Data Collection

1) Data on music tourism in the UK

Key findings from UK Music’s research include:

Music Tourists: 19.2 million fans attended live music events in

the UK in 2023, a 33% rise from 14.4 million in 2022.
Economic Impact: Music tourism spending reached £8 billion
in 2023, marking a 21% increase from £6.6 billion in 2022.
Employment: The music tourism sector supported 62,000
jobs in 2023, up 17% from 53,000 in 2022.
International Visitors: There were 1.014 million foreign music
tourists in 2023, a slight decline from 1.053 million in 2022.
Domestic Travelers: 18.2 million domestic music tourists in
2023 represented a 36% increase from 13.3 million in 2022
UK Music’s 2024 research reveals a significant rebound and
growth in the music tourism sector. The number of music tourists
attending live events surged to 19.2 million, a 33% increase from
2022, when attendance was 14.4 million. This rise reflects the
strong demand for live music experiences, contributing to a 21%
boost in music tourism spending, which reached £8 billion in
2023, compared to £6.6 billion the previous year. This financial
growth also translated into a notable increase in employment,
with the sector supporting 62,000 jobs, up 17% from 53,000 in
2022. The increase in domestic tourism played a key role, with
18.2 million domestic music tourists, representing a 36% rise
from the previous year’s 13.3 million. However, there was a slight
decline in international visitors, with foreign music tourists
decreasing from 1.053 million in 2022 to 1.014 million in 2023.
Despite this minor dip, the overall performance of the music
tourism sector in 2023 highlights its resilience, economic
significance, and growing contribution to employment,
especially within the domestic market.

The table shows data about music tourism in different regions of

the UK, including the number of music tourists, the amount they
spend, and the jobs supported by this activity. London stands
out as the most significant region, attracting 4.1 million music
tourists who spend £1.5 billion, supporting 10,697 jobs. The
North West and Scotland also play a major role, with the North
West hosting 1.5 million tourists spending £477 million, and
Scotland welcoming 1.3 million tourists with a spend of £453
million. Other regions like the South East and South West attract
1 million tourists each, generating over £500 million in spending.
Smaller regions like Northern Ireland and the North East
contribute less, with fewer than 250,000 tourists and spending
under £100 million. Regions such as the West Midlands and
Yorkshire and the Humber also perform moderately, attracting
between 750,000 and 877,000 tourists. Overall, the table
highlights London's significant dominance in music tourism,
while other regions make varied contributions to the economy
and job creation.

2) Data analysis on covid impact of music economy in UK

As we can see from the graph , till 2018 which was pre-covid the
live music segment of the industry such as concerts , shows etc
led the global music industry revenue until 2019 onwards when
recorded music (such as spotify and other Digital Signal
Processor ) started generating more revenue due to COVID and
inability to host live concerts.

There were 69,000 fewer jobs in the British music industry in

2020 than in 2019 - a drop of 35% - due to the "devastating
impact" of coronavirus, according to trade body UK Music. Live
music revenue decreased by about 90 %

Employment plunged by 35% from 197,000 in 2019 to 128,000

in 2020

Music industry’s economic contribution fell 46% from £5.8bn

to £3.1bn in 2020
Music exports dropped 23% from £2.9 billion in 2019 to £2.3
billion in 2020

· The Music Venue Trust state that COVID-19

restrictions have slashed capacities by 75% at
Grassroots Music Venues (GMVs), cutting trading hours
by 50 to 75%, limited both performances and
performers, and introduced significant additional costs
on venues to present live events under severely limited
conditions. GMVs have seen a 75.1% revenue drop and
are anticipating over 60% redundancies among staff.
 · The Cliff Edge report found that 76% of live music
employees were supported by the Coronavirus Job
Retention Scheme as of 31 August 2020. Technical
supply companies have seen revenue drop by 95%

· Festivals have faced severe problems as a result of the

COVID-19 pandemic with the closure of their main
window of operation from March to September. Over
90% of music festivals scheduled for 2020 have had to
be cancelled, with an average non-refundable cost of
£375,000 and are forecasting 50% redundancies in the
workforce by the end of the year.

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3) Data analysis on economics of royalties and
music licensing

The above table presents a series of illustrations of different

income flows for artists and songwriters. Masters royalties refer
to the recording of the performance (artists and labels) while
publishing royalties refer to the underlying composition
(songwriters and music publishers).

The range is pronounced across all examples, but the biggest

difference is between performing artists and songwriters.
Masters royalties typically account for between 52% and 55% of
subscription revenue, while publishing royalties typically
account for between 12% and 15%. Matters are compounded for
songwriters by the fact that it is increasingly common for songs
to have multiple contributing writers, thus reducing the amount
any single songwriter earns.

The wider streaming economy is levelling the playing field for

aspiring artists. In 2019, independent artists increased global
Spotify streams 40%, compared to 27% for major label
artists. However, this is not just about major labels; it is about
old versus new. Independent labels distributed by Merlin
(which tend to be older, more established labels) only grew
by 11% while other independents (which tend to be newer)
grew by 58%. Small labels and artists born into streaming
have learned how to make the system work for them.

The unintended consequence of the rise of independents is the

dilution of streaming royalties. Streams are divided among more
artists so while total royalties grow, the average income per artist
falls. This is the price of democratisation. Creators need other
ways to benefit from the streaming economy and the growth of
their audiences. Monetising superfans on platforms such as
Twitch represents an alternative approach.
 Conclusion
The pandemic posed significant challenges, particularly to live
music and music tourism. Lockdowns and social distancing
measures led to venue closures, loss of revenue, and job
insecurities. However, the industry leveraged technology
through virtual concerts and streaming services, showcasing
adaptability and fostering audience engagement even during
difficult times. As a key driver of the industry, music tourism has
solidified the UK's reputation as a global music destination.
Festivals like Glastonbury and venues like Abbey Road Studios
draw international audiences, contributing to local economies.
The sector's post-pandemic recovery demonstrates its enduring
appeal and potential for growth. The economics of music
royalties and licensing remain crucial for artists, songwriters, and
industry stakeholders. The rise of streaming has shifted revenue
streams, necessitating reforms to ensure fair compensation.
Striking a balance between innovation and equity is vital for
sustaining creative talent.