Concert Revolución in Latin America
“Really, when we talk about Latin American music, it’s important to realize that Latin America isn’t one country, one region even. It’s millions of people with different cultures, heritages and tastes,” Vega said. “What works in Mexico may not work in Brazil. We’re talking many, many regions.” The discussion naturally turned toward the economy.
Vega said that while a lot of things are outside the control of the promoter, who obviously can’t influence the exchange rate, “We try to do what we can to work with them to soften the blow.” One idea he brought up was to pay artist expenses in local currency. Jose Muniz, VP of T4F- Time for Fun, earned a round of applause for his input. “One solution is for artists to reduce their fees – but it’s never going to happen,” Muniz said. Vega said that the concert business is a chain of relationships and if an artist lowers their price, everyone has to. “If we lower the ticket price, you can’t still charge $15 for parking and $10 for popcorn. We’ve got to all dive in together.” Fernando Favela, general director for Auditorio Telmex in Guadalajara, Mexico, agreed. “We need to reduce costs in the ticket systems, lighting and transportation. I think it’s a job for everyone, not just the artist.” Moderator María Cristina García Cepeda, director at Auditorio Nacional in Mexico City, asked the panelists to discuss the major differences between the Latin American and North American touring markets. Vega said that in addition to the challenge of currency exchange, another issue is the difference in geography. “In the U.S., you can route a ground tour using buses and trucks. While you can do it in Mexico, it’s very difficult to route a whole ground tour in South America,” Vega said. Vega explained the distance between venues is one issue and the infrastructure isn’t the best in some countries. This makes it more costly for artists to tour in Latin America. “In North America, in the U.S. in particular, there is an entertainment business infrastructure with defined roles,” Vega said, listing off a team of manager, agent, business manager and publicist. “And when they get really big, they get a plastic surgeon.”
Muniz agreed with the challenge of Latin America’s infrastructure, adding that, “In order to do Madonna, it takes 23 days, using five jumbo jets. In Europe she could do 11 shows in two weeks.” Rodriguez said that in Latin America, promoters do everything from catering to lighting to making sure artists’ visas are in order. “It’s a whole different animal. It’s night and day,” Rodriguez said. Or as Hector Villalobos, chairman and CEO of Villalobos Enterprises, put it, “It’s not a job, it’s an adventure. You defi-nitely go down there with your fingers crossed. If 80 percent show up, it’s been a successful show.” The discussion turned back to the economy, but on a positive note. “People get used to the bad news. We have to keep moving. The bad news is going to be old news pretty soon,” Muniz said. “If we look at it as a crisis, it can only go up. My artists’ calendars are getting full,” Villalobos said. “People look for an escape in down times. They may not go to five concerts, but they may go to two. “Any concert in Latin America is a lot more fun than a concert in the United States.” - Reported by Sarah Marie Pittman, Pollstar |
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