Melbourne’s Live At The Bowl series gives $27m boost to economy
Live At The Bowl, a concert series at the Sidney Myer Music Bowl, injected $27.26 million into the local economy, the venue’s operator Arts Centre Melbourne has revealed.
It was the Victorian government’s first major initiative to get live music back in Melbourne, with many labelling it a financial, creative and safety success.
It generated employment for 3,250 including artists, arts workers, production crew, security personnel, and food and beverage staff. The government’s financial support meant that 10 of the 79 events were free, and one-third cost $30 or less.
The season drew 97,843 music fans: 91% of ticket buyers travelled to the city for the event and 21% to support the return of live performance in Melbourne.
Just over 50% were first time ticket buyers to Arts Centre Melbourne while 56% of artists appeared on the Bowl stage for the first time.
“When the Victorian government announced its intention to provide the people of Victoria with a summer of hope and happiness, returning live experiences to the community after the impacts of COVID-19, we were delighted to throw up our hands to be involved,” Arts Centre Melbourne CEO Claire Spencer AM said.
“With government support for Live at the Bowl, we could not have imagined how successful it would become. It has been our great privilege to transform one of Victoria’s most-loved outdoor venues into a symbol of joy and recovery.”
The shows included headliner sets by Ball Park Music, The Avalanches, Vika & Linda, The Cat Empire, Lime Coridale, Missy Higgins, Archie Roach, Spinifex Gum, Bernard Fanning, Mo’Ju with Orchestra Victoria, Running Touch, King Gizzard & The Lizard Wizard and Birds of Tokyo with the Melbourne Symphony Orchestra.
Events as part of the series included Music From The Home Front, Midsumma Festival Live, Synthony, Pasifix, Piknic Elektronik, Blaktivism and Rockwiz’s Really Really Good Friday.
A crowd survey about transforming the Bowl into a COVID Safe space – the main lawn was fitted with purpose-built private decks where all audience members were separated – saw 98% of attendees saying they were feeling safe and comfortable when attending a performance.