmaster’s Taylor offers insight into the dynamics of international tours: “Despite the costs associated with bringing large-scale tours to our market, many artists still choose to perform in stadiums across Australia. Additionally, those who opt for smaller sections of the East Coast provide intimate and exclusive concert experiences, creating unique opportunities for fans in those regions to enjoy their favourite artists up close.”
Australia has “a sense of roll-your-sleeves-up optimism and camaraderie as we work together to map a new live events landscape”
The market also sees evolving trends in genre popularity and event types.
Tixel’s Leigh observes, “There’s a growing preference towards strong EDM lineups from younger audiences, and niche events directed at core fans seem to be selling better than megafestivals with really diverse offerings.”
The trend suggests a shift towards more targeted, genre-specific events that cater to dedicated fanbases, potentially at the expense of broader, multi-genre festivals.
Cultural analysis
The Australian live entertainment scene in 2024 is characterised by a strong sense of community and shared experiences, even as it navigates challenges.
Leigh captures the spirit of the industry, describing it as having “a sense of roll-your-sleeves-up optimism and camaraderie as we work together to map a new live events landscape.”
The value of live entertainment as a shared experience remains strong, with Leigh noting, “People are really loving being part of a big crowd again, and if Taylor [Swift] taught us one thing, it’s the joy of being part of a shared experience, from the ticket wrangle to planning an outfit and making friendship bracelets.”
The Australian ticketing market, while showing strong signs of growth, continues to face several challenges.
“The costs of touring are very high, and the cost of living is starting to bite fans”
Economic pressures are evident, with Jones noting: “The costs of touring are very high, and the cost of living is starting to bite fans. On a positive note, people still seem to find the money to watch their favourite artists.”
Venue sustainability, particularly for smaller music venues, is a growing concern, with Jones pointing out, “Small venues are the cornerstone of emerging artists, and it is disappointing to see the closure of The Zoo [in Brisbane], which helped foster the careers of many talented musicians. It is a global trend that post-Covid young people are not attending smaller venues and consuming like they used to.”
Event cancellations, especially in the festival sector, present another challenge, as Leigh mentions, “There’s no denying that some live events are struggling, and some have found ways to succeed in an incredibly challenging environment. Production costs and talent fees are up, consumer disposable income is being pinched, and there’s only so much the ticket price can increase to bridge the gap before shows start to become out of reach.”
In response, ticketing companies are investing in technological solutions, with Ticketmaster reporting initiatives such as “digital collectibles, biometric entry, and collaborations with Snapchat, Shazam, Spotify, and online travel agencies to reach and engage more fans.”
Despite these challenges, there’s optimism about emerging Australian artists, with Leigh noting, “Our artist exports are also going strong, and we’ve seen some incredible Aussie talent take the world’s stages in a big way, like Troye Sivan, who’s about to kick off an arena tour in the US, Royal Otis, and G Flip.”
Taxes & charges
Goods and Services Tax (GST) in Australia is 10% and applies to tickets.
Country Profile: Australia
Australia’s live music market is set to be hot come summertime, bolstered by a roster of top-tier promoters, including Live Nation Australia & New Zealand, Frontier Touring, Mushroom Group, Chugg Entertainment, and TEG Dainty, alongside strong independents like Destroy All Lines, Untitled Group, UNIFIED Music Group, and Handsome Tours. Post-pandemic recovery has seen a resurgence of global superstars hitting Australian shores, driving record-breaking tours and packed festivals.
Matt Gudinski, CEO of Mushroom Group, shares an optimistic view: “The market is as strong as ever. More artists are wanting to come to Australia, and the demand for live music, whether it’s international acts or our incredible domestic artists, is stronger than ever.”
Promoters are actively working to bring the biggest names in music to Australian audiences. Live Nation, Frontier Touring, and TEG Dainty have led the way in securing major international acts, with many independent promoters thriving by catering to niche audiences.
Mark Vaughan, senior vice president of touring at Live Nation Australia & New Zealand, says that, “Despite cost-of- living pressures, demand for international artists remains high. We’ve seen record-setting tours from P!nk, blink-182, and SZA, and upcoming tours by Coldplay, Travis Scott, and The Weeknd are expected to perform similarly.”
“Despite cost-of- living pressures, demand for international artists remains high.”
The continued rise of electronic music is one of the biggest trends driving Australia’s live music market in 2024, with acts like Fred again.., Fisher, Dom Dolla, and Rüfüs Du Sol dominating the electronic scene.
Untitled Group has seen particular success with its electronic-focused festivals like Beyond the Valley, while Chugg Entertainment continues to bring its own brand of high-energy events to the market.
According to Geoff Jones from Chugg Entertainment, “It is extraordinary to see the huge drawing power of artists like Fred again.., Fisher, Dom Dolla, and Rüfüs Du Sol. Fans love the uplifting and positive experience at their shows and keep coming back for more, in whatever venue these artists choose.
“We had huge success with the recent Fred again.. tour in March, selling nearly 230,000 tickets instantly after announcement. Despite the doom and gloom surrounding festivals, Laneway Festival achieved record ticket sales, and we’re confident that 2025 will continue its 20+ years of success.”
“The electronic genres will continue to thrive, and I expect to see more producer/DJ acts move from festival or large warehouse settings into arenas and stadiums.”
Dion Brant of Frontier Touring adds, “The electronic genres will continue to thrive, and I expect to see more producer/DJ acts move from festival or large warehouse settings into arenas and stadiums.”
Independent promoter Destroy All Lines toured over 110 international artists in the past 12 months, including sold out arena runs for Bring Me The Horizon, Evanescence, James Blunt, Interpol and Bloc Party, and Parkway Drive. It sold over 700,000 tickets, with its Good Things Festival notching up 110,000 headlined by Fall Out Boy and Limp Bizkit, while Knotfest returned headlined by Pantera and Disturbed. “We also launched into comedy and have 10 tours on the books already and also launched into Country music which we are incredibly excited about,” says general manager Chris O’Brien.
“The live music business in Australia is highly competitive but with our relationships and results we are in a very healthy position.”
Tim McGregor of TEG Live says female pop artists are doing well, with Beyoncé. Billie Eilish and Olivia Rodrigo are already filling arenas, and breakout stars like Charli XCX and Chappell Roan set to follow suit.
“The live music business in Australia is highly competitive but with our relationships and results we are in a very healthy position.”
“Gracie Abrams has seen massive growth,” says Brant. “She went from mid-sized venues earlier this year to a 12-date arena run across Australia and New Zealand, selling out most of the dates on the first day.”
Genre-wise, one is demonstrating huge growth, notes Vaughan: “We’ve seen a 600% increase in Asia-pop shows since 2015, with artists like Stray Kids and BLACKPINK achieving massive success. It’s one of the fastest-growing genres, particularly with younger audiences.”
He also highlights the increase in regional tours. “Regional Australia is becoming a staple on the tour circuit” he says.
Headliner-driven events are thriving Down Under, with artists developing their own event brands, says Nicholas Greco from Untitled Group. “Our festivals, like Beyond the Valley, sold out 85% of tickets in presale, showing the appetite for immersive festival experiences remains strong.”
McGregor highlights how social media has transformed artist engagement: “Artists who truly connect with their fan base … are having incredible success. Their ability to create authentic relationships with fans through platforms like Instagram and TikTok has changed the game.”
However, despite all this success, the geographical size of Australia continues to present logistical challenges. Rising transportation and production costs have hit promoters hard, particularly when organising shows in regional locations.
Jaddan Comerford of UNIFIED Music Group explains: “Costs are always a challenge, especially with currency exchange and the size of the country. However, there’s an opportunity in regional touring – artists like P!nk have done a great job of servicing not just cities but regional Australia.”
“Freight costs have exploded, and venues in markets like Perth are feeling the strain. But demand remains strong, especially when shows are priced right.”
Vaughan agrees: “Freight costs have exploded, and venues in markets like Perth are feeling the strain. But demand remains strong, especially when shows are priced right.”
Jones highlights the impact on festival production: “There are still big challenges for festivals, particularly in terms of operating costs in New South Wales. These need to be addressed if festivals are to thrive in the long term.”
Australia’s festival scene is evolving, with a mix of successes and challenges. On the one hand, festivals like Laneway and Beyond the Valley have seen record ticket sales, proving the enduring appeal of multi-day, immersive events. On the other, smaller and more generalist festivals have struggled to maintain momentum in a post-pandemic world.
Brant emphasises the challenges: “The multi-genre, multi-stage, camping festival scene has struggled with high-profile closures. I think we’ll see a new model or type of festival offering emerge, though, that will fill this gap.”
Jones remains optimistic about the future of festivals, adding, “Despite all the challenges, Laneway Festival achieved record ticket sales in 2024, and the team has pulled together another fantastic lineup for 2025 that we are confident will continue its two-decade success story.”
“The multi-genre, multi-stage, camping festival scene has struggled with high-profile closures.”
Australia’s grassroots music scene is experiencing a period of growth and difficulty. There’s no shortage of emerging talent, but rising costs and competition from international acts have made it harder for new artists to break through. Gudinski notes: “The talent coming out of Australia is incredible. We need to promote the grassroots scene, making it a meaningful cultural experience for younger audiences.”
Vaughan points to the importance of early investment. “The key is to be in the door early. We’re committed to supporting local talent, and our Ones To Watch programme has been instrumental in elevating emerging Australian artists. Tones and I, for example, supported P!nk on her recent tour and has since gone on to sell out arenas nationwide.”
Despite the challenges, Greco remains confident in the future: “The festival market will stabilise, and with Australia’s growing population and high-quality music scene, I’m excited about the opportunities ahead.”
“We are developing the 30,000-capacity Cedar Mill Amphitheatre in Lake Macquarie, which will provide a significant platform for both international and domestic artists, ensuring they have access to high-quality venues outside of the capital cities.”
Ewen Craig from Cedar Mill Group believes that regional infrastructure projects are also crucial to supporting artists. “We are developing the 30,000-capacity Cedar Mill Amphitheatre in Lake Macquarie, which will provide a significant platform for both international and domestic artists, ensuring they have access to high-quality venues outside of the capital cities.”
In the next 24-36 months, Australia’s live music industry is set to expand, with a focus on major international tours and niche, community-driven festivals. McGregor sees a bright future: “The market remains robust, and while challenges like rising costs persist, Australians’ love for live music will ensure a steady flow of top-tier artists and innovative events.”
“We’re planning strong arena and stadium content over the next 12-24 months, and with the rebuilding of the festival sector, the Australian market will continue to grow and evolve,” enthuses Vaughan.
Liza Evely-Thompson from Feld Entertainment says that families are still seeking “high-quality, affordable, and familiar experiences that can be enjoyed together. While families are experiencing cost-of-living pressures, they are still budgeting for quality entertainment, and hopefully that will continue.”
Arena Market: Australia
Australia’s isolation has been a blessing and a curse. Music fans lament the lack of tours but when they come there’s no shortage of ticket buyers. The accident of geography that leaves Australia a long way from both North America and Europe means that smaller bands and more niche events struggle to raise funds to come over, and pricey air fares and long travel distances impact those performers in the same way they do tourists. But there is a massive market for music from abroad in Australia. And the country’s arenas have shown this in a big way.
“2023 was a brilliant bounce-back year for our arenas– the first full year post-Covid – despite a plethora of stadium shows, and 2024 is equally strong, despite a number of outdoor plays. 2025 is shaping up to potentially eclipse both years,” says Tim Worton, group director, arenas at ASM Global, which oversees the RAC in Perth, Brisbane Entertainment Centre, and Qudos Bank and ICC in Sydney. “We’ve had some huge tours with multiple show plays this year already, from acts like Jonas Brothers, Theo Von, and SZA. And there are a number close to announcing for 2024 and plenty booked in 2025, including multi-show runs by Billie Eilish, Olivia Rodrigo, Chris Stapleton, and Cigarettes After Sex. The seemingly unquenchable thirst for ticket sales is leading to sell out after sell out, in complete defiance of the economic indicators that suggest people should be being more selective in their discretionary spending. And we’re just loving that people are so keen to buy tickets to live gigs – long may it continue.”
In Australia’s biggest market, the going is good. “The past 12 months has sustained a steady level of content, despite there being an increase in stadium concerts during that period with the vast majority of shows selling out to defy current cost-of-living pressures,” says Steve Hevern, GM of Qudos Bank Arena in Sydney. “K-Pop, rock, urban, and country artists are still leading the way, with the phenomenon known as Fred Again… being the biggest surprise of the year for selling out three shows (48,572 tickets) in just three hours to become the quickest-selling event in the arena’s rich 24-year.”
“Early indicators for next year are showing that 2025 could well exceed that of our record year of 2023 with a plethora of quality acts coming through”
He adds: “Early indicators for next year are showing that 2025 could well exceed that of our record year of 2023 with a plethora of quality acts coming through – including Billie Eilish and Chris Stapleton – as patrons continue to rank memorable experiences as a high priority for enriching their lives during these challenging economic times.”
The view from the west coast is similar. “Despite the increase in cost of living, the live entertainment market is thriving in WA. There are many international acts still returning to our shores for the first time since Covid, so fans are eager to see their favourite artists after such a long time. We believe people are choosing to spend their discretionary income on enjoying these experiences over other purchases, so for the most part, our events have been very well attended,” says Michael Scott, GM of the RAC Arena in Perth, which has welcomed Matchbox Twenty, blink-182, and 50 Cent to its 2,000-16,000-capacity space.
“The concert business continues to be the most lucrative event genre, while comedy remains robust, with a string of shows on streaming platforms helping fans discover performers. Historically, there has been the perception that country music acts are not as strong in WA. However, Luke Combs’ show late last year blew that theory out of the water, selling out in a number of minutes. We believe this is a sign of a shift in the market and demonstrates the growing strength of the fanbase,” says Scott. It also seems like good neighbours become good friends: “Additionally, Asian pop genres such J-Pop and K-Pop have been underrepresented in our market to date. Although it’s currently untested, we believe that with its continued rise in popularity within the mainstream music industry, Asian pop presents a wealth of opportunity for those that are willing to take the chance and get in first to tap into the pent-up demand.”
He adds: “The increased attendances at family entertainment events such as Disney On Ice and Cirque du Soleil suggest that Australians remain eager to participate in engaging family activities. In fact, Disney On Ice achieved its largest single performance at RAC Arena, surpassing a record set during their 2013 season run. And our run of Cirque du Soleil’s CRYSTAL shows produced the highest ticket sales for their entire Australasian tour. With 65,000 tickets issued across the ten shows at RAC Arena, our venue was the second-highest selling city in the world after Mexico City for this tour.”
“Asian pop genres such J-Pop and K-Pop have been underrepresented in our market to date. Although it’s currently untested, we believe that with its continued rise in popularity within the mainstream music industry Asian pop presents a wealth of opportunity for those that are willing to take the chance and get in first to tap into the pent-up demand.”
Australia’s logistical challenges and isolation impact costs and prices meaning that putting on shows of any kind here is not child’s play, as Scott confirms: “It comes as no surprise that the cost of freight has exponentially increased since the pandemic. As a Perth-based venue, operating in the most isolated capital city in the world, this presents us with a challenge. With the appointment of a new event procurement manager role, we are working hard alongside the government and industry on a number of initiatives to help solve this issue. There is a strong appetite in our market for live entertainment, so we’re highly motivated to overcome this hurdle so we can continue attracting world-class entertainment to meet this demand.” Obviously, perched as far from Sydney as London is from Moscow, Perth is particularly aware of this isolation.
As with other arena leaders, Scott has tried to focus on green improvements at the RAC: “A significant accomplishment within the sustainability space has been the increase in landfill diversion rates with the venue consistently exceeding the 70% goal. Furthermore, together with our naming rights partner, a smart bike hub has been installed on the venue’s forecourt, offering patrons an alternative to traditional modes of transportation to the venue. The hub provides visitors with a convenient place to safely park and charge their e-bike or e-scooter at no cost.”
Canberra’s AIS Arena has been closed since Covid prompted a change of use into a mass vaccination centre from 2020. No events have been held since then but around AU$15m has been spent refurbishing it and several press outlets in Australia reported its reopening for May 2024 with events booked to 2026. But as of going to press, the opening date was TBC. As the home of the Australian Institute of Sport, the AIS has a sport-heavy lineup, but other events are to be held here, too.
Melbourne is one of Australia’s most important markets for sport and music, and the Rod Laver Arena is at the centre of it all, as part of a sporting precinct that includes the MCG – one of the world’s largest cricket grounds. The Rod Laver Arena is most famous as the home of the Australian Open Tennis. But music is also important here, and Niall Horan sold out shows here in 2024, with Macklemore also on the agenda in May 2024 at the 14,500-cap venue. Comedy is big here, too, as Jerry Seinfeld’s two June shows at the arena underline.
“We’ve hit the ground running in 2024 – highlighted by sell-out shows by blink-182 and Rise Against (three shows), SZA (two), Theo Von (two), and Jonas Brothers.”
In Brisbane, Trish McNamara of The Brisbane Entertainment Centre says: “We have maintained our position as Queensland’s number-one indoor destination for live events, a position we’ve occupied for the past 38 years.” She adds: “We’ve hit the ground running in 2024 – highlighted by sell-out shows by blink-182 and Rise Against (three shows), SZA (two), Theo Von (two), and Jonas Brothers. The outlook is bright, with four Billie Eilish shows selling out in a blink and a stack of great content to come. We do live up to our slogan – it all happens here!”
Newcastle Entertainment Centre is in New South Wales. “As a regional venue and with a smaller capacity [compared] to capital city venues, we don’t secure many larger and higher profile touring acts,” says GM Luke Daniels. “However, of the touring acts we have secured over the last 12-18 months, ticket sales have been incredibly strong. We’ve seen multiple events sell tickets very quickly and achieve sold-out status, in some cases, in less than a day.”