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 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.”

“The pipeline of tours and shows planned for 2024 through to 2026 is looking extremely strong”

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.”

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.

“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”

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.