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| Musikmesse | |
|---|---|
| Name | Musikmesse |
| Status | Defunct (last held 2019) |
| Genre | Trade fair for musical instruments, pro audio and sheet music |
| Frequency | Annual |
| Venue | Messe Frankfurt |
| Location | Frankfurt am Main, Hesse, Germany |
| First | 1980 |
| Last | 2019 |
| Organiser | Messe Frankfurt |
| Attendance | 86,000 (2012) |
Musikmesse was an international trade fair for musical instrument manufacturers, music publishing houses, pro audio engineering companies, and retailers held annually in Frankfurt am Main, Hesse, Germany from 1980 until 2019. It functioned as a commercial and cultural hub linking manufacturers such as Fender Musical Instruments Corporation, Yamaha Corporation, Steinway & Sons, and Roland Corporation with distributors, artists, and media including Billboard (magazine), Sound on Sound, and MusikWoche. The event coincided with concurrent trade events and local festivals, and served as a launch platform for new products, awards, and international business deals.
Musikmesse was inaugurated in 1980 at Messe Frankfurt during a period of expansion for international trade fairs alongside events like ProLight + Sound and the Frankfurt Book Fair. Throughout the 1980s and 1990s it paralleled growth in companies such as Korg, Casio, Marshall Amplification, Gibson Brands, Kawai Musical Instruments Manufacturing, and publishing houses including Hal Leonard Corporation and Schott Music. The 2000s saw integration of digital technology from firms like Apple Inc., Avid Technology, Ableton, and Native Instruments and involvement from organizations such as the International Federation of the Phonographic Industry and the European Music Council. The fair adapted to market shifts after the 2008 financial crisis and the rise of e-commerce platforms like Amazon (company) and eBay. Faced with changing industry dynamics and the COVID-19 pandemic, the organisers and exhibitors including NAMM-linked companies and independent luthiers ultimately ceased major operations at the site after 2019.
The fair occupied multiple halls at Messe Frankfurt and featured exhibition stands, demonstration rooms, and performance stages similar to layouts at NAMM Show and Montreux Jazz Festival satellite events. Exhibits ranged from piano showrooms by Yamaha Corporation and Kawai to electric guitar displays by Fender and Gibson Brands, amplifier booths by Marshall and Vox (guitar amplifier manufacturer), and pro-audio gear from Shure Incorporated, Sennheiser, Bose Corporation, and Genelec. Music publishing and sheet music sections hosted publishers like Hal Leonard and Henle Verlag, while DJ and electronic music technology areas featured Pioneer DJ, Roland Corporation, Akai Professional, and Native Instruments. Accessories, instrument makers, vintage dealers, and trade services including logistics companies such as DHL and banking partners like Deutsche Bank were also present.
Exhibitors included multinational corporations, independent luthiers, instrument importers, music retailers, and trade associations such as the Bundesverband Musikindustrie and the European Broadcasting Union. High-profile artist appearances drew representatives from record labels like Universal Music Group, Sony Music Entertainment, and Warner Music Group. Attendance figures varied yearly, peaking in the 2010s with tens of thousands of trade visitors including buyers from chains like Thomann, retailers from Musical Instrument Professional networks, and international delegations from countries such as United States, Japan, China, United Kingdom, and Italy.
Programming combined product launches, press conferences, masterclasses, and live performances featuring session musicians, endorsing artists, and orchestras. Masterclasses and clinics involved artists linked to brands—examples include guitar clinics with artists associated with Eric Clapton-endorsed gear, keyboard demonstrations tied to Rick Wakeman-style virtuosos, and drum workshops reflecting techniques from drummers linked to Ludwig Drums and Zildjian. Symposiums addressed topics with speakers from institutions such as the Royal Academy of Music, Berklee College of Music, and trade publications like Music Week. Competitions and award presentations sometimes intersected with events such as the PRS for Music initiatives and local cultural programming by Stadt Frankfurt am Main.
As a major meeting point for procurement, networking, and trendsetting, the fair influenced supply chains involving manufacturers like C.F. Martin & Company and component suppliers across China and Germany. Deals concluded at the fair affected wholesale flows through distributors such as GAK Music and retail chains like Guitar Center. Economic impact studies by regional chambers like the IHK Frankfurt am Main highlighted hotel occupancy, tourism revenue, and ancillary sectors such as catering and transport including Frankfurt Airport services. The event also provided a platform for mergers, licensing agreements, and technology partnerships involving companies like Avid Technology and software developers in the digital audio workstation market.
Held at the Messegelände Frankfurt complex, the organisation was managed by Messe Frankfurt with coordination among city authorities, trade associations, and industry bodies. Hall allocations, logistics, and press accreditation followed protocols similar to other international fairs such as Mobile World Congress and IFA (trade show). Collaboration with cultural institutions like the Oper Frankfurt and local conservatories supported outreach programs, while security and customs procedures engaged agencies including Bundespolizei for international shipment processing.
Critics pointed to declining exhibitor numbers and competition from shows like the NAMM Show and regionally focused events in China and Shanghai as factors reducing relevance. Exhibitor complaints involved high stand costs, scheduling conflicts with retailers like Thomann and supply-chain issues exacerbated by geopolitical tensions involving United States–China relations. Debates over artist payment, sponsorship transparency involving major brands, and environmental concerns about travel and logistics prompted scrutiny from advocacy groups and local media outlets such as Frankfurter Allgemeine Zeitung and Der Spiegel. The eventual suspension of large-scale editions after 2019 sparked discourse among trade associations, exhibitors, and municipal stakeholders about the future of international music trade fairs.
Category:Trade fairs in Germany Category:Music industry events Category:Music in Frankfurt am Main