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BRAZIL Background: Brazil has long been a self-contained market . With local repertoire accounting for 70% of music sales and with touring by international acts being an expensive undertaking, the country has long been under the radar as far as the international music industry is concerned.
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BRAZIL Background: Brazil has long been a self-contained market. With local repertoire accounting for 70% of music sales and with touring by international acts being an expensive undertaking, the country has long been under the radar as far as the international music industry is concerned. Music from local artists accounts for 59% of the industry’s physical format. In 2011 22 of the top 25 best selling albums were by local artists (many of them priests). The principal local genres are sertaneja, samba and forró.
The musical landscape is hugely diverse and extremely varied with hundreds of different styles. Access to YouTube, blogs, illegal downloading, etc. has created a new generation of music listeners who are increasingly open to a broad cross-section of music from around the world.
The media is controlled by a small number of powerful companies, catering to the needs of their advertisers and the tastes of the general population. Music coverage and criticism have traditionally been the role of the cultural sections of the daily newspapers. There have been very few music publications; the printed media has improved greatly with the arrival of local editions of Rolling Stone and Billboard. Access to radio is dictated by pay for play(with receipts and invoices).
The music scene in major cities like São Paulo and Rio de Janeiro is blooming. There is an extensive network of clubs and festivals, and a growing number of professionals bringing bands to tour these networks. The public is focused on local acts but there is room for non-established international artists who are willing to invest the time. Local promoters are increasingly in contact with their Latin American counterparts and this will be the key importance of Brazil in the future. For touring bands, Brazil is the gateway to the rest of the continent.
The opportunities with the digital market are negligible with regard to revenue for sales online. The marketing opportunities however, although still embryonic, are enormous and significant. Although the independents are still only finding their feet, they are creating the new Brazilian music industry.
Press & Print Media • O Dia - Rio de Janeiro daily • O Correio Brazilense - influential daily • O Globo - Globo-owned Rio de Janeiro daily • Folha de Sao Paulo- daily • O Estado de Sao Paulo– daily • Music Press • Rolling Stone - www.rollingstone.com.br • Billboard Brasil – www.billboard.br.com • Veja - veja.abril.com.br • Rock Brigade - www.rockbrigade.com.br (metal) • Roadie Crew - www.roadiecrew.com (metal) • Guitar Player - www.guitarplayer.com.br • Modern Drummer - www.moderndrummer.com.br • Sucesso – principal music industry publication
FESTIVALS Some festivals are financed by their box-office receipts, other by fiscal incentive laws and sponsorship. To bring international performers to Brazil, some of these festivals make deals with producers from São Paulo, sharing the attractions with presentations thus dividing the travel expenses to Brazil. International tours always go through Sao Paulo or Rio de Janeiro, or both. Larger tours opt for key cities such as Porto Alegre, Curitiba and Belo Horizonte. International shows are less frequent in the Northeast, and even less in the Amazonian region. Often events are not viable due to the high cost of airline tickets (not only international tickets, but also domestic ones).
Rio de Janeiro has recently seen the development of a crowd-funding project entitled Queremos (We Want). Based on the production costs, the organizers sell “ticket-units” for an average of R$200. The buyers/investors promote the event on Facebook, Twitter, through emails to friends, etc. If the final revenue through additional ticket sales is greater than the prodution costs, the initial buyers/investors can have all or part of their investment returned.
ELECTRONIC MUSIC According to a study commissioned by the organizers of the Rio Music Conference, ticket vendors collected $US 515 million for electronic music events in 2011, up 56.64% from the previous year, with an audience of 19.5 million people. Sponsoring investments, the cream of the crop for these events, was also up to $270 million, an increase of 60% compared to 2010. In total, the collective sum paid to DJs who performed in Brazil in 2011 was $57.2 million, 79.9% more than 2010.
SESC - www.sesc.com.br SESC (Social service for commerce workers) is a large non-profit private organisation with subsidiaries across Brazil. The institution is maintained by service and retail companies. It offers its members, primarily the workers and families of those who work in retail, (who number over 5 million) a wide range of services including hostels, holiday resorts, theatres, cinemas, schools. Their cultural activities, however, are directed to the population in general. Shows, plays and other performances promoted by the SESC units are considered by the population to be more accessible, with ticket prices from as low as R$4 to R$30.
Trade fairs. It may be a cliché but networking and establishing relationships goes a long way. The Brazilians are always to be found at such events as APAP, Midem, SXSW, CMW, Babel Med, Liverpool Sound City, The Great Escape, c/o Pop, Reeperbahn, CMJ and Womex. In South America there are fairs like Bafim (Buenos Aires), PortoMusical (Recife) and Feira Musica Brasil. Although the main music industry is focused in São Paulo and Rio de Janeiro, each State has it’s own music scene, usually represented by cooperatives, music associations and cultural bodies – and many of these are very active in international trade fairs. International bands showcasing at trade fairs should also look for opportunities to divide a stage with their Brazilian counterparts. Little touches can generate a lot of media.
The Revista Sucesso site is a constantly updated source of info on what’s selling and most songs can be heard through YouTube. Current star Paula Fernandes recently recorded with Taylor Swift. Sony teamed up Vanessa de Mata with Ben Harper. Blogs are used extensively to promote and distribute new music. O Esquema is a blog collective, featuring 17 influential Brazilian bloggers, covering various aspects of the arts and media, both Brazilian and international. Other influential sites are www.meiodesligado.com and colunistas.ig.com.br/lucioribeiro.
