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Rock in Rio through the ages

In part one of our deep dive into 40 years of the Brazilian festival, IQ takes a look at the history of the landmark event

By Gordon Masson on 07 Oct 2024


As one of the world’s most recognisable festival names, Rock in Rio established itself as iconic from day one – with global stars voicing ambitions to play the event after acts like Queen, Iron Maiden, Rod Stewart, AC/DC, and Yes put it on the map with a historic debut that saw more than 1.3m fans pouring into the City of Rock over the inaugural ten-day gathering in 1985.

But it did not follow the normal blueprint of a hopeful promoter taking a gamble in an effort to turn a profit. In fact, the man whose concept rewrote the festival rule book had zero background in music and little understanding of the way in which the live music business worked. But he had a groundbreaking idea and doggedly refused to take no for an answer.

“I wasn’t an expert in music, but I was an expert in communication, and there was something clear in my words, in my beliefs,” Roberto Medina recalls of his initial vision for Rock in Rio. “Communication, in my head, was more than those four tools that we had, namely, television, radio, billboards, and newspapers. It was more than that. You had to involve the consumer in a different way, perhaps adding emotion to create a different relationship with the brand, and I reckoned that a music event could achieve this. If I could bring an important investment from the communications market to music, I might be able to do something extraordinary.”

With hindsight, of course, that vision was indeed extraordinary. But Roberto and his colleagues had to convince talent agents that they were trustworthy and capable of organising a festival that could benefit the careers of their artist clients.

“There were doubts. Then Queen confirmed and there was a stampede to become part of this new and compelling venture”

“In 1984, a team of advertising executives came to London to woo us agents, managers and production personnel, encouraging us to bring our artists to what was regarded at the time as a totally untapped market,” ITB’s Rod MacSween reports on those early introductions to the Rock in Rio hierarchy. “We were all apprehensive, despite being shown footage of this beautiful land with its stunning beaches and intoxicating appeal. Could the organisers really pull off such a feat of logistics and expertise for the first time in South America? Letters of credit, really?!

“There were doubts. Then Queen confirmed, and there was a stampede to become part of this new and compelling venture.”

One of team who was in those early meetings with agents was Luiz Oscar Niemeyer, now of Rio-based promoter Bonus Track, who recalls accompanying Medina to the United States to pitch the event to artist reps.

“I was the general coordinator for the whole festival,” Niemeyer says of the 1985 event. “The first meeting we had was with Jim Beach from Queen in New York, and then we went to LA where we met several agents. I remember meeting Ian Copeland, Richard Rosenberg, Ian Flooks, John Jackson, and all those guys.

“Until Rock in Rio, Brazil was completely out of the route of the big artists. And it was very difficult, in the beginning, to convince the artists to come down. But we succeeded, and Rock in Rio mades the whole difference. It presented Brazil as a market to the whole live music industry. Before Rock in Rio, there was a lack of credibility from promoters and from production – we did not have enough equipment in Brazil. But Rock in Rio completely put Brazil on the map. And it allowed me to start doing my own projects, so it was amazing to be involved.”

Another early team member was Phil Rodriguez, now of Move Concerts. He recalls, “I came on board in late 1984. When a dear friend, Oscar Ornstein suggested to Roberto Medina I could help out with the talent booking. Oscar handled publicity for the Hotel Nacional where many artists stayed back in the day.”

“The door to touring South America was already ajar as other artists had toured before 1985, but Rock in Rio blew the door wide open”

That recommendation saw Rodriguez spearheading Rock in Rio’s main stage talent through the various editions until 2015, including “the first six editions in Brazil, the first six editions in Lisbon, plus the three editions in Madrid. Essentially, I was there at the birth of four Rock in Rios – Rio, Lisbon, Madrid & Las Vegas,” notes Rodriguez. The acts he helped secure include AC/DC, Iron Maiden, Taylor Swift, Guns N’ Roses, Ed Sheeran, The Rolling Stones, Metallica, N’SYNC, Neil Young, Sting, Rammstein, R.E.M, Britney Spears, Bob Dylan, INXS, Wham, and George Michael.

And Rodriguez agrees with Niemeyer that Rock in Rio helped to firmly establish Latin America as a viable touring destination.

“The first event brought down a multitude of music business professionals – managers, agents, production managers, – who in many cases were there for the first time. And they looked around and saw that the market was doable and had potential. The door to touring South America was already ajar as other artists had toured before 1985 – Queen, The Police, Peter Frampton, Genesis, etc. – but Rock in Rio blew the door wide open.”

RiR’s Debut
Having the imagination and skills to pull together such an ambitious festival, against the backdrop of Brazil’s fraught transition from military dictatorship to democracy, was an audacious feat – and one that required some hefty financial backing.

But Roberto reveals that for that historic first event he contacted just one sponsor. “It was the biggest brewery in Brazil,” he tells IQ. “The brand wanted, and needed, a refresh, and it was obvious to me that with a strong change in label and actions, the market would be very favourable.”

Having convinced that sponsor to invest $20m in the inaugural Rock in Rio, he recollects the brand did not even ask who was going to perform. “They made that investment because they bought a communication campaign, but then I began looking for the best acts I could find. I still do this today: I put together an extremely sophisticated communication campaign, thinking about how I can support the brands. I convince them to sponsor me throughout an experience, over multiple months, in the biggest music project in the world.”

“I lost money, but I didn’t lose faith”

Looking back fondly on that first Rock in Rio, Medina says, “What happened in ‘85 was absolutely extraordinary. I mobilised 1.5m people; I contacted the biggest bands and artists in the world; and we made the music industry in Brazil bigger and bigger. Brazilian bands had a major impact, but we also had the pleasure of launching some international bands, because the festival became a platform not only for Latin America but for the world of big acts.”

However, despite generating positive headlines around the world and becoming instantly iconic in the eyes of artists, the inaugural event – and the follow-up Rock in Rio in 1991 – were financially disastrous, even with that second festival including a lineup of Prince, INXS, Guns N’ Roses, New Kids on the Block, George Michael, and A-ha.

“I lost money, but I didn’t lose faith,” states Roberto. “It was factors external to the project that made me lose money. In the first event, there was enormous political persecution because I became well-known in the media and had nothing to do with politics. And in the second event, a big sponsor we began working with left us hanging in the middle. It wasn’t a cool corporate experience, but it was a platform. I mean, I had a brand.”

Daughter Roberta was not convinced. “I hated it,” she admits, noting that while Rock in Rio’s first two events were spectacularly successful from a fan and artist perspective, the fact that her father’s popularity worried politicians created all kinds of hazards for him personally and professionally.

Indeed, she reveals that paying back the losses on the inaugural event took Roberto close to a decade. “I was 16 when I remember seeing the last cheque for the payments that he had to make,” she tells IQ. “We’d already had Rock in Rio II, and he was still paying off the first festival. And the second one also was not financially positive either.”

She continues, “I saw a lot of things that I didn’t like as a daughter. So I didn’t actually like Rock in Rio until I turned 20. But even then, I could not understand why he wanted to do the festival again.”

“It gave a voice to those young people and causes that were looking for freedom of speech after the military regime”

While Medina himself was economically worse off, the Brazilian music industry grew by 180% in 1985 because of Rock in Rio. “It was [local] bands’ first encounter with the technology used in the United States – they didn’t yet know how to use those sophisticated light and sound desks. So that was an impressive experience for all of us here in Brazil. But we hosted 1,380,000 people in ten days, and everyone left happy,” Roberto recalls.

“That began a culture of show business and entertainment in Brazil, which, today, is more advanced than in any other country in the world. It is a small industry when compared to the US market, which is 12 times bigger than the Brazilian market in size when it comes to sponsorship investment. But Rock in Rio is four times bigger than the biggest US event.”

With knowledge of the festival’s phenomenal impact on Brazil, as a young woman, Roberta could see that her father’s ‘for a better world’ concept was important. “It gave a voice to those young people and causes that were looking for freedom of speech after the military regime, so it was hugely significant for Brazil – as was the economic impact it had on Rio, even though that had not benefitted our family.”

Describing herself as “the older sister of Rock in Rio,” Roberta was just seven years old at 1985’s first edition and recalls sleeping in the VIP area and playing with the festival’s merchandise. “By the second edition, I was 12, and the only thing I was interested in was New Kids on the Block,” she states.

Despite her misgivings about the impact of the festival on the family’s personal lives, her father’s commitment to the numerous social causes invested in by Rock in Rio helped convince her to change her mind about the event. “All this motivation made me accept the invitation to work at the festival. So, by the third one, in 2001, I was already working with my father,” she explains.

The acts that graced the bill of that 2001 edition included Sting, R.E.M., Guns N’ Roses, *NSYNC, Iron Maiden, Neil Young, and Red Hot Chili Peppers. And it was a smash success.

“Rio is the most beautiful city in the world – I love it, and I feel I must tell the whole world about the city”

Cross-Atlantic Expansion
Having turned a corner, economically, the Medinas looked to expand their organisation – which has an operating name of Rock World – overseas, identifying Brazil’s closest European neighbour, Portugal, as the ideal location. As a result, Rock in Rio Lisboa made its debut in 2004 with a star-studded bill that included Paul McCartney, Peter Gabriel, Foo Fighters, Metallica, Britney Spears, and Sting.

Explaining the decision to maintain the Rio de Janeiro branding, Roberto says, “Portugal and its governors wanted me to change the ‘Rio’ name, but I wouldn’t because it has everything to do with the energy of the city I came from. Rio is the most beautiful city in the world – I love it, and I feel I must tell the whole world about the city, thereby increasing the number of tourists, increasing revenue, and doing justice to a place that is much better than people overseas think.”

Tasked with overseeing the Portuguese offshoot, Roberta runs that side of things with her husband, Rock in Rio Lisboa COO Ricardo Acto, and bases herself between Rio and her main family home in Lisbon, where her children, Lua and Theo, attend school.

And the European-based Rock in Rio execs are doing a splendid job, because although it launched 20 years after its Brazilian namesake, Rock in Rio Lisboa clocked up its tenth edition in June this year – three months before the Brazilian event clocks up its identical anniversary.

Indeed, not only did it celebrate a landmark anniversary, but this year, Rock in Rio Lisboa moved to a new site at Parque Tejo, a greenfield location that caters for the 80,000-capacity audience but also has enough room to allow future expansion.

“The site is so beautiful and has all these different levels where we can build stages so that each has its own natural amphitheatre, overlooking the beautiful Tagus river and the Vasco da Gama Bridge,” says Roberta, noting that feedback from fans, artists, and festival staff since the June gathering has been overwhelmingly positive.

“We now have this new identity in Lisbon, and we have space to grow”

“It was so beautiful that Macklemore, in his concert at Rock in Rio Lisboa this year, said exactly what we believe: that a festival is a place where you can be yourself; where it doesn’t matter if you are black, if you are white, if you are yellow, if your religion is this or that. Everybody accepts others as they are. It’s proof that a better world is possible,” she says.

And she is palpably excited about the future prospects in the Portuguese park. “We had a lot of space that we didn’t use this year,” she reports. “And we have the whole of Europe to invite. For example, this year we had people buying tickets from 106 countries, and I don’t even know how Coldplay perform in 2022 these people found us. So we now have this new identity in Lisbon, and we have space to grow. We are going to invest a lot in inviting Europe to come to Rock in Rio Lisboa.”

For his part, Roberto comments, “Rock in Rio Lisboa has everything it takes to be more and more of an event that includes the European market as a whole, and we are already discussing this internally.”

Family Business
Such internal debates are very much a family conversation, as Roberto highlights the work of his children, Roberta and Rodolfo, in helping the development of the Rock World organisation. “This whole thing involves three people together – Roberta, Rodolfo, and me. Everyone contributes in their own way to make things work – and that goes for the entire team, which is a constellation of extremely capable people,” he says.

“Roberta grew up in the dressing rooms of Rock in Rio, so at least she won’t make the same mistakes as I did,” laughs Roberto. “Rodolfo works hard and is a high achiever. He can show all of this potential to partner brands, thus providing support for the project.”

“Millions of people had their lives touched by Rock in Rio, and that’s what we will be celebrating this year”

He continues, “It’s difficult to work with your children – it’s extremely delicate – but we get along well, we respect each other, and we contribute in different ways. I think we complement each other, so I am very well-represented by the kids, and it’s a blessing to be able to work with them: this is every father’s dream come true.”

Having worked with her father for more than 20 years, and with a daughter who is now 11, Roberta notes the difference in the generations is enormous. Noting her own obsession with New Kids on the Block back at the 1991 festival, she says her daughter “knows all the bands we book for the festival – every single one – because of the way she and her friends access social networks and how young people just access music in a totally different way.

We don’t have to introduce anything to them because they already got to know everything.”

And as Rock in Rio gears up for its 40th anniversary, Roberta addresses her extended family – the festival’s fans – with genuine affection. “Millions of people had their lives touched by Rock in Rio – they met their husbands and wives, they made their kids, and that’s what we will be celebrating this year,” she says. “At the event in Rio, we’re going to have a musical dedicated to the first 40 years, telling the story of the festival – it’s like a Broadway show: a 40-minute show that will be presented a number of times during the festival.”

 


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