The future of live music

The audience at the El Molino Theater yesterday applauded the premature departure of Pino Sagliocco, music promoter and president of Live Nation in Spain, from the forum organized by this newspaper to analyze the cultural and economic impact of major music events. His departure was not due to irreconcilable differences with the rest of the participants—he had planned a trip to Madrid—but he was the one who generated the most disagreements in the debate. Held yesterday morning, the event brought together prominent figures in the sector, including Miguel Martín, director of the Jazzaldia festival in San Sebastián; Marta Pallarès, director of institutional relations for Primavera Sound; Tito Ramoneda, president of The Project; and Ricard Robles, co-director and co-founder of the Sónar festival. The session was moderated by Miquel Molina, deputy editor of La Vanguardia .

This summer, Barcelona will become one of the world's epicenters of live music, with a concentration of stars such as Billie Eilish, Lady Gaga, Kendrick Lamar, Katy Perry, Jennifer Lopez, and Robbie Williams. This makes the city an essential destination for cultural tourism, "the kind of tourism that every city wants to have," said Miguel Martín, director of the San Sebastián Jazz Festival. "It's a type of visitor who already comes with a defined cultural interest, and that's wonderful."

Billie Eilish, Lady Gaga, Jennifer Lopez... attract to Barcelona the "tourism that every city wants to have"

Tito Ramoneda, president of The Project, a promoter who organizes events such as the Barcelona Jazz Festival and Guitar BCN, highlighted Barcelona's merit in having consolidated a network of music festivals over time with continuity and its own identity. He also underscored the city's strong musical DNA: "We have to go back several decades, to when jazz and swing arrived, and a unique sonic narrative began to be built. In that context, rumba was born, a distinctive sound was forged, and artists ranging from Peret to Rosalía, Serrat to Loquillo, emerged. This journey explains the leading role Barcelona plays in the music industry today."

This Monday, the news broke that Puerto Rican artist Bad Bunny will embark on a world tour with stops in Madrid and Barcelona, ​​​​with the help of the promoter Live Nation. The hype campaign began with an enigmatic image: two plastic chairs placed in front of stadiums in twenty countries. "I know I'm going to fill the stadiums with Bad Bunny," Sagliocco assured. "But if I had included him on a festival lineup, it wouldn't have had the same success." According to the entrepreneur, this is due to a profound change in the live music model. "After the pandemic, people want to see their favorite artist in a stadium, not at a festival." He also stated that the festivals organized by the promoter he runs "are fighting to survive."

Beside him, Marta Pallarès of Primavera Sound listened attentively. “I don't think people will only attend stadium shows. I do think it's a growing model, but I don't think it's going to eliminate everything else.” This year's Barcelona festival sold out the fastest in its history, with three women under 35 headlining: Charli XCX, Chappell Roan, and Sabrina Carpenter. “There are those who say that's not a headliner , and I respect that, but it reflects a philosophy and a clear identity.”

The case of Primavera Sound illustrates how certain festivals emerged in response to a popular demand unmet by the dominant musical offering. Originally conceived as an alternative to large commercial events, the festival opted from the outset for a daring, generationally attuned programming for its audience. This approach was similar to the one that also drove the birth of Sónar, with a more electronic-oriented approach, technological innovation, and the intersection of art and music. “Building a cultural offering with an impact on local communities and, if possible, also on a global level: that was the approach with which Sónar was born 32 years ago and with which it continues to work today,” explained Ricardo Robles.

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Participants agreed that a city's cultural offering directly influences the type of tourism it attracts. Even so, "not everyone recognizes the transformative value of live music," warned Miquel Molina. In Madrid, neighborhood complaints about noise around the Santiago Bernabéu stadium have led to the cancellation of several major concerts. Barcelona, ​​on the other hand, has a key advantage: the Palau Sant Jordi and the Olympic Stadium are located on Montjuïc, far from residential areas. "Music is not a nuisance; it's a cultural asset," the forum emphasized. "But we must occupy public space with respect. We are a small, dense city, and that requires better organization."

In 2024, live music in Spain reached its highest revenue ever, surpassing €725 million in ticket sales. This business has grown 370% in the last decade.