{"id":253324,"date":"2026-03-24T09:00:29","date_gmt":"2026-03-24T09:00:29","guid":{"rendered":"https:\/\/www.musicbusinessworldwide.com\/?p=253324"},"modified":"2026-03-24T11:44:36","modified_gmt":"2026-03-24T11:44:36","slug":"frances-recorded-music-revenues-hit-1-21bn-in-2025-up-3-9-yoy-subscription-streaming-revenues-grew-5-9-yoy","status":"publish","type":"post","link":"https:\/\/www.musicbusinessworldwide.com\/frances-recorded-music-revenues-hit-1-21bn-in-2025-up-3-9-yoy-subscription-streaming-revenues-grew-5-9-yoy\/","title":{"rendered":"France’s recorded music revenues hit $1.21B in 2025, up 3.9% YoY; subscription streaming revenues grew 5.9% YoY"},"content":{"rendered":"

France’s recorded music revenues rose 3.9%<\/strong> YoY <\/span>in 2025<\/strong>, according to figures published by local industry body SNEP.<\/p>\n

Total revenues \u2014 across digital, physical, sync and neighboring rights \u2014 came in at EUR \u20ac1.071 billion<\/strong>, or USD $1.21 billion<\/strong> at the average annual exchange rate for 2025<\/strong>.<\/p>\n

The figures, published on Wednesday (March 18), mark a tenth<\/strong> consecutive year of growth for the world’s sixth<\/strong>-largest recorded music market, though the rate of expansion has slowed \u2014 the overall market grew 7% YoY<\/strong><\/span> in 2024<\/strong> and 5.1% YoY<\/strong><\/span>\u00a0in 2023<\/strong>.<\/p>\n

<\/div>
<\/div>
<\/div> <\/div> \n
Streaming<\/h6>\n

Streaming revenues (paid and ad-supported combined) in France surpassed \u20ac700 million<\/strong> for the first time in 2025, reaching \u20ac702 million<\/strong> ($794 million<\/strong>), up 5.7% YoY<\/span>. <\/strong><\/p>\n

Paid subscription streaming<\/em>, the market’s biggest revenue driver, grew 5.9%<\/strong> YoY<\/strong><\/span> to \u20ac553 million<\/strong> ($625 million<\/strong>).<\/p>\n

SNEP described the result as “a slight dip compared to the increases of previous years,” attributing part of the deceleration to a tough comparison with 2024<\/strong>, which was boosted by the Paris Olympics.<\/p>\n

France now has 12.6 million<\/strong> streaming subscriptions, up from 12 million<\/strong> in 2024<\/strong>, and 18.7 million<\/strong> total streaming users, up from 17.7 million<\/strong> in 2024<\/strong>. SNEP said the country’s paid streaming penetration rate stands at 27.1%<\/strong> up 1.2 percentage points YoY, but still significantly below other major markets such as the UK, Germany and the US. (France has a population of nearly 68 million.)<\/strong><\/p>\n

Ad-supported<\/em> audio streaming revenues in France, meanwhile, grew 12%<\/strong> YoY<\/strong><\/span> to \u20ac84 million<\/strong> ($95 million)<\/strong> in 2025.<\/strong><\/p>\n

Streaming video revenues fell 2.9% YoY<\/span> <\/strong>to \u20ac65 million<\/strong> ($73 million<\/strong>).<\/p>\n

<\/div> <\/div> <\/p>\n

SNEP has long argued that France’s subscription market underperforms relative to the country’s size, and in previous annual reports pointed directly to short-form video platforms \u2014 particularly TikTok \u2014 as a factor diverting young music fans from paid streaming.<\/p>\n

As recently as September, in its H1 2025<\/strong> report, SNEP’s managing director Alexandre Lasch said the challenge was to “retain younger generations, who favour short, fragmented formats,” while the trade body attributed a 6.8% YoY<\/strong><\/span> drop in streaming video revenues to consumers migrating from traditional music videos to short-form content on social networks.<\/p>\n

Notably, this year’s full-year report, which can be read here<\/a>, makes no mention of TikTok<\/strong> or short-form video. Instead, SNEP’s lobbying focus appears to have shifted towards AI regulation and the establishment of a voluntary licensing market.<\/p>\n

<\/div> <\/div> <\/p>\n

On the physical music side, vinyl was the standout format,\u00a0with revenues surging\u00a014.8% YoY<\/span><\/strong>\u00a0to\u00a0\u20ac113 million,<\/strong> crossing<\/span>\u00a0the \u20ac100 million<\/strong> mark for the first time.<\/p>\n

CD revenues fell 2.4% YoY<\/strong><\/span> to \u20ac89 million<\/strong> in 2025, though SNEP noted the CD format still leads on volume with over 8 million<\/strong> units sold versus nearly 6 million units<\/strong> for vinyl.<\/p>\n

Under-35<\/strong>s remain the biggest buyers of both physical formats in France according to SNEP, accounting for 41%<\/strong> of vinyl purchasers and 36%<\/strong> of CD buyers in the market, citing a Kantar Media consumer study.<\/p>\n

SNEP reported that e-commerce now accounts for 32%<\/strong> of physical revenues at \u20ac66 million<\/strong>, with artist online stores specifically generating \u20ac13.5 million<\/strong> \u2014 up 29% YoY<\/strong><\/span> and representing 20%<\/strong> of all physical e-commerce revenue.<\/p>\n

Elsewhere in the market, neighboring rights and sync revenues both declined, falling 3.2% YoY<\/strong><\/span> to \u20ac121 million<\/strong> and 5.8% YoY<\/strong><\/span> to \u20ac34 million<\/strong> respectively, which SNEP attributed to a normalisation after an exceptionally strong 2024<\/strong>.<\/p>\n

Revenues generated from the export of local music fell 8.6% YoY<\/strong><\/span> to \u20ac148 million<\/strong> ($167 million<\/strong>), down from a Paris Olympics-boosted \u20ac162 million<\/strong> in 2024<\/strong> but still up 11%<\/strong>\u00a0over two<\/strong> years. SNEP said the results confirmed “the growing place of French musical creation on international markets.”<\/p>\n

\n

Locally-produced artists continued to dominate domestically, taking three-quarters<\/strong> of the Top 200<\/strong> album chart and 16<\/strong> of the Top 20<\/strong>.<\/p>\n

SNEP noted that five<\/strong> debut albums by local artists reached the Top 20<\/strong> \u2014 a figure it said was unmatched in any other major European market, where the UK, Germany and Spain each placed only one<\/strong>, and Italy none.<\/p>\n

Pop and rap each accounted for roughly a third<\/strong> of total streaming consumption for the first time, SNEP reported.<\/p>\n

Rapper GIMS was the year’s dominant force, heading both the album chart and the singles streaming chart \u2014 where he held the top three<\/strong> positions \u2014 according to the official French charts compiled by SNEP and the Official Charts Company.<\/p>\n

<\/a><\/i><\/a><\/figure>

“ONE OF THE MAIN SOURCES OF PRIDE IS THE PROMINENT POSITION HELD BY ARTISTS PRODUCED IN FRANCE, AND PARTICULARLY EMERGING ARTISTS.”<\/p>\n

ALEXANDRE LASCH, SNEP<\/span><\/p><\/blockquote>\n

Lasch said: “This year we celebrate a decade of positive results for the French recorded music market. Among these good news stories, one of the main sources of pride is the prominent position held by artists produced in France, and particularly emerging artists. This success is thanks to our labels, whose remarkable expertise is supported by an environment conducive to risk-taking.<\/p>\n

“For our artists to continue along this path, we now need public authorities to encourage the emergence of a voluntary licensing market with AI players.”<\/p>\n","protected":false},"excerpt":{"rendered":"

The figures mark a tenth consecutive year of growth for the world’s sixth-largest recorded music market.<\/p>\n","protected":false},"author":7380,"featured_media":253355,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[7],"tags":[134556,669,785],"class_list":["post-253324","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","tag-alexandre-lasch","tag-france","tag-snep"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/posts\/253324","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/users\/7380"}],"replies":[{"embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/comments?post=253324"}],"version-history":[{"count":18,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/posts\/253324\/revisions"}],"predecessor-version":[{"id":253724,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/posts\/253324\/revisions\/253724"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/media\/253355"}],"wp:attachment":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/media?parent=253324"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/categories?post=253324"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/tags?post=253324"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}