The transformation of Marseille is nothing short of dramatic. Once synonymous with the 20th-century “French Connection” heroin trade – the Corsican mafia-run smuggling ring that shipped nearly 90% of US heroin through its port – the city has reinvented itself as a center of art and tourism. By 2013, Marseille had mounted a €660 million cultural renaissance that sought to reverse decades of negative reputation. The European Capital of Culture program provided the catalyst. As an official report noted, MP2013 “generated considerable media coverage” and began to challenge old perceptions – “for the first time, Marseille [was] seen as a major cultural destination”. Over the year, more than 900 events took place, drawing well over 11 million visits to the region. Tourism spiked accordingly: roughly 2 million additional visitors arrived in 2013, yielding about €500 million in economic benefit. Major international outlets responded, with The New York Times naming Marseille the #2 global “place to visit in 2013” (behind only Rio). In short, Marseille’s bold pivot toward culture and infrastructure left an imprint far beyond its own shores, marking a milestone in urban renewal that planners and travelers examine even now.
In the mid-20th century, Marseille earned a grim epithet: a hub for heroin smuggling. The so-called “French Connection” began in the 1930s, when Corsican gangsters Paul Carbone and François Spirito first linked Middle Eastern opium fields to American addicts, using Marseille’s bustling port as a hideout. The trade only grew: by the late 1960s, an estimated 40–44 tons of pure heroin per year were being shipped through the city, supplying up to 80% of U.S. consumption. Mid-century Marseille thus earned a high-crime cachet that Hollywood immortalized in the 1971 film The French Connection (depicting a real drug bust). In local memory and foreign press, Marseille came to represent “crime [and] corruption” – even the 1981 film Les Chiens opened with newsreels of Marseille’s heroin saga.
By the 1970s and beyond, Marseille had a reputation for decay. Observers describe it as “rundown, unsafe and sleazy” in some quarters – a place often singled out in Parisian media as France’s urban pariah. High-profile crimes and the legacy of French Connection trafficking cemented this stigma into the 21st century. For years local officials wrestled with this image, even as they laid groundwork (infrastructure improvements, Olympics bids, etc.) to lift Marseille out of its malaise.
Despite these challenges, Marseille’s past also left deep cultural roots. Its mix of immigrant communities (Italian, Armenian, Maghrebi, etc.) and working-class port neighborhoods fostered a gritty artistic scene – including a legendary hip-hop culture centered in the northern districts. Yet by the early 2000s, outsiders saw only the crime headlines, not the street murals and music of Marseille. The 2013 cultural campaign was in many ways a response to the city’s checkered image, an effort to let the creative side shine.
Marseille’s cultural pivot truly began in 2004, when city leaders launched a bid for the European Capital of Culture title. The idea was to open up Provence’s rich heritage and rewrite Marseille’s narrative. By assembling a coalition that included Aix-en-Provence, Arles, and nearly 100 communes, the region presented a united vision of southern French culture. In September 2008, a national jury shortlisted Marseille; months later, in March 2009, the European Union officially designated Marseille (along with Košice, Slovakia) as the 2013 European Capital of Culture.
Securing the title was both political and popular. Outdoing rivals like Lyon and Toulouse required mass public support (referendums were held in Provence) and the advocacy of local figures. For example, Jacques Pfister – the influential president of the Marseille Provence Chamber of Commerce – became the campaign’s booster-in-chief. Ultimately, a panel of cultural experts recommended Marseille in late 2008, and EU ministers ratified the choice the following spring. The official designation set the stage for four years of planning, design, and massive investment.
The European Capital of Culture (ECoC) program itself dates to 1985, when Greek culture minister Melina Mercouri convinced the EU to highlight cities across Europe through cultural festivals. Athens became the first “Cultural Capital” in 1985; since then more than 40 cities have hosted the event. The goals are clear: build European unity through shared heritage and strengthen cities through arts-led development. Past examples (e.g. Glasgow 1990, Lille 2004) have shown huge economic returns – some estimates suggest Lille generated up to six times its investment through tourism and regeneration. While ROI varies, the program consistently requires heavy public-private funding. Indeed, Marseille-Provence 2013 budgeted about €100 million to stage events, while another €600+ million flowed into new cultural infrastructure.
Several factors explain why Marseille ultimately won the 2013 title. First, political will: the bid had support from the national government, the regional council of Provence-Alpes-Côte d’Azur, and key business leaders. Second, inclusivity: unlike isolated city-bids, Marseille’s proposal spanned the entire Provence region. (Neighboring Aix-en-Provence joined the campaign, sharing venues and funding.) Third, ambition: Marseille promised a multi-year program with hundreds of projects, far beyond a one-city showcase.
In the final EU evaluation, judges praised Marseille-Provence for tapping both ancient legacy and modern creativity. They noted the renaissance narrative – turning a gritty port into a “capital of diversity” – and believed the region could effectively engage residents and visitors alike. In short, the Marseille bid was cast as “a project of (re)birth,” one that spoke to Europe-wide themes (migration, trade, Mediterranean ties) while addressing local needs. The expert panel’s report confirmed it: by early 2009, Marseille’s turn was secured.
The Capital of Culture title unlocked vast investment. By some accounts, public and private spending on MP2013 infrastructure exceeded €600 million. This funded new venues, renovated heritage sites, and urban upgrades. Key projects included the creation of world-class museums and the overhaul of Marseille’s historic Old Port (Vieux-Port). For Marseille, these physical legacies became symbols of its transformation.
The flagship is undoubtedly MuCEM (Musée des Civilisations de l’Europe et de la Méditerranée), inaugurated in June 2013. Perched on the J4 quay beside the medieval Fort Saint-Jean, MuCEM is “the first national museum opened outside of the Paris region,” celebrating Mediterranean cultures. The building’s rugged concrete lattice was designed by architect Rudy Ricciotti to mirror fort walls; its twin structures (J4 and Fort Saint-Jean) are linked by a skywalk. Inside, MuCEM merged a collection of folk art (transferred from Paris) with rotating exhibitions on Mediterranean history and society.
The impact was immediate. Visitor numbers skyrocketed – official figures report roughly 1.9 million visits in MuCEM’s first eight months. (This was part of a total ~5.5 million exhibition visits during MP2013.) The museum’s appeal lay in its dramatic architecture as much as its contents. From the waterfront esplanade to the panoramic rooftop, MuCEM instantly became a must-see. Its opening was celebrated with fireworks and light shows flooding Fort Saint-Jean’s courtyards. As one architectural critic put it, MuCEM’s emergence signaled “a concrete renaissance” for Marseille’s museography.
No Marseille renovation was more symbolic than the reimagining of the Vieux-Port, the city’s ancient harbor. For decades the quay had been choked with traffic and parking lots, cutting it off from sea access. In 2013, the capital program funded a complete reorganization: all cars were rerouted underground, and barriers blocking the water were removed. The result was a vast pedestrian plaza along the docks.
Architect Sir Norman Foster contributed the crowning touch: the Ombrière, a reflective steel canopy over the northern basin. Dubbed the “magic mirror,” this canopy with its mirrored roof defines the port’s skyline. At night, it glints gold with sunset and the city lights. The renovation has doubled the open space around the old fish market and historic quays, making it “one of the largest pedestrian areas in Europe”. Locals can now stroll freely from the sea to the Hôtel de Ville, something unthinkable a decade earlier.
Marseille’s coastline also saw other architectural statements. Just east of MuCEM, the Villa Méditerranée (designed by Stefano Boeri) emerged as an “inverse-L” visitor center hovering over water. Its concrete overhang creates a dramatic frame for the sea. Nearby, the Fonds régional d’art contemporain (FRAC) by Kengo Kuma added a black-and-white modernist gallery space on the Joliette docks. Even older sites were revamped: the former tobacco factory Friche Belle de Mai in the city’s north was expanded with a new panoramic tower (the Tour-Panorama) to host additional studios and exhibits.
Another notable project was Pavillon M, a temporary steel-and-glass pavilion in the city center. Built at Place Bargemon, it served as MP2013’s information center and performance venue, housing offices and events. (Pavillon M cost some €5 million, even though it wasn’t in the original budget, but it helped centralize programming and publicity in the city core.)
These building projects were underpinned by data. The official “Key Figures” report tallied over 900 cultural events, a €100 million operating budget (public+private), and more than €600 million in new construction/renovations. The chamber of commerce later confirmed the festival’s broad effect: about 11 million total visits to events and institutions, leading to roughly €500 million extra spending in the region. In plain terms, every euro invested in infrastructure returned many multiples in economic activity.
The €600M+ total investment spanned dozens of projects. Public reporting breaks it down roughly into €100M operating funds (for programming) and €500M capital works (new or renovated facilities). For example: MuCEM itself cost on the order of €120M; the Fort Saint-Jean retrofit and footbridge a similar amount; the Villa Méditerranée tens of millions; Old Port works and promenades at least another €50M. Private contributions were also substantial: e.g. the Camp des Milles memorial (a restored WWII site) was largely funded by philanthropic and departmental grants rather than MP2013 funds. (This complex of exhibition halls and gardens now commemorates those interned there during the war.)
A telling statistic: by one estimate the effort generated a €500M economic benefit (tourism and jobs) and over 2,800 full-time jobs in 2013. These figures came from the region’s chamber of commerce, reflecting accommodation, transportation, dining, and all the spending from visitors. In short, Marseille spent big and, according to economists, got big results.
With the stage set by infrastructure, 2013 itself erupted in cultural spectacles. The city christened its new era with a two-day opening festival in mid-January. The ceremonies (January 12–13) were held simultaneously in Marseille, Aix-en-Provence, and Arles, featuring art installations and performances across the territory. In Marseille’s center, car traffic was halted and streets were turned into performance zones. A highlight was “Place des Anges”: hundreds of thousands of feathers were dropped from cranes onto crowds below, creating a surreal snowy scene over the harbor. Notably, Prime Minister Jean-Marc Ayrault, EU Culture Commissioner Androulla Vassiliou, and even José Manuel Barroso (President of the European Commission) attended the Marseille launch, underlining its European importance. Organizers estimated 600,000 people in Marseille alone took part in the weekend’s festivities, spread across multiple events and venues.
The Entre Flammes et Flots (Between Flames and Waves) show followed in February. On the first weekend of the refurbished port, artist Carabosse lined the quays with thousands of flaming torches that danced on the water – a visual metaphor blending Marseille’s maritime heritage with elemental fire. The official attendance estimate was about 400,000 visitors that night.
One of 2013’s most talked-about events was TransHumance, staged in late spring. This rural tradition (moving sheep between pastures) was brought dramatically into the city. Over three days in May–June, more than 3,000 sheep were herded along Provence’s roads and through Marseille’s streets, culminating in a joyous arrival at the Vieux-Port. Villagers in shepherd garb accompanied the flock, which passed beneath the elevated roadways and through once-neglected neighborhoods. Estimates suggest over 300,000 people watched TransHumance along the route – a testament to how even a rustic ritual could capture urban imaginations. Photos from the event (sheep grazing by Notre-Dame de la Garde, or crossing Avenue du Prado) became iconic images of MP2013’s playful side.
Other standout programs included an Industrial Night in Martigues (art and light installations in factories) and a new long-distance hiking trail called GR2013 – a 365 km Grande Randonnée loop around the city and region. The “GR2013” trail literally mapped Marseille’s diverse landscape, from coastal bluffs to suburban hills, emblematic of the project’s breadth.
Marseille-Provence 2013 also drew some of the decade’s largest art exhibitions in Europe. At the Grand Atelier du Midi (staged at the Marseille Beaux-Arts Museum and Aix’s Musée Granet), classics by Cézanne, Van Gogh, Bonnard and Provencal masters anchored a narrative of southern French art. This blockbuster show alone drew ~460,000 visitors. A parallel retrospective at the J1 hangar examined Le Corbusier’s work in Marseille (and France) – a fitting nod, since Corbusier had studied urban solutions for Marseille (and is buried nearby in Roquebrune).
Meanwhile, the Camp des Milles (an internment camp near Aix) reopened as a sprawling memorial and museum. Its renovation was one of MP2013’s most poignant legacies: the former barbed-wire site now hosts exhibitions on creativity under oppression, resonating strongly in contemporary discourse (some of the artists interned there included Vercors and Max Ernst). The camp’s reopening drew thousands, adding a solemn, historical dimension to the cultural year.
The raw statistics underscore MP2013’s scale: official reports put total attendance at ~11 million visits across all events and venues. Breaking it down, about 1.8 million participated in flagship events (opening weekend, Entre Flammes et Flots, Transhumance). Exhibition halls saw ~5.5 million visits (including MuCEM’s 1.9 million and Grand Atelier’s 460k). This surge contrasted with previous years, when Marseille rarely topped a million visitors.
Media coverage also multiplied: an EU report notes MP2013 “generated high levels of awareness among the general population” and significantly expanded Marseille’s image. Internationally, the city’s profile shot up – in 2013 it was listed among Condé Nast’s global “hot spots” and even Wallpaper magazine proclaimed Marseille one of the world’s Best Cities 2014. Crucially for the local economy, the Chamber of Commerce documented that the cultural year “generated roughly €500 million in economic benefits” and created about 2,800 full-time-equivalent tourism jobs. In other words, Marseille did not just stage a fun festival; it triggered a broad urban uplift with measurable outcomes.
No grand transformation is without tension. As MP2013 unfolded, a few stubborn truths reminded observers that not everyone shared the celebratory mood.
Opposition found a voice in Keny Arkana’s protest song “Capitale de la rupture” (Capital of the Rupture). In it she paints MP2013 as a government project that “empties” working-class areas and sidelines the very people whose neighborhoods it purports to celebrate. The “Quartiers Créatifs” (Creative Neighborhoods) initiative, aimed at bringing art to underprivileged districts, actually stoked fears. Longtime residents and activists charged that the project was a thin veil for gentrification. There were reports of eviction notices and rising rents in some north-end areas following art interventions. A sociologist’s study even found many poor neighborhoods remained largely uninvolved in MP2013, as if the cultural year was something happening to them, not with them.
These criticisms shaped public debate. Some local associations organized alternative “Off” events to spotlight grassroots artists, ensuring Marseille’s vital graffiti, rap, and immigrant communities had outlets. (In fact, the year saw the first-ever “MP2013 OFF” festival, a resident-driven program running parallel to the official agenda.) The tension highlighted an unavoidable issue: the city’s makeover risked overlooking the very culture that made Marseille unique.
Rap music was perhaps the most concrete cultural gap. Marseille is widely regarded as France’s hip-hop capital, home to IAM, Fonky Family, and dozens of influential artists. Yet hardly any local rappers were in MP2013’s official lineup. Akhenaton’s public rebuke came after he saw American acts (Mos Def, Wu-Tang Clan) headlining a local festival, with not a single prominent Marseille MC invited.
EU critics noted this as well: in 2012 the Euro-level committee overseeing Capitals of Culture commented that Marseille’s program skewed heavily toward “high culture” at the expense of popular forms. For many Marseillais, the sight of international stars on subsidized stages (and domestic hip-hop left on the cutting-room floor) made the city’s new image seem curated for outsiders rather than locals. The irony was not lost: after loudly shedding the “drug hub” label, Marseille seemed content to suppress another authentic label, that of its street music. This controversy lingered even as exhibitions opened, reminding planners that culture is not just architecture and orchestras, but the songs on street corners.
In early 2013, a local watchdog group uncovered a flashpoint: the city had allocated €400,000 in public subsidies toward a profit-making David Guetta concert at Parc Borély. For a government already spending millions on culture, funding one of France’s biggest pop DJs struck many as tone-deaf. Critics – from local music promoters to student activists – seized on the episode as proof that MP2013’s priorities were off. The Marsactu news site reported that the subsidy was “proof that MP2013 was promoting established international artists as opposed to investing in local culture”.
The public uproar was swift. Under pressure, the concert’s permits were revoked and the subsidies rescinded – Guetta ended up playing a free, un-subsidized show on short notice. This episode was a rallying cry for those who felt the cultural capital was being “given away” to glitzy events rather than grounded in Marseille’s own creativity. In the end, it cost the city little financially (it was only money on paper), but it damaged trust. The “Guettagate” scandal became shorthand for debates over whether MP2013 was serving tourism hype or community needs.
A decade later, what remains? The verdict on Marseille’s cultural transformation is broadly positive – but with caveats.
By all accounts, Marseille’s image shifted substantially. Soon after the capital year, global publications celebrated Marseille’s renaissance. In early 2013 The New York Times ranked Marseille as the second-best travel destination of the year (behind only Rio de Janeiro). Wallpaper magazine named Marseille one of the “Best Cities of 2014,” praising its vibrant street life and newly pedestrianized waterfront. In the UK, the Academy of Urbanism awarded Marseille “European City of the Year 2014” for its urban innovation and community-led projects. Even the term “Marseille-bashing” fell out of style as journalists swapped crime statistics for travel tips.
These honors reflect a new narrative: Marseille is no longer Europe’s underdog port city, but a can-do example of urban reuse. For many armchair travelers and planners, it became a case study in leveraging culture as development. EU evaluators noted that Marseille succeeded in “elevating the city’s international profile” while reviving civic pride. Indeed, a local newspaper in 2013 headlined: “From Europe’s Riffraff to Cultural Capital – The Marseille Miracle?”
Many physical changes persist. MuCEM remains open and thriving: as of 2025 its courtyard and exhibitions continue to draw visitors, while its café and bookshop bustle. Fort Saint-Jean’s bridge to MuCEM has become a favorite stroll and photo spot (often seen in city postcards). The Vieux-Port is still largely pedestrianized: motorboats dock behind a new electric ferry launch, and Norman Foster’s Ombrière stands unchanged over the water. (The only controversies now are debates about how to best use the open space, not how to access it.)
At street level, the “red carpet” project – new bike lanes, pedestrian zones, and tram lines – has reshaped how residents move. The tramway now runs along the old quays, bringing suburban commuters into the harbor that used to serve only freighters. Many of the MP2013-era art installations (flame sculptures, etc.) were dismantled after the year, but some public artworks – mosaics, murals, light sculptures – remain as part of Marseille’s modern landscape.
Cultural institutions built or boosted by 2013 are still major draws. Besides MuCEM, the Villa Méditerranée occasionally hosts conferences, and La Friche Belle de Mai functions year-round as an artist complex (the expanded Tour-Panorama tower is now a cafe and exhibition space). The Darius Milhaud Conservatory (opened 2013) has nurtured young musicians from the Mediterranean. In short, the city’s cultural engine hasn’t shut off; it has new cylinders.
However, some planned benefits proved temporary. The “off” festivals have mostly faded; local artists complain that major funding remains tied to national projects rather than grassroots culture. And a few renovated sites struggled: notably, the J1 hangar (with its Le Corbusier expo) saw intermittent use afterward, and long-term programming there is still unclear. The bigger question: has Marseille avoided the “post-Expo decline” suffered by some past Capitals? On balance, urban planners say yes – the key infrastructure (port, museums, plazas) remains in use, and many smaller projects have fed into ongoing community events.
Concerns about safety linger, but data paint a nuanced picture. Marseille does still have higher violent crime rates than many European cities. In 2023 Marseille recorded 48 homicide victims, most linked to gang conflicts in certain suburbs. By one measure (Numbeo), the city ranks among the highest in Europe for crime – but analysts caution that such figures often reflect perception more than pure data.
Official French police statistics suggest that, on a per-capita basis, Paris, Lille, Lyon and other major cities actually report more common crimes (burglary, violence, etc.) than Marseille. One local study even noted that feeling “under siege” is partly a social phenomenon: 85% of Marseillais say they feel unsafe some of the time (compared to far fewer in Paris), possibly because violence is so intensely covered when it occurs.
For visitors, the consensus is this: normal precautions suffice. Tourist neighborhoods – the Vieux-Port, Panier, Prado, and higher-end hotel districts – are generally safe and heavily policed. Pickpockets and petty theft exist (as in any big city), but violent crime rarely touches casual sightseeing. Some practitioners advise being cautious around the train station and certain working-class districts (Noailles, Belsunce) at night, but even there “danger” is exaggerated. As one local blog puts it, “Contrary to popular belief… walking around Marseille is no more risky than walking around Paris, Barcelona, Rome, or other major European metropolises.”
In practical terms: visitors should avoid ostentatious displays of wealth, be aware of pickpockets in crowds, and ask hotel staff about any areas to skip. It’s also wise to stay alert on metro lines after dark (a few nighttime crimes have occurred on trains). Yet many travel writers emphasize that Marseille is lively rather than lawless – nightlife venues operate late, cafes stay open along the harbor, and families frequent the port at all hours. Seasonal notes apply: summer brings cruise tourists in droves, which crowds streets, whereas winter is quieter (even cold by Mediterranean standards). Weather-wise, Marseille is generally safe outdoors, though the mistral wind (when it blows) can upend sailing and necessitate waterproof jackets.
Marseille’s story holds lessons for any city wrestling with a troubled image. First, culture can be an economic engine if wielded strategically. The roughly 6:1 (or higher) return on investment seen in Marseille’s case echoes findings from places like Lille. It shows that transforming empty quays and dilapidated buildings into creative spaces encourages tourism and private development. But this requires consensus among government, business, and residents – Marseille’s bid succeeded because regional leaders aligned behind it. Planners elsewhere note that no one wins this game solo; Marseille’s unity with neighboring towns was critical.
Second, sustained programming matters. A common pitfall is to host one big festival and then let sites rot. Marseille avoided this by ensuring the Museums and parks have year-round uses. Continuing the cultural calendar (with annual or rotating exhibitions) has kept the momentum alive. Cities should similarly pair one-off investments with permanent institutions (as Marseille did with MuCEM).
Third, balance ambition with local roots. Marseille’s controversies highlight that big-budget culture must still speak to everyday people. Engaging community artists, urban youth, and minority groups in planning is not optional – it ensures legacies endure socially, not just architecturally. Post-2013, Marseille implemented more programs led by neighborhood associations in order to mend some divides. For other cities, this means pairing glossy ceremonies with street festivals and public workshops during planning stages.
Marseille’s journey from a French Connection port to a celebrated European Capital of Culture is a story of deliberate reinvention. It shows how a once-stigmatized city can leverage its past – both the good and the bad – into a richer future. The outcome is neither perfect utopia nor total makeover: Marseille still wrestles with crime and inequality, and some cultural tensions remain unresolved. But the city’s skyline, waterfront, and tourist reviews tell a powerful tale of redemption.
As of 2025, Marseille bears many scars of its history, yet it stands far along the path of a new identity. The grand experiment of 2013 proved that even a place as troubled as Marseille can rebrand itself at scale through culture, if the investment is bold and sustained. Walking its revamped harbor or exploring MuCEM’s labyrinthine galleries, one senses the confidence of a city transformed. The lessons of Marseille linger in the architecture and in the conversations sparked among locals and visitors alike. Ultimately, the world now sees Marseille not as a cautionary tale of crime, but as a paradigm of how cities can rewrite their futures – one cultural project at a time.
Must-Visit Landmarks:
Walking Routes (self-guided tours):
Practical Info:
Local Customs & Tips:
Q: What was the “French Connection” in Marseille? Marseille’s “French Connection” was the nickname for a mid-20th-century heroin smuggling network. Corsican gangs based in Marseille refined opium into heroin and shipped it to the U.S., eventually controlling up to 80% of the American supply. The 1971 film The French Connection (based on a true bust) cemented the city’s image as a heroin hub.
Q: Why was Marseille chosen as European Capital of Culture in 2013? Marseille won the 2013 title after a vigorous bid launched in 2004. Key reasons were the region’s unity (Marseille partnered with Aix, Arles, etc.), strong political support, and an ambitious plan to use culture for urban renewal. A panel of EU experts praised the bid’s scope and inclusiveness, leading to the official 2009 designation alongside Košice (Slovakia).
Q: What is the MuCEM, and why is it significant? The MuCEM (Museum of European and Mediterranean Civilisations) is France’s first national museum built outside Paris. Opened June 7, 2013, its striking concrete lattice design (by architect Rudy Ricciotti) anchors Marseille’s new waterfront. MuCEM houses ethnographic and anthropological collections, and it drew about 1.9 million visitors in its first eight months – a testament to its appeal as both a museum and a landmark.
Q: How did the Vieux-Port change during the cultural renewal? The Old Port underwent a full pedestrianization. All through-traffic was diverted, parking lots removed, and sea access barriers lifted, creating an expansive open plaza. Norman Foster’s reflective canopy (L’Ombrière) now shades part of the docks. The renovation turned the Vieux-Port into one of Europe’s largest car-free public spaces, dramatically changing how Marseillais and visitors interact with the harbor.
Q: What were the key events of Marseille 2013? Major highlights included the opening weekend (Jan 12–13, 2013) with performances like the “Place of Angels” feather drop (attended by ~600,000 people), the fire-lit Entre Flammes et Flots on the newly refurbished port (400,000 attendees), and the TransHumance (a 3,000-sheep procession through the city, watched by ~300,000 people). There were also blockbuster art shows (e.g. a Cézanne/Van Gogh exhibit with 460,000 visitors) and hundreds of concerts, plays, and street performances throughout 2013.
Q: What controversies surrounded Marseille 2013? Several. Some locals criticized gentrification of working-class areas (e.g. the “Quartiers Créatifs” project) as displacing residents. Marseille’s vibrant hip-hop scene was largely omitted from official programming, leading IAM’s Akhenaton and others to call this a “grave mistake”. Another flashpoint was a €400,000 city subsidy for a David Guetta concert, which prompted public outcry and the subsidy’s cancellation. These issues highlighted tensions between local culture and high-budget spectacles.
Q: Is Marseille safe to visit now? By 2025, Marseille’s safety is roughly on par with other large European cities. It does have a high-profile crime problem in certain neighborhoods (e.g. drug gang violence in northern districts). In 2023 there were 48 homicide victims in the city. However, crime rates per capita in tourist-friendly areas are comparable to or lower than cities like Paris or Lyon. The French government does not restrict travel to Marseille; it advises visitors to use normal city caution. As one local blog notes, “walking around Marseille is no more risky than walking around Paris, Barcelona, Rome or other major European metropolises”. Visitors should avoid carrying valuables openly, be mindful late at night (especially near the train station or dense housing blocks), but can safely explore the port, beaches, and museums during daylight.
Q: How has Marseille changed since 2013? In concrete terms, the city’s tourist economy has sustained growth. Hotels are more numerous, cruise ships regularly call the port, and tourism jobs remain above pre-2013 levels. The cultural infrastructure built for 2013 is still in use (the MuCEM and museums draw visitors, and the Vieux-Port is a bustling promenade). Culturally, Marseille now has a higher profile: it hosts regular art fairs, festivals, and new museums have opened (e.g. Musée d’Histoire de Marseille reopened in its renovated building in 2013 and continues to attract history buffs). On the social side, debates about inclusivity continue, but there is more civic engagement in cultural affairs than before. Many former skeptics admit a positive surprise: places they once avoided (the Panier or portside) feel safer and more welcoming today. In sum, Marseille’s transformation has proved durable, even as the city balances its complex legacy with its revitalized spirit.
