Product Code: GVR-4-68040-557-2
Music Tourism Market Growth & Trends:
The global music tourism market size is expected to reach USD 267.85 billion by 2030, growing at a CAGR of 18.8% from 2025 to 2030, according to a new report by Grand View Research, Inc. In recent years, travelers, especially Millennials and Gen Z, have moved away from traditional sightseeing tourism to prioritizing unique, immersive experiences. This shift is largely driven by a desire to engage with local culture in deeper ways. Rather than merely visiting landmarks, travelers seek activities that foster personal connections, emotional engagement, and cultural enrichment. Music tourism is a prime example of this trend. Live music experiences, festivals, and performances offer tourists a chance to connect with local culture through music, often in authentic and memorable settings. This fosters a deeper emotional bond between the destination and the tourist, encouraging repeat visits.
For instance, the Glastonbury Festival in the UK, one of the world's largest and most iconic music festivals, attracts over 200,000 people each year. Along with music, this event encompasses art installations, global food markets, and eco-conscious activities that immerse visitors in a broader cultural experience. People travel from around the world, making Glastonbury a global tourism phenomenon and a prime example of the significant contribution of music tourism to both local economies and cultural identity.
As music festivals gain immense popularity, many successful events are being replicated in other regions or countries, broadening their reach and impact. The rise of international franchises for established festivals has transformed music tourism into a year-round, globally mobile industry. This expansion provides an opportunity for both the festival brands and host cities to tap into the global tourism market. Major festivals are now operating multiple editions around the world. These franchises often retain core elements from the original event but adapt them to local contexts. The ability to host multiple international editions creates a global music tourism circuit, which attracts cross-border visitors.
Ultra Music Festival, originally based in Miami, now hosts international editions in South Korea, Croatia, Brazil, South Africa, and Australia. By holding festivals in multiple regions, Ultra expands its global footprint and enables more tourists to participate in the event. This not only strengthens the festival brand but also brings significant tourism revenue to these locations. For example, in South Korea, the event is marketed as a major tourism attraction that brings in thousands of international visitors, contributing to the country's image as a music and cultural hub.
The rise of digital streaming platforms such as Spotify, Apple Music, and YouTube has fundamentally changed how people access and consume music. Artists from all over the world can now reach global audiences, and consumers can discover music across genres, national boundaries, and languages. This transformation is directly linked to the growth of music tourism, as fans now have a wider array of artists to follow, leading to travel to concerts and events to experience their favorite artists live. BTS, the global K-pop sensation, has become one of the most notable examples of music tourism driven by digital platforms. Their concerts in cities like Los Angeles, London, and Paris are attended by fans not only from the host cities but also from distant countries like Japan, Brazil, and India. These fans often travel thousands of miles just to attend their performances, underscoring the global nature of music tourism. The demand for these concerts is a testament to how digital engagement through platforms like YouTube and V Live can directly lead to increased international travel.
Music Tourism Market Report Highlights:
- As consumer behavior shifts toward the pursuit of emotional fulfillment and real-time engagement, concerts provide a unique, shared atmosphere that cannot be replicated through digital streaming or recorded content. Audiences are drawn to the authenticity, spontaneity, and energy of live music performances, where they can experience a visceral connection with the artists and fellow fans. This trend has been particularly evident among Millennials and Gen Z, who prioritize concerts as part of their lifestyle and social identity, often traveling across cities or even countries to attend live shows. As a result, concerts are no longer isolated events but are positioned as part of larger travel and cultural itineraries, often supported by tourism boards and city governments.
- The growing demand for music tourism among individuals aged 18-34 can be attributed to a combination of demographic, behavioral, and experiential factors that align closely with the values and lifestyle preferences of this cohort. This age group, which predominantly comprises Millennials and Gen Z, exhibits a strong inclination toward experience-driven consumption, wherein cultural, emotional, and social experiences are prioritized over material possessions.
- Music tourism, encompassing travel to attend concerts, music festivals, or heritage music sites, serves as a powerful vehicle for this form of experiential engagement. These consumers view live music events not merely as entertainment, but as multi-dimensional experiences that enable self-expression, identity formation, and meaningful social connection, often shared and amplified through digital platforms.
Table of Contents
Chapter 1. Methodology and Scope
- 1.1. Market Segmentation & Scope
- 1.2. Market Definition
- 1.3. Information Procurement
- 1.3.1. Purchased Database
- 1.3.2. GVR's Internal Database
- 1.3.3. Secondary Materials & Third-Party Perspectives
- 1.3.4. Primary Research
- 1.4. Information Analysis
- 1.4.1. Data Analysis Models
- 1.5. Market Formulation & Data Visualization
- 1.6. Data Validation & Publishing
Chapter 2. Executive Summary
- 2.1. Market Snapshot
- 2.2. Event Outlook
- 2.3. Age Group Outlook
- 2.4. Booking Mode Outlook
- 2.5. Regional Outlook
- 2.6. Competitive Landscape Snapshot
Chapter 3. Music Tourism Market Variables and Trends
- 3.1. Market Lineage Outlook
- 3.2. Industry Value Chain Analysis
- 3.2.1. Booking Trends Analysis
- 3.2.2. Profit Margin Analysis
- 3.3. Market Dynamics
- 3.3.1. Market Driver Analysis
- 3.3.2. Market Restraint Analysis
- 3.3.3. Market Opportunities
- 3.3.4. Market Challenges
- 3.4. Industry Analysis Tools
- 3.4.1. Porter's Five Forces Analysis
- 3.5. Market Entry Strategies
Chapter 4. Music Tourism Market: Consumer Behavior Analysis
- 4.1. Demographic Analysis
- 4.1.1. Age
- 4.1.2. Income
- 4.1.3. Gender
- 4.2. Consumer Trends & Preferences
- 4.2.1. Use Of Technology
- 4.2.2. Sustainable Practices
- 4.2.3. Festival Tourism
- 4.2.4. Others
- 4.3. Factors Affecting Booking Decisions
- 4.3.1. Budget
- 4.3.2. Artist and Event Popularity
- 4.3.3. Location
- 4.3.4. Recommendations
- 4.3.5. Others
- 4.4. Consumer Service Adoption
Chapter 5. Music Tourism Market: Event Estimates & Trend Analysis
- 5.1. Music Tourism Market, By Event: Key Takeaways
- 5.2. Event Movement Analysis & Market Share, 2024 & 2030
- 5.3. Market Estimates & Forecasts, by Event, 2018 - 2030 (USD Billion)
- 5.3.1. Concert
- 5.3.1.1. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 5.3.2. Festivals
- 5.3.2.1. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 5.3.3. Others
- 5.3.3.1. Market estimates and forecast, 2018 - 2030 (USD Billion)
Chapter 6. Music Tourism Market: Age Group Estimates & Trend Analysis
- 6.1. Music Tourism Market, By Age Group: Key Takeaways
- 6.2. Age Group Movement Analysis & Market Share, 2024 & 2030
- 6.3. Market Estimates & Forecasts, by Age Group, 2018 - 2030 (USD Billion)
- 6.3.1. 18 and Less
- 6.3.1.1. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 6.3.2. 18 - 34 Years
- 6.3.2.1. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 6.3.3. 34 - 54 Years
- 6.3.3.1. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 6.3.4. 55+ Years
- 6.3.4.1. Market estimates and forecast, 2018 - 2030 (USD Billion)
Chapter 7. Music Tourism Market: Booking Mode Estimates & Trend Analysis
- 7.1. Music Tourism Market, By Booking Mode: Key Takeaways
- 7.2. Booking Mode Movement Analysis & Market Share, 2024 & 2030
- 7.3. Market Estimates & Forecasts, by Booking Mode, 2018 - 2030 (USD Billion)
- 7.3.1. Direct Booking
- 7.3.1.1. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 7.3.2. Travel Agents
- 7.3.2.1. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 7.3.3. Online Travel Agencies
- 7.3.3.1. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 7.3.4. Others
- 7.3.4.1. Market estimates and forecast, 2018 - 2030 (USD Billion)
Chapter 8. Music Tourism Market: Regional Estimates & Trend Analysis
- 8.1. Music Tourism Market: Regional Outlook
- 8.2. Regional Marketplaces: Key Takeaways
- 8.3. Market Estimates & Forecasts, by Region, 2018 - 2030 (USD Billion)
- 8.3.1. North America
- 8.3.1.1. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 8.3.1.2. U.S.
- 8.3.1.2.1. Key country dynamics (similar factors to be presented for other countries)
- 8.3.1.2.1.1. Domestic Travelers
- 8.3.1.2.1.2. International Travelers
- 8.3.1.2.1.3. Occupancy Rates (%)
- 8.3.1.2.2. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 8.3.1.3. Canada
- 8.3.1.3.1. Key country dynamics
- 8.3.1.3.2. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 8.3.1.4. Mexico
- 8.3.1.4.1. Key country dynamics
- 8.3.1.4.2. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 8.3.2. Europe
- 8.3.2.1. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 8.3.2.2. UK
- 8.3.2.2.1. Key country dynamics
- 8.3.2.2.2. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 8.3.2.3. Germany
- 8.3.2.3.1. Key country dynamics
- 8.3.2.3.2. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 8.3.2.4. France
- 8.3.2.4.1. Key country dynamics
- 8.3.2.4.2. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 8.3.2.5. Italy
- 8.3.2.5.1. Key country dynamics
- 8.3.2.5.2. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 8.3.2.6. Spain
- 8.3.2.6.1. Key country dynamics
- 8.3.2.6.2. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 8.3.3. Asia Pacific
- 8.3.3.1. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 8.3.3.2. China
- 8.3.3.2.1. Key country dynamics
- 8.3.3.2.2. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 8.3.3.3. Japan
- 8.3.3.3.1. Key country dynamics
- 8.3.3.3.2. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 8.3.3.4. India
- 8.3.3.4.1. Key country dynamics
- 8.3.3.4.2. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 8.3.3.5. South Korea
- 8.3.3.5.1. Key country dynamics
- 8.3.3.5.2. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 8.3.3.6. Australia & New Zealand
- 8.3.3.6.1. Key country dynamics
- 8.3.3.6.2. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 8.3.4. Central & South America
- 8.3.4.1. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 8.3.4.2. Brazil
- 8.3.4.2.1. Key country dynamics
- 8.3.4.2.2. Market estimates and forecast, 2018 - 2030 (USD Billion).
- 8.3.4.3. Argentina
- 8.3.4.3.1. Key country dynamics
- 8.3.4.3.2. Market estimates and forecast, 2018 - 2030 (USD Billion).
- 8.3.5. Middle East & Africa
- 8.3.5.1. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 8.3.5.2. South Africa
- 8.3.5.2.1. Key country dynamics
- 8.3.5.2.2. Market estimates and forecast, 2018 - 2030 (USD Billion)
- 8.3.5.3. UAE
- 8.3.5.3.1. Key country dynamics
- 8.3.5.3.2. Market estimates and forecast, 2018 - 2030 (USD Billion)
Chapter 9. Music Tourism Market: Competitive Analysis
- 9.1. Recent Developments & Impact Analysis, by Key Market Participants
- 9.2. Company Categorization
- 9.3. Participant's Overview
- 9.4. Financial Performance
- 9.5. Product Benchmarking
- 9.6. Company Market Share Analysis, 2024 (%)
- 9.7. Company Heat Map Analysis, 2024
- 9.8. Strategy Mapping
- 9.9. Company Profiles
- 9.9.1. Coachella Valley Music and Arts Festival
- 9.9.1.1. Company Overview
- 9.9.1.2. Financial Performance
- 9.9.1.3. Service Portfolios
- 9.9.1.4. Strategic Initiatives
- 9.9.2. Glastonbury Festival
- 9.9.2.1. Company Overview
- 9.9.2.2. Financial Performance
- 9.9.2.3. Service Portfolios
- 9.9.2.4. Strategic Initiatives
- 9.9.3. Tomorrowland
- 9.9.3.1. Company Overview
- 9.9.3.2. Financial Performance
- 9.9.3.3. Service Portfolios
- 9.9.3.4. Strategic Initiatives
- 9.9.4. Lollapalooza
- 9.9.4.1. Company Overview
- 9.9.4.2. Financial Performance
- 9.9.4.3. Service Portfolios
- 9.9.4.4. Strategic Initiatives
- 9.9.5. AEG Presents
- 9.9.5.1. Company Overview
- 9.9.5.2. Financial Performance
- 9.9.5.3. Service Portfolios
- 9.9.5.4. Strategic Initiatives
- 9.9.6. Ticketmaster
- 9.9.6.1. Company Overview
- 9.9.6.2. Financial Performance
- 9.9.6.3. Service Portfolios
- 9.9.6.4. Strategic Initiatives
- 9.9.7. Live Nation Entertainment
- 9.9.7.1. Company Overview
- 9.9.7.2. Financial Performance
- 9.9.7.3. Service Portfolios
- 9.9.7.4. Strategic Initiatives
- 9.9.8. Royal Albert Hall
- 9.9.8.1. Company Overview
- 9.9.8.2. Financial Performance
- 9.9.8.3. Service Portfolios
- 9.9.8.4. Strategic Initiatives
- 9.9.9. Madison Square Garden
- 9.9.9.1. Company Overview
- 9.9.9.2. Financial Performance
- 9.9.9.3. Service Portfolios
- 9.9.9.4. Strategic Initiatives
- 9.9.10. Fuji Rock Festival
- 9.9.10.1. Company Overview
- 9.9.10.2. Financial Performance
- 9.9.10.3. Service Portfolios
- 9.9.10.4. Strategic Initiatives