Music

Organizations and workers

Describing the number of organizations and workers in the music sector is complex because the sector is broad and data is not equally available for all components (recording, licensing, and live music). In particular, much remains unclear regarding the recording and licensing industry, especially concerning data from streaming services. First of all, the recording industry focuses on recording and distributing music in physical and digital form. For this purpose, for example, record labels (120 affiliated with the NVPI.), music publishers (2023 affiliated in 1707) Buma/Stemra) and international streaming platforms such as Spotify, Deezer, Apple Music en Tidal of importance. For the licensing industry, which deals with music rights and royalties, two organizations are of particular importance in the Netherlands: Buma/Stemra and Sena. Where Buma/Stemra focuses on composers, lyricists and publishers (copyright), Sena focuses on artists, session musicians and producers ( )neighbouring right). In 2023, there were 37.5 thousand composers and authors affiliated with Buma/Stemra; at the time of writing, 53.000 musicians and producers are affiliated with Sena (Buma/Stemra 2023; Sena 2025). It is unclear what overlap exists between registrations with Buma/Stemra and Sena. In any case, both organizations concern music makers who sufficient awareness and/or have knowledge of the music industry to earn money through copyright. 

For the live music sector, somewhat more unambiguous data is available, although it is incomplete (for example, for nightclubs or classical music venues). According to Statistics Netherlands (CBS), there were 337 organizations managing performing arts in 2024 (CBS 2025a). The Live Music Monitor (Mulder et al. 2026) provides a more complete picture of pop venues: in 2024, there were 626 locations where pop music was programmed, including formal pop venues and informal locations such as cafes and parks. This is fewer than the peak year of 2016 with 906 venues, but the number of performances at venues has actually increased over the years (Mulder et al. 2026). This means that more is being programmed at a smaller number of locations, with pop venues having the most programming, followed by theaters and concert halls, while performances at informal venues have decreased (Mulder et al. 2026). 

Artists and makers

According to CBS figures from the Monitor Artists and other workers with a creative professionBased on various national monitors, there were 22.000 musicians, singers, and composers working in the Netherlands in the period 2021/2023 (CBS, 2025c).

Income and subsidy flows

Over the past few decades, the rise of the internet has contributed to major changes within and between the three components of the music industry. Whereas the recording industry, including physical sound carriers such as CDs and vinyl, was previously of great importance as a source of revenue, the emphasis now lies much more on streaming and live music (Everts 2023, NVPI 2025). The visualization below with figures from the NVPI shows that revenue from streaming in the Netherlands is increasing, while total revenue from physical sound carriers has decreased. Although streaming is still the largest source of revenue, the popularity of vinyl has been steadily increasing in recent years. The growing importance of streaming also influences discussions regarding copyright and how a fair distribution of income can be achieved – these discussions are addressed in more detail under the heading 'streaming, AI and copyright' on this page. In 2023, copyright revenue amounted to 303,6 million euros (Buma/Stemra, Sena). 

Performances and visits

The total number of music performances on professional venues showed a gradual increase from 2005 to 2019, and this trend continued through 2024 (the most recent year with available data) even after the dip during the corona years. Within CBS data, a distinction is made between classical and popular music performances. This shows that the number of classical music performances exceeded pre-corona levels again starting in 2023. The number of pop music performances was already at pre-corona crisis levels in 2022 and has been rising steadily since that year (from 14.972 performances in 2022 to 17.647 performances in 2024). In the Live Music Monitor (2026), pop music concerts were also broken down by music genre. Between 2008 and 2024, genres such as experimental/avant-garde, world music, and indie/alternative experienced particularly strong growth. The report also mentions relevant developments of the past few years following the pandemic, such as the revival of harder genres and the notable growth of genres like disco, R&B, spoken word, gospel, chanson, schlager, and choirs after the pandemic (Mulder et al. 2026). 

In addition to the number of performances, total attendance at music performances also experienced a gradual increase between 2005 and 2019, which continued after the corona years in 2024 (the most recent measurement year). In fact, while the increase was gradual until 2019, the number of visits to pop music performances has been rising sharply since 2022 – which is most likely related to the strong increase in the number of performances. This increase is particularly large for pop music performances: from 8,2 million visits in 2022 to 11,2 million visits in 2024. For classical music performances, visitor numbers are rising above pre-corona crisis levels again starting in 2023. However, the fact that there is growth in the number of performances and attendance does not automatically mean that the sector is in a good position (see section 'Cost Increases and Accessibility of Live Music'). 

Information regarding the distribution of music attendance across the Dutch population, including by background characteristics, can be obtained from the Vrijetijdsomnibus (Leisure Omnibus). In 2024 – the final measurement year of the VTO – 45,5 percent of Dutch people aged six and older attended a pop music concert and 15 percent a classical music concert. Of the music attendees, 55 percent did so 3 times or more in that year. This applies particularly to pop music attendance: more than half of the pop music attendees did so three times or more in 2024, while classical music was attended once by more than half of the visitors. Since 2024, the VTO has also distinguished between different pop music genres that can be attended. This shows that international pop music (17 percent of music attendees) and Dutch-language popular music (16 percent of visitors) are particularly popular genres. Attending music concerts appears to depend mainly on age, education level, and household income. In this regard, the proportion of musicgoers is particularly high among the 20-34 age group, those with higher professional or university education, and the highest income bracket (de Hoog et al. 2026).   

Festivals and festival attendance

In addition to venues, festivals are an increasingly important location for live music. Since the turn of the century, there has therefore been talk of the 'festivalization' of live music, a term that emphasizes the increasing importance of festivals in the live music industry (Mulder et al. 2020). Various studies in the Dutch context show that there is growth in popularityThe Live Music Monitor showed that there has been an increase in music festivals programming pop music in the Netherlands since 2008, peaking at 1165 festivals in 2016. After this, the number of pop festivals appears to decrease, to 628 festivals featuring pop music in 2024. While the period up to 2016 is characterized by the "festivalization" of the region, the period from 2017 through 2024 is characterized by a decrease in the number of pop music performances at festivals. Consequently, the decline in the festival offering cannot be entirely attributed to the consequences of the coronavirus pandemic, but had already begun before 2020 (Mulder et al. 2026). Recent figures from Respons (which focuses on larger festivals) also show a gradual (but less drastic) decline in the number of music festivals, from 1118 in 2019 to 962 in 2025. Mapping music festivals is all the more important because several long-running festivals had to cease operations in 2024 (Mulder 2024), and research by Respons (2024) also showed that over 100 festivals disappeared in 2024, while 46 editions of new festivals took place (particularly EDM). On the one hand, this could be a sign of a stabilization of the field; on the other hand, it could also relate to increasing challenges concerning, for example, rising costs and regulations. 

In Cultural Participation in Figures (de Hoog et al. 2026) were asked about attendance at music festivals in 2024. This showed that 24 percent of Dutch people aged 6 and older visited a music festival at least once in 2024. 57 percent of music festival visitors visited a music festival two or more times. Attending music festivals proved to be most popular among the 20-34 age group. It also appeared that music festivals were primarily attended by people with a higher professional or university education: while 29 percent of those with a higher professional or university education visited a music festival in 2024, this was 12 percent for those with a basic, pre-vocational, or special education. Household income also makes a difference. In 2024, 31 percent of people in the highest quintile visited a music festival, compared to 21 percent of people in the lowest quintile.  

Nightlife

Another important location for live music is nightclubs. In recent years, more and more cities have developed policy visions regarding nightlife, with explicit attention to night culture (van der Leden 2025). There are also now 17 night mayors and bodies spread throughout the country that are committed to night culture (for example, through the Dutch Nighttime Alliance partnership). Various studies emphasize the distribution, versatility, and diverse values ​​of night culture (Leichsenring et al. 2024; Blaker et al. 2021; Koren et al. 2024). However, the increasing attention does not mean that nightlife has been sufficiently mapped out: this sector is grappling with both quantitative and more qualitative questions. Most studies focus on a single city, often in the Randstad, and generally do not map all relevant data regarding nightlife and culture, such as locationsAt the national level, only more recent data are available regarding night programming in established music venues. For instance, professional music venues that participated in the VNPF's annual survey organized a total of 3050 club nights in their own buildings in 2024 (Dee et al. 2025). After concerts, club nights are the most attended at music venues, with 1,4 million visits in 2024. However, more informal and smaller venues are also of great importance for night culture and are not yet mapped at the national level (Leichsenring et al. 2024). 

In 2023, the Trimbos Institute published the Great Nightlife Survey among 7.012 respondents aged 16 to 35 (van Beek et al. 2023). This study immediately highlights the perception surrounding nightlife culture and focuses particularly on substance use. However, there is also data on where people go out. Of all locations, pubs were visited most frequently in 2023: 42,4 percent of respondents visited a pub at least once a month, and 25,3 percent did so once a week or more often. Clubs/discos are the next most popular (39,3 percent monthly), followed by parties and festivals (26,1 percent monthly). In 2023, 41,6 percent of respondents attended a house party or a party at a friend's place monthly. What is also striking is that the proportion of people going out has decreased compared to before the corona crisis. While 24,3 percent of respondents visited a club in 2020, this figure is 13,1 percent in 2023. The percentage of respondents attending a house party also decreased from 23,3 percent to 10,9 percent in 2023. Signals regarding declining infrastructure and falling attendance figures for nightlife had already emerged from the sector – often attributed to the aftermath of the COVID-19 pandemic and changing nightlife behavior among young people (Bormans et al. 2026). In Amsterdam, following the observed shortages in temporary and permanent spaces for nightclubs, research was conducted into potential spatial development and areas of opportunity (Municipality of Amsterdam, 2025), and the needs of Amsterdammers regarding nightlife were also mapped (Milan et al. 2026).  

Consumption and listening behavior

Multiple studies show that the Dutch primarily listen to music via the radio (de Hoog et al. 2026; GfK 2025). Streaming services and music from personal collections are the next most popular. Whether and how music is listened to also appears to depend on personal characteristics such as age, education level, and household income (de Hoog et al. 2026). Streaming services, TikTok, and illegally downloaded music are more popular among younger age groups, while radio, YouTube, and personal music collections are more popular among older age groups. At the same time, it is striking that buying vinyl/CDs was most popular among the 15-17 year old group in 2025: 28 percent within this group indicated having done so in 2025 (GfK 2025).

Talent development and education

Talent development and education form an important basis for a resilient sector. However, what falls under this is difficult to define due to the wide variety of learning environments, different career stages (see, for example, Zwaan et al. 2023 for the pop music sector), and varying learning practices by discipline and music genre. Guidance takes place, for instance, in official educational institutions, music schools, community centers, and talent development organizations, but also in more informal settings, such as stages or the workplace. For instance, according to a European study of music managers, 95 percent of respondents acquired skills through work in the music sector and 63 percent through a mentor; training in other fields (40 percent) or in music management (29 percent), on the other hand, played a more limited role (Calkins et al. 2024). This therefore also varies by discipline: while training opportunities may exist at an educational institution for one profession, this is not the case for all disciplines. For pop musicians, a range of formal training options only became available from the turn of the century (Green 2002). Physical meeting places are also of great importance for knowledge transfer, especially in some music communities. For instance, research by Donken (2024) shows that concerns exist within hip-hop regarding the lack of physical meeting places, putting pressure on the transfer between older and younger creators. This indicates that official forms of training are insufficient to provide a comprehensive picture of talent development and educational forms across the entire music industry. 

In the Netherlands, there are 10 universities of applied sciences and 12 secondary vocational schools that offer vocational training in music. For HBO This concerns training programs for musicians, such as those at conservatories and music academies, but also training programs for music teachers. For MBO, this concerns programs for musicians or stage and event technology. In the 2024/2025 academic year, a total of 2462 students were enrolled at MBO schools – bringing the number of enrollments back to the 2019 level after a decline during the corona years. The number of enrollments for the MBO Music Artist program is back at the 2020/2021 level after a slight dip in 2025/2026 – enrollments for stage and event technology, in particular, appear to have increased significantly following the corona years. The total number of enrollments in HBO programs has grown from 5465 students in 2019 to 5636 students in 2025. Of these, the bachelor's programs for musicians are the largest. In official educational institutions, including universities of applied sciences, increasing attention is being paid to competencies required in a continuously changing music industry (Everts, 2023). Coppes (2024), for example, investigated the added value of higher pop music education for a successful career. This revealed that current education focuses primarily on musical knowledge and skills, but that alumni lacked so-called 'transferable skills' (such as communication skills and leadership) that proved essential for a good career start.  

Representation and inequality

For workers, makers, and the public alike, issues surrounding Diversity, Inclusion and Equality to the attention. With regard to workers and makers, various studies have been published in recent years that map inequalities. These studies focus primarily on gender and the pop music industry (Goodwin 2025). Multiple studies show that vertical segregation exists within subsectors of the pop music industry. This means that there are structural inequalities regarding who receives the highest-paid or most prestigious positions within this subsector of the music industry (Berkers et al. 2016; Calkins et al. 2024; Koren 2023; Swartjes et al. 2023; VNPF 2022). Factors contributing to and perpetuating this inequality include job characteristics (e.g., long hours and low incomes), gender norms, and social networks (Swartjes, 2023). Figures from the VNPF (Dee et al. 2023) show that positions in the management of music venues, programming, and production & technical departments are predominantly filled by men. This also applies to festival management (Swartjes, 2024; Woolthuis, 2025). Research by Buma.Stemra (Boeijenga, 2025) indicated that among its members – that is, creators – only 16 percent are women (in 2016 this was still 13 percent). The Livemuziek Monitor (Mulder et al. 2026) showed that the proportion of male artists on Dutch stages and festivals remained consistently high in 2024: 66,5 percent of the artists were male, and 18,4 percent were female or non-binary. Since 2019, there has been hardly any development in this area, although the proportion of mixed groups (e.g., bands) is increasing. At the European level, research from 2023 showed that female music managers are usually in lower income brackets than their male colleagues, even if they have the same level of experience, the same full- or part-time status, the same educational background, and the same ethnicity (Calkins et al. 2024).   

Artistic freedom and protest

The arts and society are closely intertwined, but in recent years the freedom of art seems to be under pressure from censorship, public opinion, the media, and financiers. Whether this pressure has increased is difficult to measure, but the theme received a great deal of attention over the past year. This included the 'Making (without) pressure' advisory report by the Raad voor Cultuur, in which underlying patterns were examined, and in December 2025 a Boekman issue also appeared about Artistic Freedom from.  

The subject also received frequent attention within the music sector. For instance, in recent years there has been significant media coverage of choices made by artists and institutions regarding the broader political situation and genocide in Gaza. Examples include the cancellation of the Jerusalem Quartet at the Concertgebouw (NPO Klassiek 2025), the cancellation of a performance at a Jewish football tournament by Douwe Bob due to alleged Zionism (Beemsterboer et al. 2025), as well as various Dutch venues questioning whether or not to proceed with performances by punk-rap duo Bob Vylan following statements made by the duo at Paradiso (van der Ploeg, 2025b). In addition, various issues arose concerning companies that own major festivals in the Netherlands (see also the project).  Maps of Ownership in European Live Music): for instance, it emerged in May 2025 that the investment company KKR controls festivals such as Milkshake and Zwarte Cross through the company Superstruct. KKR allegedly also invests in the arms and oil trade and has ties to illegal settlements in the West Bank (Verleije, 2025). Consequently, various artists cancelled their performances at Zwarte Cross, including headliner Goldband. At the same time, there have long been tensions in the public debate that are not exclusively about Gaza – consider, for example, differing views on life philosophies, sexual education, gender identity, and discrimination across the entire cultural sector (Peeters-Osseyran et al., 2026).  

These incidents have placed issues surrounding artistic freedom and protest under a magnifying glass and have revived questions about 'how to deal with this'. The question of how to handle artistic freedom and societal pressure does not play out in the same way for all those involved. For the public, this tension manifests itself, for example, in the question of whether they want to support an artist or boycott them, whereas creators tend to make considerations regarding where and under what circumstances they wish to perform. For institutions, such as music venues and festivals, the emphasis lies precisely on programming choices and the question of which values ​​they wish to convey to their audience. At conferences such as the CPFE, there were therefore sessions on 'programming in times of polarization', and during ESNS, attention was paid to this theme within various sessions on music and activism. The music venue PAARD in The Hague organized a four-part lecture series on 'music that changed the world' in collaboration with Rotterdam Popular Music Studies. The Verwey-Jonker Institute published a report in January 2026 that, based on interviews with 26 participants—mostly people in coordinating roles—investigated how the cultural sector can deal with societal tensions and polarization (Peeters-Osseyran et al. 2026). Based on this, developed Arts '92 a framework for assessment and action regarding dealing with societal tensions, focusing on before, during, and after an incident occurs.  

Social safety

In recent years, there has been increasing attention to social safety for audiences, creators, and workers in the music sector. Discussions on this topic were sparked, among other things, by a BOOS episode concerning transgressive behavior on The Voice of Holland, a program that is now back on television (Belt 2026). Legal proceedings were held against two coaches within the program in recent years: Marco Borsato was acquitted last year (van Bekkum 2025), and Ali B was sentenced to two years in prison in 2024 (Beukers 2024). Perceived insecurity was also repeatedly denounced within the classical music sector, for example at the Amsterdam Conservatory and regarding conductor Jaap van Zweden (Pointer 2023; Pointer 2025). In the music sector, following the public attention surrounding the scandals involving The Voice, the Taskforce GO! – a partnership focused on promoting a safe working environment in the music sector, involving representatives from BumaStemra, Sena, MMF, STOMP, BAM! Popauteurs, NMUV, NVPI, Ntb/Kunstenbond, Kunstenbond, VNPF, Warner Music, and VCTN. In recent years, sessions on social safety have also been repeatedly organized at music conferences such as Eurosonic Noorderslag, No Man's Land, and the Congress Podia Festivals en evenementen. There are various initiatives and campaigns dealing with this theme – particularly within the nightlife scene. Artists also draw attention to safety, for example by means of safety riders).  

Research into transgressive behavior and social safety in the Dutch music sector emphasizes once again the importance of addressing this topic (CAOP 2025; Daru et al. 2023; Wijngaarden et al. 2026). In 2023, the first large-scale study into transgressive behavior in the music sector was conducted (Daru et al. 2023). This study, which focused specifically on transgressive behavior, showed that half of the 980 respondents, all of whom work or have worked in the music industry, experience intimidating or emotionally transgressive behavior during their work. Other forms of transgressive behavior included verbal/online sexual (31 percent), physical sexual (20 percent), and physical aggression (11 percent).  

Fair Pay

Work in the music sector is generally described as precarious. Many workers put in long hours, there is little job security, incomes are often low, and musicians frequently hold multiple jobs (Haynes et al. 2018). Recently, many discussions have also focused on a fairer distribution of income from copyright (see section 'streaming, AI and copyright'). In the music sector, concerns regarding low incomes for musicians are particularly in the spotlight. The Artist Monitor (Wijngaarden et al. 2026) showed that nearly half of the respondents earned an estimated annual net income of 5.000 euros from music-related activities. Only a small proportion (6,4 percent) earns more than 50.000 euros annually from music-related activities. Orchestras indicate that they do not have the funds to pay musicians fairly, and within pop music, artists are often poorly paid (Jorritsma et al. 2023, Everts 2023). Vinkenburg and Clemens (2023, 2) concluded that the income of pop musicians from live performances is 'only a third of the social minimum and only a quarter of fair pay remuneration'. Moreover, they show that without additional (government) support, fair pay is unattainable for most pop musicians. 

Mental health and well-being

Attention to the mental health of makers and other workers in the industry has been high on the agenda in recent years (van Gijssel 2026). For example, Mark Deuze published the book in 2025. Well-being and creative careers : what makes you happy can also make you sick on well-being in a number of sectors within the cultural and creative sector worldwide. In a previous study Can Music Make You SickIn ? (2016), Sally Anne Gross and George Musgrave reported on data among 2211 musicians in the United Kingdom. 71,1 percent of all respondents indicated that they had experienced panic attacks/anxiety, and 68,5 percent that they had experienced depression. More than half of the respondents also felt that there were gaps in the availability of help for musicians – for example, the availability of services is difficult to find. Although creators derive great satisfaction from their work, these mental health problems could be a consequence of 1) poor working conditions (including long days), 2) a lack of recognition, 3) the physical impact of work, and 4) exclusion and insecurity (see also page Professional practice).  

Quantitative data on the mental health of creators is now also being collected in the Netherlands. The researchers who conducted the Artiestenmonitor—a survey of 314 Dutch pop artists—emphasize the severity of mental health issues among artists: “whereas 42% of the general working population reports recent anxiety and depressive symptoms, this proportion is significantly higher among the respondents of the Artiestenmonitor, at 79%” (Wijngaarden et al., 2026, p. 15). The biggest cause of negative feelings and thoughts about creative work turned out to be financial worries (33 percent). This was followed by pressure to perform (24 percent), social media (9 percent), feelings of competition (8 percent), and working in isolation (3 percent). Uncertainty due to the unpredictability of the sector was also frequently cited as a music sector-specific cause of negative feelings (49,8 percent). In addition, there appear to be statistically significant differences between men and women regarding the extent to which and which causes of negative feelings they experience. For instance, performance pressure and financial worries occur more frequently among women than among men.   

Streaming, AI and copyright

The music industry has been undergoing profound digital changes for decades, with music consumption shifting from physical media to digital distribution and streaming since 2000. Platforms such as Napster and later Spotify enabled large-scale digital distribution (Van der Ploeg, 2025a), which has had major consequences for music publishers, artists, and consumers. Issues surrounding streaming, developments in AI and copyrights are often discussed jointly in the public debate, but touch upon various underlying themes such as fair compensation, the use of existing work for AI, and the status of AI-generated output (see the page Digital Transformation for further differences).  

For quite some time, there has been debate regarding the way in which revenue from streaming is distributed between music platforms (such as Spotify) and rights holders, including record labels, musicians, and music publishers (see Hesmondhalgh 2020; Hesmondhalgh 2025 for an extensive discussion). The growth of streaming as the primary source of revenue – see overview and key figures – has had significant consequences for the structure of the music industry and the licensing market. Globally, three major music publishers dominate the market: Sony (Japan), Warner (United States), and Universal (the Netherlands and the United States). Together, they account for approximately 70 percent of revenue from music expenditures (Hesmondhalgh, 2025). Meanwhile, several artists – particularly from the more experimental sector – and listeners are also opposing Spotify's powerful position (Bajram, 2025; de Grefte, 2025a).

Against this backdrop, questions arise regarding the role of copyright legislation and the possibility of realizing a fairer revenue model for creators. In the spring of 2026, the Raad voor Cultuur Therefore, a concise recommendation is issued regarding income from rights in the music industry. In many traditional record contracts, artists' share of income from streaming is around 10 to 20 percent (de Grefte 2025b). In 2025, several Dutch artists filed a lawsuit against record company Universal. They argued that the label receives too large a share of the streaming revenue, particularly because the costs of physical production and distribution of CDs and vinyl have decreased significantly. Record companies and publishers, on the other hand, argue that digital distribution also entails substantial costs. A similar case took place in the United Kingdom in 2022, in which musician Four Tet was vindicated: the judge ruled that he was entitled to 50 percent of the income from streaming of his music (De Grefte, 2025b). Fair payment and grand rights are also being examined by the Jazz/World/Contemporary Composers & Musicians chain table (fairpacct 2026b). 

At the same time, the question remains as to what the actual share of streaming revenue for creators is in practice. After all, artists generate income from multiple sources, including the sale of physical music, live performances (including merchandise), copyrights, and streaming (Streenbrink et al., 2025). The Artist Monitor (Wijngaarden et al., 2026) – a survey of 314 pop musicians in the Netherlands – shows that the largest share of artists' personal income comes from non-music-related work (63,3 percent). This is followed by income from music lessons and workshops (29,8 percent), live performances (27,8 percent), recorded music (12,4 percent), and music rights (12,1 percent). 

Digital transformation of live music

Digitization and technological developments in live music received a new impetus during the corona pandemic, for example in the form of hybrid and fully online concerts. However, after it became possible to attend live performances again in 2022, music venues largely stopped programming online activities. In 2023, online activities declined further: 15 percent of VNPF venues organized hybrid activities and 6 percent online activities without a live audience (Dee et al 2023). This is not surprising: the importance of physical presence with others (so-called physical presence) proved to be one of the most important elements in live music experiences (Mulder 2023, Vandenberg 2023; Becker et al. 2026). Nevertheless, there is much attention paid to digitization, particularly to forms that allow for more interaction, for example through Extended Reality (XR), but also other developments regarding Artificial Intelligence (see also page Digital Transformation). That is how it works Thunderboom Records from 2024 on an Augmented Reality toolkit in the project Next Stage AR for stages and they conduct tests with their technologies in a series of live concerts. At Effenaar Lab Attention has been paid to understanding and learning new technologies in the music sector since 2018. Within the classical music sector, too, there has long been attention to the possibilities that digitization offers for audience participation. Researchers previously experimented, for example, with a game to influence listening styles and attract a younger audience (Erdbrink et al. 2021). However, these developments regarding the digital transformation of live experiences must be viewed in perspective: 85 percent of the artists in the Artist Monitor indicated that they never use AI for live performances, collaboration, or improvisation (Wijngaarden et al. 2026).  

Cost increases and accessibility of live music

In recent years, increased costs and rising ticket prices in the live music sector have been prominently in the spotlight. During Eurosonic Noorderslag, the VNPF presented the 'Code Red' presentation – despite rising visitor numbers, many music venues are unable to make ends meet financially. In 2023, 38 percent of music venues recorded a negative financial result; in 2024, this applied to 58 percent of the music venues affiliated with the VNPF. This development is primarily linked to rising fixed costs, such as personnel costs and premises (VNPF 2026). 

To absorb rising costs, venues can cut back on risky programs or support acts, reorganize, lay off permanent staff, or make adjustments to ticket and catering prices. However, venue and festival organizers share the concern that increases in ticket and catering prices lead to a decrease in the accessibility of concerts (VNPF 2026). Moreover, the rise in ticket prices is not a new phenomenon: this has also been visible internationally for some time (Krueger 2019; Davies et al. 2023; Respons 2023). An important explanation lies in the changed revenue structure of the music industry. Whereas artists used to derive a large part of their income from music sales, live music has now become a major source of revenue (Everts, 2023). Recent developments have further reinforced this trend. For instance, festival organizers found themselves forced to raise prices further due to inflation and rising costs of artists and equipment (Respons 2023). In the Netherlands, less is known about the long-term development of ticket prices and how this relates to the rise in other costs. Research by Respons into concerts and festivals with more than 3.000 visitors also shows a gradual increase in the average ticket price in the Netherlands between 2018 and 2024. From 2023 to 2024, for example, the average ticket price for festivals rose by 11 percent and that for concerts by 16 percent. How this applies to smaller concerts and festivals remains unclear.  

In addition to these structural price increases, a relatively new development has been visible in recent years: the use of so-called 'dynamic pricing', for example via platinum tickets. In this system, ticket prices are (partly) determined by supply and demand, causing prices for popular concerts to rise rapidly. This practice has led to debate in recent years, partly in response to large international concert sales (e.g., Oasis). At the same time, the role of resale for profit – often referred to as usury – appears to be more limited in the Netherlands than is sometimes thought. Research shows that only a small proportion of resold tickets are sold at a higher price (Koeman et al. 2023), meaning that additional legislation is not currently considered necessary (Vrieze 2023b). More recently, there are indications that the public is buying tickets increasingly later, for example for Lowlands and Wilde Weide (de Grefte 2026).  

Rising ticket prices are part of industry- and society-wide developments, but also have a clear downside when considering the accessibility of live music. For instance, Davies, Gouthro, Matthews, and Richards (2023) show through data in the United Kingdom that people living in poverty are often excluded from participating in festivals due to the disproportionate increase in costs. In the Dutch context, little is known yet about how rising ticket prices might affect the accessibility of live music, and thus who can and cannot attend concerts and festivals. Actions are also being taken to promote accessibility. For instance, Friendly Fire and EKKO started a pilot price segmentation, in which tickets are offered in three categories: 1) regular, 2) lower spending, and 3) higher spending. Moreover, accessibility extends beyond just ticket prices. Consider the program, for example. Unlimited Party of HandicapNL and Green Events, which focuses on accessibility and removing barriers for visitors in the broadest sense, or making music venues and festivals more accessible for deaf and hard-of-hearing visitors (Bakkers et al. 2025). 

Sustainability

An ecological, sustainable society is one of the greatest challenges of our time, and the music sector is also working on this. On the one hand, the music sector has a role to play in making its own practices more sustainable; consider, for example, the impact of touring and audience travel, the printing of scores for symphony orchestras, the way music is distributed, the use of electricity at venues, the amount of waste produced at festivals, and the impact of open-air concerts on flora and fauna (Hoeven et al. 2023, Skovbon 2024; VNPF 2025).  

In late 2025, the Boekman Foundation published an analysis of a survey regarding sustainability completed by 680 cultural organizations that had submitted a grant application for the BIS (Schiavone et al. 2025). The study also includes results that could be broken down by venues and festivals. This shows that while a large proportion of venues do pay attention to sustainability, this is not always structural in nature and is, moreover, dependent on the organizational form, venue location, and mobility. The situation is different for festivals: the structural embedding of sustainability is higher here than the cultural sector average, and music festivals appear to develop their own instruments relatively frequently.