Live accounts for nearly two-thirds of the Danish music industry’s DKK 16.3 billion (€2.2bn) annual contribution to the economy, according to a new study.

The newly published report, entitled The Music Industry’s Contribution to the Danish Economy 2025, was carried out by HBS Economics on behalf of Dansk Live, Gramex, Koda, MXD, Musikforlæggerne and IFPI Denmark.

It concluded that live music accounts for DKK 10.2 billion (€1.4bn) of the industry’s GDP contribution, due mainly to “activities arising from festivals and concerts”, based on 2023 figures.

“It is gratifying to have documented the great contribution of live music to society and the importance of the work of concert and festival organisers for both cohesion and settlement in local areas throughout the country,” says Esben Marcher, director of trade body Dansk Live. “It is therefore crucial that the country’s live scenes can continue to be the economic engine of the music scene – without development being slowed down by unnecessary bureaucracy.”

Other findings included that music exports contribute DKK 1.7bn (€227.9m) annually to GDP, of which DKK 1.1bn (€147.5m) comes from exports of live music and DKK 600m (€80m) from exports of recorded music.

“It is absolutely crucial that we cherish and protect the Danish music industry”

The music industry, which contributes DKK 7.1 billion (€951.9m) to the treasury annually through income and corporate taxes, is responsible for creating 6,600 jobs in the capital, 2,400 jobs in Central Denmark and 1,900 jobs in Southern Denmark.

“It is absolutely crucial that we cherish and protect the Danish music industry – especially in a time when artificial intelligence and big tech are challenging the fundamental structures of music creation, copyright and earnings,” adds Gorm Arildsen, CEO of collection body Koda. “If we want to maintain and develop an industry that contributes over 16 billion kroner to GDP every year, it requires political action that can help ensure proper framework conditions for the professional music industry.”

Earlier this year, Copenhagen-based research institute Voxmeter predicted that Denmark’s venues and festivals will welcome 2.65 million fans this year. The forecast was based on the findings from a survey, which showed the number of fans planning to attend a concert this year was up three percentage points on the previous year, while interest in festivals was up by seven percentage points.

In addition, Statistics Denmark’s report on live music noted that the total number of guests at festivals from 2022 to 2023 increased from 2.39 million to 2.47m.

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Italy’s concert industry was worth almost €1 billion to the country’s economy last year, according to newly released figures.

Based on IFPI, Deloitte, Italian Society of Authors and Publishers (SIAE), DISMA and GFK data, the Federation of the Italian Music Industry (FIMI) reports the overall economic value of music in Italy in 2023 was €4.3bn, with total direct contributions amounting to €3.1bn.

“The Italian musical ecosystem is a very relevant element in the field of the cultural industry” says FIMI CEO Enzo Mazza. “In this context, the value of musical recording as a key element in the industry must also be considered, around which increasingly relevant economies are generated thanks to the technological innovation.”

The concert sector was the biggest driver, generating €967.4m. Combined with dance and musical entertainment (€780.5m), the segment was responsible for 56.8% of direct contributions.

Recorded music accounted for 14.3%, while copyright (broadcast and public performance) made up 14.4% of the total.

The SIAE’s Report, published over the summer, showed that concerts attracted 23.7 million spectators in 2023, a rise of 13.6% on 2022 and a 88% jump on 2019. More than 36,000 events were held – an increase of 16% on 2022 and 98% on 2019.

“No form of support for live music in the profit sector is recognised by Italian legislation”

Meanwhile, in a speech at this month’s Milan Music Week, Carlo Parodi, president of trade body Assomusica, said: “With 24 million spectators and over 36,000 concerts, the pre-pandemic numbers of 2019 have doubled – data that testifies to a constantly growing music scene and a professional and dynamic supply chain, capable of organising high-impact events in absolute safety.”

However, he stressed that despite the “record year”, the sector required assistance from the authorities.

“The Entertainment Code has not yet seen the light and this generates a lot of discontent among operators,” he added. “We still find ourselves dealing with an old law – law 800 of 1967 – which prevents profit-making live music companies from accessing the FNSV [National Fund for Live Performance]. Therefore, we have no possibility of participating in the Art Bonus and we do not have the Tax Credit. No form of support for live music in the profit sector is recognised by Italian legislation.”

He added: “Thanks to the support of ICE, Italian music was a major protagonist at WOMEX in Manchester, demonstrating the fact that we must invest further in the internationalisation of our musical groups and contemporary popular music.

“Before making difficult decisions, I invite those who are called upon to make important choices to stop and attend a concert . The beauty and emotions of music can guide you towards the best choice.”

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The economic importance of music to Northern Ireland (NI) has been underlined by a new study.

Figures published ahead of today’s (16 November) Music Cities event at Sound of Belfast and the NI Music Prize show that live music and music creators account for more than 75% of the sector’s overall gross value (GVA).

The music sector in NI contributed almost £345m to the economy in 2019 and accounted for almost 6,500 jobs. The direct music sector contributed £115 million in GVA and 3,600 jobs, having almost doubled since the last economic study in 2013.

Prior to the pandemic, concerts and festivals held in NI attracted over one million attendees each year. According to UK Music, 234,000 music tourists visited the country in 2019, generating £81m in tourist spend.

“The publication of these figures represents an important step in educating policy makers on the vital role that music plays in supporting the NI economy”

“The publication of these figures represents an important step in educating policy makers on the vital role that music plays in supporting the NI economy,” says Charlotte Dryden, CEO of Belfast’s Oh Yeah Music Centre. “Music is more than a hobby or a ‘nice to have’; it provides jobs for thousands of employed and freelance staff across the region, from artist managers, record producers and music technology companies through to individuals working in talent development roles, as we do at Oh Yeah.

“Collectively, we are not just a rich community asset, but an economic keystone. At our Music Cities afternoon and the NI Music Prize, we will be celebrating all of those who work in our sector, including the behind-the-scenes champions of creativity and innovation.”

The research, which does not take into account Covid’s impact on the sector, was commissioned by communications firm Fourth Pillar and supported by Northern Ireland Screen with funding provided by the Department for Communities. The research was independently conducted by economists Metro Dynamics.

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