Cultural consumption is recovering after the COVID-19 pandemic

Museums, theatres and concerts

A further area of ​​analysis is live events. As with cinemas, the pandemic also eliminated consumption, but the recovery varied by structure. Indeed, museums, exhibitions and archaeological sites recovered faster in terms of consumer numbers due to limited access, while shows and concerts recovered more slowly but subsequently reached a peak consumption higher than before the pandemic.

Average spending on concerts and cultural festivals also increased (from €50 to €70), while spending on theatre remains below the pre-pandemic average. In this sector in particular, consumption patterns have changed: subscriptions are no longer an option, but rather occasional consumption linked to specific programmes on the bill is given priority, symptomatic of a more “hit and run” approach to consumption, dictated by the same on-demand logic that dominates television. “The sense of community that once characterized theatre audiences has disappeared,” comments Fontana. “The risk is fragmented enjoyment, with everyone watching what they want to see, without comparing themselves with others, or at most expressing the need to compare on social media.”

Live events are those for which digitization has not yet reached consensus, while the anti-contagion measures implemented during and after the pandemic have not proven to be frustrating, on the contrary, they have been considered reassuring and effective for recovery.

Culture Devours Drivers

The analysis concerns not only changes in cultural consumption, but also how the country’s perception of cultural consumption is changing. Cultural products are increasingly seen as a way to describe a city and define its identity, as a driver of economic, social and tourist attractions. Cultural gifts are also increasingly becoming a choice, appreciated both when given and when received.

2023 Siae Report

On the same day, Siae also published its 2023 Entertainment, Recreation and Sports Report. Here it can be seen that over the past year there were more events (3.5 million, +15% compared to 2022), more spectators (nearly 265 million, +30% compared to 2022), more entertainment venues (116,681, +14% compared to 2022) and the highest expenditure ever (4.2 billion, +37% compared to 2022). A reversal compared to the 2020-21 trend that had already appeared in 2022, confirms the recovery. Lombardy leads in terms of performances, followed by Lazio and Emilia-Romagna. Rome is the province with the most events (351,000), and the southern regions also saw an increase of +16% (Abruzzo) and +27.5% (Basilicata) compared to the previous year, which is higher than the national average. However, in this case the report is limited to capturing the breadth of situations and offers, rather than analyzing consumer habits and the motivations behind their choices, making it a less useful tool for organizers, who more and more always have to adapt their offerings to meet the needs of an increasingly broad audience.