Latin music executives predict next superstar
Some of the biggest executives in the Latin music industry have shared their predictions for acts that will break through on an international level.
2022 has been a seminal year for Latin America’s homegrown superstars, led by trap reggaeton artist-come-global superstar, Bad Bunny.
With the Puerto Rican star paving the way for others, IQ asked Bruce Moran (Live Nation Latin America), Phil Rodriguez (Move Concerts) and Carlos Geniso (DG Medios) who might be following in his footsteps.
“The world is ready for a female reggaeton superstar, and in my personal opinion she might be Karol G,” Bruce Moran, president of Latin America at Live Nation, tells IQ.
“Although she is known for her work in reggaeton and trap, she does perform in other genres like sertaneja and more. Her live shows are the stuff of current legend. We think Karol G may be “the next (really) big thing.”
“The world is ready for a female reggaeton superstar, and in my personal opinion she might be Karol G”
Just yesterday (9 October), Karol G’s live legacy was immortalised after her recent $trip Love outing became the highest-grossing US tour by a female Latin act in history.
The Colombian singer-songwriter grossed US$69.9 million across 33 arena shows in North America, during September and October, according to Billboard‘s Boxscore.
The 31-year-old, whose real name is Carolina Giraldo Navarro, is represented worldwide by Jbeau Lewis and Ryan Soroka at UTA, and managed by Noah Assad who also looks after Bad Bunny.
Karol G is also the name on Phil Rodriguez’s lips, who says: “Great talent, top line management. On her next tour she will be moving up to stadium level in various markets.”
The Move Concerts CEO also gave an honourable mention to “other new artists bubbling up such as Tiago PZK, Quevedo [20-year-old Spanish rapper], Eladio Carrion [27-year-old, Grammy Award-nominated American-Puerto Rican rapper] and others that are establishing themselves at arena level such as Rauw Alejandro [29-year-old Puerto Rican singer]”.
Earlier this year, Rodriguez discussed Tiago PZK’s burgeoning career with IQ, saying tickets to see the 21-year-old Argentine rapper and singer were flying off the shelf.
“We went on sale with an arena in Buenos Aires, we sold out in a half hour”
“We went on sale with an arena in Buenos Aires, we sold out in a half hour,” said Rodriguez. “We had to announce a second date, sold that out, too. His debut album hasn’t even dropped, but he’s amazing live and we want to build on that.”
Tiago is now part-way through his 37-date Portales tour – his first-ever – which comprises a mix of arena dates in Latin America, as well as clubs in Spain, England and the US.
The rising star signed to Warner Music Latina earlier this year via a partnership with Rodriguez’s Grand Move Records label.
The Move Concerts boss manages Tiago, while Agustina Cabo, one of IQ’s 2022 New Bosses, is his personal and tour manager.
While Rodriguez and Moran are betting on younger and newer artists to break through, Carlos Geniso of Chilean promoter DG Medios is hedging his bets with more established artists.
“There are many Latin artists who will be presenting new material next year and who will be touring again with world tours,” he tells IQ. “For example, Alejandro Sanz and Pablo Alborán are always a hit in Chile and sell-out venues. They have a loyal fan base that always follows them, and they are very well-liked.
“Another very important artist is Fito Paez, who is celebrating 30 years of his most successful album “El amor después del amor” – a milestone for rock music in Spanish. In addition, urban artists are in a spectacular moment for their rising careers, and I think that’s where we have to put the eye.”
Sanz, a Spanish musician, singer and composer, has already won 22 Latin Grammy Awards and four Grammy Awards, while fellow Spaniard singer-songwriter Pablo Alborán has got five studio albums under his belt. Fito Páez, meanwhile, is a 59-year-old Argentine popular rock and roll pianist, lyricist, singer-songwriter and film director.
Read more about Latin America’s rising stars and burgeoning touring market in IQ‘s recent market report.
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Eurovision Song Contest to launch in Latin America
The Eurovision Song Contest is set to launch in Latin America, as the global expansion of the brand continues.
According to the organisers, the European Broadcasting Union (EBU), the 2022 Eurovision Song Contest generated high content views in Latin America.
Argentina, Brazil, Chile and Mexico were among the top-performing markets for non-participating nations – one of which will be selected as the host city for Eurovision Song Contest Latin America.
“Following on from the launch of the American Song Contest, and with plans underway for Eurovision Song Contest Canada next year, the European Broadcasting Union is thrilled to be now working with Voxovation on bringing the excitement and magic of the Eurovision Song Contest to Latin America,” says Eurovision Song Contest executive supervisor Martin Österdahl.
“The unique Eurovision format finds new fans across the globe every year and we can’t wait to expand”
“The unique Eurovision format finds new fans across the globe every year and we can’t wait to expand the brand in this hugely diverse part of the world.”
Eurovision Song Contest Latin America will be produced by Voxovation, the producers behind American Song Contest and Eurovision Song Contest Canada.
Peter Settman and Greg Lipstone of Voxovation’s producing team, adds: “Fans across Latin America have consistently shown up and showed out for the Eurovision Song Contest brand, and Eurovision Song Contest Latin America is the embodiment of that fervent passion, as well as a continuation of the broad vision we, the producing team, have for Eurovision as a global brand.”
The Eurovision Song Contest is the world’s largest live music event, with over 180 million people tuning in across linear and digital channels in 2022.
The contest has launched the global careers of a wide variety of artists, including most recently Italian winners Måneskin as well as Celine Dion, ABBA, Julio Iglesias and numerous others.
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Primavera Sound 2023 to be held in Barca and Madrid
The 2023 instalment of Primavera Sound will be held in two different Spanish cities across two weekends.
Next year’s festival will take place at its usual location of Parc Del Fòrum, Barcelona, on the first weekend (1–3 June).
On the second weekend (8–10 June), the festival will take place in the Ciudad de Rock (City of Rock) in Arganda del Rey, Madrid, for the first time ever.
The site, which has the capacity to hold up to 96,000 people, has hosted all three editions (2008, 2010, 2012) of the Rock in Rio Festival Madrid.
“Double site – double excitement”
Primavera has a longstanding affinity with Madrid, having hosted autumn festival Primavera Club – as well as countless international tours – in the city.
“The landing in Madrid is just the latest chapter in our long and close relationship with the city, and also the first for everything to come: for communication and connections, for the history of a Primavera Sound that in 2023 will start in Barcelona and end in Madrid that can only benefit our audience. Double site – double excitement,” said the festival organisers.
Primavera Sound has taken place in Barcelona for 20 years and has recently expanded internationally with sister events in Los Angeles, Chile, Argentina and Brazil.
The 20th-anniversary edition of the Barcelona event will take place this year in a special expanded format.
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Ticketmaster grows presence in Mexico, Chile
Ticketmaster, the world’s largest ticketer, is expanding its presence in Latin America with new operations in Mexico and Chile.
The news comes shortly after Ticketmaster parent company Live Nation acquired Ocesa Entretenimiento, the third-largest promoter in the world and the parent company of Ticketmaster Mexico.
Under the new ownership structure, Ticketmaster Mexico will transition from a licensing agreement to integrating operations with the broader organisation.
According to Ticketmaster, the move will enable the Mexican business to gain access to the company’s full suite of technology, products and services.
“”Latin America is an incredibly important live entertainment market and a core focus of our global expansion efforts”
In Chile, where Ticketmaster will launch for the first time, the initial market focus will be on increasing digital ticketing use.
Chile and Mexico are the latest markets to be added to Ticketmaster’s Latin American portfolio, which already includes Argentina and Brazil.
The company has long had a foothold in Argentina, delivering ticketing services for several venues and festivals.
While in Brazil, the company focuses on supporting Live Nation’s Rock in Rio music festival and touring business, with plans to bring its digital ticketing technology to the market in 2022.
“Latin America is an incredibly important live entertainment market and a core focus of our global expansion efforts,” says Mark Yovich, Ticketmaster president. “The region has become an important destination for global touring artists, and we have also seen significant growth in venue and festival activity over the last several years.
“Bringing Mexico into the fold and launching in Chile is such a positive way to finish off the year. We look forward to working with our strong base of partners to elevate the fan experience and further our support of the region.”
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Primavera Sound expands to Chile
Hot on the heels of news of its US expansion, Primavera Sound has announced its first Chile edition.
A co-production with Rock Stgo, the festival will be held in Bicentennial Park, Cerrillos, from 7-13 November 2022.
“The relationship between Primavera Sound and Chile comes from afar, but not only because of all the great Chilean artists who have passed through the festival,” says Primavera Sound director Gabi Ruiz. “There has always been a great relationship with Chilean institutions and, in fact, Chile is one of the countries that has accompanied us the most times in Barcelona within the framework of Primavera Pro.
“A Primavera Sound in Santiago is the best way to take that relationship to the next level and continue to create community. A Primavera Sound in Chile was therefore necessary. It had to happen.”
That the most important festival in Europe has chosen Chile as a destination fills us with pride
Earlier this week, it was revealed that the first-ever US edition of Primavera Sound will take place next year in Los Angeles, California, with headliners Arctic Monkeys, Nine Inch Nails and Lorde.
The California debut, co-produced with Live Nation, is scheduled from 16 to 18 September 2022 at the Los Angeles Historic Park.
The Chile spin-off is the latest addition to the Primavera Sound family, following the creation of sister conference Primavera Pro in 2010 and the Portuguese outing of the festival, Primavera Sound Porto, in 2012. Line-up details are still to be confirmed.
“That the most important festival in Europe has chosen Chile as a destination fills us with pride, but it is not something random,” adds Felipe Araya, general director of Rock Stgo. “It tells us about a solid national industry that has been professionalised by the hand of great local artists and top-level technicians.
“The parks that the Metropolitan Region has, under the efficient management of ParqueMet, specifically the Bicentennial of Cerrillos, given us the opportunity to hold a festival of this magnitude. That the public spaces of the country are open to deliver musical experiences like this to all citizens is one of the reasons why international festivals land with confidence in our country.”
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Q&A: Move Concerts boss details LatAm’s recovery
As markets across Latin America gradually reopen, Phil Rodriguez of Move Concerts – the biggest independent concert promoter in the region – says he’s optimistic about the region’s recovery.
Emerging from the most difficult year in live music history, Rodriguez expects the industry to come out of the Covid-19 pandemic “stronger and wiser”.
However, according to the Move Concerts boss, there are a number of obstacles that stand between Latam’s industry and a full recovery.
Below, Rodriguez outlines those obstacles, reflects on the lessons learnt from the pandemic, and addresses “the elephant in the room”…
IQ: How is Latin America’s return to business going?
PR: It’s a patchwork of different sets of rules and regulations per country so it has been a challenge to get them all aligned to have a proper tour of the region. But we’re finally getting there!
In which markets are you now able to fully operate?
Puerto Rico was able to start at full capacity (with proof of vaccination) as of August and business has been incredible. Not only have the shows been selling out, but single dates became multiples. That market came back STRONG.
What’s the deal with vaccine passports and capacity restrictions in Latam?
As noted, it’s a patchwork. Brazil is operating at 70% capacity with proof of vaccination and will open to 100% this week. Argentina will open at 100% capacity with proof of vaccination and with requirements for face masks from 16 November.
Uruguay is at 55% without vaccination and 70% with vaccination. Colombia will be at 100% capacity for vaccinated people from 16 November. Chile is currently held to 40% and in some cases 60% capacity – vaccinated and socially distanced. The expectation is to be open at 100% for the vaccinated by January 2022. Costa Rica will be at 100% as of March 2022 for the vaccinated.
“The lack of cancellation insurance for Covid is the elephant in the room for all of us”
Where has Move’s focus been since markets started to open up?
Rescheduling, booking new tours for the end of 2022 and 2023. Plus our management company and indie record label, Grand Move Records, which are both at full speed.
What opportunities do you see during this recovery period?
The chance to reinvent ourselves and look outside our comfort zone. We all had to do this during the pandemic. We should not get complacent once we return to some normalcy and forget that.
What are the challenges you’re facing right now?
The lack of cancellation insurance for Covid is the elephant in the room for all of us. The rest we can deal with but will still present a strong challenge such as inflation and devaluation of currencies – which have been hit hard by the pandemic – and the economic consequences of the lockdowns, etc.
How long do you think it’ll take for Latam to get back to pre-pandemic levels of business?
The Covid issue, in my opinion, has been both a health and political issue, unfortunately, and that has not helped us get a better picture of what is ahead of us. But if by the second half of 2022, we are not on a solid road to pre-pandemic levels, we will ALL have bigger problems to worry about. That said, I’m an optimist by nature and I think we’ll come out of this wiser and stronger!
“If by the second half of ’22, we are not on a solid road to pre-pandemic levels, we’ll all have bigger problems to worry about”
When and how do you see international acts coming back to Latin America?
In South America, we kick off with a-ha in March 2022 – Argentina, Paraguay and Brazil.
Move hosted Latam’s first drive-thru show during the pandemic. Is that a format you’ll be returning to?
Not really…we do not see the need nor demand for this any longer as live concerts startup.
What about livestreaming – is there still demand in that area of the business?
This has essentially stopped. With the return of live shows – with reduced capacities – streaming has lost its initial appeal. I’m sure it will still be a good tool to have in our toolbox for use in the future but in a different form… more related to marketing or a special event, etc.
What one thing are you most proud of doing during the pandemic?
That we kept all our team in place and did not have to furlough or lay off anyone. We all took salary cuts and weathered the storm together.
Also, our office in Bogota took the initiative and created an internet site with different content – entertainment, cooking, lifestyle, etc – that raised over US$10,000 to support the local production crews and their families in the middle of the pandemic. That was a fabulous effort that made me very proud of our team there.
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Wave of illegal concerts sweeps South America
Thousands of South Americans attended illegal, non-socially distanced concerts and parties over the Easter weekend, with authorities making arrests across the continent as national governments continue to battle the coronavirus with varying degrees of success.
South America remains a hotspot for Covid-19 – with high mortality rates in Brazil, Peru, Chile and Paraguay of particular cause for concern – though the recent unlicensed live events suggest some people are beginning to chafe under ongoing restrictions on indoor gatherings.
In the town of Turuku, in Ecuador’s northern Imbabura province, local government officials, national police and the armed forces shut down an unlicensed music festival, Killary Fest, which would have been attended by an estimated 5,000 people.
Despite dismantling the stage and confiscating much of Killary Fest’s equipment, including speakers, authorities returned on the evening of Friday 2 April to “learn that, despite the warnings, the party was starting”, reports El Comercio. When they again moved to shut down the event, police and soldiers were pelted with sticks and stones by revellers.
The incident follows months of parties, concerts and other unlawful events in Ecuador, reports El Comercio.
In Punta Arenas, the southernmost city in Chile, a local election candidate is being held by police after organising a concert in a former hospital, attended by around 100 people.
Brazilian police continue to target illegal parties, which are being blamed for the surge in Covid-19 cases and deaths
In addition to not seeking permission for the event, Juan Pablo Martinez – who is standing in upcoming city council elections – failed to enforce mandatory social distancing and mask wearing at the clandestine concert, according to prosecutor Rina Blanco.
The show “endangered public health, given the number of people in close contact, and who he invited,” Blanco comments.
A music venue in Morón, near Buenos Aires in Argentina, has been shut down for 30 days after video emerged of cumbia singer Pablo Lescano playing to a non-socially distanced audience.
The event, which many have dubbed “el recital covid” (the Covid concert), was harshly criticised by the mayor of Morón, Lucas Ghi, who says organiser Vaprisana “worship[s] mischief, deception and the violation in rules” – comparing the club unfavourably to the honest businesspeople of the city, who “adhere to the norms and protocols required by the pandemic”.
Brazilian police also continue to target illegal parties, which are being blamed for the surge in Covid-19 cases and deaths in South America’s most populous country.
The most recent brought together around 100 people – half of whom were caught not wearing face masks – in the city of Sao Paolo last weekend. According to local press, the three organisers were arrested, while the venue was fined R$190,000 (€28,000).
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Chilean live assocs form coalition to lobby govt
A coalition of Chilean live music industry professionals has presented a series of measures to economy ministers and the National Consumer Service to mitigate the damage being done to the business by the ongoing coronavirus pandemic.
Representatives from Chilean promoters’ association Agepec (Asociación Gremial de empresas productoras de entretenimiento y cultura), independent music industry body (IMI Chile), ticketing agencies including Puntoticket, Ticketek, and Top Ticket, venues such as Santiago’s Movistar Arena and the Caupolicán Theatre have drawn up a report entitled “Urgent rescue plan for the live music industry”.
The coalition calculates that the shutdown of the live industry due to coronavirus, as well as the disruption caused by nationwide protests, which began in October and halted last month amid the worsening Covid-19 crisis, could result in the loss of $250 million and 160,000 jobs in Chile’s live industry.
The proposals put forward to the Chilean government include ensuring all tickets bought for events that could not be held are valid for the rescheduled events. “This is key as it is a question of stagnated cash flow with no return in sight,” states the coalition.
Ticket refunds have been a topic of debate recently in the live industry, with associations around the world proposing ticket vouchers be offered to fans, instead of cash refunds.
Other measures include the return of tax paid in advance by individuals or companies; an extension on payments of withholding tax (WHT) – that taken from an employee’s income and paid directly from employers to the government – for the next 12 months; an extension on payments for visas or work permits for the next 12 months; unemployment insurance for part-time workers; flexibility to repurpose funds dedicated to now-cancelled events; and emergency financial relief for small- and medium-sized companies in the creative sector.
“If it carries on like this, only a very few companies are going to survive”
Agepec general manager Jorge Ramírez tells La Tercera that the collective aims to generate conditions in which the majority of shows that have been postponed can still go ahead.
“We believe that we can get through this if we find the right tools and utilise regulatory opportunities and temporary tax breaks,” said Ramírez.
Speaking to IQ last month, Carlos Geniso, president of Chilean promoter DG Medios, said that many in the country’s live business were looking to reschedule shows until the final quarter of the year. Lotus Productions’ Lollapalooza Chile, set to take place at the end of March, will now take place in November instead. Fans were able to access the online Lolla en Casa festival on the event’s original dates last weekend.
The Agepec GM also states that there must be a “greater willingness to compromise” from all parties involved, including the fan. “We are faced with a situation of force majeure here, a catastrophe that removes the responsibility for the mutual provision of services,” adding that audiences have, in general, been understanding of the disruption.
According to Ramírez , the combination of the impact of coronavirus and the protests could lead to 70% of those working in Chile’s live industry to lose their jobs.
“If it carries on like this, only a very few companies are going to survive, and it will signal the end of competition in the sector and independents.”
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Uncertainty for promoters as Covid-19 spreads in Latam
Promoters in Latin America are facing much uncertainty as shows are shut down, curfews imposed and currency values decline due to the worsening spread of coronavirus
The first case of Covid-19 was reported in Latin America in late February, in the Brazilian city of São Paulo. The virus has now spread to many other countries in the region, including Argentina, Bolivia, Brazil, Chile, Colombia, Mexico, Peru, Uruguay and Venezuela.
In the region’s biggest touring markets, quarantines are in place in Argentina, Colombia and parts of Brazil. In Chile, the government has imposed a curfew between the hours of 10 p.m. and 5 a.m, with over one million residents of its capital, Santiago, put under lockdown today (26 March).
This week, the Mexican government placed a ban on all public and private gatherings of over 100 people for the next month, as the country moved into phase two of the epidemic.
“It is still way too early to gauge the full impact in the mid and long term,” says Phil Rodriguez, CEO of Move Concerts, which has offices in Argentina, Brazil, Colombia, Costa Rica, Peru and Puerto Rico, as well as its Miami headquarters. “The first impact is that shows and festivals have been cancelled or rescheduled.”
“For now, we are rescheduling shows from September onwards assuming that is a safe bet, but this could change.”
Major festivals in Latin America affected by the virus include the Lollapalooza festival franchise, which has been rescheduled for 23 to 26 November in Argentina, 27 to 29 November in Chile and 4 to 6 December in Brazil. Estéreo Picnic, due to take place in the Colombian capital of Bogotá in March, has now moved to the start of December.
“For now, we are rescheduling shows from September onwards assuming that is a safe bet, but this could change”
Rodriguez notes that promoters’ associations in all markets have been meeting and reaching out to governments for assistance in various forms, such as “ low interest credit lines, moratorium on taxes and extensions on the time period for reimbursements on cancelled shows.”
Asked what can be expected over the next few months, Rodriguez simply replies: “I wish I knew”.
“This is a continually changing scenario that can change at any minute and has so many parts involved that any speculation is sheer conjecture,” says the Move Concerts boss. “I think we all need a few more weeks to get a better handle on the longer term picture.”
Guillermo Parra, director of international events at Ocesa, the largest promoter in Latin America, agrees that the upcoming weeks “will be crucial”.
Live Nation announced its plan to acquire a controlling stake in Ocesa Entertainment, the world’s fifth-largest promoter and the parent company of Ticketmaster Mexico, in July last year. The promoter puts around 3,100 shows a year and operates 14 venues across Mexico.
“At the moment, all gatherings have been banned – from movie theaters to concerts – until 19 April,” says Parra, “but I honestly think this will go on for longer.”
“When we wake from the virus nightmare, the economic reality will begin”
In Chile, a market which has seen heavy disruption over the past few months due to wide-spread anti-government protests, promoters are rescheduling shows to June, subject to venue availability and touring schedules, says Carlos Geniso, president of DG Medios.
On 18 March, Chilean president Sebastian Piñera declared a “state of catastrophe” for 90 days in the whole country, including a ban on gatherings in public spaces and the establishing of a quarantine and curfew. After Brazil, the country is currently one of the worst affected in the region, with 1,142 confirmed cases.
“We are trying to move as much we can to the last quarter calendar of 2020,” says Geniso, adding that the income loss for thousands of people working in the country’s live industry “will be great for a long period of time”.
The economic impact of the virus is of great concern for all in Latin America. Rodriguez states that Brazil and Colombia have been hit particularly hard by the virus, not just in terms of numbers – Brazil has reported 2,201 cases and Colombia has 378 – but rather because “the exchange rate with the dollar has skyrocketed”.
One dollar is equivalent to 5.05 Brazilian reales, up from BRL4.45 at the end of February, whereas 4,066 Colombian pesos now equal $1, increasing from COP3,460 a month ago.
In Mexico, Parra states that, between the virus and declining oil prices, “the Mexican peso has been crushed”. The Mexican currency fell to a record low against the dollar earlier this week, with $1 selling for over 25 pesos on Monday.
“When we wake from the virus nightmare, the economic reality will begin,” says Parra.
Photo: Leonardo Samran/Flickr (CC BY 2.0) (cropped)
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Protests disrupt opening of Chile’s Vina del Mar Festival
The 61st edition of the International Festival of Viña del Mar got underway last night (23 February) to a backdrop of anti-government protests, which caused delays to the opening of the event.
The festival, which is taking place until 28 February at the 15,000-capacity Quinta Vergara park in Viña del Mar, started three and a half hours after schedule due to anti-government protests that congregated around the festival site and the O’Higgins hotel.
The opening act of the festival featuring Chilean hip-hop band Tiro de Gracia and singer Jordan did not take place as planned.
The opening act of the festival featuring Chilean hip-hop band Tiro de Gracia and singer Jordan did not take place as planned
Puerto Rican star Ricky Martin was the first artist to perform on Sunday, displaying his support for the protestors and stating: “May Chile serve as the catalyst for other parts of the world, where our voices are not heard.”
A wave of protests has been taking place across Chile for the past four months, sparked by a public transport fare hike and evolving into wider demonstrations against social inequality, living costs and the country’s constitution.
The protests have caused the cancellation of many major concerts and events, with the Movistar Arena in Chilean capital Santiago closing for almost a month in October.
Other acts performing at the six-day Viña del Mar festival include Ozuna, Ana Gabriel, Maroon 5, Pablo Alborán and Mon Laferte.
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