Boardmasters makes changes after 2024 crowd crush
The UK’s Boardmasters has enhanced security measures for next year’s festival after a crowd crush took place at this summer’s event.
Held in Newquay, Cornwall, from 7-11 August, the 2024 event featured acts such as Chase & Status, Sam Fender and Stormzy, backed by Courteeners, Becky Hill, The Streets, Leftfield, Tom Odell, Nia Archives, Declan McKenna, Maisie Peters, Cat Burns and Mahalia.
The “isolated incident” took place on the Superstruct-backed festival’s The Point stage on Friday (9 August) during a performance by DJ Sammy Virji, whose set was cancelled and the stage closed temporarily as a result.
The festival later confirmed that seven festivalgoers had to be taken to hospital and the council launched a formal investigation into what happened.
Boardmasters has confirmed it is boosting security personnel to “crowd and behaviour management positions” by 20% for the 2025 event
The festival’s capacity had been increased from 53,000 to 58,000 this year after its licensing application was partially accepted by the local council.
Now, Boardmasters has confirmed it is boosting security personnel to “crowd and behaviour management positions” by 20% for the 2025 event taking place between 6-10 August.
The festival will have 25 more entry lanes which organisers said would enable deeper searches of visitors’ belongings, 25% more watchtowers manned 24-hours a day, and 50% increase in high-visibility security patrols.
The festival has also brought in numerous other changes based on feedback from attendees, including an increase in the number of Wi-Fi hotspots in both the arena and campsites and a ‘chilled’ campsite with an 11 pm noise curfew. They have added that further updates will be issued in due course.
Next year’s Boardmasters line-up has not yet been confirmed.
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Italy’s C2C Festival hails biggest-ever edition
Organisers of C2C Festival in Turin have toasted its biggest-ever edition in 2024 with a record number of visitors.
The 22nd event attracted 41,000 visitors (up from 35,000 in 2023) for its third consecutive sell-out. A record 33% of the audience was international visitors from 47 countries, according to organisers.
Taking place between 31 October and 3 November, C2C comprised 32 performances across five venues including Lingotto Fiere, OGR Torino and Teatro Regio.
Renowned DJs and producers such as A.G. Cook, Bicep presents Chroma, Romy and Arca performed at the 2024 instalment.
“It was an intense edition that, in line with last year, continued the path of consolidation and evolution of the C2C Festival”
The festival also hosted a free-to-attend programme of workshops, panels, and listening sessions called C2C Talks, in association with Resident Advisor.
“It was an intense edition that, in line with last year, continued the path of consolidation and evolution of the C2C Festival,” says Sergio Ricciardone, founder and artistic director of C2C Festival.
“We are already working on preparing the next edition, while enthusiastically welcoming new ideas to develop future project possibilities, with the aim of maintaining a coherent and ongoing dialogue with the Festival community, further strengthening C2C’s status, and continuing to create wonder.”
C2C Festival was launched in the early 2000s as Club To Club, evolving from one of Europe’s most celebrated dance festivals to an internationally renowned platform showcasing contemporary music.
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WOMAD festival announces hiatus, new location
Organisers of the UK’s World of Music, Arts and Dance (WOMAD) festival have announced that it is taking a break next year before returning to a new home in 2026.
Co-founded by legendary artist Peter Gabriel, the 40,000-capacity event has been running for over four decades and has been exported to 27 countries.
The UK edition has been held at Charlton Park near Malmesbury, Wiltshire, since 2007. Organisers say that the 2026 edition of the festival will take place nearby, though an exact location hasn’t been revealed.
“To ensure that the festival can continue to thrive for years to come in our new location, we have decided to take a year off in 2025 before returning fully charged in 2026,” Gabriel said in a statement.
“WOMAD, like many festivals and events, has seen some challenges post covid and we are now engaged in the process of re-evaluating, regenerating and reinvigorating everything we do – and where we want to go in the future. We’re delighted to say we’ll be announcing our new plans over the next few weeks.”
“To ensure that the festival can continue to thrive for years to come in our new location”
Over the next 12 months, WOMAD editions will be held in countries such as Australia, New Zealand and Spain. Further events in Las Palmas (Spain), Brazil and Chile are also on the cards, as well as a “special UK event” in lieu of the flagship.
“We want to send a massive thank you to all of the brilliant staff at Charlton Park who made us feel welcome for the last 17 years, pulling us out of many sticky situations (quite literally, on those rainy weekends!),” Gabriel’s statement continues. “We couldn’t have done what we did without you.
“Also, to the fabulous community in Malmesbury, Charlton, and all the surrounding villages for whom we created a few days of disruption each year. You have always responded positively and embraced WOMAD, welcoming us into your community and working with us in so many ways.
“Finally, thank you to all of the Festival-Goers, Artists, Crew, Contractors, Volunteers and Traders who make WOMAD possible, a treasure in the festival calendar and a vital contribution to bringing communities together from all over the world to celebrate diversity and tolerance through Music, Arts, Dance, and Culture.
“We look forward to welcoming you all to our new site in 2026.”
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Astroworld: Hundreds settle injury cases ahead of trial
More than 300 plaintiffs have reportedly settled personal injury lawsuits with Live Nation and Travis Scott after the 2021 disaster at the Astroworld music festival.
Ten people died and hundreds more were injured during the fatal crowd crush at the 5 November 2021 festival at NRG Park in Houston, US. In June last year, a Texas grand jury declined to indict rapper and festival founder Travis Scott, nor anyone else associated with the festival.
The civil trial over injuries suffered at the festival was due to start this week but has now been delayed until February 2025 after settlements were reached, according to the Houston Chronicle.
Now, a host of lawyers will designate another round of so-called bellwether plaintiffs to test the strength of the remaining cases.
The result of the first trial could determine how much other victims receive in future trials or settlements.
The result of the first trial could determine how much other victims receive in future trials or settlements
Scott West, who represented 9-year-old Ezra Blount, Astroworld’s youngest casualty in the wrongful deaths suits, said hundreds of cases remain.
The bulk of the cases were settled with an undisclosed lump sum Friday and earlier this month, with West saying that amounts weren’t addressed in court.
The remaining plaintiff lawyers will decide which suits will be set for trial in February.
In a recent ruling, Judge Kristen Hawkins instructed that Live Nation chief Michael Rapino could have to give evidence in person, due to having “information [that] is not available through other sources”.
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Warped Tour to return in 2025 after six years
Iconic punk rock festival Warped Tour will return to the US in 2025 after six years away.
In celebration of its 30th anniversary, the festival will hold two-day events in three different cities.
Warped Tour 2025 will visit RFK Campus in Washington DC (14–15 June), the Shoreline Waterfront in Long Beach, California (26–27 July) and Camping World Stadium Campus in Orlando, Florida (15–16 November). Two-day tickets will begin at $149.98 (€138), including fees.
Founder Kevin Lyman revealed that 70 to 100 bands will perform in each city next year, though lineups haven’t yet been revealed.
Warped Tour spent 24 years travelling around North America with acts like The Damned, Green Day, Incubus, AFI, Against Me!, Paramore, M.I.A., The Misfits and hundreds more before retiring the touring model in 2018.
There will reportedly be 70 to 100 bands on the bill in each city next year
At the time, Lyman said a range of factors – including an increasingly competitive summer festival market, a shrinking pool of available talent and declining ticket sales among the festival’s teenage demographic – had all contributed to his decision to cancel.
In 2019, Warped Tour returned with three 25th-anniversary editions in Ohio, New Jersey and California with a who’s-who of festival alumni including Blink-182, 311, Bad Religion, The All-American Rejects, Andrew W.K., Anti-Flag, Gym Class Heroes, The Offspring, Simple Plan, Bowling for Soup, Taking Back Sunday, Reel Big Fish, Less Than Jake and Good Charlotte.
Europe, Japan, Canada and Australia also got their own editions of Warped Tour throughout the decades. The event, sponsored by Vans since 1996, brought 1,700 bands to more than 11 million people.
Following the end of Warped Tour’s run, Lyman rebranded his 4Fini, which put on the annual Warped Tour events, to KLG (Kevin Lyman Group). The production and strategic branding group, KLG, continues to work on festivals and events throughout the industry.
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Dermot Kennedy plans global Irish music festival
Dublin singer-songwriter Dermot Kennedy has announced the launch of a brand new global Irish music festival, Misneach.
The 32-year-old is planning the annual celebration of Ireland’s musical heritage to coincide with the St Patrick’s Day, with the first edition set for March 2025.
Misneach, which means ‘Courage’ in Gaelic, will be held next March across two cities with strong Irish links: Sydney, Australia on 16 March and Boston, US on 18-19 March. The twin festivals promise to focus on Irish music through lineups curated by Kennedy in partnership with Ireland Music Week.
“For so many years now I have watched the St Patrick’s Day celebrations in so many different cities with a massive sense of pride,” says CAA-represented Kennedy. “I’ve always been so moved by the way Irish history and culture is celebrated all over the world. But I’ve also had the feeling that, for a country so rich in culture, I didn’t see it being represented fully in these events worldwide and I wondered, could we change that?
“With this inaugural year we hope to begin an annual tradition that will enrich the St Patrick’s day celebrations around the world with music and the arts, by showcasing some of the best new and established Irish musical talent, as well as musical talent of the Irish diaspora.
“I’ve been lucky enough to feel the love that the world has for Ireland and its music, and I’m so excited to be starting something very special”
“We will also be giving back to the communities in Ireland and the host cities. I’ve been lucky enough to feel the love that the world has for Ireland and its music, and I’m so excited to be starting something very special.”
Kennedy revealed the plans for the festival during an appearance yesterday (2 October) at Ireland Music Week in Dublin.
Featuring contemporary and traditional Irish artists, as well as participants from all over the world representing the Irish diaspora, the first edition of Misneach will see Kennedy and other major artists playing headline shows, as well as higlighting emerging local artists.
Kennedy has chosen the rising talent to be sponsored by Culture Ireland, in partnership with Ireland Music Week, with Big Love, Cliffords and Fynch selected to take part.
In Boston, a Misneach showcase at Brighton Music Hall will be held on 18 March before Kennedy headlines a multi-artist bill at the city’s TD Garden the following day. The Sydney edition will be a full outdoor festival on 16 March following the city’s official St Patrick’s Day parade. The full festival lineup will be announced shortly.
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Festival becomes first in UK to sell out for 2025
Green Man, the largest festival in Wales, has sold out in a record 60 minutes and without a single act announced.
Organisers say the 25,000-capacity, independently owned event is the first UK festival to sell out for 2025.
Tickets for the 23rd edition of the festival went on sale at 10:00 on Saturday (28 September) and were sold out by 11:00.
Green Man was also the first UK festival to sell out for the 2024 season, which it did in just two hours without any line-up announced.
The festival is set to return to the Black Mountains in the Bannau Brycheiniog National Park in Wales from the 14–17 August 2025 with a programme that spans music, comedy, literature, film, performance and installation art, wellness and science.
Green Man was also the first UK festival to sell out for the 2024 season, which it did in just two hours without a line-up
“A huge diolch [thank you] – how wonderful you are!” says Fiona Stewart, owner and managing director of Green Man.
“Thank you, your support means the world to us. We are so excited about the plans for Green Man 2025, and we can’t wait to see your faces when you join us in the magical Black Mountains of Bannau Brycheiniog next August.”
Green Man has previously hosted performances from Fontaines DC, Michael Kiwanuka, Self Esteem, First Aid Kit and Kae Tempest across its ten stages.
The festival claims to be one of three remaining large independent festivals in the UK and the only large festival – independent or major – to refuse sponsorship.
The female-owned festival generates £10 million into the Welsh economy and boasts a Gold Charter by Attitude is Everything, a charity that improves accessibility for people with disabilities across the events industry.
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Pharrell Williams cancels Something in the Water 2025
Pharrell Williams has cancelled the 2025 edition of his US festival Something in the Water as “it just isn’t ready yet”.
The fourth edition was due to take place on 12–13 October at Virginia Beach Oceanfront in Williams’ home city.
In a post on social media, the singer-songwriter-producer wrote: “Virginia doesn’t deserve better, Virginia deserves THE BEST. So Something in the Water has to match that. It just isn’t ready yet. That’s why we as a team have decided we must postpone this year’s Something in the Water festival that was due to take place in October.
“This is not a Pharrell festival, this is the state of Virginia’s festival so it has to be the best,” he continues. “Virginia made me, and I want to honour it with as much love as it’s shown me my entire life. I am so grateful to our amazing sponsors and the city for their continued support and trust in us to get this right.”
“Virginia made me, and I want to honour it with as much love as it’s shown me my entire life”
The next edition of the festival is slated to take place in April 2025, with Williams adding “This has to be EPIC, and trust me, after this long wait, it will be.”
News of the cancellation arrived hours after a tier of exclusive tickets was released to Virginia residents, some of which were purchased in person. A line-up for Something in the Water 2024 had not been revealed.
Ticketholders will be refunded and will have first access to purchase tickets for the next edition, according to organisers.
Of the previous three iterations of Something in the Water, one had an entire day cancelled due to weather while another was staged in Washington, D.C. over Williams’ issues with Virginia Beach after his cousin was killed by a local officer.
In the past, the festival has featured performances from Clipse, Justin Timberlake, Post Malone, Usher, Wu-Tang Clan and many more.
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Poland’s Fest Festival to return in 2025
Poland’s Fest Festival is to return next year following a “restructuring process” at organiser Follow The Step.
The scheduled fourth edition of the event, which last took place two years ago, was cancelled in August 2023 – just days before it was due to take place – and filed for bankruptcy after selling only 50% of its tickets.
Follow The Step began a restructure in the wake of the cancellation, which came two months after it called off its Warsaw festival On Air, and suspended its participation in all its pending events, which it switched to other promoters.
However, Fest Festival 2025 has now been confirmed for Silesia Park in Chorzów, near Katowice, on 15-16 August.
“We spent the last year on intensive restructuring work,” says a statement by organisers. “The 2023 edition was a huge lesson for us and we learnt from it. We are coming back humble, stronger, and with an ambitious plan to create an even more beautiful festival.”
The 35,000-cap festival, which was set to feature the likes of The Chemical Brothers, Kasabian and Peggy Gou, had previously seen its attendance expand by 30% per year to become one of the fastest-growing music festivals in eastern Europe.
“Participants who have not received a refund for their purchased tickets will receive passes from us to next year’s Fest”
Next year’s capacity will revert to 20,000 – the same number as the first edition of the event, with ticket-holders left out of pocket by the 2023 cancellation to be offered free admission to the event. Tickets go on sale on 23 September.
“Our main goal is to focus on what matters most – you, our participants,” continues the statement. “We start the new year with a settlement from 2023 and as promised earlier, participants who have not received a refund for their purchased tickets will receive passes from us to next year’s Fest.
“Five thousand tickets will be given for free to customers who did not receive a refund for previously purchased tickets. The remaining 15,000 places will be divided into 12,000 two-day passes and 3,000 one-day tickets for each day of the festival.”
In order to be “completely transparent” with fans, the team have detailed the plans on the event’s new website, including a rolling ticket sales counter.
“The 2025 edition is held under the sign of full transparency and transparent communication,” it adds. “To prove these words, we have placed a counter on the website indicating the current number of participants in the upcoming edition of the event. This data will include the total number of tickets sold and participants who received tickets for the next edition of the event.”
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The New Bosses 2024: Maria Costa, Rock in Rio Lisboa
The 17th edition of IQ Magazine’s New Bosses, in association with Futures Forum, was revealed in IQ 129, recognising 20 of the most promising 30-and-unders in the international live music business.
To get to know this year’s class a little better, IQ conducted interviews with each one of 2024’s New Bosses, discovering their greatest inspirations and pinpointing the reasons for their success.
With a degree in languages, literature, and cultures, and a master’s degree in communication and culture, Maria Costa found an internship at radio station M80, before joining Rock in Rio Lisboa in 2016 as community manager. She now oversees festival strategy, management, and coordination of omnichannel content across platforms including Facebook, Instagram, Twitter, TikTok, LinkedIn, YouTube, as well as the official website, app, newsletter, influencer management, paid media, and performance campaigns.
There’s a misconception that social media is a free tool for marketing. You probably cannot talk about budgets, but how many people are on your team for Rock in Rio Lisboa?
While it’s true that creating a social media account is free, the notion that effective social media marketing is free is certainly a misconception. Let me take you back to about three years ago, during the onset of COVID-19 and the subsequent lockdowns. Many businesses, brands, and projects that were not yet online were suddenly forced to establish an online presence. Some did so on their own, while others chose to go professional from the start. During this period, there was a noticeable digital boom on social media among brands, as well as a shift in the perceived value of social media.
When competition is fierce, there is pressure to excel and stand out. This is where professional digital strategists come in. The difference between two similar brands, one managing social media professionally and the other doing it casually, is evident not just visually but also in terms of results. Some businesses may not feel the need to “upgrade” their social media presence, either because their target audience is not online or because their business is already well-established—both scenarios can be considered successes.
Regarding our digital and marketing team, we started with around five people in the early months and gradually expanded. This year, we integrated numerous audiovisual productions in-house, recognising the benefits of adding talented individuals to our team. Our distinctive and dynamic work rhythm enhanced our workflow and results, which proved advantageous when we created our own content production team.
“The possibilities presented by working diligently on social media platforms are impressive”
In June, during festival days, we had about 120 people working on social media coverage. This requires weeks of preparation, we have so many underline topics beyond just the music scene. Our structure included social media managers, copywriters, mobile producers, designers, photographers, videographers, video editors, audio technicians, assistant producers, a drone team, an influencer manager, analysts, among others, we also worked with creative and paid media agencies.
To wrap it up, between October 2023 and June 2024, we achieved over 34 million impressions on social media and produced more than 1,300 original pieces of content. During the two weeks of real-time coverage, we reached over 46 million impressions and posted more than 900 pieces of content. Special attention was given to Instagram, where we doubled our followers in ten months, and TikTok, which offered us significant opportunities to engage with our most avid Gen Z festivalgoers. The possibilities presented by working diligently on social media platforms are impressive, and we find ourselves competing with traditional media outlets—this is the future.
“Our close relationships with brand partners are vital to our success”
Rock in Rio’s events are synonymous with big brand partners. How do you work hand in hand with those partners? And how exciting is it to do so?
I love working with other brands. As a professional deeply immersed in the cultural and music spheres, I find it incredibly exciting and challenging to create those “sparkle” moments through collaboration. Partnering with brands from diverse industries might seem daunting at first due to differing themes and objectives, but we consistently find ways to align our messages and create cohesive narratives.
Our close relationships with brand partners are vital to our success. Some brands are already familiar with the music and festival scene, making collaboration seamless and innovative. Others might be more reserved, but we embrace the challenge of integrating their unique identities into our festival experience. We engage in numerous projects both before and during the event, including press conferences that are more like mini festivals themselves. Brands with naming rights on our stages or other activations bring an exciting “marriage” of themes and conversations to Rock in Rio.
The synergy between our team and our partners leads to truly memorable and impactful experiences for our audience, making these collaborations incredibly rewarding. Additionally, before and during events, we leverage the benefits of social media platforms through collaborative posts, story connections, and engaging content that resonates with both our audiences, enhancing the overall experience.
“This year, we fully embraced both Portuguese and English content/copy on social media, maximizing our reach”
Rather than being a Portuguese event, your festival is truly global. Can you tell us a little about your strategy to tell as many fans as possible around the world about RiR Lisboa, in multiple languages?
We’ve taken several steps to enhance our global presence. Leveraging our Brazilian roots, we maintain a strong connection with Brazilian communities worldwide, particularly in Europe and Portugal, which represent significant potential for us. This year, we fully embraced both Portuguese and English content/copy on social media, maximizing our reach. Additionally, we ran targeted awareness and performance campaigns on Meta and Google, focusing on Spain, France, and the UK, supported by an international press marketing strategy.
Our international artists were highly collaborative, which allowed us to make major lineup announcements through joint posts with them. This approach helped us engage with a global audience and directly connect with the artists’ fans. As a result, we saw ticket sales from over 100 countries, which we are very proud of. Post-event, the urgency to go global diminishes somewhat, but with the 40th anniversary celebration in Rio de Janeiro coming up in September, we will once again be in the global spotlight.
“AI tools help me with global research, finding references, and benchmarking”
I’m guessing AI is proving to be a useful tool for you – are there any tips you can give to your peers at other festivals around the world on how they can lean in to technology for mundane tasks, to allow you to be more creative in other parts of your work?
Initially, I was a bit hesitant about some AI innovations, but it’s clear they’re here to stay. The sooner you adapt to working with them, the more efficiently you’ll work. In fact, AI tools have proven to be quite beneficial in sparking my creativity, especially when starting inspirational projects. They help me with global research, finding references, and benchmarking. Additionally, they help me organise workflow and manage data effectively. For my design and video teams, I have no objections to using AI tools. My only stipulation is to emphasize that AI will never replace the human eye and sensibility. Everything must still be reviewed and refined through our own critical perspectives.
In your position, you presumably have to plan for many eventualities that don’t occur. Can you talk about the efforts that you and your colleagues make to ensure safety, and plan for communication with the audience for the likes of bad weather, for instance?
When we develop our 10-month communication plan, we start with a foundation, but the most challenging and unpredictable aspect is determining when we can announce headliners and the full lineup. This remains a variable that is intrinsic to our daily work. In the months leading up to our active communication for the next year’s festival edition, our focus shifts to art direction and visual identity. We dedicate our efforts to establishing the design guidelines for that edition, applying them both offline and online.
We also analyse insights from the previous year to continually improve. We assess what strategies yielded the best results, what was worthwhile, and what was unnecessary. These evaluations guide us in outlining various scenarios and their potential impacts for the next edition. On this project, our marketing team works closely with various other departments, fostering a collaborative environment where proactive approaches are encouraged across different teams.
“For anyone reading this who is seeking to work in social media, regardless of the industry, focus on studies with practical approaches”
For this special edition, we anticipated operational challenges related to the new venue, such as access, public transportation, new venue layout, stages, and areas. Our goal was to provide this information promptly; we released details about a month before the event. Our app was updated with schedules and practical information to help attendees right by that time. We strive to anticipate situations and prepare quick responses. Another critical component during the festival month is our business intelligence and analytics team. They play a vital role in monitoring and analysing online discussions, both on our social media platforms and across the broader web. This helps us identify and address operational or communication issues – big or small – quickly by verifying the source and adjusting or resolving the situation as needed.
Given your experience of the last decade, what advice would you give to the teenage Maria Costa, as she looked ahead at her studies and career?
It’s strange to say this, but I was never very keen on digital matters. I was probably the last one in my group of friends to get a Facebook profile and wasn’t particularly amused by it. I took my time, but I feel that my professional growth coincided with the rising importance of social media in professional settings. I wouldn’t call it luck, but the timing was quite right. So, the advice I would give to my teenage self would be not to be afraid to explore that path and to dive in as soon as possible.
For anyone reading this who is seeking to work in social media, regardless of the industry, focus on studies with practical approaches. Theory is just a small part of it; hands-on experience is crucial. Seek out internships or entry-level positions with brands and projects that interest you, immerse yourself in those scenarios, and take the initiative. Start as soon as possible because the pace is frenetic. Everything evolves and changes quickly. While you’re waiting to decide if it’s the right choice for your career, numerous changes can occur in this field, and your ability to adapt quickly can be a significant advantage.
“Managing over 120 people doing live social media coverage of Rock in Rio Lisboa 20 was an absolute dream”
What’s been the highlight of your career, so far?
The 20th-year celebration of Rock in Rio Lisboa was truly mesmerizing. For me, it was a great challenge starting last summer. We went to São Paulo to film a short documentary about 20 years in Lisbon, using The Town festival as the backdrop, alongside our main teams that have been in Lisbon since the beginning in 2004. The following 10 months were a rollercoaster of events, lineup announcements, new ideas, and watching the new venue grow. The team atmosphere was particularly joyful, with many young and inspiring people on the team and every senior manager and VP getting very emotional about this special festival edition. This all culminated in four epic days, three of which were absolutely sold out.
As we often say, we dream, and we make it happen. Seeing it unfold before us, witnessing the crowds cheering, rushing to the frontline, and watching the artists become emotional was extraordinary. It was surreal to see everything we had communicated for months come to life before our eyes. It’s something we produce and communicate with all our energy and hearts, but above all, it’s something we feel in the atmosphere, almost beyond ourselves. It’s like an ensemble created from a synergistic blend of incredible sources and resources, like an orchestra completed by our audience.
This all ties into our social media coverage and its inherent aspects. You must manage a lot of emotions at a fast pace and always be solution-oriented—stress, frustration, unexpected moments, joy, crowds going crazy, operational challenges, weather forecasts, and more. Managing over 120 people doing live social media coverage of the event was an absolute dream. It was a marathon, certainly with many ups and downs, but very rewarding for me as a professional, teaching me so many lessons.
“Rock in Rio was conceived as a festival for everyone, regardless of their background, beliefs, or appearance”
If you could change one thing about the live music industry, what would you propose to make it better?
I’m not sure I have a definitive answer, but a few things come to mind. Thanks to social media, we see talented individuals gaining recognition every day, and it’s striking how rapidly and fleetingly this can happen—both for better and worse. It’s alarming how quickly someone can rise to fame and just as swiftly disappear. Perhaps this rapid cycle has always been part of the industry, even in its offline era, though at a different pace. On a personal level, it concerns me that not all talented individuals receive the recognition and rewards they deserve. Conversely, the industry can sometimes put immense pressure on young talents, which can be overwhelming.
Another issue I think about is the perception of taste and value. Rock in Rio was conceived as a festival for everyone, regardless of their background, beliefs, or appearance, and it embraces artists from all genres. This year, for our special celebration, we launched a creative campaign with Dentsu Creative Agency called “All in Rio.” This campaign emphasised that “Rock in Rio” encompasses more than just rock—it represents Pop in Rio, Funk in Rio, Joy in Rio, Peace in Rio, Family in Rio, and Friends in Rio and so much more. The challenge is that sometimes people fail to appreciate the importance of diverse genres in our lineup, particularly popular music, and there can be reluctance to embrace this diversity.
Last but not least, if I could change one thing about the live music industry, it would be to establish a more structured and supportive framework for its professionals. The work is often underestimated, perceived as easy and enjoyable due to its cultural and entertainment aspects, but it’s highly demanding and seasonal. To improve this, I would advocate for clearer work structures, ensuring fair compensation and support for all professionals. There should be enhanced support for emerging artists through financial assistance and performance opportunities. Additionally, implementing robust health and safety policies is crucial, alongside offering educational resources to help professionals manage the business side of the industry. By creating a more balanced and sustainable environment, we could provide a solid foundation for lasting and fulfilling careers in live music.
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