The festival, which officially started on August 1, featured 3893 shows across 301 venues and welcomed performers from more than 60 countries to the Scottish capital before its final day on Monday.
Edinburgh also played host to 320 street performers from across the world, along with more than 37 local schools, charities, and community groups that took part in the Fringe Days Out scheme.
Figures released by the Fringe do not include ticket sales for the Edinburgh International Festival, the Book Festival, Film Festival, or Royal Military Tattoo, which take place at the same time.
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Festival organisers estimated that a total of 2,604,404 tickets were distributed between the festival opening and 10am on 25 August – the final day of performances.
The official number comes after some performances were cancelled after venues, including the Pleasance Courtyard and the Underbelly, had to temporarily close due to an amber weather warning for wind during Storm Floris during the opening week of the festival.
Tony Lankester, chief executive of the Fringe Society, said it had been a “joyful and exciting” month for the event, which had solidified itself once again as one of the top arts events in the world.
He said: “What is clear is that the Fringe remains the most important cultural event in the world.
“Artists remain at the heart of this joyous festival, and we’re consistently in awe of their creative work which often tackles topical issues and examines them through a creative lens.
“There are no easy answers to the challenging cost of participating in the Fringe, but we know that the will is there to explore some innovative, high impact solutions, and we look forward to advancing the many conversations we’ve begun with stakeholders and partners.
He added: “This year’s Festival Fringe has felt joyful and exciting, and we thank the artists, the hundreds of venues, promoters, producers, workers and teams that make this fantastic event happen every year.”
Themes and issues explored by artists in the 2025 programme included rebellious women to the paranormal; the apocalypse to nostalgia; queer joy to life with illness; rave and club culture to science and technology.
Alongside big names, there was also strong representation across emerging talent, those from a working-class background, LGBTQ+, and neurodiverse-led work.
