Market Report: Germany
Germany is a country with a strong touring market for domestic acts, but it has also long been a priority market for international acts.
The German government has recently shown support for the live sector, launching the first federal funding programme for popular music festivals in 2023, giving them €5m in new funding.
Primary ticketing
As the home base for CTS Eventim, it is unsurprising that the company dominates here. Ticketmaster is also present, while local services include TicketPAY, ticket i/O, SaaS ticketing platform vivenu, discovery platform Rausgegangen, and Reservix, while DICE arrived in Germany in 2022.
Sascha Kaderka, CEO of TicketPAY, says the competition in the market is having the net effect of driving important technological steps forward as services look to carve out their USP in a busy sector. “Dynamic pricing is a crucial topic in various industries and, alongside many other possibilities like marketing automation, is used to increase revenue and occupancy rates,” he says.
“Dynamic pricing is a crucial topic in various industries and, alongside many other possibilities like marketing automation, is used to increase revenue and occupancy rates.”
Distribution of sales
Mobile is increasingly the default way for Germans to buy tickets to events. “Print-at-home tickets remain attractive and popular, though their sales are decreasing in comparison to mobile tickets,” notes Kaderka. “Printed tickets are still in demand, particularly among older audiences or for special events.”
For premium events, there are significant differences in what types of ticket German consumers want and expect. Johannes Tolle, CEO of Reservix, says, “High-priced tickets are often ordered as physical tickets, as well as when tickets are bought as gifts. For these occasions, the physical ticket is often the popular choice. Mobile tickets simply do not offer an equivalent gift experience.”
“High-priced tickets are often ordered as physical tickets, as well as when tickets are bought as gifts. Mobile tickets simply do not offer an equivalent gift experience.”
Ticketmaster says 90% of its German sales are now digital.
Jannusch Frontzek, CEO of ticket i/O, says they are also seeing 90% of ticket sales to smartphones. “For reasons of sustainability, the mobile ticket should be in the foreground here, but many users are still afraid that their cell phone will fail or something will not work on-site; therefore, a good 50% still use the option of printing out the ticket at home,” he says.
Value of market
As one of the most important live music markets in Europe, in 2024, the German live music business was worth $1.8bn, according to numbers from Statista. Growth was projected to reach $1.9bn by 2028.
“Inflation naturally also has an influence on pricing in the event industry,” says Tolle. “The willingness to pay high ticket prices for events has always been relatively high.”
“Inflation naturally also has an influence on pricing in the event industry.”
Frontzek says the aftereffects of Covid, combined with the war in Ukraine, are negatively impacting on the margins for festivals and concerts in Germany.
Karsten Elbrecht, COO of CTS Eventim, says there are plenty of opportunities to grow revenues here by expanding what the ticketing offering is. “We are enhancing our VIP experience offerings, as customers increasingly desire more than just a ticket,” he says. “Among many other initiatives, we are continually refining our marketing strategies to better engage with mid- and long-tail content, ensuring that we reach a broader audience.”
Secondary ticketing
Major secondary brands like Viagogo, StubHub, and TicketSwap are seen as having a strong foothold in the German market, where there is a 120% price cap on such sales.
Primary ticketing companies, however, are fighting back with their own offerings that they feel are more consumer friendly. Klaus Zemke, regional vice president, Central Europe and managing director, GSA at Ticketmaster, outlines his company’s position. “Ticket transfer and resale are products that fans and event organisers love,” he says, “and we are pushing their adoption across more events and venues.”
“Ticket transfer and resale are products that fans and event organisers love.”
For Frontzek, transparency is the most crucial factor here. “We work with TicketSwap because they have developed a very transparent model and work together with the event organisers or ticketing service providers,” he says. “Other models such as Viagogo are much less transparent and often very overpriced. Nevertheless, the secondary market is slowly emerging from the dark corner into a serious alternative for sold-out events.”
TicketSwap itself argues that the public view of secondary sales is shifting – as is the industry’s view. “Where it was a rather shady business a couple of years back, it is now being perceived more and more as an opportunity for promoters and ticketing companies, including an additional revenue stream, as well as offering their customers flexibility and additional value,” the company says.
“Nevertheless, the secondary market is slowly emerging from the dark corner into a serious alternative for sold-out events.”
International/domestic splits & genres
The sheer size of the German live market means it is a priority for international acts touring in Europe, with most including multiple German cities on their itineraries.
Zemke says Ticketmaster is working on ways to nurture and grow acts through the German market. “Our global reach lets us help rising acts and grassroots venues connect with wider audiences,” he says. “We’re excited to work with more independent promoters to make this happen.”
“Our global reach lets us help rising acts and grassroots venues connect with wider audiences”
Local hip-hop acts are among the most popular in the country. Rock and pop perform well, as (increasingly) does electronic music. Schlager and German folk may not have much export potential outside German-speaking markets, but acts within these genres remain huge draws in the country.
Cultural analysis
Germany has one of the strongest economies in Europe, but it cannot follow that prices keep rising. “So far, the market has accepted these increases,” says Kaderka. “It remains to be seen whether further price increases will be sustainable in the long term or if overall demand will suffer.”
Inflation and the rising cost of living is something ticketing companies are keenly aware of, and there is a growing demand for cheaper tickets as well as flexible payment models.
In late 2023, the German government introduced the Kulturpass, giving all 18-year-olds €200 each to spend on live culture events. France, Italy, and Spain have similar schemes, and its introduction in Germany was intended to boost the arts scene after Covid lockdown restrictions were lifted.
Taxes & charges
“VAT depends on the type of event, the organiser’s business form, and potentially the regional tax office,” explains Kaderka. “There are tiered rates of 0%, 7%, and 19%.”
For cultural events, such as concerts and theatre performances, the rate is typically 7%. The high rate of 19% is applied only to events that have little or no cultural component. For non-profit events, a VAT exemption will normally apply. The cut taken by ticketing companies on sales is typically between 5% and 6% of the ticket price.
Country Profile: Germany
In economic terms, these are technically times of stagnation in Germany, with growth, productivity, and innovation flatlining, highlighting decades of underinvestment, heavy debt, and changing demographics.
Euro 2024, meanwhile, took a big chunk of the population’s entertainment budget this summer: of 2.7m tickets sold for the tournament’s 51 matches, 56% of them were sold to Germans, according to Nielsen Sports. As a result, the year has been a trickier one for promoters in Europe’s largest market.
That said, let nobody suggest that there isn’t money to be made in ambitious German shows – of which none was more ambitious than Adele’s residency in Munich, which hit the record books for the highest attendance of any concert residency outside Las Vegas, the world’s biggest temporary arena and the largest continuous LED wall, at 220m long and 4,159.7m2 in area.
“The Adele residency has been the absolute highlight of the year,” says Marek Lieberberg, CEO of Live Nation GSA, which brought 730,000 fans to a specially constructed stadium at the Munich Messe across ten shows in August.
“The Adele residency has been the absolute highlight of the year”
“The unique performances combined perfectly with the special atmosphere of Munich, and her music, the fans, and the city came together in a way that is rarely experienced – a joyful, cheerful, and peaceful pre-Oktoberfest. I believe that something historic was created here in our fast-moving age that will have a big impact for a long time to come.”
Of Live Nation’s other memorable German moments this year, Lieberberg tips his hat to Coldplay’s three Munich and three Dusseldorf shows, two more Munich shows for Metallica (in the round at the Olympiastadion), and a sold-out run of Travis Scott dates in Frankfurt, Cologne, and Hamburg.
Taylor Swift also came to Germany, of course, for seven shows – in Gelsenkirchen, Hamburg, and Munich, with FKP Scorpio and Karsten Jahnke Konzertdirektion working with AEG Presents on promoting duties – while fellow big-hitters Semmel Concerts racked up stadium shows for Herbert Grönemeyer, outdoor concerts for Roland Kaiser, and, just announced, a new international arena show for Hans Zimmer Live – The Next Level, for 2025 and 2026.
In other words, the big guys – promoters and artists – are doing good business, but they are working hard for it, and there is a sense among established promoters that these are times for new strategies and serious focus.
“Being realistic with expectations and mindful about pricing and production is key.”
Of the corporates, CTS Eventim is behind some of Germany’s (and the world’s) biggest players, including Semmel Concerts, FKP Scorpio, DreamHaus, Peter Rieger Konzertagentur (PRK), and regional promoters ARGO Konzerte, Dirk Becker Entertainment, and Promoters Group Munich.
“The market is strong but there is a lot for people to chose from,” says Semmel Concerts’ Sina Hall. “Being realistic with expectations and mindful about pricing and production is key. It’s harder for newer acts because large numbers of big artist touring is pulling money out of the market.”
She says the firm has been seeing success through “Being able to market to the mainstream but also being more specialised, and driving marketing efforts nationally rather than locally is key. Combining this with a set out return plan to the market has proven successful.”
PRK and DreamHaus announced in September that they were merging to form PRK DreamHaus in order to “create additional synergies, optimise management structures, and drive growth even more effectively.” The new firm will be led jointly by Klaus-Peter Matziol and Matt Schwarz, the current managing directors of Cologne-based PRK and Berlin-based DreamHaus respectively, with Tobi Habla as an additional MD.
“Being able to market to the mainstream but also being more specialised, and driving marketing efforts nationally rather than locally is key.”
Since launching in 2020, DreamHaus has set out its stall not only as a festival heavyweight, with Rock am Ring and Rock im Park, but as a major promoter of German talent, much of it in the hip-hop field.
“Working with domestic talent allows us to contribute on a much deeper level compared to international tours,” says Schwarz. “Often, we take on the role of tour producer, collaborating closely with the artists to design, plan, and execute the tour together, from the show’s concept to its production, which makes the entire experience incredibly exciting.” German rap artists like Apache 207, Kontra K, and Luciano have sold-out arena tours with DreamHaus this year.
The promoter also stages Germany’s Rock am Ring and Rock im Park festivals, which respectively celebrate 40th and 30th anniversaries next year. Schwarz reports record-breaking presales, with 100,000 weekend passes sold for both events.
“Legacy festivals are increasingly in demand,” he says. “Festivalgoers are drawn to long-established events, appreciating the tradition and familiarity they offer, and Rock am Ring and Rock im Park exemplify this.”
In August, Berlin-based live entertainment giant DEAG delivered a positive financial report for the first half of 2024, with revenue up to €132.7m despite a challenging economic environment in Europe.
“Legacy festivals are increasingly in demand”
DEAG has promoters and festival properties all over Germany, from Frankfurt’s Wizard Live and Munich’s Global Concerts to one of Europe’s most significant EDM promoters, I-Motion. Its festivals here include Nature One in Kastellaun, Mayday in Dortmund, and Ruhr-in-Love in Oberhausen.
Wizard Live (formerly Wizard Promotions) celebrates its 20th anniversary this year, with shows including AC/DC, TOTO, Scorpions, Judas Priest, and Jack Savoretti. The company has also newly divided its operation into four divisions – shows/ touring, marketing, brand/music connector, and artist development – reshaping its approach from pure concert organiser to “all-round, worry-free service provider.” Managing director Oliver Hoppe says promoters can’t simply offer the same response to changing artist needs.
“Some artists need more help in marketing; some just need somebody to take care of logistics for them, like a production team would; some need help with legal or ticketing,” he told IQ this summer. “It depends on where the artist is in their cycle. But I think the full package is not going to be relevant to everyone in the market, moving forward.”
It is clear that things are changing. Traditionally, Germany operated a system of national and local promoters, and while that set-up remains in place, in a globalised world, some of those conventions are rapidly being chipped away.
“Some artists need more help in marketing; some just need somebody to take care of logistics for them, like a production team would; some need help with legal or ticketing.”
“It has become very complex,” DEAG’s Detlef Kornett told IQ’s recent German market report. “More and more, tours go direct without really involving a local promoter, and then there are the local promoters that develop into production and touring companies, and a certain segment are going the other way. This whole industry is in flux and has become a lot more complicated.”
While the groups contain much of the German business, there still remain independents, including Berlin’s MCT Agentur, which bridges everything from clubs to Rammstein and Robbie Williams shows; Hamburg’s Karsten Jahnke Konzertdirektion, busy this year with Taylor Swift and its annual Stadtpark shows; and Berlin’s Landstreicher Booking, with its great strength in domestic artists.
MCT Agentur, which has tours this year with artists such as Moby, Nadine Shah, and Trentemøller, this summer elevated Asita Sadeghian and Kristin Schulz to co-MDs, working alongside founder and owner Scumeck Sabottka.
Max Wentzler, of Berlin-based indie Z|ART, urges artists not to believe the lament that small shows are hopeless, pointing to successful international shows from 100 to 5,000 tickets.
“If you apply one way of working to so many artists, which is what I would say the big, ticket company-driven promoters do, then it’s difficult to innovatively come up with strategies for different artists,” he recently told IQ. “But that’s where I think we are very fortunate that we are an independent. We are like a speedboat – we can make individual trips. And the others are like the Royal Caribbean, which takes five days to turn around.”
“In Germany, it feels like people are not so into those regular three-day camping festivals”
Another area where market shifts are making the business think differently is that of festivals, where German events demonstrate significant volume but high risks. Goodlive’s 20,000-cap alternative fest MELT was the major casualty of this year, bowing out in July and acknowledging that it “no longer fits into the German festival market.”
“In Germany, it feels like people are not so into those regular three-day camping festivals,” says Karsten Jahnke MD Ben Mitha. “There seems to be a trend that people like a little bit more comfort, so they only buy a day ticket or else they go to city festivals rather than the good old get-super-wasted- and-sleep-in-tents festivals.”
Even if that is the general direction of travel, there is clearly no room for complacency anywhere in the market. Even those with unflagging appeal, including rock monoliths such as Wacken Open Air, Rock am Ring/Rock im Park, and twin FKP festivals Hurricane and Southside, have inevitably found the going tougher in recent years, whether as a result of rising costs or challenging weather.
“Costs are rising, year on year, by at least 10% to 15%,” said Goodlive’s Fruzsina Szép, festival director of Superbloom in Munich and parent company Live Nation’s Lollapalooza Berlin, as the festival season approached. “The challenge, not only for Goodlive but all German festivals, is that we can’t raise the ticket price every year – we simply can’t do it.”
FKP co-CEO Stephan Thanscheidt agrees that keeping music accessible is critical if the industry is to thrive. “Not excluding anyone from live culture for financial reasons is the most important challenge of our time, and it’s becoming increasingly difficult due to the small margins and high risk of our industry.”
Arena Market: Germany
As the most populous nation in the European Union, Germany sits as a unique case study in live music. It has produced a multitude of successful homegrown acts and is perhaps the major destination for international acts touring mainland Europe, making it one of the busiest territories in the EU.
The best-attended arena in Germany, and one of the highest attended in the world, is Cologne’s Lanxess Arena, owned by CTS Eventim. “After the pandemic years and the numerous delayed tour starts due to the energy crisis, since last year, it’s felt like pre-covid times,” says CEO Stefan Löcher.
At 20,000-cap, it’s one of the largest venues in the market, which means costs hit particularly hard. “I think the entire industry is noticing increased costs, especially in the tour business. But with a venue of our size, we also have a huge new burden when it comes to energy costs. That’s why it’s important for us to become more efficient in all areas.” Nonetheless, he says “2024 feels like a great year.”
“We have achieved two consecutive record years with over 170 events, and we are looking to sustain a high event count between 160–170 events in the future”
Attracting 1.5m visitors a year, the Uber Arena (formerly Mercedes-Benz Arena until a major naming rights deal saw it renamed in March) was recently ranked the second-highest-grossing arena in the world. “We have achieved two consecutive record years with over 170 events, and we are looking to sustain a high event count between 160–170 events in the future,” says Ole Hertel, vice president and managing director of AEG Operations. “This is a significant uptake compared to pre-pandemic times, when our event count bounced between 130 and 150 each year. In the next 12 months, we are looking forward to international stars like Justin Timberlake, Janet Jackson, Usher, and Billie Eilish as well as the Laver Cup Tennis Tournament.”
He says recent years have seen the breadth of genres coming to the arena expand significantly. “A decade ago, gaming arrived, then K-Pop took over, and lately, we have international comedians touring German arenas; the darts attract 10,000 people; podcasters are selling out; and German hip-hop acts are selling out consecutive shows – unthinkable a decade ago. As a venue operator, you need to stay open- minded and be ready for next genre to take off.”
The naming rights deal with Uber will see a number of improvements at the 17,000-cap arena, including pre-ordered food and drinks to reduce queues, fast-jet beer pouring, and dedicated Uber arrival and departure areas for people travelling using the app. The venue now uses 90% LED lighting and plans to be fully LED soon; plus, it will have a new state-of-the-art L´Acoustics speaker system, saving money and time for show set-up and dismantling.
The venue now uses 90% LED lighting and plans to be fully LED soon; plus, it will have a new state-of-the-art L´Acoustics speaker system, saving money and time for show set-up and dismantling
Sybil Franke is the MD of Velomax Berlin and oversees the Max-Schmeling-Halle (9,150) and the Velodrom (9,500), the latter being convertible into the UFO (5,000). She says bookings between international and domestic acts there are evenly split. (This is perhaps indicative of the fact that Berlin is more internationally mixed than other German cities, with a number of arena operators in other German cities saying the domestic/international split can be as high as 70/30.)
International bookings this year in the various venues Franke oversees include Idles, Underworld, Justice, and Deep Purple. Music tastes skew towards electronic/dance/metal at Velodrom and UFO, while Max-Schmeling-Halle is more rock and pop.
She says their bookings in Q1 were “weak” but notes that Q3 and Q4 are “very strong.” She adds that cost-of-living issues are not significantly spooking the live entertainment market there. “Consumer spending seems to be quite stable and, so far, doesn’t bother us too much,” she says.
A dearth of skilled staff is, however, a major worry. “Especially when it comes to technical staff such as electricians, sanitary technicians, air-conditioning technicians, and catering staff,” she explains.
The assorted venues under her purview are currently being updated with “smart and sustainable digital solutions,” including LED bulbs and digital signage. This is typical of most arenas currently who want to be greener and more energy efficient.
Nils Hoch, manager of Olympiahalle (15,000) in Munich, agrees with Franke on staffing worries but has a different view on pricing.
“The general rise in prices is definitely a big issue, as is the lack of staff”
“The general rise in prices is definitely a big issue, as is the lack of staff,” he says. “All of this naturally leads to rising production costs and therefore to rising ticket prices. Purchasing power is very high in Munich and the surrounding area, so customers are willing to pay the ticket prices for the top acts, but you can see that lesser-known bands are having problems filling the halls. Customers are probably going to fewer concerts than they used to.”
The Olympiahalle also swims against the general trends in Germany, with 70% of its bookings being international acts, including Thirty Seconds To Mars, Olivia Rodrigo, Rod Stewart, Justin Timberlake, and Deep Purple this year. The venue was refurbished between 2007 and 2020, adding 22 smaller LED screens and six larger, as well as new LED lighting. It also partially converted the older (smaller) hall into a truck access area for touring acts.
In Düsseldorf, Daniela Stork is head of booking, ticketing, and events strategy at D.LIVE who operate the Merkur Spiel- Arena (actually a stadium with a capacity of 52,500), the Mitsubishi Electric Halle (7,500), and PSD Bank Dome (13,500 or 11,000 seated, or the option to reconfigure it for 5,500).
She says the live sector at the highest level is doing very well in Germany. “There is a strong interest in the live experience, which is also reflected in the overall growth of the live entertainment business worldwide,” she says. “The audience is not only eager for the event but also willing to pay the ticket prices set by their favourite artist, as evidenced by the big sold-out stadium tours all around the world.”
“There is a strong interest in the live experience, which is also reflected in the overall growth of the live entertainment business worldwide”
Further down the touring hierarchy, things are not always as buoyant. “Despite all the success of these top-level artists, we shouldn’t forget that there are quite different dynamics existing within the industry, particularly when considering the grassroots venues, clubs, and small acts starting to tour,” she notes.
Acts and events playing across D.LIVE’s triptych of venues this year include Coldplay, Niall Horan, Disney On Ice, Ne-Yo, Bryan Adams, and Troye Sivan.
Stork reveals the company has invested over €30m in its venues recently, notably switching all lighting in each venue to LED as well as refurbishing the backstage areas at both Mitsubishi Electric Halle and PSD Bank Dome.
The Hanns-Martin-Schleyer-Halle (15,500) and the Porsche- Arena (7,500–8,500) are the major venues in Stuttgart. The former was initially designed as a multifunctional sports arena with an inbuilt cycling track, which meant it was too wide for certain entertainment events so the adjacent Porsche-Arena was opened in 2006 to host events that its sister venue could not.
Acts playing recently include Jason Derulo, Slayer, Slipknot, German rapper Apache 207, and schlager heavyweight Helene Fischer.
René Otterbein is general manager of the two venues and says business is particularly strong this year. “People are going to see shows like there’s no tomorrow and paying a lot of money for the tickets,” he says. “Last year was an outstanding year, but this year will also be a very, very good year. We’re already looking into 2025, and it will also be a very
good year.”
He adds, “We have a lot of sold-out shows happening within seconds. We have really good ticketing sales, especially for the national artists. Apache 207 played three times at the Schleyer-Halle at the beginning of May, and they sold out. He will come back next year for another four shows.”
Alongside strong business for domestic rap acts in Germany, local influencers who have come up via TikTok are now progressing to the arena level for their shows, meaning the growing economic importance of a new type of performer who can draw huge crowds on a level with musicians and comedians.
Alongside new homegrown rappers and social media stars, schlager remains a huge part of the live business in Germany (and in other German-speaking markets, notably Austria and Switzerland).
Britta Kriesten, head of events and programming at the Rudolf Weber-Arena in Oberhausen, says international acts like James Blunt, Nick Cave & The Bad Seeds, and Alice Cooper can all play to huge crowds there. Beyond music, ice hockey, basketball, equestrian events, MMA, musicals, family shows, and musicals are also part of an increasingly eclectic entertainment mix at the venue. Schlager remains, however, the standout genre for them.
“With 15m people living within a radius of a 60-minute drive, there are plenty of potential ticket-buyers for almost every genre in our catchment area.”
“It is one of the best-selling genres at our venue,” she says. “With 15m people living within a radius of a 60-minute drive, there are plenty of potential ticket-buyers for almost every genre in our catchment area.”
Demographic changes in the local area are also seeing bookings around genres shift. “We see an increase in arena- size concerts of artists from the Arabic countries and Eastern Europe for our region, and we would very much like to join in on the general K-Pop trend as well,” says Kriesten.
Michael Biwer is the vice-president of Guest Events who run Festhalle in Frankfurt (10,000 unseated and 4,880 seated). Acts playing there in 2024 include Simple Minds, Olivia Rodrigo, and Five Finger Death Punch. He also states that business is strong and that audiences are not (yet) being priced out.
“We are very happy that live events have come back in full swing since 2022, and therefore, we are also very optimistic about the future,” he says. “Rising production and touring costs certainly play a major role here. The challenge is to keep the costs down without a negative impact on the visitor experience.”
“We are very happy that live events have come back in full swing since 2022, and therefore, we are also very optimistic about the future”
Steve Schwenkglenks, VP and MD of Barclays Arena in Hamburg (15,000 but can be scaled down to 9,500 or 2,300), says there is a complex economic balance to be struck here for arenas and arena-level acts.
“The ongoing rise in costs across various critical areas, such as energy, personnel, and production, presents persistent challenges,” he says. “These increased expenses are putting pressure on profitability and demanding strategic adjustments to ensure sustained business operations and competitive market positioning. Established artists, who mostly book our arena, are still selling at pre-Covid levels, with many concerts selling out. However, newcomers and artists who play in clubs and smaller venues clearly find it more difficult to tour, as all associated costs have increased.”
Germany has been leading the way in Europe for decades with regard to green issues. Otterbein says his venues are typical of those in the country in terms of working on more and more sustainability issues and putting schemes in place (from electric company cars to LED technology in venues).
He adds that in September, they will pilot a new scheme at the venues for automated storage. In Germany, bags bigger than A4 size are not allowed in any arena, so this storage initiative will hopefully allow people to quickly and easily store larger bags before they enter the arena and retrieve them just as quickly and easily when they leave.
“After being the first venue in continental Europe to introduce the Evolv system for a secure and seamless security screening experience during ingress, we have recently modernised our security technology”
Kriesten notes that the Rudolf Weber-Arena is pioneering new infrastructure changes.
“After being the first venue in continental Europe to introduce the Evolv system for a secure and seamless security screening experience during ingress, we have recently modernised our security technology and installed an integrated solution in cooperation with German multinational engineering and technology company Robert Bosch GmbH,” she says. “As part of the modernisation of the fire alarm, intrusion detection, public address, and voice alarm solution, which Bosch had already implemented when the arena was built in 1996, we now also have incorporated a networked video security and access control solution from Bosch.”
Schwenkglenks explains further about the environmental commitment across the arena sector in the country, “German arenas are increasingly focusing on sustainability, including the implementation of energy-efficient technologies, waste- reduction programmes, and sustainable sourcing of materials. These efforts are aimed at reducing the environmental impact and appealing to a more eco-conscious audience.”