Rock in Rio through the ages
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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ASM Global appoints GM for Lisbon’s LX Factory venues
ASM Global has appointed Hugo Encarnação as general manager of Fabria XL and Fabrica L at LX Factory, a cultural hub in Lisbon.
Encarnação will assume his new role on 10 October as ASM Global secures operations of the two live event spaces – the firm’s first in Portugal.
Encarnação most recently worked as senior producer and account manager at Europalco, leading the planning and execution of high-profile events.
His background in sales and events operations, and extensive Conferences & Events (C&E) experience, makes him well positioned to drive success at LX Factory’s venues, says ASM.
“We are thrilled to have Hugo on board as we begin our new chapter in Portugal,” says Marie Lindqvist, SVP operations at ASM Global Europe.
“We are thrilled to have Hugo on board as we begin our new chapter in Portugal”
“Hugo will be planting the ASM Global flag in Lisbon, leading the charge as we proudly take on operations at LX Factory. With his passion and expertise, we are confident that Hugo will lead his team to new heights of operational excellence and creative success in this new market, as we continue to solidify our position as market leader across Europe and our reputation as the world’s best in venue expertise and management.”
Encarnação adds: “I’m very excited to be joining ASM Global and leading the iconic Fábrica XL and Fábrica L—two venues as vibrant and unique as Lisbon itself. LX Factory is a creative powerhouse, and I can’t wait to work with the team to make it an even bigger stage for unforgettable events. Together, we’ll blend innovation with a dash of Portuguese charm—delivering top-tier experiences with all the warmth and energy that makes this city so special. And who knows? Maybe we’ll inspire some unforgettable memories, just like a perfect sunset over the Tagus River!”
In June this year, ASM Global announced that it was entering Portugal, having won the contract to manage operations at two of LX Factory premier venues.
The site, situated within a converted factory complex in the Alcântara area 10 minutes from the city centre, comprises retail concepts, dining options, outdoor bar spaces, live music, cultural events, and art installations.
ASM will operate the two live music venues, Fábrica XL and Fábrica L – which have a combined standing capacity of 2,870 – and the outdoor bar, terrace and gallery spaces.
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Euro festival preview: Paléo, Electric Castle, Tomorrowland
Continuing our weekly preview of European festivals, IQ gives readers a glimpse of what’s in-store this week…
In Switzerland, Paléo is gearing up for a banner edition having sold all 200,000 tickets for the 2024 event in just 21 minutes.
The 35,000-capacity festival will run in Nyon from 23-28 July, featuring acts such as Sam Smith, Burna Boy, Booba, Mika, Sean Paul, Major Lazer Soundsystem, Nile Rodgers & Chic, Patti Smith, The Blaze, Paul Kalkbrenner, Aurora and Royal Blood.
Paléo booker Dany Hassenstein spoke to IQ earlier this year about the festival’s longstanding bond with its audience.
Meanwhile, the stage has been set for Electric Castle‘s 10th-anniversary edition, which will welcome over 230,000 visitors to Transylvania’s 15th-century Banffy Castle.
Paléo is gearing up for a banner edition having sold all 200,000 tickets for the 2024 event in just 21 minutes
The Romanian festival will see acts including Massive Attack, Bring Me the Horizon, Chase & Status LIVE, Sean Paul, Paolo Nutini, and Khruangbin perform between 17–21 July.
Czech Republic’s Colours of Ostrava (17–20) also kicks off today, with Sam Smith, James Blake, Tom Morello, Lenny Kravitz, Sean Paul and Khruangbin among the top-billing acts.
The festival launched in Ostrava in 2002 and has become the country’s biggest international music festival.
Belgium’s biggest festival, Tomorrowland, will also take place this weekend with 400,000 guests.
Tickets for the 20th-anniversary edition sold out in less than a day, IQ reported in February.
The electronic music extravaganza is held across two weekends in Boom, Antwerp, from 19-21 and 26-28 July.
Tickets for the 20th-anniversary edition of Tomorrowland sold out in less than a day
Staged under the ‘LIFE’ theme, more than 400 acts including Armin van Buuren, Amelie Lens, Bonobo B2B Dixon, David Guetta, ANNA, Vintage Culture, Tale Of Us, Dimitri Vegas & Like Mike, Solomun B2B Four Tet and Swedish House Mafia will appear across 16 stages.
In neighbouring Germany, Parookaville is ramping up for another sold-out edition with 225,000 attendees. The electronic music event has been sold out every year since launching in 2015.
Armin van Buuren, Dimitri Vegas & Like Mike, Felix Jaehn, Hardwell, Timmy Trumpet and W&W are among 300+ DJs that are set to perform at this year’s instalment, at Weeze Airport between 19–21 July.
And, elsewhere, the gates to Super Bock Super Rock will open tomorrow, offering headline sets from Måneskin, 21 Savage and Stormzy.
Royal Blood, Tom Morello, Black Coffee, Slow J, Mahalia, Fisher, Vulfpeck and Will Butler are also slated to perform on Meco Beach, South Lisbon, from 18-20 July.
Other festivals due to kick off within the next week include Benicassim (ES), Positivus (LV), Ejekt Festival (GR), Lucca Summer Festival (IT) and Zwarte Cross (NL).
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Rock in Rio Lisboa attracts 300,000 attendees
Rock in Rio Lisboa closed its 20th-anniversary edition at the weekend with a sold-out crowd of 160,000 over two days.
The Portuguese festival took place across two weekends (15–16 and 22–23 June), attracting 300,000 attendees and selling out three of the four dates.
Headliners for the biennial event included Scorpions, Jonas Brothers, Doja Cat, Macklemore and Ed Sheeran, who previously played at the 2014 edition.
This year’s Rock in Rio Lisboa took place at a new 80,000-cap venue in Parque Tejo Lisboa, featuring a new stage and a daily audiovisual show commemorating the anniversary. A new ‘Route 85’ area, meanwhile, enabled the public to learn more about the history of the event.
“This edition of Rock in Rio Lisbon was truly special,” says Roberta Medina, Rock in Rio Lisboa’s executive VP. “The new venue, at Tejo Lisboa Park, allowed us to offer an even more incredible experience to all of those who visited us, and also contributed to give the event an even bigger dimension and repercussion internationally, firming its position as one of the best festivals in Europe. To see the City of Rock full of joy and energy for four days was so exciting. We thank all those who have participated and who have contributed for the success of this epic event! We are already planning the next one, with the promise to continue to surprise and charm everyone.”
Rock in Rio’s 40th anniversary edition in Brazil is also set for next year from 13-15 & 19-21 September
Camila Cabello, Ne-Yo, Evanescence, Calum Scott, Ivete Sangalo, James and Lukas Graham were also on the bill.
Alongside Rock in Rio Lisbon, festivals have also previously been launched under the banner in Madrid, Spain and Las Vegas, US.
Rock in Rio’s 40th anniversary edition in Brazil, where the festival originated in 1985, is also set for next year from 13-15 & 19-21 September. Travis Scott, 21 Savage, Imagine Dragons, Ed Sheeran, Katy Perry, Shawn Mendes and Mariah Carey are among the artists set to perform at the 100,000-cap festival.
The previous edition in 2022 welcomed 700,000 fans across seven days and was headlined by Iron Maiden, Post Malone, Justin Bieber, Guns N’ Roses, Green Day, Coldplay and Dua Lipa.
The debut edition of Medina’s Rock in Rio spin-off The Town took place in São Paulo last year at the Interlagos race track, attracting 500,000 fans over five days to see acts such as Post Malone, Foo Fighters, Maroon 5 and Bruno Mars.
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ASM Global enters Portugal with LX Factory deal
ASM Global has made its first move into Portugal after securing operations of the two main live event spaces within Lisbon cultural hub LX Factory.
Fabrica XL and Fabrica L offer a combined standing capacity of 2,870, with ASM also set to manage the associated outdoor bar, terrace and gallery spaces in the latest phase of its European expansion.
Last week, the venue management firm announced the appointment of Giuseppe Rizzello as vice president of ASM Italia.
“We’re proudly solidifying our position as market leader across Europe,” says ASM Global Europe president Chris Bray. “In the past year alone we’ve continued to expand in Sweden where we are market leader, we’ve entered Finland, celebrated ongoing expansion in Italy and Germany and now, a major contract win which brings us into Portugal.
“We have big plans across the UK and Europe, and this latest news marks an exciting next step in that journey”
“This growth is a credit to our fantastic team who are the very best at what they do, to our reputation as the world’s best in venue expertise and management. We have big plans across the UK and Europe, and this latest news marks an exciting next step in that journey.”
The mixed-use LX Factory is situated within a converted factory complex in the Alcantara area, and is also home to a range of independent Portuguese retail concepts, dining, outdoor bar spaces, live music, cultural events and art installations.
“We are delighted to announce this exciting partnership for the events venues within LX Factory,” say the joint venture owners of LX Factory, represented by David Arié of Grupo Arié and Jonathan Willén of Europi Property Group. “This is a major milestone, closely aligned with our ongoing investment into the wider LX site. We firmly believe that delivering a high quality events space will significantly improve LX Factory’s offering, for both local and international visitors alike. Working with a globally renowned partner like ASM will help us to deliver that vision.”
ASM’s network of more than 350 venues around the world collectively hosts 20,000 events and welcomes 164 million guests per year.
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Kalorama festival to launch in Madrid
Meo Kalorama, a Lisbon-based festival organised by Last Tour, has announced a new edition in Madrid, Spain.
The decision comes after the independent promoter axed its Spanish festival Cala Mijas, following a dispute with the local municipality.
Kalorama Madrid will take place at the Recinto Ferial Fairgrounds, sharing the same dates and lineup as its Portuguese counterpart.
Slated for 29–31 August, the twin festivals will feature performances from acts including Massive Attack, LCD Soundsystem, Death Cab For Cutie, The Postal Service, Sam Smith and The Smile.
Last Tour claimed that Mijas Town Hall failed to pay “significant amounts owed in sponsorship” for the 2023 edition
The new Madrid event comes after Cala Mijas was cancelled due to “repeated and serious [contractual] breaches” by the municipality.
The third annual edition was due to take place in Mijas, Málaga, on 29–31 August with a sold-out crowd.
However, Last Tour, which also organises Bilbao BBK Live and BIME, claimed that Mijas Town Hall failed to pay “significant amounts owed in sponsorship” for the 2023 edition.
“In addition to this, there are equally serious breaches, such as the lack of conditioning and provision of facilities at the venue,” reads a statement on the festival’s social media accounts.
In response, Mijas Town Hall said they have worked, “tirelessly to make progress on the 2024 edition of Cala Mijas without Last Tour showing any willingness to do so”. They maintain that they have reiterated, “the need to justify the investments, which should have been carried out since the festival started”.
“[We have] always shown its willingness and interest in the continuity of the festival but this must be balanced with its obligation to look after the public resources of the citizens.”
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Name change for Lisbon’s Altice Arena
Lisbon’s Altice Arena will revert to its former name after more than six years, according to local media reports.
The 21,000-cap venue, which is the largest indoor arena in Portugal, is set to become the Meo Arena from 1 February for the first time since 2017.
An official source for telecoms company Altice tells JE Portugal the move had been planned for more than a year.
“At the end of 2022, we began work to reposition our commercial brands,” says the source. “As music is a territory that the Meo brand conquered several years ago, continuing to be part of the communication strategy, it makes perfect sense for Meo to once again give the name to the biggest arena in our country.”
Built in 1998, the venue was originally called Pavilhão Atlântico and recorded the best financial results in its 25-year history in 2022, closing the year with more than €16 million in revenue.
“Portugal seems to now be a trendy place for tourists, which is great because they have more money to spend than the locals themselves”
Its upcoming concerts include Laura Pausini, Depeche Mode, Korn, The World of Hans Zimmer, Dave Matthews Band, Thirty Seconds to Mars and Olivia Rodrigo. It will also host the Evil Live heavy metal festival from 29-30 June, which will feature the likes of Avenged Sevenfold, Megadeth and Machine Head.
Live Nation’s bid to purchase a majority stake in the arena’s owner, Arena Atlântico, is currently the subject of an in-depth investigation by Portugal’s Competition Authority.
Altice’s Meo brand also sponsors Lisbon’s Meo Kalorama festival, which will feature acts including LCD Soundsystem, Massive Attack, Sam Smith, Jungle, Peggy Gou, The Postal Service, The Smile and Death Cab for Cutie from 29-31 August.
According to IQ‘s Global Promoters Report 2023, Portugal registered a record number of foreign visitors in the first half of last year (nearly 8.2m foreigners stayed in Portuguese hotels in the period, up from 6.3m a year ago and 7.4m in the first six months of 2019), leading to major benefits for the live entertainment sector.
“Portugal seems to now be a trendy place for tourists, which is great because they have more money to spend than the locals themselves,” said António Cunha, general manager of promoter UGURU.
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Lisbon to gain new 1,100-capacity music venue
Lisbon is set to gain a new 1,100-capacity music venue dedicated primarily to the genre of rock.
The venue, named Rock Station and located next to Estação do Oriente (one of Portugal’s main transport hubs), opens on 8 December with a concert from singer and composer José Cid.
The venue’s devotion to rock is modelled on one of Lisbon’s best-known clubs, Rock Rendez Vous, which was regarded as one of the most important music venues for rock music in Portugal during the 80s.
Rock Station’s founder, João Santos, a former sound technician and programming coordinator at Rock Rendez Vous, says he is aiming to make the new space “the great rock club in Lisbon”.
“It will be exactly like 35 years ago: when the band ends, people can stay inside until 4 am dancing to good rock music”
“It will have the same type of programming that we had at Rock Rendez Vous,” Santos told Expresso. “The idea is to include everyone who attended the old [Rock Rendez Vous] and introduce new bands as well.
“It will be exactly like 35 years ago: when the band ends, people can stay inside until 4 am dancing to good rock music,” adds Santos.
On Fridays and Saturdays, Rock Station will host performances from rock bands and during the week, external promoters can hire the space for concerts of any genre. Santos
The venue – which has “a generous stage with an area of more of 800 m2 assisted by a team of resident professional technicians” – will host domestic and international artists.
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Live Nation’s acquisition of Altice Arena held up
Portugal’s Competition Authority has expressed doubts about the competitive effect of Live Nation’s acquisition of Altice Arena, the country’s largest arena.
In April, it was revealed that Live Nation was purchasing a majority stake in the arena’s owner, Arena Atlântico, in addition to an “indirect controlling stake” in leading promoter Ritmos e Blues.
Now, the deal is undergoing an in-depth investigation by the Competition Authority that will prolong a final decision on whether LN can purchase the arena, according to national newspaper Expresso.
Chief among the regulator’s concerns are Live Nation’s “incentives to operate Altice Arena for its own benefit” as well as “the private or total closure of access to the Altice Arena by third party promoters”.
Rival concert and festival promoter Everything Is New is reportedly the only industry competitor to oppose the acquisition.
Upon announcement of the acquisition, Live Nation said “Daily operations at the arena will continue to be led by their senior management team and the arena’s employees,” and that “The acquisition is expected to close later this year upon completion of customary closing conditions, including approval from Portugal’s competition authority.”
Live Nation’s acquisition of Ritmos e Blues would solidify a partnership between the two companies that dates back to 2012
Altice Arena owner Arena Atlântico is controlled by a consortium that includes Ritmos e Blues, Luís Montez (owner of the promoter Música no Coração) and Jorge Vinha da Silva, among others.
The 21,000-capacity arena last year recorded the best financial results in its 25-year history, closing the year with more than €16 million in revenue.
Live Nation’s acquisition of Ritmos e Blues would solidify a partnership between the two companies that dates back to 2012 when the companies joined forces with Rock in Rio’s promoter to “substantially grow the live events market”.
Ritmos e Blues (Rhythm and Blues) has promoted concerts for the likes of Whitney Houston, Bruce Springsteen, Bryan Adams, Dire Straits, Michael Jackson, Prince, Phil Collins, U2, Rolling Stones, George Michael and The Police.
Founded in 1990 by Nuno Braamcamp and Álvaro Ramos, the promoter was responsible for several of the first stadium concerts in the country, including a groundbreaking event with Tina Turner at the Estádio de Alvalade in 1990 with 65,000 spectators.
The Lisbon-based firm is also a co-producer of Rock in Rio Lisbon, one of the biggest music festivals in Europe, which has been taking place since 2004.
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Live Nation buys renowned Portuguese promoter
Live Nation has reportedly bought a controlling stake in Portugal’s leading promoter Ritmos e Blues (Rhythm and Blues).
Founded in 1990 by Nuno Braamcamp and Álvaro Ramos, the company has promoted concerts for the likes of Whitney Houston, Bruce Springsteen, Bryan Adams, Dire Straits, Michael Jackson, Prince, Phil Collins, U2, Rolling Stones, George Michael and The Police.
Ritmos e Blues was responsible for several of the first stadium concerts in the country, including a groundbreaking event with Tina Turner at the Estádio de Alvalade in 1990 with 65,000 spectators.
The Lisbon-based firm is also a co-producer of Rock in Rio Lisbon, one of the biggest music festivals in Europe, which has been taking place since 2004.
Ritmos e Blues was responsible for several of the first stadium concerts in the country
Live Nation confirmed to IQ it has purchased an “indirect controlling stake” in Ritmos e Blues and Arena Atlântico, which owns the country’s largest arena, Altice Arena in Lisbon.
Arena Atlântico is controlled by a consortium that includes Ritmos e Blues, Luís Montez (owner of the promoter Música no Coração) and Jorge Vinha da Silva, among others. Its subsidiaries include the ticketing company BlueTicket, which Live Nation will also take control of.
“Daily operations at the arena will continue to be led by their senior management team and the arena’s employees,” Live Nation told IQ. “The acquisition is expected to close later this year upon completion of customary closing conditions, including approval from Portugal’s competition authority.”
The Competition Authority is accepting comments on the deal for the next 10 days.
The 21,000-capacity Altice Arena (formerly MEO Arena) last year recorded the best financial results in its 25-year history, closing the year with more than €16 million in revenue.
The deal solidifies a partnership between Live Nation and Ritmos e Blues that dates back to 2012, when the companies joined forces with Rock in Rio’s promoter to “substantially grow the live events market”.
Forthcoming shows promoted by the Portuguese promoter include Madonna, Blink 182, Louise Tomlinson, Ricky Gervais, Rod Stewart, Michael Bublé and Il Divo.
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