Ticketmaster Mexico installs new director
Ticketmaster Mexico has announced the appointment of Ana María Arroyo as its new director, replacing the long-serving Lorenza Baz.
Arrayo, who comes from a digital background, will be tasked with accelerating the firm’s technological transformation, as well as clamping down on illegal ticket resale sites, reports Forbes Mexico.
“The change in the leadership of Ticketmaster opens a new stage of leadership, which reaffirms our determination to improve the experience of fans, event promoters, venues and commercial allies, as well as ensuring the quality of our service,” it says
Ticketmaster also pays tribute to Arrayo’s predecessor’s “achievements and contribution to the evolution of the ticket industry in Mexico” over 30 years with the company, praising Baz as a “benchmark of professionalism to follow”.
Baz’s departure comes a month after Ticketmaster Mexico was absolved of blame for the controversy at Bad Bunny’s concerts at Mexico City’s Azteca Stadium, which saw 2,000 fans denied entry.
More than 4.5 million people had registered for the 120,000 available tickets for the 10-11 December shows
Ticketmaster says more than 4.5 million people had registered for the 120,000 available tickets for the 10-11 December shows.
The firm cited “an unprecedented number of fake tickets” and problems with the ticket-reading system for the incident. Federal consumer protection office Profeco initially accused Ticketmaster of overselling tickets for the concerts, but has since walked back the claims.
According to Mexico News Daily, Profeco head Ricardo Sheffield now accepts the issues were caused by failure of the venue’s ticket-scanning devices due to patchy internet access. He added that video footage showed empty spaces where the fans locked out with tickets would have been seated.
Last year saw Bad Bunny usurp Ed Sheeran as the highest-grossing touring artist in a calendar year, generating $435,388,660 for 81 shows in 2022, according to Pollstar data, surpassing the $432.4 million box office takings of Sheeran’s 94 ÷ (Divide) tour dates in 2018.
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Bad Bunny breaks Ed Sheeran tour record
Bad Bunny has usurped Ed Sheeran as the highest-grossing touring artist in a calendar year.
The Puerto Rican rapper generated $435,388,660 for 81 shows in 2022, according to Pollstar data, surpassing the $432.4 million box office takings of Sheeran’s 94 ÷ (Divide) tour dates in 2018.
Real name Benito Antonio Martínez Ocasio, Bad Bunny sold 574,000 tickets for his El Último Tour del Mundo arena run from February to April, and 2,478,876 tickets for the World’s Hottest Tour, which hit stadiums in August and wrapped up with two nights at Azteca Stadium (cap. 87,523) in Mexico City this past weekend.
“I think we all feel very proud of what he’s accomplished,” Hans Schafer, Live Nation’s, SVP of global touring, tells Pollstar. “It’s a feat that is remarkable. It is huge for Latin music and unprecedented and a remarkable accomplishment on its own, regardless of genre to see an artist of his age reaching those heights is just something that makes it very promising for us, of what the future holds.”
Bad Bunny’s agent Jbeau Lewis of UTA adds that the artist and his manager Noah Assad of Rimas Entertainment deserve “all the credit in the world” for masterminding the success.
“What we saw from a numbers perspective was indicative of demand being off the charts”
“In April 2021, when we put El Último Tour del Mundo arena tour on sale, which ultimately started in February of ‘22, what we saw from a numbers perspective were indicative of demand being off the charts,” says Lewis.
“The plan to go on the arena tour, release the album a month after that tour ended and have a stadium tour that would start a couple of months after that was hatched 18 months ago at this point. We’ve just been working toward the execution of it.”
Ticketmaster has apologised, meanwhile, after an “unprecedented” number of fake tickets caused hundreds of fans with legitimate tickets to be denied entry to Friday’s (9 December) opening Mexico City show.
Elsewhere, Sheeran’s 255-show ÷ (Divide) run from 2017-19 remains the highest-grossing tour ever, with revenue of $776.2m. The British singer-songwriter sold more concert tickets this year than any other act, according to Billboard’s end-of-year box office scores, shifting over three million tickets for 63 concerts.
Harry Styles led the way last year as 2021’s top worldwide ticket seller, with the Rolling Stones claiming the highest-grossing tour.
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Details announced of first Andalusia Music Forum
The first speakers have been announced for the debut edition of the Andalusia Music Forum (AMF), a gathering for the international music industry in southern Europe.
Scheduled for 5-7 September at the Albeniz Cinema in Málaga, Spain, AMF will feature panels, workshops and master classes featuring the likes of Raye Cosbert (Metropolis Music), Rob Challice (Wasserman Music), Alexandra Ampofo (Metropolis), Jess Kinn (One Fiinix Live), Nuria Rico (Live Nation), Cindy Castillo (Mad Cool), Sergio Arbelaez (FIMPRO), Chucky Garcia (Rock al Parque) and Diana Dadonova (Ukraine Music Export).
The event’s mission is to create direct networking opportunities, as well as generating a space to unify the annual goals and objectives of the sector.
Mexico will serve as the guest country for the inaugural AMF
Mexico will serve as the guest country for the inaugural AMF and will be showcased via presentations, conversations, round tables and special performances.
Other speakers will include Fran Sandoval (Chilemusica), Amie Therrien (MMF Canada), Anna Rodriguez (International Music Managers Forum), Camilo Lara (Instituto Mexicano del Sonido) and Fabrizio Onetto (Seitrack). The full programme will be announced shortly.
AMF is part of the Andalusia Big by Mad Cool project, which also includes the new 30,000-cap Andalusia Big Festival, which will take place near Sacaba Beach from 8–10 September, with headliners Muse and Jamiroquai.
The ministry of tourism is reportedly dedicating €4m of its EU funds to the festival in order to bring tourism to the area outside the normal peak season.
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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.
Execs accused of links to sanctioned promoter
Two California-based music industry executives have been arrested by the FBI over alleged links to a concert promoter with ties to Mexican drug cartels.
Del Records owner Ángel del Villar, 41, and Del Entertainment CFO Luca Scalisi, 56, appeared at the US District Court in Los Angeles last week, charged with conspiring to violate the Foreign Narcotics Kingpin Designation Act.
A third defendant named in the complaint is 37-year-old music promoter Jesus Perez Alvear, of Morelos, Mexico, who controls Gallistica Diamante/Ticket Premier. His current whereabouts are unknown, but he is believed to be living in Mexico.
Perez, who promoted concerts in Mexico for Del Entertainment until March 2019, is listed as a Specially Designated Narcotics Trafficker under the Kingpin Act, which bans people in the US from doing business with him. The promoter – known as Chucho Pérez – was designated in 2018, having allegedly laundered money through concerts for the Cartel de Jalisco Nueva Generacion (CJNG) and Los Cuinis Drug Trafficking Organization.
If convicted, Del Villar and Scalisi would face up to 30 years in federal prison, while Perez would face a maximum of 10 years
The complaint alleges that on 19 April 2018, FBI agents approached a well-known musician – referred to in the complaint as Individual A – and told him about Perez’s designation and how that prohibited him from performing concerts that Perez promoted.
However, according to the complaint, Individual A went on to perform at five concerts in Mexico – all promoted by Perez – acting at the direction or with the knowledge of Del Villar, Scalisi and Perez.
If convicted of violating the Kingpin Act, Del Villar and Scalisi would face up to 30 years in federal prison, while Perez would face a maximum of 10 years.
Friday round-up: World news in brief 7/1/22
Welcome to IQ‘s weekly round-up of news from around the world. Here, in bite-sized chunks, we present a selection of international stories you may have missed from the last seven days…
Dead & Company and promoter CID Presents have cancelled their Playing in the Sand destination festival less than 24 hours before it was due to take place. The annual event had been set for Riviera Cancun over two weekends from 7-10 and 13-16 January, but has been axed due to a spike in Covid cases. “Dead & Company and CID Presents tried everything possible to bring normalcy and to deliver a great experience and amazing music, but with each day it became increasingly clear that cancelling is the correct thing to do for the fans and for our crew,” says a statement on the band’s Instagram page. Dead & Company frontman John Mayer had earlier pulled out of the festival after testing positive for coronavirus.
A woman has filed a lawsuit against California’s The Forum, promoter Live Nation and ticketing platforms Ticketmaster and StubHub, alleging she was injured in a crowd crush at a Harry Styles concert at the venue in December 2019. According to court documents obtained by TMZ, the plaintiff claims the venue, promoters and ticketing services “failed to provide sufficient seating, lighting, security, supervision and crowd control”.
A US judge rejected Goldenvoice’s bid to extend a restraining order against Live Nation in its trademark infringement lawsuit over a rival music event called ‘Coachella Day One 22’. The event’s promoter, Native American Tribe Twenty-Nine Palms, was not listed as a defendant in the lawsuit after claiming sovereign immunity, but Live Nation was accused of “contributory infringement” due to tickets for the New Year’s Eve event being sold on Ticketmaster. The event listing had already been changed to ‘Day One 22’ on Ticketmaster, which was permitted to continue selling tickets for the festival after the judge concluded it was no longer directly infringing the Coachella trademark. Tribal chairman Darrell Mike praised the ruling as “a win for the tribe, the community and our ticketing partners at Live Nation”.
Bengi Ünsal, head of contemporary music at London’s Southbank Centre, is switching to The Institute of Contemporary Arts in March as its new director. Ünsal was artistic and managing director of Istanbul’s Salon IKSV venue prior to joining the Southbank Centre in 2016, where she has overseen the annual Meltdown festival with guest curators MIA, Robert Smith and Nile Rodgers. This year’s Grace Jones-helmed edition is set for June.
Well-being organisation Music & You has teamed up with beauty cosmetics firm Lush, entrepreneur Zoe Sugg, aka Zoella, and mental health campaign #IAmWhole to create a fund providing free therapeutic support to people who are working, or used to work, in the live music sector pre-pandemic. To apply, individuals should complete this application form by no later than midnight on Thursday, 20 January. Applicants will be notified of a decision by 22 January.
TodayTix Group has acquired live events ticketing platform Goldstar. The deal marks the latest move for TodayTix, which has been on an acquisition spree since 2020, purchasing four companies including theatre specialist Show-Score; London-based Encore and Broadway Roulette.“We are focused on unlocking as much potential as we can so when the industry returns we can be a big part of its recovery,” the company’s co-founder and CEO, Brian Fenty, tells Variety. “We are live events purists through and through. We really do believe that despite the toll of the pandemic, there’s going to be a Roaring ’20s. We believe that people are desperate for arts and culture and are eager to get back into theatres.”
Britvic has been named as The O2’s new Official Soft Drinks partner in a five-year deal, brokered by AEG Global Partnerships, with Pepsi Max served and seen across the London venue. The partnership will mean pouring and supply rights across all bars at Indigo at The O2 and concourse bars, suites and premium bars including The Deck, AMEX Lounge, O2 Blueroom and Sky Backstage bars at The O2 arena. The deal will also welcome a takeover of the level 1 bar which is to be rebranded as The London Essence Company bar. In addition, Britvic will have activation opportunities at the venue and access to tickets for Up at The O2 for promotional use. Meanwhile, Birmingham-based NEC Group has announced a multi-year deal with Molson Coors Beverage Company, which is responsible for a portfolio that includes Pravha, Staropramen, Rekorderlig and Coors. The deal will see Pravha being named as the official beer of Utilita Arena Birmingham and Resorts World Arena with bars across both venues carrying the Pravha branding.
Dice has ramped up its North American expansion by becoming the ticketing partner of the Newport Jazz Festival and Newport Folk Festival. The partnership will see the events, which will be held in Rhode Island in July, offer digital ticketing for the first time. “Every year of the event, we work with our partners to innovate beyond traditional ticketing,” says Newport Folk executive producer Jay Sweet. “In a year where fans deserve to get out and go see the music they love, we know Dice is the right partner to make things as easy as possible, fair, transparent and intuitive for our Newport Family. We want these tickets in the hands of our fans and not on the secondary market.”
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.”
Omicron live music restrictions: World update
As the new Omicron variant of coronavirus takes hold, IQ has updated the latest restrictions affecting major international touring markets. This update complements our European list which can be read here.
Below you’ll find the latest information on certification schemes, social distancing requirements, mask mandates, capacity restrictions and lockdowns affecting key live music markets around the globe.
Please note that we will aim to keep this article as up-to-date as possible but all information is subject to change.
To submit an update to this, please get in touch. This article was last updated on Thursday 16 December.
To read about the Omicron restrictions affecting European markets, please click here.
As of 27 November, the operating capacity of indoor events has increased to 80%. Entry to indoor events requires attendees to show their green pass and a negative PCR test result received within 96 hours.
Attendees at indoor events must also undertake an EDE scan at public entry points and wear a mask.
As of 16 November, mass events in outdoor spaces can take place at 100% capacity. Attendees over 18 years of age must provide proof of at least one dose of the vaccine, and wear a face mask during the event.
In New South Wales, face masks, proof of vaccination and Covid-19 Safe Check-in are not required. Retail and businesses are no longer required to have a Safety Plan.
In Victoria (and from 17 December, Queensland too) many leisure and entertainment facilities, such as live music venues, can only open for attendees and staff who are fully vaccinated or exempted. Capacity limits and social distancing will not apply.
South Australia is currently operating under Level 1 restrictions which means venues are limited to 75% capacity for seated events and 50% for standing events. Covid Management Plans required for events of more than 1,000 people. Masks are required for shared indoor public spaces.
Though Western Australia remains in a ‘state of emergency’, events and concerts are permitted to go ahead at full capacity. However, businesses must provide a Covid Safety Plan and maintain a contact register. Events with more than 500 patrons are required to complete a Covid Event Checklist or Plan.
In November, the Brazilian government increased the capacity limit for music venues from 70% to 100% with proof of vaccination.
In Ontario, Canada’s capital city and its biggest live music market, new restrictions came into effect on Sunday 19 December.
Under the new rules, music venues and many other indoor public settings will be limited to 50% capacity. Event spaces are required to close by 23:00.
Canada’s live music restrictions vary from province to province.
See the latest guidelines for each of the regions here: Alberta, British Columbia, Manitoba, New Brunswick, Newfoundland and Labrador, Northwest Territories, Nova Scotia, Nunavut, Ontario, Prince Edward Island, Quebec, Saskatchewan, Yukon.
Restrictions vary across the country but the majority of regions are on step 3 (preparation) or step 4 (initial opening) of the national five-step reopening plan.
During step 3, seated concerts in closed spaces (such as music venues) can take place at 50% capacity if all attendees show a Mobility Pass verifying full vaccination. If there is food consumption, it is reduced to 30% capacity.
Seated concerts in open spaces (such as open-air venues) can take place at 60% capacity with a Mobility Pass. If there is food consumption, it is reduced to 40% capacity.
In non-seated closed spaces, events can take place with up to 100 people (sans Mobility Pass) or 500 people (with Mobility Pass). In non-seated open spaces, events can take place with up to 200 (sans Mobility Pass) or 1,000 (with Mobility Pass).
Attendees at all non-seated venues must be able to maintain social distancing (1m without food consumption, 1.5m with).
Masks are required in all public spaces.
Life is largely back to normal but regional lockdowns have been imposed every time there are new outbreaks of the virus.
Mask-wearing is compulsory, as is keeping a two-meter social distance, except in restaurants, cafes, offices, workplaces, gyms, shopping centres, beaches and public and entertainment parks, where a one-meter rule applies.
Outside, you must wear a mask unless exercising, eating or drinking, at a barbershop or salon, in a car with people from the same household, or if you’re alone.
Live entertainment and activities are permitted in restaurants, cafés and shopping malls. Events with free movement – such as standing concerts – are now allowed again, with a maximum of 5,000 people. Vaccination is required for these events.
At the beginning of November, the Japanese government eased its 10,000-capacity limit on mass gatherings such as concerts following a steady decline in coronavirus cases.
Events across the country can now admit 5,000 people, or 50% of capacity – whichever is larger – while large-scale spaces are permitted to welcome more than 10,000 spectators in Tokyo and other regions previously under a state or quasi-state of emergency. However, events that will involve fans shouting and cheering will be capped at 50% of capacity.
See more information on event restrictions here.
Mexico is currently following a colour-coded system (red, orange, yellow, green) which is updated every two weeks.
Currently, all states are coded yellow (resuming limited activities but with precaution) or green (resuming normal activities but with precaution).
Concerts can only take place in green-coded states. See the colour codes for states here.
Since the beginning of this month, New Zealand has been operating with a traffic light system, under which each region has been assigned a colour (green, orange or red) based on vaccination rates and the spread of Covid-19 in the community.
A region’s colour determines the set of restrictions by which it has to abide.
In regions assigned ‘red’, venues using vaccine certificates are limited to 100 people with one-metre social distancing. In ‘orange’ regions, these venues face no limits on gatherings at events, retail, hospitality. Venues that don’t use vaccine certificates are not permitted indoor or outdoor events under red or orange.
Every region aside from Northland will move to orange at 23:59 NZST on 30 December. These settings will stay in place until 17 January when the cabinet will review. Prime Minister Jacinda Ardern said she expected many areas would move to green at that point.
As of 1 October 2021, South Africa is operating under an adjusted Alert Level 1 which indicates a “low Covid-19 spread with a high health system readiness”.
Under Alert Level 1, leisure and entertainment facilities, whether indoors or outdoors, must close at 23:00. Nightclubs are closed to the public.
Face masks are mandatory for every person when in a public place and 1.5 metres social distancing must be maintained.
Entertainment facilities are limited to a maximum capacity of 750 people for indoor venues and 2,000 people or less for outdoor venues – with social distancing. Smaller venues are limited to 50% capacity.
It was announced on 16 December that South Korea will reimpose curfews on businesses for an initial two weeks from Saturday 18 December.
Public places such as concert halls and cinemas will be permitted to operate until 22:00, while restaurants, cafes and other nightlife venues will have to close at 21:00.
The measures, announced on Thursday (16 December), come a month and a half after the government initiated a phased reopening plan. Amid record highs of Covid-19 infections, the cabinet has gradually rolled back the policy.
Restrictions may vary from state to state – check the US government website for the latest guidance.
New York City
On 13 December, governor Kathy Hochul announced that masks will be required to be worn in all indoor public places unless businesses or venues implement a vaccine requirement. This measure is effective until 15 January 2022, after which the state will re-evaluate based on current conditions.
California is fully open for business with no capacity limits or physical distancing requirements.
For indoor events with 1,000 or more or outdoor events with 10,000 or more, attendees age 3 and older must provide proof that they are fully vaccinated or have received a negative Covid-19 test.
Unvaccinated persons are required to wear masks in all indoor public settings. It is recommended that fully vaccinated people also wear masks in these settings.
Live Nation resumes acquisition of Ocesa for $444m
Live Nation has resumed its acquisition of Ocesa, the third-largest promoter in the world and the parent company of Ticketmaster Mexico.
The US$444 million deal, if completed, would give the world’s largest live entertainment company a 51% stake in one of its largest competitors, which dominates the Latin American market.
The acquisition, which was paused due to the pandemic, is now expected to close by late 2021 or early 2022, subject to regulatory approval.
Live Nation originally agreed to buy 51% of Ocesa for over $400m in summer 2019 but pulled out of the deal in May last year, just a month after Mexican competition regulators approved the deal.
Following the termination of the deal, Live Nation CEO Michael Rapino said that he was “long term, still bullish on [Ocesa’s] business and ours” but that Live Nation was “not looking to take on any losses from Mexico while they’re going through their six or eight months of business downturn”.
“Ocesa will play a pivotal role in putting together many incredible shows in Mexico and the rest of Latin America”
The joint sellers of the stake are the Inter-American Entertainment Corporation (Corporación Interamericana de Entretenimiento, or CIE) and Grupo Televisa, a media giant in the Spanish-speaking world.
Live Nation is reportedly buying a 40% stake in Ocesa from Grupo Televisa, and 11% of the concert promoter from CIE.
CIE will hold on to the remaining 49% minority stake in Ocesa. Live Nation is expected to hold back 7% of the closing price to cover any potential operating losses for several quarters.
“After serving as Live Nation’s touring, festival, and ticketing partner in Mexico for years, we know Ocesa is a stellar business with deep roots in live entertainment in Mexico,” says Michael Rapino, president and CEO, Live Nation Entertainment.
“Alex has built a remarkable company and as we continue to build on the return to live, Ocesa will play a pivotal role in putting together many incredible shows in Mexico and the rest of Latin America.”
“This deal gives us a unique opportunity to continue Ocesa’s 30-year contribution to the development of the Mexican live sector”
Alejandro Soberón Kuri, president and CEO of CIE, added: “We are extremely proud to finally join Live Nation. This is a natural evolution of our long-standing relationship and it gives us a unique opportunity to continue Ocesa’s 30-year contribution to the development of the Mexican live entertainment industry. Additionally, it will help us foster CIE’s commitment to the promotion of Mexican artistic talent abroad.”
Soberón Kuri will serve as CEO and sit on the board of the newly-formed joint venture. Rapino will become chairman of the venture’s board of directors.
Ocesa promotes more than 3,100 events for nearly six million fans annually across Mexico and Colombia and has a robust business portfolio in ticketing, sponsorship, food & beverage, merchandise, and venue operation – including 13 premier venues across Mexico with a collective capacity of nearly 250,000 seats.
Ocesa’s primary ticketing business, Ticketmaster Mexico, is a leading ticket company in Mexico.
Mexico embraces drive-in concerts
Promoters in Mexico are the latest to embrace drive-in concerts, with live shows planned for Mexico City and Toluca, following the adoption of the popular Covid-safe show format in Puerto Rico earlier this month.
Drive-in concerts, or autoconciertos as they are known in Spanish, have brought the live experience back to music-deprived fans across the world in recent months.
Move Concerts premiered the format in San Juan, Puerto Rico, at the start of the month, with Pedro Capó performing to 1,500 vehicle-bound fans.
Now, the format has made its way Mexico, with the first drive-in concerts set to take place at the beginning of August.
The Foro Pegaso (10,000-capacity), an open-air arena in Toluca, some 60km west of the Mexican capital, is hosting a series of 2,000-carpacity drive-in shows from 7 August, kicking off with Mexican rock band Moderatto.
Subsequent performances will come from rock band El Tri and Tejano group Intocable, who are also playing the first-ever drive-in concert in El Paso, Texas next month, on 14 and 15 August respectively.
Promoters in Mexico are the latest to embrace drive-in concerts, following the adoption of the popular Covid-safe show format in Puerto Rico earlier this month
The Foro Pegaso shows are promoted by Miami-based company MH Music Live. Tickets are available here, costing Mex$1,500 (€59) per car, with up to four people allowed in each.
The Mexico City Arena is also trialling drive-in concerts next month, with a show by blues-rock band Real de Catorce and rock group Salvador y los Eones on 8 August in its special open-air arena. Tickets will become available here on Thursday (16 July).
The arena has been hosting drive-in film screenings and family theatre events since the beginning of July.
PricewaterhouseCoopers’ Entertainment and Media Outlook Mexico 2016-2020 had estimated the Mexican live industry to be worth US$276 million in 2020, before Covid-19 wiped out much of the year’s event calendar.
In the first quarter of 2020, CIE, one of two parent companies of leading Mexican promoter Ocesa Entertainment, reported a 6% fall in revenue compared to the same period of the previous year, due to over 200 coronavirus-related event cancellations.
CIE had been due to sell its 11% stake in Ocesa to Live Nation, but the deal was called off earlier this year, after the promoter was unable to agree revised terms with CIE and fellow Ocesa stakeholder Televisa Group.