German live industry swells by 20% to hit €5.6bn
Germany’s live industry grew by 20% on pre-pandemic levels to generate €5.6 billion in 2023, as plans to launch a national grassroots fund gather pace.
Trade body the BDKV delivered the results from the Music Industry in Germany 2024 study during its annual general meeting.
While the report will be completed in December, BDKV president Sonia Simmenauer stressed the picture was not as healthy lower down the touring circuit.
“When we were asked this year how the industry was doing, our answer was always, ‘Very good, but not for everyone,'” said Simmenauer. “On the one hand, the record reports of major shows and a 20% increase in industry sales compared to 2019 are brilliant. Live entertainment gives people a lot, especially in today’s changing times. But 2024 will also be a year in which cost explosions and sluggish advance sales will increasingly put many small and medium-sized events in financial difficulty.
“The entire music industry needs the courage of event organisers to present new topics and develop artists,” she continues, as per Music Woche. “More than ever, the upcoming stars are developing on real stages. Our goal is for concert life to be able to exist from small to large. We call it the ‘Circle of Live’ when up-and-coming acts in the club eventually become headliners. And that is what secures both our broad concert life and our economic success.”
On a related note, inspired by existing schemes in the UK and France, federal foundation LiveKultur is planning to launch the Live Music Fund Germany as a response to the “increasing challenges facing the live music ecosystem in Germany”, particularly for grassroots venues and emerging acts.
“Rising costs for energy, production, and operations, combined with a slow recovery post-pandemic, have left many smaller clubs and festivals struggling to survive,” board member Felix Grädler tells IQ. “These venues are the foundation of our cultural fabric. Our aim with the Live Music Fund is to provide targeted financial support to these critical spaces.”
By funding small concerts, first tours for new artists and grassroots festivals, LiveKultur hopes to create “sustainable opportunities for young talent and preserve the vibrant diversity of live music in Germany”.
“We are inspired by similar initiatives, such as the UK’s voluntary ticket levy but also the CNM in France”
“The fund is not just a financial instrument; it is a cultural initiative to safeguard the future of live music for artists and audiences alike,” says Grädler.
Funding is expected to come from a mix of public and private contributions, including partnerships with ticketing companies, a voluntary ticket levy, and support from industry stakeholders and state fundings.
“We are inspired by similar initiatives, such as the UK’s voluntary ticket levy but also the CNM [National Music Center] in France, and believe now is the time for Germany to take bold steps to protect its live music heritage,” he adds.
IQ‘s recently published 2024 Global Promoters Report gives an overview of the German market, which became the centre of the live music universe when it hosted Adele’s Munich residency, which brought 730,000 fans to a specially constructed stadium at the Munich Messe across 10 shows in August.
“The Adele residency has been the absolute highlight of the year,” said Marek Lieberberg, CEO of Live Nation GSA. “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.”
Also this year, Live Nation promoted Coldplay’s three Munich and three Dusseldorf shows, two more Munich shows for Metallica at the Olympiastadion, and a sold-out run of Travis Scott dates in Frankfurt, Cologne, and Hamburg.
Taylor Swift also came to Germany for seven shows – in Gelsenkirchen, Hamburg, and Munich, with FKP Scorpio and Karsten Jahnke Konzertdirektion working with AEG Presents on promoting duties – while Semmel Concerts racked up stadium shows for Herbert Grönemeyer and outdoor concerts for Roland Kaiser, with a new international arena show for Hans Zimmer Live – The Next Level, set for 2025 and 2026.
“The market is strong but there is a lot for people to chose from,” said 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.”
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.