Céline Dion's concerts in Paris are bringing in a substantial amount of money, but industry professionals say the profits from ticket sales aren't benefiting the music sector itself. The concerts are seen as a major source of revenue, boosting tourism, local businesses, and merchandise sales. Céline Dion's residency near Paris is expected to generate about four million euros in ticket taxes by the end of 2026. However, this money is going to the state rather than being reinvested in the music industry, which is a concern for many in the sector. Aurélie Hannedouche, director of the Syndicat des musiques actuelles (SMA), noted that ticket sales have increased by 60% between 2019 and 2024. However, this increase means more money is being paid into the state's general budget, rather than supporting the music industry. A 3.5% tax on each ticket is expected to bring in between 72 and 74 million euros by the end of 2026. However, the state has set a cap on this tax. Any amount above a certain threshold is automatically taken by Bercy, the French finance ministry, which captured about six million euros in 2024 and nearly double that in 2025. This year, projections suggest that the cap, set at 58 million euros, will be exceeded by about 14 million euros, with four million of that coming solely from Céline Dion's concerts. As the finance bill approaches, expected to be presented in early October, the music industry is calling for the abolition of this cap. According to the association Tous pour la musique, the current situation unfairly burdens the music industry, diverting funds from a system designed to support the sector. Industry professionals argue that the tax should be used to support smaller players in the music industry, rather than being captured by the state. Aurélie Hannedouche of the SMA suggests that if the money wasn't captured by Bercy, it could be used to help festivals adapt to climate change, especially after a summer of extreme heat. The National Music Center (CNM), a public institution, redistributes part of the tax to concert producers to encourage risk-taking, such as promoting less developed artists, while the rest funds selective aids to support the emergence of new stars and sector modernization. However, as ticket sales increase, the amount that the CNM must return to producers also increases, even though part of the tax escapes it. This could lead to a shrinking budget for sector-specific support. A Senate report published in July warns that without change, the CNM might reach a point where it can no longer provide any selective aid. Fabrice Roux, president of La Scène indépendante, argues that without a redistributive system, the industry could collapse. The Ministry of Economy and Finance defends the regulation, saying it prevents the CNM's resources from exceeding the sector's needs. Music professionals, however, advocate for a model similar to the National Center for Cinema and Animated Image (CNC), where taxes fund "French cultural exception."