The 40th anniversary of Rock in Rio‘s flagship Brazilian edition generated R$2.9 billion (€470 million) for the local economy, report organisers.

Held at the Olympic Park in Rio de Janeiro, from 13-15 & 19-22 September, the festival’s headliners included Travis Scott, Imagine Dragons, Katy Perry, Ed Sheeran, Shawn Mendes, Avenged Sevenfold and Mariah Carey.

The event pulled in 730,000 fans across two weekends, with 46% of attendees coming from outside Rio. The city’s hotel sector recorded a 30.7% increase in reservations, achieving 88% room occupancy over the two weekends.

“Celebrating the 40th anniversary of Rock in Rio is to pay homage to the transformative power of music and culture,” says Luis Justo, CEO of Rock World, the company behind the event. “This historic edition, which marked the anniversary of the festival, delivered a huge economic impact to the city of Rio de Janeiro. Over the course of these four decades, the festival has become much more than a music event; it is a platform that moves a series of sectors in the city, impacting small businesses and generating jobs.

“Rock in Rio is also a multimedia showcase that brought together more than 85 brands in this edition, including sponsors and supporters. Every detail was carefully thought out and dedicated by tireless teams, who worked in harmony to provide the best experience for 730,000 fans, including 335,000 from outside Rio and 31 other countries.”

More than 3,500 pieces of content generated by the communications team reached 149 million people during the seven days of the event, according to the firm.

“By using augmented reality technologies, as well as Instagrammable and interactive experiences, we sought to elevate the fan journey to another level”

“Throughout the year, by using augmented reality technologies, as well as Instagrammable and interactive experiences, we sought to elevate the fan journey to another level,” adds Ana Deccache, marketing director at Rock World.

“These numbers show that we are on the right track. Through dynamic content, we create an authentic connection with fans.”

The festival, which will return to Rio in 2026, also upped its sustainability efforts – initiating a reusable cup drive for the first time in partnership with Heineken, Red Bull, Coca-Cola, Schweppes and Braskem, which encouraged conscious consumption and correct disposal.

More than 150,000 cups were collected, washed and returned for use, while 1.5 tons of cups were collected for reuse in the VIP area. Consequently, the festival avoided generating more than 14 tons of waste.

Last month, Rock in Rio founder Roberto Medina unveiled a “visionary project” to turn the area around the Rock in Rio site into the largest entertainment complex in Latin America. In partnership with financial group Genial Investimentos, the Imagine scheme will transform the Olympic Park – home to Rock in Rio Brazil since 2017 – into a leisure, sports and entertainment centre.

Click to read part one and part two of IQ‘s feature on the history of Rock in Rio.

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As one of the world’s most recognisable festival names, Rock in Rio established itself as iconic from day one. IQ presents the second and final part of our deep dive into the landmark Brazilian festival, where we uncover what the future holds for the expanding event.

Catch up on the landmark event’s 40-year history here.

Good Deeds
As a platform to extol the virtues of Rio de Janeiro, Rock in Rio has been tremendously successful in helping put the city – and much of Latin America – on tour routings, meaning that in 2024, it’s unthinkable for any global act to omit the continent from tour plans.

But the remit of Rock in Rio stretches way beyond entertainment and brands, as the Medinas and their colleagues run multiple endeavours off the back of their events to improve the lives of the poor and underrepresented while also addressing environmental causes.

“This thing about music bringing people together, connected to an effective social project, is real,” states Roberto. “It’s not just about saying that we want to protect the environment or enhance education. It’s not just an idea; it’s about making it happen.”

Indeed, Rock World’s social programmes have had a real impact and continue to do so.

To date, Rock in Rio has planted 4.5m trees in the Amazon, “and we will continue planting,” says Roberto. “Rock in Rio has opened schools in the ghettos; Rock in Rio has social topics in its agenda and addresses these items because the importance of Rock in Rio in Brazil is fundamental. We use [our platform] to teach young people the fundamental things we need to do to transform as a society.”

“When we sell the Rock in Rio brand, we are also promoting Brazil and the ability of Brazilians to organise themselves and hold events”

In terms of employment and the impact on the economy, Rock in Rio’s biennial appearance in the calendar impacts the city’s economy by R$2.8bn and creates 28,000 direct jobs. “It is a good monster because it doesn’t cause any harm to society but promotes tourism and cultural activities,” opines Roberto, adding, “When we sell the Rock in Rio brand, we are also promoting Brazil and the ability of Brazilians to organise themselves and hold events. We are the biggest music event in the world: I’m proud of that. But I continue to want to do better – I’m never satisfied: I want to give more.”

And giving an insight into his psyche, he adds, “Doing good leads to profit… I don’t want to do philanthropy – I can achieve results through business, because if you do good and are transparent for your brand, you will sell more and add quality to your product. If half the world is starving, by taking a person out of poverty and bringing them to the market, you are gaining a consumer. So doing good leads to profit. We have to speak the language of capital so that it invests in social projects. This was the path I took to make gigantic projects possible here in Brazil.”

As for its unique selling point, when it comes to brands clamouring to become sponsors, Roberto’s experience in marketing shines through. “We care for the artist in a different way than we care for the brands,” he notes. “We launch a year-long campaign – it’s not something you do in a snap of the finger. It’s a chance for the brand to make itself felt over a very long period of time.”

Growth Prospects
Having cemented its place into the hearts and minds of the international live music business, Rock in Rio inevitably attracted the attention of the corporate world, and five years ago, Live Nation completed a transaction that gave it a controlling stake in the Rock World organisation.

But rather than a simple acquisition, the conglomerate’s hierarchy recognised the skills of the Brazilian workforce, with CEO Michael Rapino noting, “Roberto and his team have grown Rock in Rio to become a truly global event and the preeminent festival in the emerging live events market in South America. We look forward to integrating their industry experience into the Live Nation business.”

“I want to focus more on these markets where there is lots of opportunity to grow”

That integration is now in full swing, with Rock World this year becoming production partner for Lollapalooza Brasil, in collaboration with C3 Presents. That 22-24 March event featured the likes of Blink-182, SZA, Paramore, Sam Smith, Arcade Fire, Limp Bizkit, and local rock legends, Titãs.

Taking on the yearly Lolla expands the Rock World portfolio to four megafestivals: Rock in Rio and Rock in Rio Lisboa, which take place in the even years, and The Town – held on the same site as Lolla in São Paolo in the odd years.

As for future expansion, Roberto tells IQ, “I think expansion in Latin America is possible, but it is not in my plans because I am now focused on Lollapalooza and The Town in São Paolo, and Rock in Rio, which makes us one of the biggest festival companies in Latin America. This year, with the three events all put together, we made R$1.1bn, while we sold 2m tickets over the past two years. So I want to focus more on these [existing] markets where there is lots of opportunity to grow.”

Roberta concurs. “We’re not planning international expansion at this point, but we decided to expand to the closest market to Rio – that is São Paulo. They are both big cities, but São Paulo is very different to Rio. It’s been a conversation for a number of years to take Rock in Rio to São Paulo, but what we realised is that Rock in Rio sees 50% of our revenues coming from sponsorship and 50% from ticket sales – it’s a very different model, and we understand it’s not similar in other territories. But we can definitely grow in our own markets and become bigger in Brazil, while the new site in Lisbon allows us to concentrate on making that bigger, too.”

“Nothing will replace live music. Nothing”

Hi-tech Future
But while growth for Rock World is being driven down a more organic path, when it comes to the development of Rock in Rio, Roberto Medina’s ambition knows no bounds.

Roberta tells IQ, “He’s dreaming about the City of Rock of the future. So he’s talking about major construction plans around the City of Rock – a hotel, a theme park – it’s another level. He’s even talking about having people arrive by flying car!”

She’s not joking.

“I’m really working on having a permanent City of Rock,” confirms Roberto. “At festival time, you will have everything that happens today. However, at other times of the year, there will be stages with holograms,” he teases.

And embracing how technology can make the experience for Rock in Rio guests even more special, Roberto says, “I am taking a close look at future technology, and I’m already discussing the use of flying cars for the VIP area. And that’s just a first move!”

He concludes, “Nothing will replace live music. Nothing. Because human beings are gregarious. For instance, I have an apartment in New York with great Internet speed and a coffee machine. But I go outside to Starbucks, sit down to experience worse Internet and worse coffee. And I spend money. What kind of business is that?

The thing is, human beings are gregarious, and no technology, no matter how engaging it is, will make people not want to be together – that’s what we do at our events.”

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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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Rock in Rio bosses have given an update on the brand’s expansion plans after its 40th anniversary edition in Brazil pulled in 730,000 fans across two weekends.

Held at the Olympic Park in Rio de Janeiro, from 13-15 & 19-22 September, the festival’s headliners included Travis Scott, Imagine Dragons, Katy Perry, Ed Sheeran, Shawn Mendes, Avenged Sevenfold and Mariah Carey, as well as the likes of Evanescence, Ne-Yo, Deep Purple, Charlie Puth and Hollywood star Will Smith.

Roberta Medina, EVP of Rock World, the company behind the biennial event, trumpets the 2024 flagship as a “tribute to the ability that music and culture have to unite people in peace and harmony and to show new possibilities”.

“It was a peaceful event, where thousands of people came together, vibrating with happiness and sharing unforgettable moments,” she says.

The Brazilian festival, which will return in 2026, also upped its sustainability push – initiating a reusable cup drive for the first time in partnership with Heineken, Red Bull, Coca-Cola, Schweppes and Braskem, which encouraged conscious consumption and correct disposal.

More than 150,000 cups were collected, washed and returned for use, while 1.5 tons of cups were collected for reuse in the VIP area. Consequently, the festival avoided generating more than 14 tons of waste.

At last count, Rio-based company Comlurb had collected 288.5 tons of waste from inside Rock in Rio, of which 129.8 tons were potentially recyclable materials.

“We’re not planning international expansion at this point, but we decided to expand to the closest market to Rio – that is São Paulo”

Earlier this month, Rock in Rio founder Roberto Medina unveiled a “visionary project” to turn the area around the Rock in Rio site into the largest entertainment complex in Latin America. In partnership with financial group Genial Investimentos, the Imagine scheme will transform the Olympic Park, home to Rock in Rio Brazil since 2017, into a leisure, sports and entertainment centre.

The Rock World portfolio also includes Portugal’s Rock in Rio Lisboa, which takes place in the even years, and The Town in São Paolo, held in the odd years. It also took over the running of Lollapalooza Brazil in 2023. Rock in Rio Lisboa staged its 20th anniversary edition in June at the 80,000-cap Parque Tejo, attracting 300,000 attendees and selling out three of the four dates. Acts included Scorpions, Jonas Brothers, Doja Cat, Macklemore and Ed Sheeran.

Meanwhile, The Town (cap. 105,000-cap) launched at the Interlagos race track in September last year, headlined by Post Malone, Foo Fighters, Maroon 5 and two nights with Bruno Mars. It welcomed more than 500,000 fans over five days.

Roberto Medina discusses potential future expansion of Rock in Rio as part of a feature celebrating 40 years of the festival in the new issue of IQ.

“I think expansion in Latin America is possible, but it is not in my plans because I am now focused on Lollapalooza and The Town in São Paolo, and Rock in Rio, which makes us one of the biggest festival companies in Latin America,” he says. “This year, with the three events all put together, we made R$1.1bn, while we sold 2m tickets over the past two years. So I want to focus more on these [existing] markets where there is lots of opportunity to grow.”

Roberta Medina adds: “We’re not planning international expansion at this point, but we decided to expand to the closest market to Rio – that is São Paulo. They are both big cities, but São Paulo is very different to Rio. It’s been a conversation for a number of years to take Rock in Rio to São Paulo, but what we realised is that Rock in Rio sees 50% of our revenues coming from sponsorship and 50% from ticket sales – it’s a very different model, and we understand it’s not similar in other territories. But we can definitely grow in our own markets and become bigger in Brazil, while the new site in Lisbon allows us to concentrate on making that bigger, too.”

The full feature on 40 years of Rock in Rio appears in the issue 130 of IQ, out now.

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IQ 130, the latest issue of the international live music industry’s favourite magazine, is available to read online now.

In our bumper September edition, Adam Woods goes behind the scenes of Adele’s historic Munich residency while Gordon Masson talks to the team behind Rock in Rio as the iconic event turns 40.

Elsewhere, ROSTR and IQ analyse the lineups and bookings of 50 top European festivals and the Green Guardians 2024 list is revealed.

This issue also delves into the live music markets in Ireland and Singapore and notes some of the best innovations that debuted during the festival season.

To wrap up the season, Roskilde’s Signe Lopdrup and Isle of Wight’s Caroline Giddings discuss the triumphs and tribulations of their 2024 events.

For this edition’s columns, Pax Nindi champions change in festival production and Pascal Van De Velde outlines Gent Jazz Festival’s transformation.

A selection of magazine content will appear online in the next four weeks but to ensure your fix of essential live music industry features, opinion and analysis, click here to subscribe to IQ – or check out what you’re missing out on with the limited preview below:

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Rock in Rio founder Roberto Medina has unveiled a “visionary project” to create the largest entertainment complex in Latin America.

In partnership with financial group Genial Investimentos, the Imagine scheme will transform Rio de Janeiro’s Olympic Park, home to Brazil’s iconic Rock in Rio festival since 2017 and site of the 2016 Summer Olympic Games, into a leisure, sports and entertainment centre.

The complex will house at least 10 distinct areas, including the main 100,000-cap space – the largest events park in Brazil – plus Latin America’s biggest amphitheatre (cap. 40,000), capable of attracting top international acts.

“Forty years ago, we created an innovative project that came back to stay in 2011. Now, we are going even further,” says Rock World president Medina. “In addition to Rock in Rio maintaining its permanent structures, we are valuing the legacy and making the space ready for various entertainment events. We will use all of our expertise to build, together with the various levels of municipal, state and federal government, a policy that places tourism as the main vocation of this city and the country.

“What would take years to build will be done in a period of three to four years. We already have the structure of the Olympic Park practically ready to bring Imagine to life. We have to embrace entertainment as the key to boosting the city’s economy, creating jobs, bringing companies from various sectors and even more development to Rio de Janeiro.”

Other attractions will include the Rock in Rio Factory, which will take people behind the scenes of the festival, a museum in honour of the Rio 2016 Olympics and various parks, as well as a creative hub, theme park, gamer arena, skate park, ice rink, gastronomic hub and resort. It will be the stage for celebrations such as Carnival, Easter, Oktoberfest, Halloween, Christmas and New Year, as well as music, dance and sports events.

“This is a transformational project for Rio de Janeiro”

The project also includes a mobility scheme integrating all types of transportation in the city and is expected to generate an economic impact of R$9.2 billion (€1.5bn) for the Rio economy, along with more than 140,000 jobs

“This is a transformational project for Rio de Janeiro,” says Genial Investimentos CEO Rodolfo Riechert. “Genial Investimentos has been a long-time investor in Rio de Janeiro, and together with our partner Roberto Medina, we will help transform Imagine into reality.”

Rock in Rio returns to the Olympic Park over two weekends this month for its 40th anniversary edition from 13-15 & 19-22 September. Headliners will include Travis Scott, Ed Sheeran, Imagine Dragons, Katy Perry, Shawn Mendes and Avenged Sevenfold.

A special feature celebrating 40 years of the biennial festival will appear in the forthcoming issue of IQ.

Medina debuted spin-off music festival The Town last year at the Interlagos race track in São Paulo, attracting 500,000 fans over five days for acts such as Post Malone, Foo Fighters, Maroon 5 and Bruno Mars.

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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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Brazil’s Rock in Rio sold out four of the seven days of its 40th anniversary edition within around two hours of going on sale at the start of this week.

The biennial 100,000-cap festival returns over two weekends from 13-15 & 19-22 September 2024 at the Olympic Park in Rio de Janeiro.

Organisers say hundreds of thousands of tickets have already been snapped up for the event, with days headlined by Travis Scott, Imagine Dragons, Katy Perry and Shawn Mendes completely selling out. Fans from more than 31 countries have already bought tickets.

“This week was very special for us,” says Ana Deccache, marketing director at Rock World, the company behind Rock in Rio. “Since Monday, we have been following the public’s excitement for general ticket sales and we have witnessed a presale sell out in record time.

“On social media and on the festival website, the numbers were impressive, with very engaged and eager fans. On TikTok we reached more than a billion views. Finally, with sales open, in less than two hours four of the seven days of the festival were already sold out.”

The Portuguese edition, Rock in Rio Lisboa, celebrates its 20th anniversary from 15-16 & 22-23 June

Tickets are still available for performances by Avenged Sevenfold, Evanescence and Deep Purple (15 September), Ed Sheeran, Charlie Puth and Gloria Groove (19 September) and the Brazil Day celebrations (21 September), which will feature domestic artists such as Capital Inicial, Detonautas, NX Zero, Pitty, Rogério Flausino, Toni Garrido and Ana Castela. Full price tickets cost R$795 (€141).

This year marks 40 years since the beginning of preparations for the festival’s first edition, designed by Roberto Medina, which debuted in January 1985 with acts such as Queen, AC/DC, Tina Turner, Iron Maiden and Rod Stewart.

A series of events have been held in the run up to the 2024 festival, starting with a tribute from the city as part of its New Year’s Eve celebrations in Copacabana.

Rock in Rio spin-off The Town debuted in São Paulo, Brazil last September at the Interlagos race track, attracting 500,000 fans over five days for artists such as Post Malone, Foo Fighters, Maroon 5 and Bruno Mars.

Festivals have also been held under the Rock in Rio banner in Lisbon, Portugal, Madrid, Spain and Las Vegas, USA. The Portuguese edition, Rock in Rio Lisboa, celebrates its 20th anniversary from 15-16 & 22-23 June, headlined by Scorpions, Ed Sheeran, Jonas Brothers and Doja Cat.

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As the 2024 festival season draws closer, a host of leading events have offered updates on what’s in store this summer.

Glastonbury, which will be headlined by Dua Lipa, Coldplay and SZA, has begun releasing its full lineup, stage-by-stage.

This week, it unveiled the bill for The Glade, including live performances from Faithless, Goldie, D:REAM, Eva Lazarus, Nubiyan Twist, K-Klass, Henge and Afriquoi, alongside DJ sets from Fatboy Slim, Camelphat, Layla Benitez, Groove Armada, Gok Wan, Carlita, Chris Stussy, Mall Grab and Desiree.

Set for Worthy Farm, Somerset, from 26-30 June, the UK festival, whose founder Michael Eavis received a knighthood for services to charity and music at Windsor Castle yesterday (23 April), sold out its final resale – comprising a “very limited” number of tickets for which the balance was not paid – in 22 minutes on Sunday. Remaining coach packages were snapped up in just 18 minutes three days earlier.

In addition, Amazon Music has announced it will return to Barcelona for a third year to exclusively livestream select performances from the 22nd edition of Primavera Sound from 30 May-1 June at Parc del Forum. The streaming service will provide access to a weekend full of live music on Prime Video and the Amazon Music channels on Twitch.

The festival will be broadcast in both Spanish and English across two channels of original content, and a third channel which will be simulcast with subtitles, from 6.30pm BST each day. Acts will include Pulp, Vampire Weekend, Justice, Lana Del Rey, The National, Disclosure, SZA, PJ Harvey, Mitski, FKA Twigs and Charli XCX. New for 2024, Amazon Music has also created an exclusive viewing deck overlooking the Amazon Music Stage.

“The public will have the opportunity to experience an incredible journey through music”

Elsewhere, the latest additions to Rock in Rio Brazil’s 40th anniversary, slated for 13-15 & 19-22 September, include James, Christone “Kingfish” Ingram, Penélope and Pato Fu. The artists will perform on 14 September, which will be headlined by NX Zero.

“It will be a day for varied tastes on the Sunset Stage. Pop rock, blues, indie rock and emo rock will set the tone for the space’s curated narrative on this date,” says Zé Ricardo, artistic VP of Rock World, the company behind Rock in Rio and The Town.

“The public will have the opportunity to experience an incredible journey through music, from the emotional return of the band Penélope alongside Pato Fu, to the energy and powerful sound of Kingfish’s blues. We will also go through James’ greatest hits, who is a true alternative rock institution, and close the night with a wonderful show full of NX Zero hits. It will be an unforgettable day.”

Elsewhere, the third wave of acts for Flow Festival Helsinki‘s 20th anniversary features Halsey, Janelle Monáe, Vince Staples, Auruora, Barry Can’t Swim, Amaarae and Yves Tumor, who join a lineup headed by Fred Again.., Raye, Pulp, Idles, The Smile and PJ Harvey from 9-11 August.

Pitchfork Music Festival London, scheduled for 5-10 November, has released the first wave of artists set to perform throughout the week, including Tierra Whack, Arooj Aftab, CASISDEAD, Sega Bodega, Kae Tempest, Empress Of, Billy Woods, Moor Mother, Drugdealer, Snow Strippers, Shame, Marika Hackman, Pom Pom Squad, Friko and Chanel Beads.

EFG London Jazz Festival has also announced the first names for its 2024 edition, set to take place from 15-24 November. Performers will include the likes of Pat Metheny, Anouar Brahem, the LSO x Cassie Kinoshi’s seed., Jazz Voice, Marisa Monte, Rumer, Jamie Cullum, Dawn Richard x Spencer Zahn, Veronica Swift and Robert Glasper across various London venues.

“We are very excited to return with the 32nd edition of the EFG London Jazz Festival once again presenting a diverse lineup of brilliant artists, projects and exciting performances showcasing the dynamism and creativity of the music we love,” says festival director Pelin Opcin. “This first lineup announcement is only a portion of the festival and the overall programme will continue being the platform for creative music, new work, unique collaborations and showcasing the strength of UK’s jazz community.”

“The epic scale and quality of product C3 produces will elevate our entire music landscape”

Plus, Festival2Funky, the annual three-day celebration of Black music and arts, returns for its 11th year across 24-26 May in Leicester’s West End, topped by Lady Leshurr, Natasha Watts, Pressure Busspipe, The Beatnuts, Children of Zeus and DJ Day Day.

“We are delighted to be bringing Festival2Funky back for its 11th outing and are proud to present a diverse and inclusive festival with cross-genre collaborations, experimental fusions, a vibrant network of artists, and dedicated LGBTQIA+ event,” says Vijay Mistry, MD of 2Funky Arts. “There are events for all ages and interests, from those familiar with the music scene to those who want to learn and discover something new. It’s a great opportunity to see some world-class artists whilst supporting new and emerging talent in the area.”

And Dot To Dot Festival has released the third wave of artists for this year’s lineup with 28 new names for the multi-city event in Bristol and Nottingham on 25-26 May, respectively. The artists include Len, Saya Gray and Charlotte Plank, who are set to join festival headliners Jockstrap and Wunderhorse, alongside the likes of The Magic Gang, Antony Szmierek, The Bug Club, Hovvdy, Infinity Song, Jgrrey, Panic Shack and Picture Parlour.

In the US, meanwhile, Huntsville, Alabama will welcome the inaugural South Star Festival to John Hunt Park on 28-29 September. The event featuring 20 artists across two stages, with headliners Blink-182 and Gwen Stefani alongside Shinedown, Beck, Jane’s Addiction, Sublime, Goo Goo Dolls, Jimmy Eat World, TLC, Ludacris, Juvenile and the 400 Degreez Band, Big Boi, Gin Blossoms, Pete Yorn, Candlebox, Vanessa Carlton, Winona Fighter, Bully, Dexter & Moonrocks, and Billy Allen + The Pollies.

“The fact that C3 Presents is jumping headfirst into the development of our music ecosystem and the investment they’re making into Huntsville speaks volumes about our current reputation and trajectory towards being a world class music city,” says City of Huntsville music officer Matt Mandrella. “Year one of the South Star Festival boasts a mind-blowing array of superstar talent that is sure to appeal to a broad audience and inject millions of dollars into our local economy.

“The epic scale and quality of product C3 produces will elevate our entire music landscape. Artists talk to each other about their experiences, and it’s obvious these artists have all heard good things about Huntsville.”

“We get to programme a festival that is not only multigenerational but shows an incredible range of genres and musical subcultures”

Now in its 16th year, San Francisco’s Outside Lands, the largest independently owned festival in the United States, is slated for Golden Gate Park between August 9-11. Produced by Another Planet Entertainment and Superfly, its 2024 headliners include Tyler, The Creator, The Killers, Sturgill Simpson and Post Malone.

Other artists include The Postal Service, Grace Jones, KAYTRANADA, JUNGLE, Snoh Aalegra, Gryffin, Young The Giant, ScHoolboy Q, Chappell Roan, Reneé Rapp, Victoria Monét and The Last Dinner Party.

“Every year we start with a blank canvas and because of the diverse and sophisticated palette of Bay Area music fans, we get to programme a festival that is not only multigenerational but shows an incredible range of genres and musical subcultures,” says Allen Scott, co-founder of Outside Lands and head of concerts and festivals at Another Planet Entertainment.

Finally, Brunch Electronik will launch its debut American edition at Exposition Park in Los Angeles on 6 July. Acts include DJ Harvey, Maya Jane Coles, Colyn, Will Clarke, Stavroz, and Manics. Brunch Los Angeles will be held in partnership with LA-based underground event collectives Minimal Effort and SBCLTR.

Established in 2013 as a Sunday afternoon weekly party in Barcelona, Brunch Electronik has since hosted events in cities such as Madrid, Paris, Lisbon, Lima and São Paulo, as well as launching its debut festival in Barcelona last year.

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The run-up to Christmas has brought with it another cavalcade of 2024 festival line-up announcements from across the world.

Massive Attack, Queens Of The Stone Age and Bring Me The Horizon will headline the 10th birthday of Romania’s “24-hour festival experience” Electric Castle, which takes place at Bánffy Castle in Transylvania from 17-21 July.

Spread across 10 stages, other acts confirmed include Chase & Status, DJ Shadow, Khruangbin, Sleaford Mods, Bonobo, Marc Rebillet, Priya Ragu and Kenya Grace in addition to DJ Diesel, aka NBA legend Shaquille O’Neal.

Elsewhere, in a European festival exclusive, Fisher and Chris Lake will bring their Under Construction show from America for the first time to the UK’s Parklife. The house music duo are the first headliner announced for the festival, which will be held in Manchester’s Heaton Park on 8-9 June.

In what is billed as an industry-first, weekend tickets have been reduced from £129.50 to £125 to make them “accessible to all”.

Also in the UK, BST Hyde Park has named Robbie Williams as its second headliner for 2024. The pop icon, who previously starred at the London concert series in 2019, will appear on 6 July.

“We’re extremely happy to have Lenny Kravitz back on the poster, after the pandemic forced us to cancel in 2020”

Portsmouth’s Victorious Festival will take place from 23-25 August, headlined by Fatboy Slim, Jamie T and Biffy Clyro. The star-studded bill also features Snow Patrol, Idles, Jess Glynne, Courteeners, Pixies, The Lathums, Holly Humberstone, Becky Hill, Wet Leg, Soft Play, The Snuts, Maximo Park, Lottery Winners, Lightning Seeds and Yard Act, among others.

Plus, Crowded House (17 June), Nick Mulvey (20 June), Jungle (27 June) and Underworld (29 June) are the first acts unveiled for the second edition of Berkshire’s On The Mount at Wasing.

Sónar Barcelona, set for 13-15 June, revealed its first 70 artists for next year, including Floating Points, Kaytranada, Jessie Ware, Ben Böhmer, Martinez Brothers, Charlotte de Witte, Toya Delazy, Kerri Chandler and Reinier Zonneveld.

In Germany, Jazzopen Stuttgart celebrates its 30th anniversary from 18-29 July with artists such as Lenny Kravitz, Sting, Sam Smith, Jamie Cullum, Lawrence, Lettuce and The Cat Empire. Plus, Hamburg’s MS Dockville hosts the likes of Jeremias, Disarstar, Mayberg, Lime Cordiale, Fuffifufzich, My Ugly Clementine, Zeck, Hak Baker, Art School Girlfriend and Uche Yara between 16-18 August.

Lenny Kravitz has also joined the bill of Tinderbox in Odense, Denmark, from 27-29 June. The rocker was originally scheduled for the 2020 edition, which was cancelled due to Covid.

“We’re extremely happy to have Lenny Kravitz back on the poster, after the pandemic forced us to cancel in 2020,” says festival CEO Brian Nielsen. “Lenny Kravitz is one of the most inspiring artists of our time and continues to put his mark on the global music scene. We can’t wait to see what kind of magic will appear when he takes the stage at Tinderbox next summer.”

“Skrillex has single-handedly cut through a lot of barriers and is bringing together people across generations, nations, and musical inclinations”

Denmark’s Roskilde has added Skrillex, Róisín Murphy, Aurora, SexyyRed, Noname, Yaeji, Bar Italia, Shovel Dance Collective, Rhiannon Giddens and Kara Jackson to its bill. The 52nd edition of the festival will feature more than 170 acts from 29 June to 6 July.

“Skrillex has single-handedly cut through a lot of barriers and is bringing together people across generations, nations, and musical inclinations,” says programme director Anders Wahrén. “Everything we’ve seen and heard from Skrillex in 2023 – and that sums up to quite a lot – serves as euphoric and indisputable proof of his musical ambitions and innovative technical wizardry. We’re excited for this to unfold at Roskilde Festival.”

Finland’s Sideways has announced Peggy Gou, Jungle, Fontaines DC and Derya Yildirim & Grup Simsek for 13-15 June in Helsinki, and DJ sets from Bou, Dimension, Hedex, Sub Focus and Wilkinson will headline the inaugural DnB Allstars Portugal in Portimao from 3-6 May.

Camila Cabello joins Scorpions and Ed Sheeran in topping Rock in Rio Lisbon‘s 10th edition, set for 15-16 & 22-23 June, while Imagine Dragons are the latest headliner unveiled for the 40th anniversary of Rock in Rio Brazil, scheduled for 13-22 September.

Norway’s Oya Festival, meanwhile, has bolstered its 25th anniversary lineup with bands including Queens Of The Stone Age, The Smile and The National from 7-10 August.

“We hope our festive festival helps bring a moment of joy to travellers this Christmas”

Over in the US, Foo Fighters, Noah Kahan, and Weezer will headline the 2024 edition of rock festival Shaky Knees. Taking place 3-5 May at Central Park in downtown Atlanta, the lineup features over 60 artists across four stages also including Queens Of The Stone Age, Arcade Fire, Girl in Red, Billy Idol, The Offspring, Portugal. The Man, Young the Giant and Interpol.

Cruel World will return to Brookside at The Rose Bowl in Pasadena, California on 11 May, starring Duran Duran, Blondie, Interpol, Simple Minds, Placebo, Soft Cell, Adam Ant and The Jesus and Mary Chain, while Skrillex, Rezz, David Guetta, Carl Cox, Armin van Buuren and Alesso are among acts lined up for EDC Mexico, which runs in Mexico City from 23-25 February.

And Trainline has announced TrainLive, the UK’s first “train station music festival”, which will take place in a London train station this Friday, 8 December, topped by Sugababes and featuring a range of up-and-coming local musicians. Tickets for the Sugababes performance can be won through a ballot hosted on the Trainline website, with ticket-holders to receive an email the morning of the event, revealing the secret location.

“We’ve always been committed to getting journeys off to a great start, by making it easy to find and buy great-value rail tickets,” says Sakshi Anand, Trainline’s VP of growth and UK general manager. “Now we want to get Christmas off to a great start too, by hosting our first ever music festival in a station. From new artists to our iconic headliners, we hope our festive festival helps bring a moment of joy to travellers this Christmas.”

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