Live music events attract high numbers of people prepared to travel to watch the performers they support. Further, in the case of festivals, to experience others that are new to them – both in their own countries and, increasingly, abroad.
This groundswell of travel adds to that undertaken by the artists themselves to perform, record, collaborate or sign contracts, as well as that of their supporting musicians, sound and lighting experts, A&R experts (talent spotters), managers and entrepreneurs. In all, it is big business, and getting both bigger and more global.
Indeed, both the aviation and music industries are populated by global brands. And yet, strangely, it is only a handful of airlines and even fewer airports that have grasped its significance and made any significant attempt to work with the music industry to the benefit of both parties.
This report, using five case studies, examines the credentials of a number of airlines and airports that are actively involved in the promotion of musical events, including performances on their own property (e.g. on board or in-terminal).
It looks at how music business entrepreneurs regard the air transport and tourism industries when they start to examine the prospects for international expansion of their events. And it considers an example of a country which does not as yet stage large scale western-style events, but is in a position to do so on account of its air connectivity and advanced surface infrastructure at selected locations.
The purpose is to attempt to set out some guidelines that will be useful to any aviation or tourism entity seeking to enter the potentially lucrative music world in a collaborative manner. At the same time, it offers the music industry some insight into how the aviation and tourism businesses work.
Format: PDF on receipt of payment
Extent: 81 pages
Publication Date: Aug-2017