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When it comes to the live market in Italy, it’s fair to say that two corporate giants dominate the landscape – Eventim and Live Nation. The former includes promoters Vivo Concerti, Di & Gi, Vertigo, and Friends & Partners, covering a wide variety of old and new Italian acts alongside prominent international artists; the latter tend to work with A-list superstars and huge stadium and arena shows, such as Coldplay.
But there is also a number of independent promoters, chief among them Trident Music (which handles Italian stars including Sethu, Jovanotti, Sfera Ebbasta, and Tiromancino), Claudio Trotta’s Barley Arts, and All Things Live (the former Milan-based independent Radar Live), who handle Idles, Bonobo, and Kamasi Washington. Then there’s MC² Live, who mainly promote rock and metal shows; they were behind Rammstein’s recent 60,000+ sold-out show in Reggio Emilia, as well as Marilyn Manson’s forthcoming February 2025 show in Milan.
Touring in Italy offers great potential – and the market remains buoyant – thanks to its rich cultural heritage and enthusiastic audiences, but there are still many challenges facing promoters and touring productions. Chief among these is Italy’s infamous bureaucracy. “Obtaining the necessary permits and licences for events can be time-consuming, because we also have to navigate local regulations that vary significantly from one region to another,” says Di & Gi CEO Mimmo D’Alessandro. This is doubly true when using a historical site as a venue.
“Lately, the music market in Italy is dominated by Italian artists, who enjoy a strong local fanbase and cultural connection.”
And, he adds, “Lately, the music market in Italy is dominated by Italian artists, who enjoy a strong local fanbase and cultural connection. This makes it harder for international artists to compete and gain visibility – they can require more targeted and intensive marketing efforts to attract audiences.”
“The biggest challenge is the lack of proper venues, both at club level and arenas,” says Fabrizio Pompeo, MD of All Things Live, adding that many cities do not have suitable infrastructure. And, as elsewhere, inflation and rising costs are becoming problematic. “This post-Covid increase has impacted daily operations, leading to a significant rise in ticket prices. This naturally prompts the public to make more thoughtful decisions when purchasing,” says Andrea Pieroni, CEO of MC² Live.
When it comes to successful artist building, the modern approach of posting consistent and creative content on platforms like YouTube, TikTok, and Instagram is key to building a loyal fanbase. But, says Pieroni, so too is “understanding the local culture and preferences – this can be partnering with local influencers, leveraging regional social media platforms, and engaging in community events.”
The most efficient way for an international artist to build a career in Italy is by playing live and choosing the right venues,” says D’Alessandro, adding that playing the many Italian music festivals, with their large audiences and extensive media coverage, makes them ideal for building fanbases.
“Young artists are increasingly exploring and blending traditional Italian sounds with contemporary influences, creating a dynamic and evolving music landscape.”
The increase in popularity of such festivals – like Di & Gi’s Lucca Summer Festival and La Prima Estate – is part of what D’Alessandro sees as a “growing demand for live experiences and tourism growth. These post-pandemic months have seen a noticeable increase in the value people place on live experiences, leading to higher attendance and a willingness to spend more on tickets. And the major influx of tourists we are experiencing offers a new and expanding audience for promoters to target.”
MC² Live also launched a new festival this year, Metal Park, one Pieroni expects to grow, and coupled with a vibrant and diverse national music scene, replete with a rich blend of genres and styles, points towards continued growth and optimism. “Young artists are increasingly exploring and blending traditional Italian sounds with contemporary influences, creating a dynamic and evolving music landscape,” says D’Alessandro.
And while Pompeo notes that he sees “more and more big events doing very, very well, but smaller ones struggling,” conditions remain favourable for the expansion and growth of the live music industry.