Sign up for IQ Index
The latest industry news to your inbox.
The annual guide to the global live entertainment ticketing business
Click the interactive map below to explore the top 40 global markets
Brazil is a huge, busy music market with multiple centres, and its ticketing infrastructure is modernising at a rapid rate.
From the city to the countryside, from state-of-the-art technology to the most unmodernised, paper-based methods, Brazil encompasses the full scope of ticketing possibilities.
While no ticketing company can claim to have full national coverage – and many provincial markets still rely heavily on paper tickets, physical outlets and telephone sales points – online-driven players are expanding fast, with likely market-leader Ingresso Rápido, for instance, operating in most significant Brazilian cities.
In the key urban centres, sophisticated, teched-up ticketing companies also include Rock In Rio ticketer Ingresso.com and self-service operator Sympla, as well as international players including Eventim, Ticketmaster, and Eventbrite, and promoter-owned sites including T4F’s Tickets For Fun and Move Concerts’ Livepass.
“We are seeing high demand this year, especially for international tours”
Ticketing can also be part of a diversified technology portfolio in Brazil. Ticketers such as Ingresso.com and Ingresso Rápido are heavily involved in the cinema ticketing business. Giants such as Movile, meanwhile, have built entire app-driven ecosystems that serve not only tickets and event management (Sympla) but food delivery (iFood), payments (MovilePay and Zoop) and children’s streaming content (PlayKids).
The potential of this fast-evolving, increasingly tech-savvy market is not lost on big business. In August 2021, Movile received a BRL $1bn (€200m) funding injection from technology investor Prosus. In December, Brazilian content, technology, and digital services giant UOL announced an agreement to buy 20-year-old Ingresso.com from its US-based parent Fandango.
In 2019, Brazilian ticketing firm Ingresse secured BRL $90m (€17.6m) in a funding round to launch an investment fund for the live event business. The digital party-ticketing company says it wants to launch banking solutions to help event producers. The platform largely caters to events such as music festivals and parties, and offers solutions ranging from ticket sale and customer analytics to access control at turnstiles.
DISTRIBUTION OF SALES
The market is galloping in the wake of the pandemic. “We are seeing high demand this year, especially for international tours,” says Eventim Brazil CEO Jorge Reis. “Growth has clearly been above 2019 levels, and we expect this trend to continue over the next twelve 12 months.”
Digital transformation is accelerating, too. Ingresse CEO Gabriel Benarrós estimates that ticket sales through digital channels have risen from about 10% to 50% in the past decade, though there is more to do. “There are still a lot of events outside the capitals, in the countryside, outside the mainstream,” Benarrós told a Brazilian business magazine. “There is still a lot of migration to be done online.”
“Growth has clearly been above 2019 levels, and we expect this trend to continue over the next twelve 12 months”
A survey carried out this year by Abrape and start-up support service Sebrae revealed that 47.1% of event companies use virtual ticket sales, representing an annual turnover of BRL $601m in transactions through digital platforms [Brazilian Association of Event Promoters].
This year, for what is claimed to be the first time at a Brazilian music event, September’s Rock In Rio and ticketing partner Ingresso.com deployed digital ticketing with NFC technology integrated into festivalgoers’ Google and Apple Wallets.
For the April on-sale, the festival’s website drew a million- strong online queue for tickets for this year’s event – with headliners including Coldplay, Guns N’ Roses, Dua Lipa, and Post Malone – and used Queue-it to manage the waiting room.
VALUE OF MARKET
In ordinary times, the events and entertainment sector is responsible for around 4.5% of total Brazilian GDP, or BRL $314.2bn in annual revenue [source: Abrape]. Of course, it was heavily impacted by the new coronavirus pandemic, losing around 75% of that revenue in 2020 and 2021.
Selling above face value is illegal in Brazil, but plenty of it still goes on, wherever demand for tickets is high.
INTERNATIONAL / DOMESTIC SPLITS & GENRES
Brazil remains a domestically driven live market – especially in the regional cities. So while English-language music is on the way to reclaiming its 5-10% piece of the pie, the majority of Brazilian shows are by Brazilian artists playing music including funk carioca, samba, sertanejo, MPB, forró and pagode, with Latin American next in line.
Google Duplex is working in Brazil and has partnered with Ingresso.com to trial ticket sales directly through Google search.
TAXES & CHARGES
In 2019, Brazil’s Superior Tribunal de Justiça (STJ) judged that the convenience fee charged by companies that sell tickets online is unlawful. The case against online fees is ongoing.