A new survey of 8,000 music fans in the UK found that the overwhelming majority of respondents are in favour of a price cap on ticket resale.

The findings were shared as part of the Music Fans Voice (MFV) survey into the behaviours, perceptions, concerns, motivations and opinions of some of the UK’s concertgoers.

Commissioned by local authorities in eight UK cities, the audit highlights several areas of concern around ticket resale, dynamic pricing and the secondary market.

In the survey, 97% of music fans said they believe that the face value resale of tickets should be permitted, but there was an overwhelming call for ticket re-selling at a higher price to be banned with 91% calling for legislation to end the practice.

The UK live music industry has also come out strongly in favour of a ticket resale cap, though there is currently no consensus on the acceptable level of resale uplift.

The government, which recently concluded its long-awaited consultation into the secondary market, previously indicated it would be looking to cap resale at 10% above face value, but sought views on levels ranging from no uplift at all to 30%.

The MFV survey also revealed that 91% of respondents believe that dynamic pricing should be outlawed, and only 11% of those who had purchased dynamically priced tickets believe the concept was adequately communicated to them at the point of sale.

The MFV survey also revealed that 91% of respondents believe that dynamic pricing should be outlawed

The debate around dynamic ticketing was stoked last year with the on-sale for Oasis’ reunion shows, during which ticket buyers who had queued for several hours were offered tickets for more than twice the advertised face value. Last month, the UK’s consumer watchdog said Ticketmaster may have breached consumer protection law during the band’s ticket sale.

The report showed numerous areas where price and affordability was a key concern for respondents. 60% of people said they would attend more live events if they provided “better value for money”. Respondents also called for lower ticket prices (91%), more affordable food/drink options (53%), discounts for early bird ticket purchases (37%) and flexible ticket options such as transfers or pay monthly (33%).

Another notable finding was the overwhelming support for the proposed £1 ticket levy on UK arena and stadium shows, with 93% of respondents saying they agreed with the policy.

Sam Duckworth, an artist who performs as Get Cape, Wear Cape, Fly and a key instigator of this survey, says: “Music Fans are the lifeblood of our industry and deserve to be at the epicentre of conversations about its present and its future. Through the collaborative efforts of the major music cities, they have been given a data-driven seat at the top table. Ensuring that fans across the UK feel heard, respected and that the direction of travel takes into account their vital role in making sure that live music continues to be at the forefront of British Culture.”

David Martin, CEO, Featured Artists Coalition, commented on the survey: “The results of the Music Fans’ Voice Survey have one overriding message: the relationship between artists and fans provides the beating heart of live music. It’s their shared passion which drives music discovery, ticket sales, attendances, and in-venue spending.

“Clearly, many fans are feeling the financial pinch right now. It’s something we all need to be conscious of. But that makes it even more heartening that respondents put such an emphasis on supporting artists, whether through buying their merchandise and vinyl at shows or backing the concept of a ticket levy on arena and stadium events.

“The FAC hears that message loud and clear. It’s given us renewed vigour to crack on with our 100% Venues campaign, and to push harder for the blanket adoption of a ticket levy to support those most impacted by the cost of touring crisis in grassroots live music.”

Over 8,000 people took part in the Music Fans Voice survey, designed & implemented by CGA with NIQ. Of the respondents, 18-35-year-olds made up just over 30%, 25-54-year-olds made up over 40% and over 55s made up over 26%. Just over half of the participants were male, with 44% female, 2% gender fluid and 1% choosing not to say. Feedback was collected between February 3rd and March 4th 2025.

Full survey results can be seen here: https://musicfansvoice.uk/results-2025

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Live Nation UK’s partnerships division has released a new study, Fan DNA, which identifies six core types of live music fans.

The study moves away from traditional segmentation approaches in an effort to provide a more nuanced understanding of concertgoers, exploring the emotional drivers behind fans’ attendance to offer deeper insights for marketers.

Via a third party agency, it employed a “robust” three-part approach, combining qualitative and quantitative research to “ensure comprehensive exploration, rigorous validation and enrichment of the segments”.

More than 3,600 individuals from diverse locations across the UK were surveyed for the report, which also employed in person and online focus groups.

“By moving beyond a two-dimensional view of fans, we enable our partners to engage with fans more effectively”

The six fan types, which encompass a broad range of ages and lifestyles, were broken down as follows:

• Relentless Enthusiasts: Sociable, spontaneous, go-to party planner and passionate about live music. Always ready to attend live music events, indulges in shopping, and seeks the latest popular products.
• Hyped Curators: Loves all things live and image conscious. Keen on keeping up with trends, attending various live events, and prefers others to plan so they can transform into party animals at events.
• Experience Embracers: Professionally successful and adventurous. Can afford to loosen up during live music experiences. Seeks variety and excitement in leisure time. Loves discovering and exploring new brands that align with their values.
• Mass Mainstreamers: Laid back live music fan but once they’re in, they’re in. Loyal and atmosphere driven. Enjoys big-name concerts and festivals, seeks external validation, and remains loyal to trusted brands.
• Music Aficionados: Deeply passionate about music. Music is their life. Ahead of trends, dedicated to experiencing their favourite artists live, and loyal to brands who show up in those environments.
• The Sidekicks: Family-oriented and financially secure. The ultimate partner in crime. Attends events to spend quality time with loved ones, enjoys brand activations, prioritises family and security.

“With live music so deeply embedded in British culture and an abundance of concerts and festivals available across the country, our fans span a wide range of life stages, personalities, and live music preferences,” says Gina Ha, head of research and insights at Live Nation UK.

By offering an enhanced understanding the fan segments and their motivations, the LN team hopes to provide brands with opportunities to engage more effectively.

“Our team’s passion for accurately representing the UK’s live music communities led us to develop a segmentation approach that offers a multidimensional view of live music fans,” adds Ha. “It considers various factors such as event attendance, occasions, attitudes, behaviour, personality and life priorities.

“By moving beyond a two-dimensional view of fans, we enable our partners to engage with fans more effectively, creating personalised experiences that resonate deeply and fostering long-lasting loyalty.”

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The majority of Danish ticket buyers make their purchase when sales start, according to a new survey, bucking a post-Covid trend of fans buying at the last minute.

This stat was revealed in a newly published survey of 15,929 ticket buyers, conducted in summer 2023 by Ticketmaster and Dansk Live.

It found that 55% of respondents purchase tickets to concerts as soon as they go on sale, while 24% do so a few months before the concert and 15% answered “as soon as I can afford it”.

For festivals, 34% buy their ticket 10-12 months beforehand, 24% said less than six months prior, 21% said between 6–9 months ahead and another 21% said the same week as the event.

“The reality of the individual organisers is of course very different, as is their audience. Still, it is interesting to see the overall results,” says Esben Marcher, director of Dansk Live.

“It surprises me, for example, that so many people buy tickets when the tickets become available”

“It surprises me, for example, that so many people buy tickets when the tickets become available. It nuances a trend that many in the music world have noticed, namely that the audience in the post-corona period generally bought their tickets much later than before the corona.”

The survey also found that 53% of respondents deemed the current price level for events as “too expensive,” though 87% said they were willing to pay extra for their ticket to get the best seat.

The majority (64%) said that the economic situation (mid-2023) does not hugely impact their consumption of live events.

For event discovery, the survey found that Facebook and Instagram are the most used social media platforms.

Over half of the ticket buyers surveyed attend one-three concerts a year. More than half (58%) of respondents are women and 41% men.

“The survey is interesting for everyone who organises concerts, festivals and other events,” says Marcher. “A nuanced look at the audience’s habits is always welcome, and with the many responses, the survey provides new, broad knowledge that can help the organisers better target potential ticket buyers. At Dansk Live, we are pleased with Ticketmaster’s work with the survey, and we have started planning a comprehensive audience survey.”

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The double vaccination rate among UK concertgoers is substantially higher than in the country’s general population, according to a new report by Music Venue Trust (MVT).

More than three-quarters (76.3%) of people attending live music events in the UK were fully vaccinated, while just 61.3% of the general population received two jabs, it found at the time of data collection.

Furthermore, almost all UK concertgoers (91.6%) will have been fully vaccinated by the end of September if they complete their vaccination programme – again, substantially higher than predicted for the general population (77.9%).

According to the report, these statistics aren’t a coincidence; 91.3% of attendees had chosen to take an additional personal precaution such as double vaccination, testing or immunity to support their safety.

Despite a high vaccination rate among concertgoers, only 2.1% of live music fans wanted to see certified double vaccination as the sole mandatory condition of entry and 8.9% wanted to see mandatory certification of health status as a condition of entry to grassroots music venues.

Only 2.1% of live music fans wanted to see certified double vaccination as the sole mandatory condition of entry

A mix of mandatory certification options, displaying vaccination, testing or immunity, was more strongly supported by live music fans.

The findings are from a series of surveys and data collection exercises conducted by MVT during the first month of the full capacity reopening of grassroots music venues in the UK.

The audience survey recorded answers from 1,891 people who normally attended live music events prior to the Covid crisis.

While 221 grassroots music venues took part in a survey about the precautions they had taken around opening and the attendance at their events.

And 100 grassroots music venues were selected as representative of the sector, with case rates and transmission rates in their locality mapped to explore if the full capacity reopening of grassroots music venues had a discernible impact on local case rates.

In the local areas around a representative sample of 100 grassroots music venues, Covid-19 case rates declined by 39%

Notably, in the local areas around a representative sample of 100 grassroots music venues, Covid-19 case rates declined by 39%.

“The response from venues, artists and audiences to the Covid threat has been incredible,” says Mark Davyd, CEO of Music Venue Trust.

“These survey results clearly demonstrate a will by the live music community to create safe spaces, to take personal responsibility for ourselves and each other, and to act to Reopen Every Venue Safely. It is particularly striking that local case and transmission rates around grassroots music venues, far from exponentially increasing as was predicted, have, in reality, exceeded the decline in rates witnessed nationally.”

Other findings from MVT’s report include:

• 86% of grassroots music venues are currently open and trading with a live music offer, equating to 817 venues, delivering over 13,000 shows in the last four weeks, to a total capacity audience in excess of two million people.
• 67.5% of grassroots music venues report that their advance ticket sales are down compared to their pre-Covid-19 advance ticket sales.
• 61.7% of grassroots music venues report that their turn up on the night (advanced sales and walk-up) is down compared to their pre-Covid-19 turn up on the night.
• 52.1% of grassroots music venues report that their bar take is down compared to their pre-Covid-19 bar take.

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A new ‘audience snapshot’ by music and event industry charity Attitude is Everything indicates that a majority of Deaf, disabled and neurodivergent people want to return to live events – as long as accessible safety precautions are in place.

The poll of 289 individuals with a history of attending live events found that respondents went to more than 5,000 indoor and more than 1,200 outdoor live events in 2019 – from gigs and festivals to football matches and book launches.

Following the UK’s relaxation of restrictions on 19 July, 50% of respondents say they would feel comfortable attending an indoor live event and 73% said they would feel comfortable attending an outdoor live event, as long as they are confident that as many accessible measures as possible have been put in place to increase safety.

Almost three-quarters (74%) have additional access requirements in order to attend live events, such as companion tickets, accessible seating, step-free access and accessible toilets.

The results underscore the need for event organisers to ensure that access and Covid-safety measures are at the forefront of reopening plans.

Just over two-thirds (67%) of respondents considered themselves to be at heightened risk if they were to contract Covid-19, with 46% having shielded in 2020, and 27% feeling it necessary to return to shielding now rules have been lifted.

“More than ever before, it’s time to recognise that the disabled community are part of the life-blood of culture in the UK”

Furthermore, 42% didn’t see how a live venue could be a safe environment for them at the time they completed the survey (19 July– 1 August), with 24% feeling that they won’t be able to get to an indoor live event until next year at the earliest.

Eighty-three per cent said they would attend a venue or event that requires the NHS Covid Pass to gain entry, with 67% stating they would actively choose a venue that requires an NHS Covid Pass to gain entry over one that doesn’t.

Almost all (96%) of all respondents said it is important that venues and events engage with disabled people who don’t feel safe to return just yet, with 78% thinking venues and events should maintain online streaming as an option.

“In 2019, disabled people were big consumers of live events. In fact, in the years before the pandemic, the economic spend from disabled people attending live music grew from £3.4 million in 2013 to £9.3 million in 2019, so there was always going to be a huge demand from the disabled community to return to live events,” says Suzanne Bull MBE, founder of Attitude is Everything.

“Understandably, disabled people have real and deep-seated fears about how safe live events will be after the pandemic. I urge the live events sector to address concerns and make demonstratable efforts to welcome those with access requirements back to their venues and events, and for artists to become actively involved in this welcome.

“Over the past 18 months, disabled people have been loyal in donating to venues and campaigns to support musicians, and bought music, art and books to help creatives to sustain themselves. So more than ever before, it’s time to recognise that the disabled community are part of the life-blood of culture in the UK.”

Following the survey, Attitude is Everything calls on event organisers to check their post-19 July Covid-safety information and practices against its list of reopening measures supported by respondents.

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The findings from a survey quantifying the immediate impact of the Covid-19 pandemic on Australia’s live event and entertainment industries has painted an “alarming picture” for the near future of the sector.

The second survey from I Lost My Gig, an initiative of the Australian Festivals Association (AFA) and the Australian Music Industry Network (AMIN), drew responses from almost 2,000 professionals from the Australian live music industry.

The data capture showed that during July, at least 23,000 gigs and events were cancelled, equating to nearly AUS$64 million in lost income – $16m per week.

The survey’s respondents included artists, managers, production crew, technical workers, venue operators and workers, festival operators, booking and ticketing agencies, marketing and promotions companies, music press outlets and a broad range of other related businesses and sole traders.

“Border closures, capacity restrictions, and quarantine issues continue to devastate live performances and events across the country, wreaking havoc on touring schedules, and creating what respondents describe as a never-ending cycle of unpaid show rescheduling,” reads the accompanying report.

Of the $64m in lost revenue, the results showed that 99% of respondents had no income protection or event cancellation insurance – something that the Australian live industry has been repeatedly calling for.

“Respondents describe a never-ending cycle of unpaid show rescheduling”

Since the pandemic began in March 2020, just 7% of professionals working in the live performance and events industries have been able to operate at pre-Covid levels. Thus, 60% of respondents say they’ve recently looked for work in other industries.

More than 67% claimed they were ineligible for the federal government’s Disaster Relief Payment, and over 50% said they were unclear about the funding being offered by their state/territory governments.

A significant number of respondents expressed frustration at what they perceived as government prioritisation of sporting events in lieu of meaningful support of the creative industries. Poor mental health and wellbeing, ongoing financial distress and a lack of hope were also common themes among responses.

The survey comes after three of the six Australian states – South Australia, Victoria, New South Wales – were put into lockdown during July to face separate outbreaks of Covid.

The country has been slower than most others to immunise its population and it may not see the lifting of restrictions – and the full return of the live music industry – until mid-November, according to the government’s roadmap.

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More than four fifths of Australians say they consider international artists to be a significant factor in their decision to attend live events in future, according to a major new survey commissioned by Live Entertainment Industry Forum (LEIF).

LEIF, a pan-industry body whose members include Live Nation, TEG, AEG Presents, Frontier Touring, Chugg Entertainment and WME, commissioned Ersnt & Young (EY) to survey 35,000 Australian consumers to identify their attitudes towards live shows and expectations for a safe return to live performances.

Among EY’s findings are that over 80% of those surveyed considered overseas artists a “significant” or “very significant” factor in whether they would attend a concert, and that fans want live events with larger crowd numbers to return this year, with more than 80% also keen to see live events return with greater crowd numbers by November 2021.

Geoff Jones, CEO of TEG and co-chair of LEIF, saysthe results underline the need for the Australian federal and state governments to align with leading promoters to ensure vaccinated international acts and their crews can enter the country and move around easily in Covid-safe travel bubbles for shows and festivals throughout the coming summer.

“We already know that international superstars love to tour Australia and that we offer them the best fans, the best weather and the best food in the world,” comments Jones. “We also know that shows by international artists generate 80% of concert ticket sales by value. They also generate the greatest economic benefit for our country through tourism, travel, hospitality and other industries, and to our own industry, which has been ravaged by the pandemic.

“EY’s findings show that Aussie fans are hungry for the world’s biggest performers to return to our shores and tour our beautiful country.”

“Aussie fans are hungry for the world’s biggest performers to return to our shores and tour our beautiful country”

Roger Field, president of Live Nation Asia Pacific and co-chair of LEIF, agrees: “Other international markets are beginning to reopen and offer alternative touring options for artists, so it is absolutely critical that we reach rapid alignment with the federal and state and territory governments at national cabinet level to ensure Australia does not miss out on this vital opportunity for the live entertainment industry to recover from the worst year in its long and storied history.”

Amid fresh lockdown measures to quash the current outbreaks of Covid-19, EY’s survey also spotlights the positive impact that live entertainment has on the nation’s mental health, showing that three-quarters of Australians saying they consider live events an important part of their work, social and family life.

Julia Robinson, general manager of the Australian Festivals Association, says: “EY’s study shows how vital live experiences are to social cohesion and wellbeing. Events bring us together. They can inspire and move us. Live entertainment is the antidote to last year’s disconnection, and we know audiences around Australia continue to miss their festivals, concerts and events.”

Live Performance Australia CEO Evelyn Richardson says the best call to action for fans to help the live entertainment industry is to go and get vaccinated: “If we want keep our theatre and venue doors open, and we want to see our favourite performers on stage, the most important thing we can do right now is to get vaccinated. Not only will it keep our communities, families, friends and colleagues safe, it will ensure the future of our industry. Don’t wait. Do it now so we can welcome the world’s greatest acts back to the country that they love visiting and performing in.”

LEIF’s executive committee includes the heads of TEG, Live Nation, Chugg Entertainment, AEG Presents, Frontier Touring, WME, the Melbourne Cricket Ground, the Sydney Cricket Ground, Marvel Stadium, Melbourne Olympic Parks, Adelaide Oval, Venues West, Venues Live, ASM Global, Michael Cassel Group, Stadiums Queensland, Live Performance Australia, Australian Festivals Association, and Venue Management Association.

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New research into livestreamed concerts, funded by the UK’s Economic and Social Research Council, has found artists are overwhelmingly positive about the power of reaching new audiences through virtual shows, even post-pandemic.

The research, led by Middlesex University and King’s College London, also offers insight into fan experiences of and expectations for livestreamed events and detailed advice on the technical and legal aspects of livestreaming.

The findings of the research project, which surveyed nearly 1,500 musicians and fans in the UK, include:

• 90% of musicians and 92% of fans agree livestreaming will in future be a successful tool to reach audiences unable or unwilling to go to physical venues. Over two thirds of those surveyed agreed livestreaming will remain an important part of the landscape after the pandemic
• 72% of live music fans and 74% of musicians agree that livestreamed performances should be paid for. In addition, 62% of fans say the cost of paywalls for livestreamed shows aren’t a barrier. 78% of fans would be prepared to pay for a livestreamed show by an artist who is offering some other livestreamed content for free
• 95% of fans say emotional engagement from the artist during livestreamed concerts is important to them. 82% agreed that performers acknowledging individuals’ presence in the audience during a live stream made them feel connected

For their research, investigators also interviewed four concert promoters and an industry charity, and invited 200 music venues to send out the survey. Project partners included the Musicians’ Union, the Incorporated Society of Musicians, Music Venue Trust and promoter Serious.

The findings, however, conflict with a recent survey by trade body LIVE which found just 25% of fans will continue to engage with live streams after the pandemic period.

Over two thirds of those surveyed agreed livestreaming will remain an important part of the landscape after the pandemic

The project’s principal investigator, Middlesex University senior lecturer in music business and arts management Julia Haferkorn, says: “There were numerous comments from attenders unable to visit physical venues, even in non-pandemic times, expressing their appreciation of the availability of livestreamed concerts. Attenders also expressed an appreciation for being able to watch concerts by artists from other countries.”

“The most interesting insight from our research is the important role that livestreaming plays in giving music fans who suffer from social anxiety or other health-related issues access to live music performance,” adds study co-author Brian Kavanagh, lecturer in digital innovation at King’s College London.

Another co-author, pianist and Middlesex University lecturer in popular music Sam Leak, comments: “Our research has highlighted how important it is for audience members to be able to communicate with, and feel connected to, each other and the musicians performing. As a performer, this finding is interesting to me not only because it impacts my livestreaming practice, but also because it could well enhance the experience of my audiences in physical venues.”

The full report, which was published this morning (12 May), is available from www.livestreamingmusic.uk.

This article forms part of IQ’s Covid-19 resource centre – a knowledge hub of essential guidance and updating resources for uncertain times.

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UK trade body LIVE (Live music Industry Venues and Entertainment) has conducted a survey of 25,000 music fans, the results of which reveal an overwhelming desire for live music to return as quickly as possible.

More than half of fans are ready to attend music events right now if they could with a further 25% willing to come back with safety measures in place, according to the results of the survey.

The findings also show that the majority of fans (85%) are planning on attending either the same or higher numbers of live music events when they reopen than before the pandemic and more than half of fans (55%) have already bought tickets for live music events in the coming months.

Among those who are yet to buy their tickets, one-third are waiting for more gigs to come on sale rather than being deterred by the pandemic.

The top three reasons fans want to return to gigs are seeing an artist that they love (91%), the joy that live music brings (89%) and spending time with friends (69%). The majority of respondents (64%) stated that attending live music events boosts their mental health.

In further encouraging news, music fans are largely accepting of proposed Covid-prevention measures with 75% of respondents confirming they would be happy with the idea of Covid certification to attend an event.

“It’s great that the passion of live music fans has endured and after a long wait fans want to go to more shows than ever”

Hand sanitiser stations, temperature checking and one-way systems are the simple mitigations fans would like to see when events return, though 41% of respondents said they would be put off attending an event if they had to wear a face mask.

The survey is the most detailed research yet conducted on the attitudes of UK music fans towards the return of live events and how they want them to be run in a post-pandemic world.

“It’s great that the passion of live music fans has endured the pandemic, and after a long wait fans want to go to more shows than ever,” says Chris Carey, chief economist of LIVE. It is especially encouraging to see how quickly fans want to get back to live.”

Greg Parmley, CEO of LIVE, says: “After a devastating year for the live music industry it is fantastic to see the strength of feeling from fans across the UK who are desperate to get back to live music events. The industry has worked tirelessly to ensure that we can return as quickly and safely as possible.

“It is notable that fans are willing to live with short-term mitigation measures in order to get back to live music as quickly as possible, with three quarters saying that they would be happy with a Covid-certification system as part of those measures.”

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A new survey of 140,000 British festivalgoers has found that nine out of ten would be confident attending at least one live event this year.

The survey, carried out by Festicket, discovered that 79% of respondents would feel comfortable attending an event this summer (defined as June to August), with that number rising to 90% when including events in the final four months of the year.

Additionally, 82% of fans said they are planning to attend two or more festivals or live events this year, reflecting the huge demand for tickets since prime minister Boris Johnson’s reopening ‘roadmap’ was unveiled in February.

More than half of respondents said they would also be happy to book tickets for overseas events, while just 8% reported they would only feel comfortable attending an event if they had been vaccinated against Covid-19.

Elsewhere, the biggest demand for changes on site is for extra cleaning and hygiene measures, with 58.5% deeming this essential, followed closely by a desire for to be able to pay and enter the festival contactlessly.

“It’s clear there has been a shift in perspective in the UK over the past month”

Over 52% said contactless ticketing, contactless access control at the door and reduced queues would be key in their decision to attend, while 70% of people said they would be more encouraged to attend a festival/event if it were to implement a Covid-secure cashless system on site for bars, food vendors and other payments.

Zack Sabban, CEO of Festicket, whose Event Genius platform has invested heavily in Covid-compliant cashless and contactless entry systems, says: “It’s clear there has been a shift in perspective in the UK over the past month. Following the prime minister’s announcement in February, stories of 2021 events selling out have become common, but we wanted to dig a little deeper.”

Among the UK festivals to have recently sold out their 2021 editions are Reading Festival, Boomtown, Creamfields, Wireless, Parklife and Kendal Calling.

“Coupling customer opinion with ongoing event partner conversations puts us in a strong position to help the industry bounce back successfully,” continues Sabban. “It’s important that the industry works within all government guidance available, but, more specifically, listening to your fans is essential and delivering events in the way they now demand is critical for success.”

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