Luonila, M. and Kinnunen, M. (2019), Future of the arts festivals: do the views of managers and attendees match?, International Journal of Event and Festival Management, Vol. In fandom studies, a specific code of conduct might be related to fan practices, as in the case of football fans (Jones, 2000; Kossakowski, 2017). Kinnunen, M., Homi, H. and Honkanen, A. Thus, familial responsibilities were minimal for them. 29-40. For instance, the three-day Ruisrock festival had 105,000 visits in 2018. As streaming becomes one of the most popular ways to listen to music, sales of tickets and merchandise make up the bulk of fans expenditures on music. Finland Festivals (2020), Festivaalien kyntimrt 2019, [Amount of festival visits 2019], available at: http://www.festivals.fi/tilastot/festivaalien-kayntimaarat-2019/ (accessed 28 August 2020). July 10, 2020. Bahl says festival organizers quickly caught on to the spike in artists taking to the road and decided to pay them more to appear at their events. 10 No. However, interviewees represented different types of frequent festival visitors: there was a volunteer worker (Tiina), music industry worker (Seppo), fans of artists (Sofia, Nina, Maria) and of a certain musical genre (Anna, Sofia), camping enthusiasts (Sofia, Pekka) and participants who set and measured their targets (Pauli, Sofia). Quinn, B. and Wilks, L. (2016), Linking social capital, cultural capital and heterotopia at the folk festival, Journal of Comparative Research in Anthropology and Sociology, Vol. Pearce, P.L. Singapore. The best of the best: the portal for top lists & rankings: Strategy and business building for the data-driven economy: Worldwide music tour gross revenues 2011-2020, Number of music tour tickets sold worldwide 2011-2020, Leading music promoters worldwide 2020, by number of tickets sold, Highest grossing music tour each year in North America 2000-2021, Music industry revenue worldwide from 2012 to 2023 (in billion U.S. dollars), Music tour gross revenues from 2011 to 2020 worldwide (in billion U.S. dollars), Most successful music tours worldwide 2021, Most successful music tours worldwide in 2021, based on average gross revenue per show (in million U.S. dollars), Highest grossing worldwide music tours of all time 2019, Most successful worldwide music tours of all time as of November 2019, based on gross revenue (in million U.S. dollars), Highest grossing festivals worldwide in 2019, Highest grossing festivals worldwide in 2019 (in million U.S. dollars), Number of music tour tickets sold from 2011 to 2020 worldwide (in millions), Average worldwide music tour admission price 2011-2019, Average ticket price for music tour concert admission from 2011 to 2019 worldwide (in U.S. dollars), Number of tickets sold for the highest grossing music festivals worldwide 2019, Number of tickets sold for the highest grossing music festivals worldwide in 2019 (in 1,000s), Leading music promoters worldwide in 2020, by number of tickets sold (in millions), The most successful music tours in North America in 2021, Most successful music tours in North America in 2021, based on gross revenue (in million U.S. dollars), Highest grossing music tour each year in North America from 2000 to 2021 (in million U.S. dollars), Most successful music tours in North America 2021, based on ticket sales, Most successful music tours in North America in 2021, based on ticket sales, Music sponsorship spending in North America 2010-2018, Music sponsorship spending in North America from 2010 to 2018 (in billion U.S. dollars), Canada: total music market revenue 2011-2020, Total music market revenue in Canada from 2011 to 2020 (in million Canadian dollars), Countries with the smallest music product sales per capita worldwide 2018, Countries with the smallest music product sales per capita worldwide in 2018 (in U.S. dollars)*, Quarterly spending of U.S. household on plays, theater, opera, and concerts 2013-2021, Average quarterly expenditure on plays, theater, opera, and concerts per consumer unit in the United States from 2013 to 2021 (in U.S. dollars), Share of parents taking children to a live music event U.S. 2018. Of the 20 shows the Offspring is playing the remainder of this year, about 15 are at music festivals. (March 3, 2020). 23-39. Director (Community) The Mentoring Circle. [Online]. This was nearly double the capacity of Download, the second largest. Packer, J. and Ballantyne, J. Currently, you are using a shared account. THE VALUE OF EVENTS. Luonila, M., Suomi, K. and Lepist, T. (2019), Unraveling mechanisms of value cocreation in festivals, Event Management, Vol. A non-profit, Newports proceeds are sent to the Newport Festivals Foundation and to charity. Staff Writer. Long Waits, Short Appointments, Huge Bills. 4, pp. 155-178. Summerfests 2019 roster included Lionel Richie, The Killers, Jennifer Lopez, Billie Eilish, Lil Wayne, Snoop Dogg and The Nationala diverse enough group that does not rely on one genre or type of artist. The other survey sample bias was towards female respondents since women tend to answer more eagerly research surveys (Smith, 2008). (Ed.) Nonetheless, its approximately two million visitors in 2019 granted it a sizable margin to the roughly 750,000 festival fans visiting Polish Pol'and'Rock festival in 2019. 11 No. Finland is one of the leading countries in Europe in relation to the number of arts festivals and cultural events (Amberla, 2013). From the praxis point of view, the study indicates that frequent festivalgoers as loyal festival fans have the potential to contribute to various phases of festival production since they are considered as professionals in festival attendance. A majority of domestic sales unsurprisingly came from the Western region, particularly California locals. Even more surprising, this means more people go to at least one U.S. music festival each year than the number of Americans who die each year. 22 No. Larsen et al. Taylor Swift's Reputation Stadium Tour is the highest-grossing tour in the US and North American history, grossing $266.1 million. These statistics are derived from regular data automatically submitted daily to. 0000004131 00000 n to incorporate the statistic into your presentation at any time. sports and entertainment. 0000002421 00000 n Statista offers daily infographics about trending topics, covering:Economy & Finance, Politics & Society, Tech & Media, Health & Environment, Consumer, Sports and many more. However, for 34% of planners, it's virtual event attendance, as statistics confirm. Then you can access your favorite statistics via the star in the header. Some changes in motives were due to getting older and not because of long-term festival attendance, as Pearce and Lee (2005) demonstrated in TCP: for instance, Nina stated that earlier friends' company was the most important participation motive, whereas nowadays the line-up dictates the festival choices. In terms of U.S. sales, Coachella sees patrons come from an average of 37 states. The mechanics that drove music festivals to becoming top earners have a lot to do with the effects of modern life, Chirinos says. Currently, you are using a shared account. Kinnunen et al., 2020). modern rock, classic rock, and pop. %PDF-1.7 % (2009) stated that consuming music has a significant role in the individual's representation of self in social interactions, and that music depicts music consumers' desired self-image. For individual content and infographics in your Corporate Design, Directly accessible data for 170 industries from 50 countries and over 1 million facts: Get quick analyses with our professional research service. Cole, S.T. Funk and James (2001) developed a Psychological Continuum Model (PCM) to describe the depth of individuals' psychological connection to a sport or team. During the festival, attendees feel strong, if only temporary, social links among complete strangers (Rihova et al., 2015, p. 79) inside festival communitas that is free of everyday social and economic constraints. Furthermore, it was proven that the PCM introduced by Funk and James (2001) does not necessarily apply only to sports fandom, but it has useful conceptualizations for festival fandom as well. This was thanks to a rise in the number of people going to. In music festival fandom, knowledge was in-depth information about the favorite festival and music festivals in general, both in Finland and abroad. Manthiou, A., Lee, S., Tang, L. and Chiang, L. (2014), The experience economy approach to festival marketing: vivid memory and attendee loyalty, Journal of Services Marketing, Vol. Skills development in turn is a fundamental part of an event travel career. Now we see them each summer at events in Finland. proper attribution to Statista. 29 No. Location: Kostrzyn nad Odra. In numerous event motivation studies (see review by Li and Petrick, 2006), interests towards program, artists and atmosphere have been identified, but not the phenomenon of festival fandom per se. Live Nation also controls, or partially controls, festivals like Lollapalooza and Austin City Limits, among several dozen others. Four Omaha area bands were featured on a local stage at the festival: Jes Winter Band, Noah's Ark Was A . According to organizer reports, Morocco's Mawazine came in first the second time in a row with an attendance of roughly 2.8 million. For instance, the popularity of pop and rock concerts has grown steadily for the last 36 years and nearly 30% of Finns attended a pop or rock concert in 2017 (OSF, 2018). Fan practices include the production of fan culture, like writing fan fiction and communicating on the Internet about the fan interest, as well as consumption practices like collecting items related to fandom or attending events, and travelling because of it (Bolderman and Reijnders, 2017; Duffett, 2013, 2014). 6 No. and Burland, K. (2013), Listening to live jazz: an individual or social act?, Arts Marketing: An International Journal, Vol. Frequent festivalgoers' knowledge and skills development comprised planning, self-control and using accumulated knowledge about festivals. Past festivals 2009. To use individual functions (e.g., mark statistics as favourites, set And for the first time since 2013, Bonnaroo sold out of 2019 tickets with 80,000 people attending, according to the Nashville Tennessean. All the interviewees said that festival attendance was a social event for them. 117-138. For arts or cultural festival attendees, it's a 12% difference. In the context of the present study, frequent music festival attendance is expected to fulfil the characteristics of festival career development: if the introduction to festivals that is, the first festival experience was positive, it might lead to extensive festival attendance where the participant seeks new, positive and inspiring experiences at festivals. Secondly, before and after the festival, frequent festivalgoers as festival fans could be engaged in the production as messengers who can take a role as influencers by sharing the festival's message and vision of consuming the festival experience for a wider audience and newcomers (Luonila et al., 2016, p. 477; see also Suomi et al., 2020). HW5Wx,cI& Thus, fans' performance (Duffett, 2013, p. 28) was part of the festival product, their behavior improved the product and consciously co-created the positive festival atmosphere. Lamont et al. 128-147. https://doi.org/10.1108/IJEFM-08-2020-0050, Copyright 2021, Maarit Kinnunen, Antti Honkanen and Mervi Luonila, Published by Emerald Publishing Limited. Elevent. 12 No. The increased and internalized knowledge was implemented in the code of conduct. Juxtaposing these concepts in the context of frequent music festival attendance helps understanding an important festival audience segment that is valuable for the festival atmosphere (Kim, 2004; Prentice and Andersen, 2003), and music tourism in general (Bolderman and Reijnders, 2017; Lashua et al., 2014). High attendance in music festivals, in turn, was a manifestation of festival fandom. Frequent festivalgoers were open for social interaction to nurture the sense of community and belonging (see Social practices). (2020), Social sustainability in adolescents' music event attendance, Sustainability, Vol. Kaaboo. As a consequence, festival fans have grown to appreciate live music and festivals more than ever (LiveFIN, 2020; Live Nation and TicketMaster, 2020). Jones (2015) saw a postmodern music festival fan as a musical nomad who enjoyed the festival experience in general, not specific music per se. These are, on the other hand, core constituents of social sustainability as defined by Quinn and Wilks (2016) and Rihova et al. ( UFI, 2020) The global virtual events market size was valued at $77.98 billion in 2019 and is expected to grow at a compound annual growth rate (CAGR) of 23.2% from 2020 to 2027. Theyll fly to a show, get paid six figures, fly home, Bahl says. Interviewees' background data is summarized in Table 2. Festivals have since evolved from the DIY, communal spirit of Woodstock, growing into mainstream businesses that reap profits and embrace corporate sponsorships, as more than 32 million people attend them each year, according to Billboard. Directly accessible data for 170 industries from 50 countries and over 1 million facts: Get quick analyses with our professional research service. (Mean ratings on a 0-4 scale, where 0 = Experienced the benefit . The motivational change might act as a trigger for frequent festival attendance, or for a desire to participate in festivals more often. A paid subscription is required for full access. Attendance: 125,000 people. A frequent festivalgoer is a committed and loyal festival attendee who often shares the values that a festival represents. 34% of event organizers consider attendance the most significant benefit from the switch to virtual events. 4 SXSW 2019 EVENT STATISTICS REV9.10.19 MUSIC FESTIVAL OVERALL. 74-85. Demographics (age, sex, residence, education, employment, criminal history) 2. R(W@&!I9oOf]Oz}8QP{0voy}fs' UTo/o2O.b3R16A\vdK0|}|lgb1xMpZxoKwZ0t}V`hN56TxQ`Ir@c=mC>yNbMUR;-P-cQ8+&} +0?x 8dD*>A)2Tk5dD)a$-S-v7%B[N_g:]#$)=g& '5khc'nSoZH#B|n rE"I 6iE0|E#13}Ai\s, uFzE`ba~]H~)%2#X*b34"Qtb6Eg7Z^J#C}z%J@)' g]%NJ;U?$Aj'2:%crp + (kZm>f{JOx3Cc1yXm0^521249R"+4xIDZM The practices related to frequent festival attendance include social practices, knowledge and skills development as well as appropriate behavior. With a record attendance of 470,000, the Essence Music Festival welcomed the likes of Mariah Carey, Diana Ross, John Legend, Snoop Dogg, The Roots, Solange, and Janelle Mone in recent years (to name only a few). The collective identity with other fans (see Cavicchi, 1998; Duffett, 2013; Hill, 2016), on the other hand, facilitates social interactions with strangers who have similar values and interests and with whom the sense of belonging is felt (Rihova et al., 2015). 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