Disclaimer

Ernst & Young (EY) was engaged on the instructions of Live Performance Australia (LPA) to prepare the 2016 Ticket Attendance and Revenue Survey Report ("Report"), in accordance with the contract dated 3 May 2017.

The results of EY’s work, including the assumptions and qualifications made are set out in this Report. The Report should be read in its entirety including the introductory chapters, the applicable scope of the work and any limitations. A reference to the Report includes any part of the Report. No further work has been undertaken by EY since the date of the Report to update it.

EY has prepared the Report for the benefit of LPA and has considered only the interests of LPA. EY has not been engaged to act, and has not acted, as advisor to any other party. Accordingly, EY makes no representations as to the appropriateness, accuracy or completeness of the Report for any other party's purposes.

No reliance may be placed upon the Report or any of its contents by any recipient of the Report for any purpose and any party receiving a copy of the Report must make and rely on their own enquiries in relation to the issues to which the Report relates, the contents of the Report and all matters arising from or relating to or in any way connected with the Report or its contents.

EY disclaims all responsibility to any other party for any loss or liability that the other party may suffer or incur arising from or relating to or in any way connected with the contents of the Report, the provision of the Report to the other party or the reliance upon the Report by the other party.

No claim or demand or any actions or proceedings may be brought against EY arising from or connected with the contents of the Report or the provision of the Report to any party. EY will be released and forever discharged from any such claims, demands, actions or proceedings.

EY’s liability is limited by a scheme approved under Professional Standards Legislation.

The information and analysis contained in this Report is based on ticketing data provided by Survey Participants as outlined in Appendix B of this Report. We have not independently verified, or accepted any responsibility or liability for independently verifying, any such information nor do we make any representation as to the accuracy or completeness of the information.

Any commercial decisions taken by LPA are not within the scope of our duty of care and in making such decisions you should take into account the limitations of the scope of our work and other factors, commercial and otherwise, of which you should be aware of from the sources other than our work.

Survey Participants

Scope of work

Ernst & Young (EY) has been engaged by Live Performance Australia (LPA) to undertake the annual survey of ticket attendances and revenues for the live performance industry for the 2016 calendar year. The live performance industry encompasses performances, productions, previews and concerts that are performed in front of a live audience. The scope of our work included:

• Coordinating the collection of the ticket sales and revenue data (national survey data) for the live performance industry in Australia from participating ticketing companies, venues, entertainment companies, event organisers and the Australia Council for the Arts on behalf of the Australian Major Performing Arts Companies (AMPAG).
• Compiling the 2016 national survey data on an overall basis, by state and by event category.
• Conducting an analysis of the 2016 national survey data on an overall basis (and in comparison to previous years), by state and by event category.

This study follows on from the previous annual ticketing studies published by LPA in partnership with EY since 2006.

Approach

For this Survey, EY compiled data from ticketing companies, self-ticketing venues, event promoters and the Australia Council for the Arts (collectively referred to in this study as the “Survey Participants”). The ticketing companies, self-ticketing venues and event promoters that provided data as part of this study are provided in the Appendix of this Report.

Ticketing data was assigned by the Survey Participants to event categories based on the guidelines established between LPA and these organisations. A description of these event categories is provided below. Further, as part of these guidelines, the ticketing companies and venues are requested to exclude from their data all events produced or presented by the AMPAG companies. This is to avoid double counting of revenue and attendance data.

Survey Participants provided data to EY directly. Confidentiality Deeds were in place between data providers and EY where requested. As such, and consistent with our agreed approach, EY did not reveal, insofar as possible, disaggregated raw survey data or event specific revenue or ticketing data to LPA.

While our scope of works did not include a detailed review of all data to determine the appropriateness of the events and event category allocations, where obvious anomalies were identified, appropriate amendments were made. Examples of such anomalies included:

• Sporting events, talks, fashion festivals, food festivals (that do not include music line ups), workshops, cinema screenings, award nights, graduation ceremonies and art exhibitions were identified in some data sets. These were excluded as they are not considered part of the live performance industry.
• Amateur events such as school performances, dance academy concerts and other community group performances were excluded as the scope of this Survey does not include amateur performances.
• Music festivals included in Contemporary Music were reallocated to Festivals (Contemporary Music).
• Comedy events included in Theatre were reallocated to the Comedy category.

*These categories were introduced in 2009
^This category was renamed in 2011, having been named “Non-Classical Music” in prior years

Limitations

As with previous studies, data on ticket revenues and attendances for the live performance industry were limited to those provided by the Survey participants. While national in reach, the coverage of this Survey excludes events in some regional venues, as well as contract-fee performances by AMPAG companies. Small to medium companies and independent theatre are also under-represented as many of these companies either self-ticket or use ticketing service providers and venues not currently involved in the Survey. To capture these types of live performance events LPA and EY are producing a supplementary ticket attendance and revenue report for 2016 that will include data from the following organisations:

• Australia Council for the Arts – Key Organisations (small to medium companies)
• The Australian Performing Arts Centres Association (APACA) - regional and metropolitan venue members.

It is important to note festivals are under-reported in this Survey due to the fact that;

• Some festivals maintain their own ticketing systems and many of these are not part of this Survey. The inclusion of ticketing data from Oztix, Bluesfest, MONA FOMA and Dark MOFO in recent years addresses some under reporting in the festival categories. However, revenue and attendance are likely to be undervalued in the category because a number of boutique festival events are self-ticketed and are not presently contributing data to the Survey. For numerous festivals, the Survey only reports paid tickets and does not include the substantial unpaid and/or unticketed components.
• The Contemporary Music category is subject to similar limitations, as pub and club venues that self-ticket, or use ticketing companies who are not part of the Survey are not included in the results. However, data from Oztix and Moshtix (The Ticket Group) helps to decrease the level of under-reporting, as these ticketing agencies include smaller performances at certain bars and hotels. Still, this Survey provides a conservative estimate of the total ticket revenues and attendances sourced from live performance events in Australia.

As part of our analysis, the 2016 data was compared against historical data sourced directly from Live Performance Australia’s Live Performance Industry in Australia 2006 - 2015 Reports. EY acknowledges that we did not revisit the data collection and allocation methodology used in 2006 and 2007 as the historical data used to prepare the reports in these years was not provided in a disaggregated format. As such, EY was unable to query the accuracy of the allocation of events in these years.

Therefore caution should be applied when comparing data from 2008 to 2016 periods with that of data from previous years as inconsistencies may exist in the data collection methodology between the surveys performed in these seven years, and for previous surveys (where more detailed event specific information was not requested).

Changes in the 2016 Ticketing Survey compared to prior years

We have made the following changes to the Survey in 2016 when compared to prior years:

• The inclusion of data from the Melbourne Fringe Festival, impacting the category Festivals (Multi-Category).
• Inclusion of data from WA Venues and Events. This company predominately tickets events for Perth Concert Hall, which was formerly ticketed by Ticketek until November 2015. Perth Concert Hall presents events across all categories.
• Inclusion of data from The Blue Room Theatre, an independent theatre which predominantly presents small scale theatre productions.
• The category Festivals (Single-Category) was renamed Festivals (Contemporary Music) to provide greater clarity to the definition. It is now defined as festivals/events which contain a number of events that predominately fall into the category of contemporary music (e.g. Bluesfest).