|
시장보고서
상품코드
1862204
세계의 음악 프로모터 소프트웨어 시장 : 점유율, 랭킹, 총 매출액, 수요 예측(2025-2031년)Music Promoter Software - Global Market Share and Ranking, Overall Sales and Demand Forecast 2025-2031 |
||||||
QYResearch
음악 프로모터 소프트웨어 세계 시장 규모는 2024년에 1억 9,700만 달러로 평가되었고, 2025년부터 2031년 예측 기간 동안 CAGR 11.9%로 성장하고, 2031년까지 4억 3,600만 달러로 확대될 것으로 예측되고 있습니다.
음악 프로모터 소프트웨어란, 주로 음악 프로모터가 향후의 음악 라이브 이벤트나 콘서트 활동을 홍보·추진하기 위해서 사용하는 소프트웨어 툴이나 플랫폼, 모바일 앱을 말합니다. 이들은 음악 프로모터가 공연을 기획하고 밴드와 아티스트를 예약하고 쇼를 광고하여 유료 참가자와 이익을 불러 일으킬 수 있습니다.
주요 세계 음악 프로모터 소프트웨어 회사는 Bandsintown, Eventbrite, Prism, Beatswitch, EventBooking(PromoterOps) 등을 포함합니다. 상위 5개사의 점유율은 시장 전체의 약 52%를 차지하고 있습니다. 북미는 음악 프로모터 소프트웨어의 최대 소비 시장이며 약 68%를 차지한 다음 유럽이 이어집니다. 유형별로 Bandsintown은 가장 큰 부문을 차지하며 점유율은 17%를 초과했습니다. 또한 용도별로는 대기업이 최대의 용도이며 중소기업이 계속됩니다.
음악 프로모터 소프트웨어 시장은 음악 산업 자체의 급격한 변화에 의해 견인되고 있습니다. 물리적 판매 및 다운로드에서 스트리밍으로의 전환은 복잡하고 데이터 중심의 경쟁 환경을 창출하고 있으며 아티스트와 라벨은 정보의 홍수에서 눈에 띄는 도구를 절실히 필요합니다.
음악 프로모터 소프트웨어 시장 시장 성장 촉진요인 :
1. 음악 업계의 구조적 변화
이것이 이러한 소프트웨어의 필요성을 창출하는 종합적인 촉진요인입니다.
스트리밍 플랫폼의 지배적 지위 : 업계 전체가 Spotify, Apple Music, Amazon Music, YouTube와 같은 플랫폼을 중심으로 돌고 있습니다. 성공은 조회수, 재생목록에 추가, 알고리즘을 통한 우수도로 측정됩니다. 프로모터 소프트웨어는 이러한 생태계를 탐색하고 영향을 미치도록 특별히 설계되었습니다.
음악 제작의 「민주화」 : 고품질의 녹음 제작 장비가 저렴한 가격대가 되었기 때문에 매일 출시되는 아티스트나 악곡의 수가 급증하고 있습니다(스트리밍 서비스에는 매일 수만 곡이 업로드되고 있습니다). 이 포화 상태로 프로 프로모션은 더 이상 선택이 아니라 발견되기 위한 필수 요소가 되었습니다.
전통적인 게이트키퍼의 쇠퇴 : 플레이리스트가 새로운 게이트키퍼가 되는 한편, 라디오 DJ나 메이저 라벨의 A&R팀과 같은 기존의 권위는 쇠퇴했습니다. 인디펜던트 아티스트와 라벨은 도구와 청중에게 직접 액세스할 수 있게 되었으며 전략을 효과적으로 실행하려면 소프트웨어가 필수적입니다.
2. 데이터 구동형 의사 결정의 중요성
감에 의지한 프로모션 시대는 끝났습니다. 성공은 이제 데이터에 의해 측정되고 최적화됩니다.
청취자 이해 : 프로모터과 아티스트는 청중의 정확한 속성(연령, 성별, 거주지, 좋아하는 음악 장르 등)을 파악해야 합니다. 소프트웨어는 스트리밍 플랫폼이 나타내는 기본 수치를 훨씬 초과하는 분석 깊이를 제공합니다.
캠페인 ROI 측정 : 라벨과 아티스트는 마케팅 비용이 효과적인지 알아야 합니다. 소프트웨어 도구는 캠페인의 실적을 추적하고 이니셔티브를 구체적인 결과(예 : 스트리밍 및 팔로워 수 증가)와 연결하여 마케팅 예산의 정당성을 입증합니다.
성장 기회 식별 : 분석을 통해 미개척 시장(예: '특정 도시나 국가에서 예상외로 악곡이 인기' 등)을 밝혀 지역 특화형 플레이리스트와 소셜 미디어 광고 등 타겟을 좁힌 프로모션 활동을 가능하게 합니다.
본 보고서는 음악 프로모터 소프트웨어 세계 시장에 대한 총 매출, 주요 기업의 시장 점유율과 순위에 초점을 맞추어 지역·국가별, 유형별, 용도별 분석을 종합적으로 제시하는 것을 목적으로 하고 있습니다.
음악 프로모터 소프트웨어 시장 규모, 추정 및 예측은 2024년을 기준연도로 매출수익으로 제공되며, 2020년부터 2031년까지의 기간에 있어서 과거 데이터와 예측 데이터를 포함합니다. 정량적 및 정성적 분석 모두를 통해 독자는 비즈니스/성장 전략을 수립하고, 시장 경쟁 구도를 평가하고, 현재 마켓플레이스에서 자사의 위치를 분석하며, 음악 프로모터 소프트웨어에 대한 정보를 기반으로 비즈니스 의사 결정을 내릴 수 있습니다.
시장 세분화
기업별
- Prism
- Muzeek
- Gigwell
- Soundcharts
- Beatswitch
- Eventbrite
- Sonicbids
- Bandsintown
- Groover
- Landr
- Symphonic
- DISCO
유형별 부문
- 클라우드 기반
- 웹 기반
용도별 부문
- 대기업
- 중소기업
지역별
- 북미
- 미국
- 캐나다
- 아시아태평양
- 중국
- 일본
- 한국
- 동남아시아
- 인도
- 호주
- 기타 아시아태평양
- 유럽
- 독일
- 프랑스
- 영국
- 이탈리아
- 네덜란드
- 북유럽 국가
- 기타 유럽
- 라틴아메리카
- 멕시코
- 브라질
- 기타 라틴아메리카
- 중동 및 아프리카
- 튀르키예
- 사우디아라비아
- 아랍에미리트(UAE)
- 기타 중동 및 아프리카
자주 묻는 질문
The global market for Music Promoter Software was estimated to be worth US$ 197 million in 2024 and is forecast to a readjusted size of US$ 436 million by 2031 with a CAGR of 11.9% during the forecast period 2025-2031.
Music Promoter Software refers the software tools and platforms, mobile apps that mainly used by music promoters to publicise and promote upcoming music live events and concerts activities, it helps Music Promoters to organize gigs, book bands or artists and advertise the shows to bring in paying attendees and profits.
The main global Music Promoter Software players include Bandsintown, Eventbrite, Prism, Beatswitch, EventBooking(PromoterOps), etc. The top five Music Promoter Software players account for approximately 52% of the total market. North America is the largest consumer market for Music Promoter Software, accounting for about 68%, followed by Europe. In terms of type, Bandsintown is the largest segment, with a share over 17%. And in terms of application, the largest application is Large Enterprises, followed by SMEs.
The Music Promoter Software market is driven by the radical transformation of the music industry itself. The shift from physical sales and downloads to streaming has created a complex, data-driven, and highly competitive environment where artists and labels desperately need tools to cut through the noise.
Music Promoter Software market drivers:
1. The Fundamental Shift in the Music Industry Landscape
This is the overarching driver creating the need for such software.
The Dominance of Streaming Platforms: The entire industry now revolves around platforms like Spotify, Apple Music, Amazon Music, and YouTube. Success is measured in streams, playlist adds, and algorithmic favor. Promoter software is specifically designed to navigate and influence these ecosystems.
The "Democratization" of Music Production: High-quality recording and production equipment is now affordable. This has led to an exponential increase in the number of artists and songs released every day (tens of thousands of tracks are uploaded to streaming services daily). This creates an intense saturation where professional promotion is no longer a luxury but a necessity to be discovered.
The Decline of Traditional Gatekeepers: While playlists are the new gatekeepers, the traditional power of radio DJs and major label A&R teams has diminished. Independent artists and labels now have direct access to tools and audiences, but they need software to execute strategies effectively.
2. The Critical Need for Data-Driven Decision Making
Gone are the days of gut-feeling promotions. Success is now measured and optimized with data.
Understanding Listeners: Promoters and artists need to know exactly who their audience is-age, gender, location, and what other music they like. Software provides this analytics depth far beyond the basic numbers a streaming platform might show.
Measuring Campaign ROI: Labels and artists need to know if their marketing spend is working. Software tools track campaign performance, link efforts to specific outcomes (like a surge in streams or followers), and justify marketing budgets.
Identifying Growth Opportunities: Analytics can reveal untapped markets (e.g., "your song is unexpectedly popular in a specific city or country"), allowing for targeted promotional efforts like geo-focused playlisting or social media ads.
This report aims to provide a comprehensive presentation of the global market for Music Promoter Software, focusing on the total sales revenue, key companies market share and ranking, together with an analysis of Music Promoter Software by region & country, by Type, and by Application.
The Music Promoter Software market size, estimations, and forecasts are provided in terms of sales revenue ($ millions), considering 2024 as the base year, with history and forecast data for the period from 2020 to 2031. With both quantitative and qualitative analysis, to help readers develop business/growth strategies, assess the market competitive situation, analyze their position in the current marketplace, and make informed business decisions regarding Music Promoter Software.
Market Segmentation
By Company
- Prism
- Muzeek
- Gigwell
- Soundcharts
- Beatswitch
- Eventbrite
- Sonicbids
- Bandsintown
- Groover
- Landr
- Symphonic
- DISCO
Segment by Type
- Cloud-based
- Web-based
Segment by Application
- Large Enterprises
- SMEs
By Region
- North America
- United States
- Canada
- Asia-Pacific
- China
- Japan
- South Korea
- Southeast Asia
- India
- Australia
- Rest of Asia-Pacific
- Europe
- Germany
- France
- U.K.
- Italy
- Netherlands
- Nordic Countries
- Rest of Europe
- Latin America
- Mexico
- Brazil
- Rest of Latin America
- Middle East & Africa
- Turkey
- Saudi Arabia
- UAE
- Rest of MEA
Chapter Outline
Chapter 1: Introduces the report scope of the report, global total market size. This chapter also provides the market dynamics, latest developments of the market, the driving factors and restrictive factors of the market, the challenges and risks faced by manufacturers in the industry, and the analysis of relevant policies in the industry.
Chapter 2: Detailed analysis of Music Promoter Software company competitive landscape, revenue market share, latest development plan, merger, and acquisition information, etc.
Chapter 3: Provides the analysis of various market segments by Type, covering the market size and development potential of each market segment, to help readers find the blue ocean market in different market segments.
Chapter 4: Provides the analysis of various market segments by Application, covering the market size and development potential of each market segment, to help readers find the blue ocean market in different downstream markets.
Chapter 5: Revenue of Music Promoter Software in regional level. It provides a quantitative analysis of the market size and development potential of each region and introduces the market development, future development prospects, market space, and market size of each country in the world.
Chapter 6: Revenue of Music Promoter Software in country level. It provides sigmate data by Type, and by Application for each country/region.
Chapter 7: Provides profiles of key players, introducing the basic situation of the main companies in the market in detail, including product revenue, gross margin, product introduction, recent development, etc.
Chapter 8: Analysis of industrial chain, including the upstream and downstream of the industry.
Chapter 9: Conclusion.
Table of Contents
1 Market Overview
- 1.1 Music Promoter Software Product Introduction
- 1.2 Global Music Promoter Software Market Size Forecast (2020-2031)
- 1.3 Music Promoter Software Market Trends & Drivers
- 1.3.1 Music Promoter Software Industry Trends
- 1.3.2 Music Promoter Software Market Drivers & Opportunity
- 1.3.3 Music Promoter Software Market Challenges
- 1.3.4 Music Promoter Software Market Restraints
- 1.4 Assumptions and Limitations
- 1.5 Study Objectives
- 1.6 Years Considered
2 Competitive Analysis by Company
- 2.1 Global Music Promoter Software Players Revenue Ranking (2024)
- 2.2 Global Music Promoter Software Revenue by Company (2020-2025)
- 2.3 Key Companies Music Promoter Software Manufacturing Base Distribution and Headquarters
- 2.4 Key Companies Music Promoter Software Product Offered
- 2.5 Key Companies Time to Begin Mass Production of Music Promoter Software
- 2.6 Music Promoter Software Market Competitive Analysis
- 2.6.1 Music Promoter Software Market Concentration Rate (2020-2025)
- 2.6.2 Global 5 and 10 Largest Companies by Music Promoter Software Revenue in 2024
- 2.6.3 Global Top Companies by Company Type (Tier 1, Tier 2, and Tier 3) & (based on the Revenue in Music Promoter Software as of 2024)
- 2.7 Mergers & Acquisitions, Expansion
3 Segmentation by Type
- 3.1 Introduction by Type
- 3.1.1 Cloud-based
- 3.1.2 Web-based
- 3.2 Global Music Promoter Software Sales Value by Type
- 3.2.1 Global Music Promoter Software Sales Value by Type (2020 VS 2024 VS 2031)
- 3.2.2 Global Music Promoter Software Sales Value, by Type (2020-2031)
- 3.2.3 Global Music Promoter Software Sales Value, by Type (%) (2020-2031)
4 Segmentation by Application
- 4.1 Introduction by Application
- 4.1.1 Large Enterprises
- 4.1.2 SMEs
- 4.2 Global Music Promoter Software Sales Value by Application
- 4.2.1 Global Music Promoter Software Sales Value by Application (2020 VS 2024 VS 2031)
- 4.2.2 Global Music Promoter Software Sales Value, by Application (2020-2031)
- 4.2.3 Global Music Promoter Software Sales Value, by Application (%) (2020-2031)
5 Segmentation by Region
- 5.1 Global Music Promoter Software Sales Value by Region
- 5.1.1 Global Music Promoter Software Sales Value by Region: 2020 VS 2024 VS 2031
- 5.1.2 Global Music Promoter Software Sales Value by Region (2020-2025)
- 5.1.3 Global Music Promoter Software Sales Value by Region (2026-2031)
- 5.1.4 Global Music Promoter Software Sales Value by Region (%), (2020-2031)
- 5.2 North America
- 5.2.1 North America Music Promoter Software Sales Value, 2020-2031
- 5.2.2 North America Music Promoter Software Sales Value by Country (%), 2024 VS 2031
- 5.3 Europe
- 5.3.1 Europe Music Promoter Software Sales Value, 2020-2031
- 5.3.2 Europe Music Promoter Software Sales Value by Country (%), 2024 VS 2031
- 5.4 Asia Pacific
- 5.4.1 Asia Pacific Music Promoter Software Sales Value, 2020-2031
- 5.4.2 Asia Pacific Music Promoter Software Sales Value by Region (%), 2024 VS 2031
- 5.5 South America
- 5.5.1 South America Music Promoter Software Sales Value, 2020-2031
- 5.5.2 South America Music Promoter Software Sales Value by Country (%), 2024 VS 2031
- 5.6 Middle East & Africa
- 5.6.1 Middle East & Africa Music Promoter Software Sales Value, 2020-2031
- 5.6.2 Middle East & Africa Music Promoter Software Sales Value by Country (%), 2024 VS 2031
6 Segmentation by Key Countries/Regions
- 6.1 Key Countries/Regions Music Promoter Software Sales Value Growth Trends, 2020 VS 2024 VS 2031
- 6.2 Key Countries/Regions Music Promoter Software Sales Value, 2020-2031
- 6.3 United States
- 6.3.1 United States Music Promoter Software Sales Value, 2020-2031
- 6.3.2 United States Music Promoter Software Sales Value by Type (%), 2024 VS 2031
- 6.3.3 United States Music Promoter Software Sales Value by Application, 2024 VS 2031
- 6.4 Europe
- 6.4.1 Europe Music Promoter Software Sales Value, 2020-2031
- 6.4.2 Europe Music Promoter Software Sales Value by Type (%), 2024 VS 2031
- 6.4.3 Europe Music Promoter Software Sales Value by Application, 2024 VS 2031
- 6.5 China
- 6.5.1 China Music Promoter Software Sales Value, 2020-2031
- 6.5.2 China Music Promoter Software Sales Value by Type (%), 2024 VS 2031
- 6.5.3 China Music Promoter Software Sales Value by Application, 2024 VS 2031
- 6.6 Japan
- 6.6.1 Japan Music Promoter Software Sales Value, 2020-2031
- 6.6.2 Japan Music Promoter Software Sales Value by Type (%), 2024 VS 2031
- 6.6.3 Japan Music Promoter Software Sales Value by Application, 2024 VS 2031
- 6.7 South Korea
- 6.7.1 South Korea Music Promoter Software Sales Value, 2020-2031
- 6.7.2 South Korea Music Promoter Software Sales Value by Type (%), 2024 VS 2031
- 6.7.3 South Korea Music Promoter Software Sales Value by Application, 2024 VS 2031
- 6.8 Southeast Asia
- 6.8.1 Southeast Asia Music Promoter Software Sales Value, 2020-2031
- 6.8.2 Southeast Asia Music Promoter Software Sales Value by Type (%), 2024 VS 2031
- 6.8.3 Southeast Asia Music Promoter Software Sales Value by Application, 2024 VS 2031
- 6.9 India
- 6.9.1 India Music Promoter Software Sales Value, 2020-2031
- 6.9.2 India Music Promoter Software Sales Value by Type (%), 2024 VS 2031
- 6.9.3 India Music Promoter Software Sales Value by Application, 2024 VS 2031
7 Company Profiles
- 7.1 Prism
- 7.1.1 Prism Profile
- 7.1.2 Prism Main Business
- 7.1.3 Prism Music Promoter Software Products, Services and Solutions
- 7.1.4 Prism Music Promoter Software Revenue (US$ Million) & (2020-2025)
- 7.1.5 Prism Recent Developments
- 7.2 Muzeek
- 7.2.1 Muzeek Profile
- 7.2.2 Muzeek Main Business
- 7.2.3 Muzeek Music Promoter Software Products, Services and Solutions
- 7.2.4 Muzeek Music Promoter Software Revenue (US$ Million) & (2020-2025)
- 7.2.5 Muzeek Recent Developments
- 7.3 Gigwell
- 7.3.1 Gigwell Profile
- 7.3.2 Gigwell Main Business
- 7.3.3 Gigwell Music Promoter Software Products, Services and Solutions
- 7.3.4 Gigwell Music Promoter Software Revenue (US$ Million) & (2020-2025)
- 7.3.5 Gigwell Recent Developments
- 7.4 Soundcharts
- 7.4.1 Soundcharts Profile
- 7.4.2 Soundcharts Main Business
- 7.4.3 Soundcharts Music Promoter Software Products, Services and Solutions
- 7.4.4 Soundcharts Music Promoter Software Revenue (US$ Million) & (2020-2025)
- 7.4.5 Soundcharts Recent Developments
- 7.5 Beatswitch
- 7.5.1 Beatswitch Profile
- 7.5.2 Beatswitch Main Business
- 7.5.3 Beatswitch Music Promoter Software Products, Services and Solutions
- 7.5.4 Beatswitch Music Promoter Software Revenue (US$ Million) & (2020-2025)
- 7.5.5 Beatswitch Recent Developments
- 7.6 Eventbrite
- 7.6.1 Eventbrite Profile
- 7.6.2 Eventbrite Main Business
- 7.6.3 Eventbrite Music Promoter Software Products, Services and Solutions
- 7.6.4 Eventbrite Music Promoter Software Revenue (US$ Million) & (2020-2025)
- 7.6.5 Eventbrite Recent Developments
- 7.7 Sonicbids
- 7.7.1 Sonicbids Profile
- 7.7.2 Sonicbids Main Business
- 7.7.3 Sonicbids Music Promoter Software Products, Services and Solutions
- 7.7.4 Sonicbids Music Promoter Software Revenue (US$ Million) & (2020-2025)
- 7.7.5 Sonicbids Recent Developments
- 7.8 Bandsintown
- 7.8.1 Bandsintown Profile
- 7.8.2 Bandsintown Main Business
- 7.8.3 Bandsintown Music Promoter Software Products, Services and Solutions
- 7.8.4 Bandsintown Music Promoter Software Revenue (US$ Million) & (2020-2025)
- 7.8.5 Bandsintown Recent Developments
- 7.9 Groover
- 7.9.1 Groover Profile
- 7.9.2 Groover Main Business
- 7.9.3 Groover Music Promoter Software Products, Services and Solutions
- 7.9.4 Groover Music Promoter Software Revenue (US$ Million) & (2020-2025)
- 7.9.5 Groover Recent Developments
- 7.10 Landr
- 7.10.1 Landr Profile
- 7.10.2 Landr Main Business
- 7.10.3 Landr Music Promoter Software Products, Services and Solutions
- 7.10.4 Landr Music Promoter Software Revenue (US$ Million) & (2020-2025)
- 7.10.5 Landr Recent Developments
- 7.11 Symphonic
- 7.11.1 Symphonic Profile
- 7.11.2 Symphonic Main Business
- 7.11.3 Symphonic Music Promoter Software Products, Services and Solutions
- 7.11.4 Symphonic Music Promoter Software Revenue (US$ Million) & (2020-2025)
- 7.11.5 Symphonic Recent Developments
- 7.12 DISCO
- 7.12.1 DISCO Profile
- 7.12.2 DISCO Main Business
- 7.12.3 DISCO Music Promoter Software Products, Services and Solutions
- 7.12.4 DISCO Music Promoter Software Revenue (US$ Million) & (2020-2025)
- 7.12.5 DISCO Recent Developments
8 Industry Chain Analysis
- 8.1 Music Promoter Software Industrial Chain
- 8.2 Music Promoter Software Upstream Analysis
- 8.2.1 Key Raw Materials
- 8.2.2 Raw Materials Key Suppliers
- 8.2.3 Manufacturing Cost Structure
- 8.3 Midstream Analysis
- 8.4 Downstream Analysis (Customers Analysis)
- 8.5 Sales Model and Sales Channels
- 8.5.1 Music Promoter Software Sales Model
- 8.5.2 Sales Channel
- 8.5.3 Music Promoter Software Distributors
9 Research Findings and Conclusion
10 Appendix
- 10.1 Research Methodology
- 10.1.1 Methodology/Research Approach
- 10.1.1.1 Research Programs/Design
- 10.1.1.2 Market Size Estimation
- 10.1.1.3 Market Breakdown and Data Triangulation
- 10.1.2 Data Source
- 10.1.2.1 Secondary Sources
- 10.1.2.2 Primary Sources
- 10.1.1 Methodology/Research Approach
- 10.2 Author Details
- 10.3 Disclaimer
