Market Access Guide – Brazil 2020 – Table of Contents 01

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Market Access Guide – Brazil 2020 – Table of Contents 01. COUNTRY OVERVIEW ...... 3 02. BRAZILIAN RECORDED MUSIC MARKET ...... 5 THE MAJORS ...... 1 INTERVIEW WITH PAULO JUNQUEIRO, PRESIDENT, SONY MUSIC BRASIL ...... 10 THE INDEPENDENTS ...... 11 CHART SERVICES ...... 1 03. POPULAR BRAZILIAN MUSIC - GENRES ...... 1 GOSPEL ...... 16 FUNK ...... 20 SERTANEJA ...... 22 HIP HOP ...... 25 HEAVY METAL ...... 29 04. DIGITAL AGGREGATORS ...... 35 05. PLATFORMS ...... 40 06. MUSIC CONFERENCES ...... 42 07. PRODUCERS ...... 44 08. MUSIC PROMOTION AND MEDIA ...... 46 Radio ...... 46 TV ...... 49 INTERVIEW WITH MARCOS HERMES ...... 51 PRESS ...... 52 BLOGS ...... 52 PODCASTS ...... 54 YOUTUBE ...... 55 PR AGENCIES ...... 56 INTERVIEW WITH NANDO MACHADO, FORMUSIC ...... 58 INTERVIEW WITH BRUNO CAPINAN ...... 59 09. MUSIC PUBLISHING ...... 60 Public Performance Rights ...... 62 SYNC ...... 71 10. THE LIVE SECTOR ...... 73 Booking Agents/Concert and Tour Promotors ...... 74 TICKET COMPANIES ...... 77 PRINCIPAL VENUES ...... 77 FESTIVALS ...... 79 Law Firms ...... 85

Funding for this guide was provided in part by Global Affairs Canada – CanExport Associations.

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It is not to be forwarded or distributed from any party without the usage of the Password provided to either affiliated companies, organizations, Canadian Music Industry companies and CAAMA members.

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COUNTRY OVERVIEW

razil is the leading economy in Latin America, the eighth-largest economy worldwide, with a B population of more than two hundred million people, and a market full of business opportunities. The Federative Republic of Brazil is a continent-size country (only Russia, Canada, China, and the United States are bigger). It borders every country in South America except Ecuador and Chile. The majority of the population is concentrated in its coastal cities, particularly in the South-East. Saõ Paulo is Brazil’s largest city, with almost 12 million people, followed by Rio de Janeiro with around 6 million. There are five climates in Brazil: equatorial, tropical, semi-arid, highland tropical, and subtropical.

Brazil has four time zones, spread across twenty-six states in addition to the Federal District (Brasilia).́ The states are semiautonomous, with financial independence from the central government. The country is divided in five main regions: north, northeast, central-west, southeast and south.

The population consists of four main groups: the Indigenous peoples, the Portuguese (who arrived in 1500), the Africans (who were mainly brought as slaves), and immigrants (especially Japanese, Italians, Germans, Poles, Spaniards, Syrians and Lebanese). This mixture coupled with its size make for a remarkably diverse country.

Over the past 500 years the Iberian European colonizers have dominated the region’s political and economic landscape, only recently including the other immigrant populations. The process of racial mixture in the region, and especially the African legacy, has created a culturally unique scenario.

The country contains the world’s largest Roman Catholic population; it is also the home of several unique Afro-Brazilian religions. Also, Protestantism and evangelical Pentecostalists both have seen large growth in recent decades.

Brazil is the only Portuguese-speaking country in South America. The Portuguese spoken in Brazil can be quite different from that spoken in Portugal; many words come from both European languages and Arabic, as well as words from Asia (reflecting Portugal’s maritime history). Indigenous Tupi-Guarani words (for flora and fauna, for example) have also been assimilated, as too are words derived from African languages.

The current population is 211,931,635 as of Friday, January 31, 2020, based on the latest United Nations data, equivalent to 2.73% of the total world population. 87.6 % of the population is urban. Brazil has 15 widely scattered cities of more than a million inhabitants.

# City Name Population

1 Sao Paulo 11,319,149 2 Rio de Janeiro 6,023,699 3 Salvador 2,711,840 4 Fortaleza 2,400,000 5 Belo Horizonte 2,373,224 6 Brasilia 2,207,718 7 Curitiba 1,718,421 8 Manaus 1,598,210 9 Recife 1,478,098 10 Belem 1,407,737 11 Porto Alegre 1,372,741 12 Goiania 1,171,195 13 Guarulhos 1,169,577 14 Campinas 1,031,554 15 Nova Iguacu 1,002,118 Male: 104,435,783 (49.13%)

Female:108,123,626 (50.87%)

Age Group Total Share

0-14 years old 44,019,352 71% 15-64 years 148,150,776 69.70% 65+ years old 20,389,281 9.59% The median age in Brazil is 33.5 years.

The country occupies key niches in global energy, agricultural, service and high technology markets. But it also struggles with problems of poverty and inequality, high taxation, bureaucracy, regular bouts of financial instability, and the return of political authoritarianism. Brazil has probably never been so diverse, divided, or unequal as it is today, in a constant struggle to understand and escape from its past. Brazil is the world’s tenth largest music market; to survive, local music entrepreneurs need to be – and have proven themselves to be - resilient and inventive, with a large dose of patience and optimism.

BRAZILIAN RECORDED MUSIC MARKET

he local recording industry started in 1902 with Casa Edison, which recorded local artists, with manufacturing in Europe. In 1913 the German company International Talking Machine-Odeon Testablished its first factory in Brazil. In 1928, Parlophon came to the country, followed by Brunswick (who left after a few years). In 1929, Columbia and RCA-Victor arrived. Together with Odeon, these three companies were leaders in the market until the 1950s.

The era from 1929 until 1945 is considered in Brazil as the so-called golden age of Brazilian popular music. A number of factors were decisive: a crisis generated by the fall in international coffee prices caused a devaluation of the currency, and an ensuing reduction in the demand for imported products. The local industries had to focus on the domestic market, helped by governmental incentives. Also, there was a movement to use music, especially samba, as a factor of national integration and identity, which lead to the emergence of a legion of singers and composers.

The modernization of the record industry began in the 1960s, with heavy investments in technology and A&R. Philips arrived in 1960; EMI in 1969. Som Livre was created in 1971, a record company set up by the Rede Globo de Televisão (Globo Television Network), focused on releasing the soundtracks of local soap operas, to massive success.

The 1960s and 1970s were important decades for the growth of the local industry. Bossa Nova, Jovem Guarda and Tropicália modernized and transformed the culture of the country. Bossa Nova was, loosely,

where jazz met samba. Jovem Guarda was the Brazilian interpretation of international pop/rock music, while the experimental Tropicália movement embraced both genres but also various folk traditions. Eventually, all were gathered under the MPB title.

The 1960s also saw the popularity of musical showcases (known as festivals), broadcast by the national TV channels which helped promote a new generation of singers and songwriters as well as being a source of talent and revenue for the record companies. By the end of the decade, censorship of song-lyrics from the military regime saw the the festivals losing their popularity which, in turn, lead to the multinationals releasing more recordings by international artists.

The record companies started a campaign under the banner Disco é Cultura (Records are Culture) to promote the importance of the sector to the public as well as lobbying for tax emptions. In 1969, a law was passed, conceding a series of tax exemptions on recording costs, royalties and advances. This had a major impact, permitting the industry to invest heavily in both artistic production and promotion. (The Disco é Cultura law became the first of various incentives, culminating in the creation of the Rouanet Law in 1991, a tax incentive policy to which companies and individuals could apply, respectively, 4% and 6% of their Income Tax on cultural actions. Over the following years, the Rouanet Law injected about $16.5 billion into the creative economy, through 50,400 awards to theater, dance, circus, film, literature, visual arts, music, design, cultural heritage, popular festivals and other segments.)

The 1970s saw the the industry releasing romantic pop (including a scene known as brega), the rural rock of Clube da Esquina and the movement of singer-songwriters from the north-east of the country. The principal companies of the era were the international labels Philips, EMI-Odeon, CBS, RCA and WEA; and the local companies Som Livre, Continental, Copacabana, Chantecler, RGE, CID, Marcus Pereira, Tapecar and Top Tape.

Philips, under president André Midani, was the leading company, with around 20% of the local market and also with a focus on bringing their Brazilian cast to the rest of the world. Participating at Midem since 1967 (with a show by Elis Regina), the company organized a Brazilian night in 1975 with shows by Jorge Ben, Gilberto Gil, Gal Costa and others.

According to the ABPD (Pro-Música) between 1970 and 1979, the industry increased by 10% each year, with 30% in 1972 and 1973 and 45% in 1976. Unit sales increased from 9,8 million in 1969 to 52,6 million in 1979.

The success of the multinationals – who had access to large international catalogues of music – was regarded as unfair competition by the local companies. Between 1972 and 1975, international artists corresponded to 47% of the releases and 33% of the sales. In 1978, international artists accounted for 53% of the releases but 37% of the sales. Labels such as Copacabana and Top Tape began releasing their own “international” artists, recordings in English by local singers, with successes such as Feelings by Morris Albert, Tell Me Once Again by Light Reflections and Summer Holiday by Terry Winter. Philips, RCA and EMI-Odeon set up local studios in the 70s, underlying the importance of local repertoire.

WEA opened Brazilian offices in 1976, contracting Andre Midani as director, and the following year boasted 12% of the market. In 1979 Ariola established themselves in the country.

Between 1967 and 1980, the sales of record players grew by a total of 813%.

The 1990s saw the emergence of a strong independent sector, with such labels as Atração, Biscoito Fino, Deck Disc, Eldorado, Indie Records, Sum Records and Trama (and licensing deals with the likes of Rough Trade, Cooking Vinyl, Epitaph, 4AD, Beggars Banquet, etc).

Between 2000 and 2009, CD piracy and illegal file sharing decimated the local recording industry.

With the emergence of the streaming platforms in 2013, the recorded music sector recouped much of its lost revenue, returning to # 10 in the 2018 and 2019 world ranking, according to IFPI (International Federation of the Phonographic Industry). Revenue grew 13.1%, driven by a 23.1% growth in total streaming. IFPI Data 2015 - 2019 Streaming 75.5% $236.8 million (+23.1%) World Ranking: 10 Other digital 1.0% $3.0 million (-61.7%) World Ranking: 24 Physical 0.6% $2.0 million (-50.5%) World Ranking: 40 Performance Rights 22.5% $70.5 million (-1.7%) World Ranking: 7 Synchronization 0.5% $1.5 million (+2.6%) World Ranking: 18

Recorded Music Revenues by Format (US$ Million, Trade Value) 2015 2016 2017 2018 2019 Streaming 52.7 80.4 131.8 192.4 236.8 Subscription audio streams 53.7 91.8 140.4 166.9 Paid subscription & freemium streams 28.5 Ad-supported audio streams 12.8 13.9 17.4 21.0 Ad-supported streams 24.2 Video streams 13.9 26.1 34.6 48.9 Other digital 27.6 18.4 12.8 7.8 3.0 Downloads 14.9 8.3 3.7 1.7 1.2 Mobile personalisation and other digital 12.6 10.1 9.1 6.2 1.8 Physical 51.4 29.2 12.8 4.0 2.0 CDs 36.1 19.1 9.2 3.6 1.6 Vinyl 0.0 0.2 0.2 0.1 0.2 Other physical 15.2 9.8 3.4 0.3 0.2 Performance rights 76.4 74.3 81.5 71.7 70.5 Synchronisation 1.0 0.8 0.9 1.4 1.5 Total revenues 209.1 203.0 239.8 277.3 313.7

The music industry is now experiencing a renaissance phase, driven by smartphones. There are 240 million mobile phones in Brazil but the music industry is reaching about 10% of the users, so there is great scope for growth.

A 2019 YouTube survey shows that Brazilians watch videos online an average of 15.4 hours per week, representing a growth of more than 90% over the past three years. Artists who knows how to differentiate themselves and stand out from the crowd, with a good marketing strategy, can do very well, and very quickly. Cheaper recording costs, cultural incentives and the collapse of the traditional recording industry have seen the emergence of produtores independentes, companies looking after all aspects of an artist’s career. This has become the principal model within the industry, whether it be for a small indie act or a major star, with networking and partnerships being the key words in establishing a place in the market, including for international companies who wish to establish themselves locally. The transition to digital has opened the doors for new businesses and services and also a new positioning for the 'content, media and entertainment companies' (previously known as major record companies), looking for new ways to connect audiences and brands, in addition to the incessant search for innovations, new artists and profit. And although digital is king, neither the record companies nor the public have abandoned physical product. Both Polysom and Vinil Brasil are feeding the demand for vinyl albums and singles, with their factories producing 140- and 180-gram LPs. Vinil Brasil is also catering to the new demand for 7” singles. A recent phenomenon, especially with punk groups, is the split EP, featuring two tracks by a Brazilian act and two tracks by an international act, both of whom are usually touring together.

Polysom Vinil Brasil polysom.com.br vinilbrasil.com.br E-mail: [email protected] E-mail: [email protected] In São Paulo, there is also (still) a one-stop, distributing CDs and vinyl:

Canal 3 Distribuidora canal3distribuidora.com.br E-mail: [email protected] Operating since 2009 in partnership with POPLine (the largest pop music portal in the country) and stocking CDs, LPs and merchandise, is:

Regards SHOPline regards.com.br/shopline E-mail: [email protected] Across the country, various labels have been set up, focused on releasing vinyl, including:

Vinyl Land Records Selo 180 www.vinyllandrecords.com www.selo180.com E-mail: [email protected] E-mail: [email protected] Assustado Discos Goma Gringa www.facebook.com/AssustadoDiscos gomagringa.com E-mail: [email protected] E-mail: [email protected]

The demand for vinyl has seen two “record of the month” clubs starting up and delivering new and exclusive LPs every month. One is through the Noize music publication; the other is a joint venture between three vinyl-only labels. They release limited editions and are truly things of beauty!:

Noize Record Club www.noizerecordclub.com.br

E-mail: [email protected] tresselos.com Três Selos E-mail: [email protected]

THE MAJORS o address the demand for physical product, Universal Music has created www.umusicstore.com to sell directly to consumers, where you can find collectible physical products from the label's catalog, such Tas CDs, DVDs, LPs, t-shirts, mugs and coolers, etc. The Music & Brands division was created in 2006 with the vision that music goes beyond the launch of an audiovisual product.

The company uses the Music Match tool, which was created by the multinational's London office and customized for the Brazilian market. The technology uses attributes from brands and artists, with archetypes, algorithms and field research, to identify convergent profiles. Universal Music in Brazil had a 15% growth in business in 2018, while over the past five years, Universal has expanded revenue in Brazil by 450%.

Sony Music's www.fanstagestore.com.br is also a new sales platform with products from Sony artists. The company has created a Business Development sector to develop a new business model and expand its operations. Divided into two parts, the first acts in direct contact with brands and the other focuses on promoting shows, festivals and propagating the Filtr Live brand. The division accounts for 10% of Sony's revenue and operating profit and the company's goal is to triple that share in the next five years.

SONY + MYND: Mynd (Music2/Mynd8), an agency focused in music marketing, connecting brands to consumers and creating 360º strategies for local artists, partnered with Sony Music Brazil in 2019. The companies previously worked together on projects for Ibis, Accor Group hotel chain, Dorflex, Ministry of Health, Avon, Mastercard and Itaú bank. Under the agreement, Mynd looks after negotiations with brands and companies looking to use content from Sony Music.

“What we are looking for with Mynd is greater possibilities for our projects, a broader commercial alternative. Mynd already has developed strong relationships in the market and has a vast customer base,” says Wilson Lannes, vice president of Sony Music Brazil.

Part of this project was carried out by Sony Music Brazil's business development area, which is responsible for bringing together artists and brands for shows, festivals, advertising, and licensing, accounting for 10% of Sony Music Brazil's revenue in 2019. With Mynd, the BD team is dedicated to live and merchandising projects. Mynd has access to new national and international artists who are not previously represented by the agecy, a large music catalog and a whole gamut of new business possibilities for brands. “For our partnership with Sony Music, we have built a team focused on brand projects. Sony Music's entry into our portfolio has broadened our scope and enabled us to offer more complete projects with less bureaucracy, with the ease of having an international record label working with us,” says Fatima Pissara, partner and managing director of Mynd. According to the executive, there is also the possibility of the projects being applied internationally.

Warner Music has focused on creating Playlists and content on Youtube, and reaching out to artists’ fanclubs through Instagram, Twitter, YouTube. A recent project is WMBR MUSIC, featuring artists recording new interpretations of their successes, recorded at the YouTube Space in Rio de Janeiro. Some of the leading artists on Warner are Ludmilla, Anitta, Kevinho and Iza. Warner has purchased such companies as Sodatone, UPROXX and Songkick to help understand and reach out to the public.

Som Livre has had an interesting and profitable history. It started off in the late 1960s releasing soundtracks from soap operas on its sister company TV Globo, Brazil’s communication conglomerate, later branching into themed compilations. The investment in the area of concerts, festivals and the relationship with brands started in 2008. There are now over 100 artists on the label's catalog, including the top sertaneja acts. Som Livre dominates streaming and radio play.

Brand partnerships are also successful actions for Som Livre. For the Heineken group, the label promoted the Glacial Fest, “an itinerant music festival with 16 stages around the country.”

Austro Music, Som Livre's electronic music label, hit the market in 2016 with the aim of strengthening the Brazilian electronic music scene, focusing on local production and bringing visibility to this musical genre. The label covers several musical styles within electronic music and acts on two fronts: licensing of national and international content; and event production.

Slap was created by Som Livre in 2007, and has released over 60 albums by about 40 independent artists. The imprint also released albums by such international acts as Bon Iver, Beirut and the Swell Season.

In August 2019, Som Livre joined forces with Inbraza, a label created by Dogz, a trio of producers formed by Pablo Bispo, Sérgio Santos and Ruxell, responsible for the success of names like Iza, Gloria Groove, Aretuza Lovi, Pabllo Vittar, Anitta, Di Ferrero, Lulu Santos and Preta Gil.

PRO-MÚSICA

The Associação Brasileira dos Produtores de Discos – ABPD, established in 1968 and renamed Pró-Música Brasil Produtores Fonográfico Associados in 2016, is affiliated with the International Federation of the Phonographic Industry – IFPI.

The entity is dedicated to representing the interests of the national recording industry. The priorities of Pro-Música Brasil are to protect and develop the music market, as well as promote appropriate legislation in the areas of copyright and neighboring rights, in addition to promoting awareness of music as a cultural and economic value.

The aims of Pro-Música Brasil are:

- to reconcile the interests of record labels with those of authors, performers, musicians, producers and music publishers; - to defend collectively and institutionally the common rights and interests of its members; - to combat musical piracy; - to promote statistical surveys and market research.

Pró-Música Brasil is also responsible for issuing Gold, Platinum and Diamond certificates, which allow its members to give public recognition to their artists who have achieved expressive sales levels in any format.

The entity also publishes an annual report on digital and physical sales: pro- musicabr.org.br/home/numeros-do-mercado.

Pro-Música Brasil Produtores Fonográficos Associados E-mail: [email protected] President - Paulo Rosa

Pro-Música members: Som Livre Altafonte www.somlivre.com.br www.altafonte.com E-mail: [email protected] E-mail: [email protected]

Sony Music Entertainment Midas Music www.sonymusic.com.br www.midasmusic.com.br E-mail: [email protected] E-mail: [email protected]

Universal Music In 2010 Rick Bonadio created the Midas Music www.universalmusic.com.br Studio, releasing new pop, rock and MPB artists. E-mail: [email protected] Between 1998 and 2002 Rick was general and artistic director of the Brazilian division of Virgin Warner Music Records. He later created his own record label, www.warnermusic.com.br Arsenal Music, which released a line of successful E-mail: [email protected] bands.

INTERVIEW WITH PAULO JUNQUEIRO, PRESIDENT, SONY MUSIC BRASIL Is Brazil primarily a market for domestic artists or is it a country where international acts can also gain success?

It’s important to remember that local music is the most consumed in Brazil. Nevertheless, international music does have a public and artists such as Adele, Shakira, Travis Scott and many others have substantial success.

What are the main changes that have taken place in the Brazilian music marketplace in recent years? Is piracy still an issue?

Brazil had shifted rapidly from physical to digital. In four years we moved from 60/40 physical/digital to 01/99. Piracy is not a huge issue anymore although we do have some new forms of digital piracy such as stream manipulation and others.

What are the dominant genres of music in Brazil? Are there healthy niches that international managers/labels should be aware of?

The local genres of sertaneja and Brazilian funk are the dominant genres on radio and the streaming platforms. The most consumed international genres are pop and trap.

Can you give an overview of how you would approach a campaign for an international act? How do you do marketing? Is radio still important? Is it all about tv, streaming, touring?

It’s all about (good) music! The traditional ways of promoting (radio, press and TV) are still relevant if added to a strong digital marketing. The presence of the artist in the territory is also very important - whether it’s promo or live.

THE INDEPENDENTS ounded in 2002, the ABMI is the voice of the independent music companies in the Brazilian and international music market. The ABMI participates on the F Board of Directors of WIN - Worldwide Independent Network. The association also develops actions with MERLIN, which has emerged as the most important independent rights agency in digital environments in the world.

The ABMI acts as a lobbying group to look after the needs and interests of the sector. Successful actions include a tax exemption (Constitutional Amendment 123/2011), the ECAD supervisory law and the new civil framework of the internet, among others.

The association is working to get their members active online and to create the necessary infrastructure to collect and administer the new rights to webcast licenses, videocast and dubbing for record companies and artists.

The ABMI also organizes the Rio Music Market conference. Although the ABMI members are principally record labels, many generate their principal revenues through other activities, whether it be cultural projects, recording or production services.

ABMI www.abmi.com.br E-mail: [email protected]

ABMI members: Audio Porto Azul Music www.audioporto.com www.azulmusic.com.br E-mail: [email protected] E-mail: [email protected] Considered one of the best studios in Latin Biscoito Fino America for recording, mixing and mastering. It www.biscoitofino.com.br has recording rooms capable of hosting large E-mail: [email protected] orchestras. It also runs a multimedia co-working BMGV Music project, Fábrica do Futuro, with partner companies www.bmgv.com.br to offer the client a multimedia production solution E-mail: [email protected] in one place. Audio Porto also expanded its services as a record label and publisher. Building Records www.buildingrecords.com.br Arte Brasil Produções E-mail: [email protected] www.artebrasilproducoes.com.br Cada Instante E-mail: [email protected] www.cadainstante.com Arroz de Hauça E-mail: [email protected] www.arrozdehauca.com.br Canal Brasil E-mail: [email protected] www.canalbrasil.com.br Atração Fonográfica E-mail: [email protected] www.atracaooficial.com.br Circus Produções Culturais E-mail: [email protected] www.circusproducoes.com.br

E-mail: [email protected] E-mail: [email protected] Copa Music Lab 344 E-mail: [email protected] www.lab344.com.br E-mail: [email protected] Crowley Broadcast www.crowley.com.br MCD E-mail: [email protected] www.mcd.com.br E-mail: [email protected] Demônios da Garoa www.demoniosdagaroa.com.br MCK E-mail: [email protected] www.carloslyra.com E-mail: [email protected] Elemess www.elemess.com.br MD Digital E-mail: [email protected] www.mddigitalmusic.com.br E-mail: [email protected] Estúdio Eldorado www.territorioeldorado.com.br Mills Records E-mail: [email protected] www.millsrecords.com.br E-mail: [email protected] Evidências Music/Courage www.chx.com.br Mins Música E-mail: [email protected] www.facebook.com/minsmusica E-mail: [email protected] Festa Music www.aerbrasil.com.br Movieplay Digital E-mail: [email protected] www.movieplay.com.br E-mail: [email protected] ForMusic www.formusic.com.br Muralha Records E-mail: [email protected] E-mail: [email protected] Fluve Musile Records www.fluve.com www.musile.com E-mail: [email protected] E-mail: [email protected] Galeão Naza Music E-mail: [email protected] www.nazamusic.com E-mail: [email protected] Gravadora Fina Flor www.finaflor.art.br Nikita Music www.nikita.com.br iMusica E-mail: [email protected] www.imusicacorp.com.br E-mail: [email protected] Nômade Label Service E-mail: [email protected] Imusics www.imusics.com Núcleo Contemporâneo E-mail: [email protected] www.nucleo.art.br E-mail: [email protected] Inovashow www.inovashow.com Onimusic E-mail: [email protected] www.onimusic.com.br E-mail: [email protected] Kuarup Música www.kuarup.com.br Outros Sentidos

E-mail: [email protected] technology to automate and accelerate the Pau Brasil generation of accurate and transparent reports. www.grupopaubrasil.com Clients include some ABMI members, Som Livre, E-mail: [email protected] most of the digital aggregators, YouTube. Phonomotor Spin Music www.marisamonte.com.br E-mail: [email protected] E-mail: [email protected] Sol do Meio Dia Pôr do Som E-mail: [email protected] www.pordosom.com.br Somatória do Barulho E-mail: [email protected] www.somatoriadobarulho.com R&S (Grupo Radar) E-mail: [email protected] E-mail: [email protected] Sua Música Radar Records www.suamusica.com.br www.radarrecords.com.br E-mail: [email protected] E-mail: [email protected] Tratore Ram Music www.tratore.com.br E-mail: [email protected] E-mail: [email protected] Rob Digital Visom Digital www.robdigital.com.br www.visomdigital.com.br E-mail: [email protected] E-mail: [email protected] Selo Sesc Volare Music Production www.sescsp.org.br/selosesc www.lucianobruno.com.br E-mail: [email protected] E-mail: [email protected] Established in 2004, Selo Sesc is focused on the rich YB Music current of music that takes places throughout the www.yb.com.br network of SESC cultural centers. E-mail: [email protected] S de Samba YB Music is a record label, publisher and studio www.sdesamba.com.br that has built one of the most important brands in E-mail: [email protected] contemporary Brazilian music. The company has Smart Rights become very successful producing and licensing smartrights.za.mus.br music soundtracks for national and international E-mail: [email protected] feature films and advertising, for clients such as Create technological solutions for the complexities Coca Cola, Natura, Hyundai, Nike, Pepsico and management of rights, contracts and payments. more. It represents the catalogs of the North The company build customized tools to solve American companies Songs to your Eyes and Spirit challenges involving market intelligence, rights Music, the British Musichub and the Brazilian acquisition, administration, communication or ezsoundtrax. payment, employing cutting edge knowledge and

Natura Musical www.naturamusical.com.br Although not an ABMI member, Natura Musical has had a massive impact on the development of the independent sector. Natura Musical was created in 2005 by Brazilian cosmetics company Natura to support local

music projects. The project is an especially important ally for independent music. For 2019, Natura Musical distributed a total of R$4,9 million in sponsorship in two categories: “artists and bands” and “cultural collectives,” through the support of the Rouanet Law and local state incentive laws.

“Our objective is to support projects that, in common, generate a culture of peace and celebrate freedom of expression and diversity,” said Fernanda Paiva, Institutional Marketing manager at Natura. The project is renowned for revealing new and upcoming talents as well as supporting established acts.

Natura Musical has already supported more than 367 projects from 18 Brazilian states. Each year the brand has helped release about 30 albums, many of them award winners, as well as sponsoring shows, books, films and digital collections. Over 13 years, about R$132 million has been invested, with a team of curators selected each year from the music industry.

The project has actively supported a new generation of songwriters and artists including Liniker e os Caramelows, Francisco, El Hombre, Luedji Luna, Xênia França, Larissa Luz, Johnny Hooker, Filipe Catto, Felipe Cordeiro and Aíla, as well as some of the iconic figures, such as Elza Soares, Jards Macalé, and Mateus Aleluia.

eyond the Pro-Música and ABMI circuit is a wide network of companies who release music, organize tours and stage festivals and shows. B Balaclava Risco balaclavarecords.bandcamp.com selorisco.bandcamp.com E-mail: [email protected] E-mail: [email protected] Innovative record label and booking agency from Risco is an independent label focused on new São Paulo. music and new young artists, and acts as a support platform in the diffusion of the work of Hearts Bleed Blue independent artists. Risco releases have been www.hbbrecords.com nominated twice for the Latin Grammy as well as E-mail: [email protected] for various Brazilian awards. Hearts Bleed Blue is an independent music label Scubidu founded in São Paulo by graphic designer Antonio www.scubidu.com.br Augusto out of a passion for local punk/hardcore E-mail: [email protected] and aspirations for an inclusive music community. Scubidu Music was established in 2006 with the Almost ten years has passed since its first release purpose of bringing to the world the best in and the label stays true to helping bands express Brazilian music. The company currently focuses themselves musically and artistically. on: Career Management - Brazilian legend Hermeto Honey Bomb Records Pascoal and singer-songwriter Anelis Assumpção; honeybombrecords.bandcamp.com Label - 25 critically acclaimed and prize-winning E-mail: [email protected] releases, including a Latin Grammy and multiple Marquise 51 nominations; marquise51.com.br International Tours - more than 100 international E-mail: [email protected] tours in Brazil mostly with jazz and world music artists. Matraca Records www.matracarecords.com.br SineWave E-mail: [email protected] sinewave.com.br

E-mail: [email protected] well as organizing the Sinewave Festival the SineWave was founded in 2008. With almost 200 company also runs the Sinewave Facebook group, albums released for free download by more than containing almost ten thousand members 90 Brazilian artists, Sinewave is recognized as one interacting daily about underground music from of the main underground labels in the country. As Brazil and the world.

CHART SERVICES he industry uses various services to analyze chart positions, plays, etc. UBC, the Brazilian Union of Composers, publishes the top plays for radio and streaming services, highlighting both the performers T and the composers, in partnership with Crowley. Data is currently available since January 2019: www.ubc.org.br/publicacoes/ranking.

Crowley Broadcast Brazil www.playax.com www.crowley.com.br E-mail: [email protected] charts.crowley.com.br/tpopinternacional.html A platform that measures the popularity and E-mail: [email protected] audience for artists, collecting information from A multinational company specialized in electronic social networks and radios. It maps radio play radio monitoring that operates in Brazil since throughout the country and suggests 1997. Through the use of exclusive digital opportunities. It works with both independent technology, Crowley has developed services to companies and artists and big groups like Rede provide greater transparency for radio broadcast. Globo and T4F. With musical content coming initially from radio, TunAd Crowley launched the MusicMedia service, which tunad.io today is the standard for the record industry and is used by members of Pro-Música and Ecad. E-mail: [email protected] Specialized in Big Data and offers research and ConnectMix planning, digital activation and analytics solutions www.connectmix.com/ranking/# in the media area. The company is part of the Sky E-mail: [email protected] Software group, a high-tech company also Dedicated to the discovery and development of responsible for Footstats, a reference in Latin solutions with a high degree of innovation. The America in football monitoring and statistics. In revolution in the search for results for the 2014, it began as a Startup with the name recording industry was based on research AudioMonitor, to meet a demand in the music developed since 2007. It also inaugurated a new market for monitoring music on radio stations. In level in the monitoring of recordings (songs and 2015, it started operating in the media area, advertising), which allowed the user real time becoming a reference in TV monitoring services identification of recordings. and activation of digital campaigns. In 2017 the Kantar IBOPE Media company changed its name to TunAd. www.kantaribopemedia.com Mais Tocadas E-mail: [email protected] maistocadas.mus.br A global leader in data, insights and consultancy, An online service that monitors the most played offering the most comprehensive and accurate songs on music charts with diverse and always information on media consumption, performance updated playlists. Rankings are based on the most and investment, providing customers with data for played songs on the radio, through the analytical better decision making. data of the auditing companies on online radios. They reflect the real scenario of the popularity of Playax

music in the four corners of the country, over charts. The site is part of the ADSL Network more than 5,000 online radio stations. YouTube Group. and Spotify data can also be used on the music

03. POPULAR BRAZILIAN MUSIC - GENRES

he national music industry has long had an economy based on its domestic market, with radio and television having had a central role in defining popular culture. A series of successive local musical T movements has generated large dividends, such as bossa-nova, jovem-guarda, tropicalia, musicá popular brasileira (MPB), sertaneja and funk.

“I am sensitive to the traditional values, but the pleasures of experimentation seduce me like the sirens seduced the sailors in days of old.” The phrase by Brazilian sociologist Gilberto Freyre is an apt description of the musical development of Brazil. Popular Brazilian music, just as the country itself, reflects the European, indigenous and African influences of the past 500 years. From the classical compositions of Villa-Lobos to the melodic harmonies of Antonio Carlos Jobim, from the beat of the baile funk to the hip- swiveling groove of forró, Brazilians are rightly proud of the country’s music which is strikingly sophisticated, oozing quality and diversity.

The market is dominated by gospel, funk, sertaneja and hip hop. And although there is space for international music, an understanding of the force of the local genres is essential. And, being the music industry, songs and artists can go from fame and fortune to rock bottom with astounding speed. Across the music sectors, many of the artists are also CEOs of their own startups, commercializing their brands and products. The goal is to win the biggest chunks of a market dominated for decades by major labels and producers.

GOSPEL

egarded as a niche market for many years, the gospel sector is one of the fastest growing markets in Brazil, moving millions annually. According to data published in 2018 from the Association of R Evangelical Companies and Professionals (Abrepe), it is estimated that gospel music accounts for 20% of the Brazilian record market, generating R$2 billion per year in sales. There are around 5,000 singers and bands, in a market that is growing at 33% per year. This number increases in parallel with the growth of evangelicals in Brazil, which according to IBGE, has increased by 61% in the last 10 years.

The sector is also embracing other musical styles such as reggae, funk, electronic and rap.

The Connectmix Music Ranking platform recently published the most played gospel songs on radio for 2019.

1. Padre Zezinho - Oração Pela Família. 13552 5. Isaias Saad - Ousado Amor. 4833 plays plays 6. Regis Danase - Faz Um Milagre Em Mim. 2. Voz da Verdade - O Escudo. 6084 plays 4418 plays 3. Padre Reginaldo Manzotti - Espalhar Amor. 7. Gabriela Rocha - Lugar Secreto. 4297 plays 5609 plays 8. Leandro Borges - Deus E Eu. 3111 plays 4. Preto no Branco - Ninguém Explica Deus. 9. Thiago Brado -Minha Essência. 3104 plays 5244 plays 10. Davi Sacer - Deus de Promessas. 3091 plays 4. Kemilly Santos - Fica Tranquilo. 5244 plays

Brazil is the second largest Christian market in the world, second only to the United States. In a country where evangelicals reach 30% of the population (over 62 million souls) the gospel market is reinventing itself and reaching out to new audiences. According to the 2017 You Tube Insights survey, gospel is the sixth most viewed music genre among those who consume music on the platform, reaching 26% of users in Brazil.

But despite the growth of the sector, the figure of the entrepreneur is still lacking in gospel music. Churches have a fundamental role in the opportunities for shows in this market, many of whom also have their own record labels.

One of the first steps towards the consolidation of a music scene linked to the Catholic Church in Brazil was taken in 1960, with the Paulinas-Comep label. The label is linked to the Order of the Pauline Sisters, which has been present in the country since 1931, and also operates a publisher and a network of bookstores spread across several capitals in addition to producing content for radio and TV stations.

In 1990, Codimuc (Cooperativa de Distribuição Catholic Music) created its own studio, recording its first works that year. In 1996, with the growth of the market, Cooperativa set up its own distributor and, later, its music publisher.

Since the end of the 90s, the demand for singing priests generated massive success, mainly due to the enormous popularity of Father Marcelo Rossi, released by PolyGram (Universal). Other labels signed up singing priests, such as EMI, with Father Zeca; Sony, with Father Antonio Maria, with albums reaching the one million mark.

Evangelical artists have been the focus of secular record labels for many years. In the 1960s, CBS and Copacabana created their own evangelical labels and would be followed, from the 1980s, by Ariola and Continental. The latter still maintained, even some time after its incorporation by Warner (1994), a significant participation within the evangelical market. The first record label in Brazil to dedicate itself entirely to gospel music was Gospel Records (1990 – 2010).

Som Livre was the first major Brazilian record label to create a gospel department, in 2008. In 2010 Sony Music set up Sony Music Gospel. In 2014, Universal creatd the Universal Music Christian Group label.

The spread of YouTube and streaming platforms has helped propel this scene, supported by an audience that, for religious reasons, rejected the consumption of piracy.

Spotify, for example, recognizes that the consumption of gospel music in streaming has grown significantly and has invested more and more in the genre, now having a team totally dedicated to gospel. According to Spotify, gospel music has grown 44% annually between the years 2015 and 2019.

“The growth was all organic,” says Roberta Pate, director of Artists and Label Relationship at Spotify in Latin America. “International music has also grown and it is interesting that both international and local Gospel is consumed in Brazil,” says Roberta, mentioning that the Hillsong ministry is the most popular with Brazilians.

According to the company's internal research, the age group that most uses the platform to listen to religious music is 20 to 30 years old, an audience that is more familiar with technology and social networks.

One of the first successes was Priscilla Alcantara with over than 2.5 million subscribers on her YouTube channel and a hit, Me Refez, the first Brazilian gospel song to enter Spotify Global's Top 200 - totaling 10.5 million plays.

Given the importance of this segment, Spotify held the event Música e Essência (2019) that brought together more than 300 people, including artists, record labels, professionals in the area and the press.

Some of the popular playlists are Sucessos Gospel (with almost 1 million followers, in the Spotify Top 5 in Brazil), Louvor & Adoração / Praise & Worship, with almost 500 thousand followers, and Mulheres do Gospel/Women of Gospel.

SPOTIFY TOP GOSPEL ARTISTS 1. Fernandinho 6. Cassiane 2. Aline Barros 7. Paulo Cesar Baruk 3. Diante do Trono 8. Gerson Rufino 4. Bruna Karla 9. Gabriela Rocha 5. Fernanda Brum 10. Davi Sacer

On the Deezer platform, the gospel channel became the second most listened to in 2017, second only to sertaneja music. While sertaneja playlists have an average of 40 to 50 minutes of listening, those of Christian music reach 1h10m.

For Lincoln Baena, Deezer’s director of gospel, the blessing of the technological revolution gave a wider audience the opportunity to get in touch with gospel music:

“The music market has embraced gospel music. Many established gospel artists have managed to reinvent themselves. The cool thing is that there was no rejection from the public.”

In 2019, Deezer held the 3rd Deezer Gospel Day, under the slogan “A Casa Digital da Música Gospel /The Digital House of Gospel Music,” with the participation of artists, managers (such as Isadora Pompeo and Gabriel Guedes), distributors, digital influencers, press and labels such as MK Music, Universal Christian Music Group, Sony Music, and ABMI members Onimusic, Musile Records and Radar.

The Deezer Gospel Day featured a popular vote award to honor those chosen by the public who stood out within the platform service. In just four days of voting, the platform received almost 300,000 votes to choose Best Singer and Best Song.

DEEZER TOP GOSPEL ARTISTS 1. Fernandinho 6. Diante do Trono 2. Gabriela Rocha 7. Isadora Pompeo 3. Aline Barros 8. Bruna Karla 4. Anderson Freire 9. Preto no Branco 5. Priscilla Alcantara 10. Leonardo Gonçalves

With at least three out of 10 Brazilians defining themselves as evangelicals (Datafolha/2016) Deezer increased its investment in the genre by 80% in 2018, with the production of mini-documentaries, the recording of exclusive content, greater participation in events (such as Expo Evangélica and Expo Cristã) and a podcast that addresses everyday themes from a Christian point of view.

Deezer chose artist Isaias Saad as one of the Brazilian representatives in the global project Deezer Next, which encourages musical talents around the world.

Tatiana Cantinho, A&R manager at Som Livre, observes that the scene has been able to embrace various musical genres, reaching out to new audiences. Many of the top artists have embraced some of the

marketing ideas of the sertaneja sector, bringing together composers to write new songs, and producers from other genres, and influences from such international acts as Beyoncé.

Artistic gospel director for Sony Music, Maurício Soares is optimistic about the future of gospel music in Brazil, with gospel artists being consumed by people who do not necessarily profess the evangelical faith.

“The reach of this style of music today affects people of different religious hues who previously did not have access to CDs and today they can simply include these songs in their playlists or consume at random. It is a fact that gospel music today is much more open to new styles, new lyrics, new ideas. There are artists who are introducing new languages to what we call gospel music making the style closer to the trends than we have in popular music worldwide,” says Soares, citing names like DJ PV and Kennto. The label has such acts as Preto no Branco, Kemuel, Marcela Taís, Kemilly Santos, Louisy Cim, Mari Borges and Gabi Sampaio.

According to Sony Music, only 5% of the evangelical population consumes music through streaming. Even so, this small slice was responsible for 18% of Sony's net profit in Brazil.

“Increasingly, the streaming platforms are recognizing the strength of the segment and, for this reason, they are looking for knowledge and relationships to retain the evangelical public,” says Paulo Lima, president of Universal Music Brasil.

Most of the successes in Brazil are Portuguese versions of Hillsong. The song Savior King is sung by Aline Barros as Rei Salvador. A singer who inspires many versions is Michael W. Smith.

MK Music - MK Music has become one of largest gospel labels, releasing the work of artists such as Cassiane, Fernanda Brum, Marcos Feliciano and Chris Durán, and winning several international music awards, including a Latin Grammy.

MK Music www.mkmusic.com.br Rua Gotemburgo, 211. São Cristóvão. Rio de Janeiro. RJ Line Records - Part of bishop Edir Macedo’s empire, Line Records had the role of being the musical arm of this gigantic organization linked to the Universal Church of the Kingdom of God.

Other gospel labels are Central Gospel Music, Graça Music, Star Music, Praise Records, Blast Music Records

The principal digital aggregator is HitBel:

HitBel www.hitbel.com.br E-mail: [email protected]

FUNK

n 1989 DJ Marlboro released Funk Brasil Volume 1, changing the history of Brazilian music and, especially, of urban music, giving birth to the funk scene. Over the past three decades, this genuinely I Brazilian genre has been gaining ground year by year, becoming one of the country's top music genres. The last edition of Rock in Rio featured a line-up of funk artists including Cidinho & Doca, the internationally successful Anitta as well as MC Carol, Heavy Baile and Tati Quebra-Barraco.

There are more than 20 official playlists on Spotify dedicated to the music, including Funk Hits with almost 3 million followers, Bonde do Funk with 1,7 million followers and Baile Novo which is focused on the new funk scene.

The mix of beats, the influences from other genres, the technology and especially the creativity of the lyrics and melodies have helped funk come to almost dominate the national mainstream music market. Alongside sertaneja music, it the most popular genre in the country. With the consolidation of streaming, it became even more popular, spreading from Rio de Janeiro and conquering new audiences in Brazil. There are already various subgenres, including funknejo and brega funk. The funk sector is focused solely on releasing individual tracks and videos. No albums.

Kondzilla www.youtube.com/user/CanalKondZilla E-mail: [email protected]

In 2020 Think with Google published an analysis of the phenomenon that is Kondzilla. The owner Konrad Dantas – aka Kond - is behind the 6th most popular Youtube channel in the world, with 52,5 million subscribers and almost 27 billion views.

As well as producing videoclips, the Kondzilla empire also includes KondZilla Records with a cast of 50 artists, KondZilla.com which is focused on generating content for and by the youth of the favelas, and the

KondZilla SuperPads, an app with over 4 million downloads to date. Netflix has also partnered with Kondzilla, broadcasting the series Sintonia, co-produced in 2019.

Behind its growth, Kondzilla has successfully combined three factors: authenticity, keen market flair and professionalism, being able to create original content from Brazil's urban culture and being faithful to the aspirations of its audience.

Part of the growth process included rejecting videos that depicted any form of violence and any objectification of the body. This resulted in fluctuations in the channel's audience but also helped redefine who the public was. 50% of the viewers are women. Around 70% of the views come from Brazil; the rest are from Portugal, Mexico, Argentina and Colombia.

Today, Dantas employs 400 people. An unimaginable scenario about a decade ago when, after the death of his mother, the 18-year old decided to study cinema with the life insurance she left. The services the company now supplies also stimulate an increasing involvement from the public, especially young people. Videos on the Kondzilla channel generate an eco-system of original material, especially choreography, parodies, reactions, on YouTube, Tiktok, etc. In 2019 Universal Music Publishing Group signed an exclusive, worldwide administration deal with KondZilla and the catalog of nearly 600 titles. In 2020, The Orchard and Kondzilla entered into a global services partnership, with The Orchard handling worldwide digital distribution for new releases from KondZilla Records.

Dantas has also been steadily infiltrating the advertising business, having worked with Conspiração Filmes as director of some works such as Nestle's # ORoleÉNosso series with singer Karol Conka. He has recently partnered with Orloff vodka. “It's a very important moment in my career,” he says. "A kid who came from the periphery, who did not go to college, did not graduate in Marketing or Advertising, being able to assume the creative direction of one of the most popular vodka brands in Brazil. That's a victory." For Orloff, the objective is to reach the younger generation Z audience. “We were very focused on home consumption, while this generation is very much on the street, making their presence felt. Let's connect with those we weren't talking to, but continue the dialogue with all our consumers.”

Brands are embracing this combination of audience involvement and authenticity that KondZilla is offering. Whether it be through product placement or custom-made content, the company's know-how helps create content that speaks directly to the audience - and can react far quicker to situations presented through social media.

The recent contracting by Ambev of singer and superstar Anitta as head of creativity and innovation for Skol Beats further consolidates the funk scene and those working with it as cultural thermometer, capable of finding and nurturing new talent while forging new business models.

GR6 music publisher, artist management, audio / www.gr6eventos.com.br video production and tours. E-mail: [email protected] Founded by CEO Rodrigo Oliveira in 2005, GR6 K2L Empresariamento Artístico has more than 40 million subscribers on its www.facebook.com/k2l.oficial E-mail: [email protected] YouTube channels. The producer also acts as a

Founded in 2003, K2L arose from the need to E-mail: [email protected] professionalize the funk industry. Since then, the Founded in 2014, by Renan Machado and singer company has furthered the careers of MC Sapão Anitta, Rodamoinho/Floresta is management and Naldo, as well as Anitta and Lexa. The company for artistic careers, production of shows company offers a series of services, ranging from and events. Focusing on the entire musical and marketing and production to shows, events, professional career, the company looks after the licensing and advertising. image, positioning, financial development, negotiation of shows in Brazil and abroad, and Rodamoinho Produtora advertising campaigns. www.rodamoinho.art.br

SERTANEJA

razilian radio has been dominated by the musical style known as sertaneja for many years. More than a musical genre, Sertaneja has become a lifestyle. This market of enormous proportion and very popular Bevents helps to move not only the entertainment industry, but also the fashion and tourism markets. Between 1,500 and 2,000 rodeos are held annually in Brazil, which generate around R$6 billion and attract around 30 million people. One of the biggest events in the world of its kind, the Festa do Peão de Barretos receives around 900 thousand visitors every year and involves almost 10,000 people in the organization.

Originally from São Paulo and and the nearby states (MG, PR, MS, MT and GO), and embracing a variety of regional genres such as rancheira, rasqueado, polca, bolero, balanço, corrido and guarânia, sertaneja gradually expanded from its beginnings in the 1920s. From the 1940s, the majority of the artists were released by two labels, Continental and Chantacler.

In the 1950’s, foreign genres were absorbed, such as the Paraguayan guarania, the Mexican bolero and rancher and the Argentine chamamé, initially with re-recordings of classics by Hispanic artists such as the

Chilean Lucho Gatica and the Mexican Miguel Aceves Mejía. Such influences were regarded as a contamination by many cultural intellectuals, and the scene has suffered from discrimation and disdain.

The first major step for sertaneja music was in the late 1980s when Curitiba's Antena 1 FM radio devoted itself exclusively to the sound. At the time the radio station held the 12th position for audience in the capital of Paraná but within three months it jumped to number one position, with twice the audience of its nearest rival. In 1986 the sertaneja duo Milionário & José Rico (on Continental) was invited by the Chinese government to perform eight shows in the country, after a film on their lives became a success in the country.

In the late 1990s, spurred by economic stability, young people began to leave the countryside to study in the universities of the main capitals of Brazil. They were the sons and daughters of farmers and agronomists who brought with them the rural culture to the big cities. The few venues where they could see sertaneja music being performed were initially regarded as quaint curiosities, with people queuing up to enter dressed in cowboy hats and boots. The popularity of the music is still regarded with abject horror by music purists in the country. But the seeds were being sown and gradually the music was embraced by radio, TV and press.

In 2012, the international success Ai, Se Eu Te Pego, performed by Michel Teló, became no. 1 in the Billboard Latin Airplay charts, with over 500 million views on YouTube.

The Brazilian version of Rolling Stone now has a sertaneja edition:

Rolling Stone rollingstonecountry.uol.com.br / www.facebook.com/rscountrybr E-mail: [email protected] One of the more interesting sites, operating since 1999, with regular news, playlists and information is:

Movimento Country www.movimentocountry.com / www.facebook.com/movimentocountry E-mail: [email protected] The scene continues to grow and change with an explosion in the popularity of female singers as well. Many of the acts performing today can receive caches of R$300,000 to R$600,000 per show. Successful songwriters can charge R$4,000 to R$5,000 for the right to record a song. Exclusivity over a period of time can quadruple the price.

The city of Goiânia is the songwriting capital. When the top sertaneja artists are putting together the repertoire of an album, they meet with such companies as Single Hits which are songwriting factories.

Single Hits www.facebook.com/singlehitsofficial E-mail: [email protected] Based in Fortaleza, in the north of Brazil, SeuHit is another powerhouse of sertaneja successes:

SeuHit www.facebook.com/pg/seuhit.oficial E-mail: [email protected]

All the major labels have a strong participation in the sertaneja market. A recent edition is Onda Musical, set up by Jose Eboli, ex-president of Universal Music.

Onda Musical www.ondamusical.art.br E-mail: [email protected] Although it’s only been in operation for a few years, the principal music conference for the sertaneja world is Exponeja. www.exponeja.com.br

The event came about after a chat between Gesoaldo Junior, director of Zona Sertaneja, the leading webradio app, and Rafa Macedo, director of Video Sertaneja, the top site for sertaneja videoclips in Brazil, who developed the strategy, purpose and name. www.facebook.com/videosertaneja

Sertaneja video production:

As with the other popular music segments, videos have become a major means of marketing as well as an important source of revenue. It’s worth checking out the work of some of the agencies producing videos and live-streaming for the sertaneja segment:

Jacques Junior (Sete4) Youtube Brasil award with the clip by Lucas www.sete4.com.br / www.facebook.com/sete4 Lucco – Mozão. E-mail: [email protected] Jacques Junior is director of Estúdio Sete4 and responsible for the most popular sertaneja video, André Caverna (Caverna Filmes) ever!, on Youtube: Ai Se Eu Te Pego by Michel www.facebook.com/CavernaFilmes Teló. For television he has produced the Bem E-mail: [email protected] Sertaneja series for Globo. His portfolio is André Caverna began his professional activity extensive; he has produced many of the top with social events and business videos in the early setanejo videos as well as well as DVDs. 90’s, when he was 13 years of age. Since then, he’s never stopped investing in state-of-the-art Alex Batista (Fx Render) www.fxrender.com.br equipment and technology. In 2006, he added to E-mail: [email protected] his portfolio the editing and authoring of music He holds a bachelor’s degree in Advertising and DVDs. Known by his friends and co-workers as Marketing, specialised in Digital Marketing. He Capitão Caverna, his childhood nickname, André has been working in audiovisual production for set up Caverna Filmes in 2011 in Maringá over 25 years. In addition to teaching film and (Parana). Since then he has been producing video courses, he is a screenwriter and director of videos and DVD’s for many of the most popular publicity films, shorts, documentaries and music artists in Brazil. videos with several awards. He has been the Anselmo Troncoso (At+G) owner of FxRender since 2010 and has become a www.facebook.com/atmaisgproducoes reference in the production of music videos. In One of the most important and influential 2014 he won the Multishow prize for best video directors in Brazil. With qualifications in Radio with the hit Te Espera by Luan Santana and the and TV, journalism and postgraduate studies in

cinema, he is responsible for major projects with VillaMix Festival, since the first edition in 2011, some of the leading sertaneja artists over the last as well as directing the DVD’s and the special 18 years, with over 200 DVDs and hundreds of broadcasts for Globo, Multishow and Youtube. video clips produced. He is also involved with the biggest country music festival in Brazil, the Sertaneja management companies:

Many sertaneja artists and mangers have created entertainment empires, covering a wide gamut of services and activities – studios, label, publisher, events. The biggest names in this area are: FS Produções Artísticas, AudioMix, Workshow and Talismã Music.

FS Produções Artísticas is run by the successful E-mail: [email protected] singer-songwriter Sorocaba, from the country duo Fernando & Sorocaba. Amongst the acts Workshow Set up in 2006, Workshow represents represented is the Chris Weaver Band. some of the top artists in the country. www.facebook.com/fsproducoesartisticas www.facebook.com/workshowdigital E-mail: [email protected] www.workshow.com.br E-mail: [email protected] AudioMix is one of the largest companies in the market. Based in Goiânia, the company offers a Talismã Music Founded in 2005, Talismã Music range of services, including events, studio, etc, today is one of the largest agencies. Talismã is and the VillaMix Festival (with shows by such also a label and music publisher. acts as Demi Lovato, Maluma, Fifth Harmony, J www.talisma.art.br/site Balvin e Rudy Mancuso) E-mail: [email protected] www.audiomix.com.br

HIP HOP

ndependence has always been a reality for the Brazilian rap scene, which has reached its public without the support of the mainstream media or recording industry. An example is the Racionais MC’s who Isold over a million copies of their album Sobrevivendo no Inferno, completely independently. The social changes of the last decade have affected all areas of Brazilian rap, from marketing dynamics to new forms of management and organization. And just as the pioneers influenced a whole generation, the new crop of rappers is provoking changes in the management of the careers of their own mentors.

Influenced by the success of such companies as Emicida’s Laboratório Fantasma, Cone Crew Diretoria’s Coffeshop ConeCrew, or the VVAR organization, old school rappers such as Racionais MC’s and Dexter (ex-509E) have established their own agencies to control their copyrights, sell merchandise and shows, as well as administering the careers of other artists.

Access to technology, the increase of capital in the suburbs and the decline in conventional models of music production previously dominated by the major labels, have created a favorable scenario for the genre, akin to that of American rap in the 1990s, with the emergence of labels like Death Row, No Limit and Roc-A- Fella.

Allied to this, hip hop has found a space left open by the stagnation other genres such as rock and traditional MPB, still dominated by aging artists who rose to fame between the 1970s and 1990’s, and the graveyard of radio which continues under the control of sertaneja.

The hip hop movement, together with break dancing and graffiti, arrived in Brazil, principally in São Paulo, just a few years after it started in the US in the 1980s. It arrived through local DJs and the record stores at the Rock Gallery in the center of the city, sharing the area with the existing punk movement of the time but soon moving on to the São Bento metro station where break dancers and rappers practiced their skills.

The first recordings of Brazilian rap were released in 1988 on the compilation Hip Hop Cultura de Rua (1988, Eldorado). It featured tracks by Thaíde & DJ Hum (produced by Nasi and André Jung, of the rock group Ira!), MC Jack, Código 13, amongst others. There had been some previous attempts at incorporating rap music – such as Kátia Flávia, recorded by Fausto Fawcett and Robôs Efêmeros. Scratching had also been used in 1987 by the São Paulo band Gueto on their album Estação Primeira.

In 1988, the Zimbabwe label released a compilation entitled Consciência Black which featured two tracks by Racionais MCs – Pânico na Zona Sul and Tempos Difíceis. By the beginning of the 90s, Thaíde & DJ Hum and the Racionais were recognized as the most important and serious names in the São Paulo scene, regularly involved in social projects along with promoting the hip hop movement in Brazil.

In Rio, Gabriel Contino, known as Gabriel o Pensador, had a success in 1992 with the song Tô Feliz, Matei o Presidente, (I´m Happy, I Killed the President) written about Fernando Collor, who had just renounced his presidency in the face of an impeachment for corruption. This was followed by Lôraburra and Retrato de um Playboy, which, although with heavy pop leanings, displayed strong lyrics criticizing aspects of local culture in Rio.

At the same time rap was spreading to the rest of Brazil with artists like Câmbio Negro and GOG (from Brasília), Faces do Subúrbio, Chico Science and Sistema X (from Recife), Da Guedz and Piá (Porto Alegre)

and Black Soul (Belo Horizonte). By the end of the decade, rap was making its first fusions with rock music through acts like Planet Hemp (with Marcelo D2) and Pavilhão 9.

The highpoint of the rap movement was the 1998 release of Sobrevivendo no Inferno by Racionais MCs, the classic of Brazilian rap which features the track Diário de um Detento. The success of the album opened the doors for the national rap movement, with the majors contracting most of the names on the local scene in the final years of the 90s. Marcelo D2 released his first solo album, Eu Tiro É Onda (1998) followed by À Procura da Batida Pefeita which mixed rap with samba. In Recife, the band Faces do Subúrbio concentrated on embolada, a regional style with similiarities to rap. São Paulo, however, continued to be the main centre for rap production. From there, came such names as DMN, De Menos Crime, Z’África Brasil, RZO, Criminal D, Mzuri Sana, 509-E, Somos Nos A Justica, Detentos do Rap, Pepeu and Sabotage.

Despite some social changes, much remains to be done. Social inequality is a principal cause of the problems that afflict the country. Even though the government boasts about the new middle class, the issues are still the same. Nothing much has changed. In a country where just over 100 people hold 12% of the national wealth, according to Forbes magazine, there is a long way to go. The principal program designed to eliminate poverty in the country is the Bolsa Familia, helping more than 14 million households, equivalent to about 50 million people. But an improvement in economic power is not synonymous with social mobility. Rascism is engrained throughout the society.

Around 2009, a new scene emerged in São Paulo and was responsible for renewing Brazilian hip-hop, with Emicida, Rashid, Marcello Gugu, Projota, Bitrinho, Flow MC and Bivolt.

The participation of women in the rap movement has also grown in recent times, with Flora Matos, Karol Conká, Lurdez da Luz, and Tássia Reis.

Meanwhile, artists such as Rincon Sapiência, Criolo and Bahian rapper Baco Exu do Blues are beginning to make waves abroad.

There have been many changes during the past few years – ranging from the song themes (love songs are now OK) to the change in the production quality as well as the sound and style. The music grew heavier and more serious, inspired by Southern hip hop from the US, which later became trap. Brazilian rap artists now appear on TV, on the radio, on the cover of magazines and on the soundtrack of soap operas, becoming one of the most listened to genres on streaming platforms in the country.

Laboratório Fantasma: Evandro Roque de Oliveira, known as Fióti, is one of the most promising names behind the current hip hop market. Musician, producer and artistic director are some of the activities performed by the entrepreneur who, along with his brother Emicida (one of the country’s top hip hop artists, whom he manages), created the label, publisher, production company and brand Laboratório Fantasma, which in 2019 celebrated 10 years of success. The company has become a reference for innovating and helping to professionalize the hip-hop sector, which was previously discredited by a considerable part of the industry.

It is a fundamental case of how the distribution of wealth and power – focused on the top of the pyramid (both in society and in the local music industry) – can reach the periphery and also enable the rap

movement to occupy new spaces, developing not only as a cultural expression, but as a business model that generates employment and income for young people from the peripheries.

For a country that regards its songwriters as poets and intellectuals, it’s a challenge – however liberating the change may be – for many to accept that a poor black kid from the periphery is continuing a line previously owned by Antonio Carlos Jobim, Vinicius de Moraes, Chico Buarque, Caetano Veloso, etc.

Laboratório Fantasma has heralded in more professional production standards for the local rap industry (so many great tracks from the past were marred by poor recording techniques), as well as permitting a greater participation of performing musicians, rather than focusing principally on samples. This has been facilitated to a great extent by the financial sponsorship of such companies as Natura (the cosmetics company), who can use tax incentives to invest in a variety of cultural activities. Since the beginning the company has also worked on producing great videoclips.

The company has also become a leading influence on the local fashion industry, starting with a small T- shirt stand which grew within the e-commerce segment. The company has participated in three editions of the biggest fashion event in Latin America, São Paulo Fashion Week.

Laboratório Fantasma www.laboratoriofantasma.com E-mail: [email protected] The success of Laboratório Fantasma has inspired other entrepreneurs and artists to establish their own companies:

Boogie Naipe: Boogie Naipe was founded by rap legend Mano Brown and his wife Eliane Dias and has been on the market since 2012. The company represents Racionais MCs, and also manages the careers of Alt Niss and Filiph Neo, R&B singers, and young Victoria Cerrid.

Boogie Naipe boogienaipe.com.br E-mail: [email protected]

Amongst the new pretenders to the throne are:

999 Foco na Missão www.facebook.com/999producoes. www.foconamissao.com.br Manage rap artist Baco Exu do Blues who won The company name translates as Focus on the the Grand Prix of the Cannes Lions festival, with Mission – which it has done very well, looking the short film "Bluesman" from his eponymous after the career of rap success Rashid. album. Pineapple Storm Records. Pirâmide Perdida E-mail: [email protected] piramideperdida.com A partnership between Pineapple Supply and Has become one of the leading sources of new Brainstorm Estudio. Their Youtube channel has hip hop talent, with acts such as Akira Presidente, over 6 million subscribers. Sain, Luccas Carlos, Bk, Bril, Chs, JXNV $, Juyè and El Lif Beatz

HEAVY METAL

razil continues to be an enormous market for heavy metal. Iron Maiden’s Spotify account shows São Paulo and Rio de Janeiro in their top 5 Listeners. A military dictatorship and crushing inflation Bthroughout the 1980s have not dampened the genre’s impact. Rock Brigade magazine, launched in 1981, gave the public their first regular source of information on the scene around the world, as Brazil began to enter the circuit for international touring acts.

Shows by Alice Cooper in 1974, Queen in 1981, Van Halen and Kiss in 1983 were followed by the 1985 edition of Rock In Rio, attended by 1.5 million people.

Luiz Calanca, creator of the still-active label Baratos Afins, released two compilations - SP Metal 1 and 2 - in 1984 and 1985, which represented the effervescent heavy metal movement in the country. Baratos Afins was founded in 1978, first as a record shop and later as a label. The idea for the label came about when Arnaldo Baptista, ex-vocalist and bassist for Os Mutantes arranged with Calanca to release his second solo album independently.

In Rio de Janeiro, the Ultimatum compilation was released (1985), featuring two of the most important names in national metal: Dorsal Atlântica and Metalmorphose.

In Minas Gerais, on Cogumelo Records, the Warfare Noise I and II compilations (1986 and 1988), revealed to the nation important names of the extreme metal scene, and gave the label the status of the most relevant national underground record company at the time. Cogumelo Records also released the split-album with Overdose and Sepultura, transforming the history of subculture in the country. In 1991, Seputura performed at Rock in Rio, alongside such acts as Megadeth, Queensrÿche, Judas Priest and Guns N’ Roses.

Although the glory years of the scene have faded from the mainstream, there is still a healthy network of labels and publications.

Heavy metal labels

Baratos Afins Hellion www.baratosafins.com.br www.hellion.com.br E-mail: [email protected] E-mail: [email protected]

Cogumelo Records Voice Music www.facebook.com/cogumelorecoficial voicemusic.com.br E-mail: n/a E-mail: [email protected]

Monstro Discos Classic Metal www.monstrodiscos.com.br www.classicmetal.com.br E-mail: [email protected] E-mail: [email protected]

Heavy metal press

Rock Brigade Whiplash www.facebook.com/RockBrigadeMagazine whiplash.net E-mail: n/a E-mail: [email protected]

Roadie Crew Metal Revolution roadiecrew.com www.metalrevolution.net/blog www.facebook.com/roadiecrewmag E-mail: E-mail: [email protected] [email protected]

WikiMetal RockBizz www.wikimetal.com.br www.rockbizz.com.br E-mail: [email protected] E-mail: [email protected]

ROCK Brazilian music is more immediately associated with genres like bossa nova, samba and Tropicália. Regional sounds, such as lundu, maracatu, forró, sertaneja are lesser-known. It all tends to get lumped together under the all-encompassing category of “world music”. So too does the country’s rock ‘n’ roll scene, somewhat relegated, internationally speaking, to specialist radios shows and niche record labels. But there is, in fact, an emerging contemporary Brazilian rock scene, typified by independent artists touring and releasing their own music overseas.

In October, 1955, Nora Ney released Ronda das Horas, a cover version of Bill Haley’s classic, Rock Around the Clock. It opened the doors to the new subversive American sounds, paving the way for local rock idols like Cely Campello and Sérgio Murilo. A little later on, the Liverpudlian music scene inspired the Jovem Guarda movement and launched the careers of Roberto Carlos and Erasmo Carlos.

A truly original sound was born in 1968 when Caetano Veloso penned “Tropicália.” Bossa nova was replaced by Tropicalismo, by the electric guitar, an experimental orchestra and the music of Gilberto Gil, Tom Zé, Gal Costa, Os Mutantes and Rogério Duprat. The movement had its watershed moment when Caetano and Os Mutantes performed “É Proibido Proibir” (It is prohibited to prohibit) at a music festival.

The song was met with conservative boos from the crowd, forcing Caetano to retort, “Vocês não estão entendendo nada“. You understand nothing! Nothing!!

The political repression of the 1970’s was a rough time for Brazilian rock, when the MPB (Musica Popular Brasileira) movement was considered to be a more credible expression of the country’s music scene, and rock more as the foreign upstart. Regardless, around the country, it began to root itself in local cultures. In the North, folk, the music of Alceu Valença, Novos Baianos, Fagner, Belchior, Rodrix and Sá & Guarabira represented a mix of rock, samba and forró.

Further south, in Bahia, the influences of Elvis Presley and Luiz Gonzaga were evident in the music of Raul Seixas (co-writing with Paulo Coelho at the time). Meanwhile, former Os Mutantes band member, Rita Lee, had embarked on a successful solo rock career. The groups Novos Baianos and Secos & Molhados also shot to fame with their mix of rock and folk.

The influence of punk arrived in the 1980s. From Brasilia, Rio de Janeiro, Bahia, Porto Alegre and São Paulo the leading acts of the decade emerged; Barão Vermelho, Blitz, Titãs, Paralamas do Sucesso, Capital Inicial, Camisa de Vênus, Engenheiros do Hawaii and Legião Urbana. They were all embraced by FM radio, with one of the most successful acts – British-born musician Richard Court (known as Ritchie) – selling over a million copies of his debut album.

The Rock in Rio festival, established in 1985, further solidified the commercial importance of the rock music in Brazil.

São Paulo was the birthplace to the Vanguarda Paulista scene in the 1980s. A movement that would conjugate around the Lira Paulistana theatre, with artists such as Itamar Assumpção, Rumo, Premeditando o Breque, Língua de Trapo and Arrigo Barnabé defining the experimental sound of the city, reinventing MPB in a more theatrical and sometimes atonal way. São Paulo hosted the punk festival, O Começo do Fim do Mundo (The Beginning of the End of the World) in 1982, with a line-up of Inocentes, Ratos de Porão, Cólera and Olho Seco. The new scene was headlined by acts such as Magazine, Ira!, RPM and Ultraje a Rigor. There was also an underground post-punk scene, led by combos Gang 90 e As Absurdettes, Muzak, Akira S & As Garotas Que Erraram, Chance and Nes, Mercenárias, Smack, Fellini and Voluntários da Pátria.

In the following decade a new generation emerged that identified with more international influences, including heavy metal and rap, but also with local folk rhythms such as baião, forró, maracatu, coco, embolada and pagode. Similar to the way the Pogues embraced Irish folk music in the UK, Brazil had Raimundos, Mestre Ambrósio, Faces do Subúrbio, Mundo Livre S/A, Pato Fu, Virna Lisi, Virgulóides, Planet Hemp and the great Chico Science & Nação Zumbi.

São Paulo also had its own vibrant underground scene, which was strongly supported by MTV and included acts such as Pin Ups, Killing Chainsaw, Mickey Junkies, Okotô and Second Come. They were all influenced by their postpunk counterparts in the UK, as well as the local influences of Arnaldo Baptista, Tom Zé and Walter Franco.

Whilst much of the population had already embraced the triptych of sertanejo, pagode and axé music, sounds that would continue to dominate the airwaves, a few rock-inspired acts, such as Skank, Jota Quest,

Mamonas Assassinas, Cidade Negra, Rappa, Charlie Brown Jr. and Los Hermanos were able to break through.

The new century ushered in FM-friendly rock groups such as CPM22, Fresno and NXZero. However, a new scene has been burgeoning in a parallel existence, a sound that is no longer linked to just one city or region. It is a movement that no longer regards the traditional music business as irrelevant, and for the most part is ignored by popular radio and the press. Thanks to a network of independent music festivals and influential music blogs (some have a readership of over one million), Far from Alaska, Holger, Autoramas, Aldo the Band, Boogarins, are the new music acts that have expanding fan bases both in Brazil and abroad. BOSSA NOVA Bossa Nova was one of the most popular and characteristic musical movements of the twentieth century, which saw thousands of artists, mostly composers and poets, record and perform beautiful songs throughout the 1960s

Bossa Nova to this day remains one of the most distinctive and definitive sounds of Brazil’s twentieth century popular culture. It was a musical movement that was started, initially, by composers (and poets), but evolved to become so much more, paving the way for numerous musicians over the last 60 years. In fact some say it isn’t even a genre, but more a style of performance.

Whilst relatively simple in its formation, it is a wonderfully sophisticated and creative style of music; the depth and meaning of its lyrics alone serve as motivation for foreigners to learn Portuguese.

The golden years of Bossa Nova were from 1958 to 1964. The 1950s was a decade of rapid industrialisation in Brazil, one that brought with it a wave of modernity in terms of architecture, design, cinema and music. This was a period of transformation and social change in Brazil, a time of boom that saw plans to build a new capital, Brasilia, in the heart of the country.

Bossa Nova’s rightful birthplace was Rio de Janeiro, in the neighbourhoods of Copacabana, Ipanema and Leblon. University students, poets, and musicians alike, from a raft of different backgrounds, would come together and host jamming sessions in their apartments. Naturally, so as not to disrupt the neighbours, their style and composition gave way to a “softer” type of music than previously popularised, uniting a myriad of influences. With time they realised that they were beginning to define a new sound, of interweaved harmonies and melodies, all set to a soft vocal style and gentle rhythmical percussion.

The emergence of Bossa Nova brought together an unlikely group of performers: Antônio Carlos Jobim, Vinicius de Moraes, Candinho, João Gilberto, Carlos Lyra, Roberto Menescal, Nara Leão, Ronaldo Bôscoli, Baden Powell, Luizinho Eça, the Castro Neves brothers, Newton Mendonça, Chico Feitosa, Lula Freire, Durval Ferreira, Sylvia Telles, Normando Santos and Luís Carlos Vinhas. These musicians, composers and artists, tired of both the overplayed operatic vocals of radio and the rather staid samba scene, were in search of something new, a sound that truly represented the people of Rio and defined the revived spirit of a nation.

Artists such as João Donato and Billy Blanco were already influenced by international superstars like Frank Sinatra and Chet Baker, but Bossa Nova also had something to say, through its lyrics. Rio now had a

platform to tell its story, about the lives of the music’s protagonists, a new carefree, urban lifestyle (sun, sea and girls).

There were three architectural elements to Bossa Nova, as we know it today; firstly the vocals and guitar playing of João Gilberto, secondly the composition of Antônio Carlos Jobim and, finally, the lyrics of Vinicius de Moraes.

João Gilberto, having left Bahia in 1950, spent several years looking for work, whilst diligently developing his own unique style of guitar playing. Legend has it that he spent eight months perfecting his trade in his sister’s bathroom. His impact was immediate.

Antonio Carlos Jobim brought to the scene a whole host of musical influences from Europe (Debussy, Ravel), America (Nelson Riddle) and of course Brazil (Pixinguinha, Custódio Mesquita and Radamés Gnatalli). During the day he worked for a record company, whilst performing by night at venues throughout Rio’s southern districts.

Vinicius de Moraes was already a respected poet, playwright and journalist as well as a civil servant with the Brazilian consular services. He met Jobim in 1956, and a successful song-writing partnership soon flourished.

Also of importance was André Midani, the head of an international record label, who was instrumental in the signing of these pioneering artists. Other independent labels – RGE, Elenco and Forma – in addition to releasing Bossa Nova albums, also helped establish a visual identity to the genre; album covers became almost as important as the music.

Although Elizete Cardoso’s 1958 album Canção do Amor Demais, featured songs by Jobim and Gilberto, it was João Gilberto’s 1959 album Chega de Saudade, which showcased songs by Jobim and Vinicius, that is generally considered to be the first authentic Bossa Nova album. Brazilian music would never be the same, and its instant novelty meant that anything vaguely modern or alternative was labelled as being “Bossa Nova”. You could have Bossa Nova fridges, glasses, shoes, pretty much anything.

There were three important factors that helped launch the movement internationally.

The first was the French film production, Orfeu Negro (Black Orpheus). Filmed in Rio in 1959, the score was written by Jobim, Vinicius and guitarist Luiz Bonfá. It went on to be crowned Palme d’Or at the Cannes festival, followed by an Oscar and a BAFTA in the Best Foreign Film category. Bossa Nova was a winner.

The second helped export the genre to American shores. As part of the US government’s “good neighbour” initiative, artists such as Dizzy Gillespie, Charlie Byrd, Herbie Mann and Coleman Hawkins were touring Brazil, and soon began spreading the word back in the US about this new sound. The first Bossa Nova album released in the US was in 1962, Jazz Samba (Bossa Nova as a name had not caught on yet), by jazz artists Stan Getz and Charlie Byrd. The album featured both original compositions and instrumental interpretations of the style. It was a huge success, winning Getz a Grammy. The two-minute version of Desafinado spent ten weeks in the US Billboard Top 40.

The third decisive element was a one-off concert in Carnegie Hall in November 1962, which united an A- list line up of Jobim, Gilberto, Carlos Lyra, Sergio Mendes, Roberto Menescal, amongst others. The concert was a launch pad for several stars in the US.

The infamous ballad, “The Girl from Ipanema” (Garota de Ipanema), was released in 1964, on the Getz/Gilberto album. It remained in the Billboard pop charts for almost two years, won four Grammy Awards, and helped promote Bossa Nova to a global audience. In the same month as its release, however, Brazil was subject to a military coup that would ultimately signal the end of an era for Bossa Nova, and all it stood for.

Whilst the movement itself was relatively short-lived, the music lives on. SAMBA Samba is the river that flows through Brazilian music, bringing with it the rich Afro-Caribbean sounds that migrated from Africa during the slave movement. On its journey it has mixed with many other influences but it still remains the great expression of Afro-Brazilian identity.

From Samba-canção (a slow, melodic strand of Samba that started in 1920s Rio de Janeiro) to the carnaval samba (modern samba that characterizes Brazil’s Carnival celebrations, an upbeat fusion of Bossa-nova, electronic, hip hop and funk carioca), Samba is as rich in its harmony as it is in its lyrics.

It’s also surprisingly broad when it comes to regional and cultural variations. Embedded in its rhythmic composition is a myriad of cultures stretching back over 500 years, echoes of the historic cooperation between Indians, Europeans and Africans.

Samba has always, however, been a local expression. Throughout Brazil each region lays claims to their own local form of samba. It can be as diverse as a one-man acoustic melody to a full samba school parade with full bateria (full percussion band, with an emphasis on drums). It is all samba of one form or another, and from the countryside to the great metropolises, the music is a great celebration of life and community.

The most public display of samba is the two-day Carnival parade in Rio de Janeiro, which usually pits 14 samba schools against each other in the hunt to be crowned Carnival Champion. Other cities host similar events during the same period, but the scale of the Rio de Janeiro event is unparalleled.

Almost 11 months of hard work goes into the production. Each samba school performs an 80-minute samba “enredo” (a themed, samba-fuelled parade), which usually pays homage to some significant aspect of Brazilian history or culture. Sung by the whole school and accompanied by countless drums (the bateria), the objective is to enchant the spectating public who flank the Sambadrome (purpose built stadium for such parades) and convince a professional jury, who judge on a number of criteria (song, dancing, costumes, floats) that their school is the worthy winner.

Samba’s deepest roots lie in the city of Salvador, Brazil’s colonial capital and first urban settlement. In the mid-1800s the province of Rio de Janeiro already had a population of over 300,000 slaves, but with the abolition of slavery in 1888, thousands more freed slaves migrated south from Bahia to Rio de Janeiro in the search of employment, subsequently populating the hillside neighbourhoods of the city. The shanty towns built on these hillsides became known as favelas when soldiers who had fought in the War of Canudos in Bahia (1897) settled in the region. (Favela is the name of a prickly plant that grows in the arid interior of Bahia).

In these newfound dwellings informal get-togethers were common, often hosted by tias baianas (aunts from Bahia). The most famous of hosts was known as Tia Ciata, who would host Candomblé (translated

as dance of the gods, a form of African religion practiced in Brazil) gatherings, followed by a recital of samba music. It was an open invitation for people to party and socialize. It was at such meetings that the mixture of musical influences such as marcha, lundu, polka, habanera, maxixe and the tango began to resemble what we recognize today as a samba rhythm. The most prominent musical talents of the time would congregate, hoping to get a chance to play. Accompanied by percussion instruments, West Africans drums mingled with Portuguese guitars and cavaquinhos (a type of ukulele), the musicians improvised the lyrics and created easy to repeat verses for the chorus of participants to sing.

The first samba school, Deixa Falar (meaning Let Them Gossip), was created in 1928 and adopted the witty motto “we also teach, but here we learn the samba”, with reference to an old teachers club located next door. The samba movement grew and soon there two other schools that opened their doors: Mangueira (Mango Tree) and Portela. In the 1930s, the white population of Brazil began to identify with the sound that descended from the hillsides. In 1930 samba enjoyed what is known as the golden era. The shift from mechanical to electrical recording helped define this era, offering artists greater range, tone and means of expression.

The dawn and rapid expansion of the radio further gave Samba the opportunity to grow. In 1939, a new musical genre was born, that of samba-exaltação (Samba Exaltation). This new wave was inaugurated with a song that soon became the most listened to and performed Brazilian song overseas, Ary Barroso’s Aquarela do Brasil, (only trumped by the arrival of The Girl from Ipanema in the 1960s, 25 years later).

Samba de Gafieira rose to prominence in the 1940’s and 1950s, much influenced by the radio orchestras of the USA. In the 1960s, Bossa-Nova and MPB (Música Popular Brasileira – Brazilian Pop Music) artists embraced the Velha Guarda, rediscovering veteran singer-songwriters such as Cartola and Nelson Cavaquinho. They were soon followed by a new generation: Paulinho da Viola, Elton Medeiros and soon after, Martinho da Vila, along with Clementina de Jesus, who made her debut in 1964, when she was 63 years old.

In the 1970s, new songwriters emerged: João Nogueira, Paulo César Pinheiro, Candeia, Nelson Sargento and Monarco, penning songs for upcoming samba singers, including Beth Carvalho, Alcione, Roberto Ribeiro and Clara Nunes.

The 1980s and 1990s saw the emergent success of a popular samba off-shoot, Pagode. Groups such as Fundo de Quintal and Raça Negra sold hundreds of thousands of albums, whilst inspiring a renaissance movement towards a more traditional, roots-based samba.

04. DIGITAL AGGREGATORS he digital aggregators have a strong and active presence in Brazil; one of the earliest was local company iMusica (established in 2000, purchased by Claro/América Móvil in 2014); 2020 saw the arrival of TInGrooves. And competition and growth has seen the aggregators offer a variety of services. In 2019 the country’s leading society UBC published an overview of the services offered by some of the aggregators:

Altafonte www.altafonte.com Principal clientes: Tribalistas, BaianaSystem, Baco Exu do Blues, Gilberto Gil, BK, Black Alien, Hamilton de Holanda, MC Carol, Marcelo D2, Arnaldo Antunes, Carlinhos Brown, Hermeto Pascoal, Jaloo, Fred & Gustavo, Marina Lima, Ava Rocha, Mariana Aydar, Teresa Cristina, ÀTTØØXXÁ, Heavy Baile, Gabz, Jade Baraldo, Gaby Amarantos, Pepeu Gomes, Matheus Carrilho, Akira Presidente, Pirâmide Perdida, Gilsons, Jards Macalé, Monobloco, MC Tha.

"We take care of Gilberto Gil's catalog, with more than 60 albums, the great Tim Maia (Vitória Régia) and Lenine," says Alex Schiavo, general director of the Spanish Altafonte in Brazil.

The Altafonte Back Office (ABO) provides real time data analysis from the streaming and download platforms. Two technology centers, one in Spain and the other in Mexico, have 14 engineers working around the clock, according to Altafonte, to ensure reliability and usability.

"We offer digital media planning for releases, marketing and promotion strategies on a case-by-case basis. We are a curated platform, 100% transparent, bringing the best opportunities and information on the market. We have a strong presence throughout Latin America, offices in the USA and in Europe and distribution all over the world. Experienced professionals converge with young professionals and also with their own strong knowledge and technological development. We are always learning and developing. We are 100% independent," defines Schiavo.

CD Baby pt.cdbaby.com Principal clients: Angra, Teatro Mágico, Tuyo, Johnny Hooker, Nação Zumbi, Zizi Possi, Aldair Playboy, Nelson Farias, Aline Brasil, Canção Nova, Innocentes, Flavio Venturini

"And another 38,000 artists around the country" (800,000 worldwide), says Marcos Chomen, director of business development in Latin America at CD Baby.

It has a detailed control panel with everything the artist sold, where and when.

"We also generate Content ID for YouTube: we already identify the music on this platform and pay. Also on Facebook, with the videos published there. All of this appears in the reports."

CD Baby charges a 9% percentage, distributing 91% to the artist. "We distribute any artist who enters CD Baby, creates an account and has music to offer. We send this material to more than 100 streaming platforms worldwide," says Chomen. There is no longterm contract.

"We offer a multichannel network for artists; we do their networking. A channel where he has a large number of accesses needs someone to generate the content ID, track down violated rights ... We all offer this. We also have a company, show.co which is a tool that gives the artist a marketing campaign manager. Creates a social network strategy, helps to gain subscribers on YouTube, to have more people on Spotify… and allows you to advertise on Spotify directly," says Chomen.

"One of CD Baby's great differentials today is that it is a 20-year company in the market. The commitment to the independent is increasingly strong. We charge 9% only, and we publicize it in a transparent way. Nobody has a marketing campaign management tool like ours. We have a blog to help the artist develop his

career, answer questions. We pay global copyright, a service similar to that offered by publishers. clear, detailed and transparent," says Chomen. "We are the only ones with the Apple Preferred Plus certificate and we also have Spotify Preferred Artists Distributor."

Ditto www.dittomusic.com Principal clients: Ana Cañas, Supercombo, Banda Malta, Fabio Brazza, Clarice Falcão, Ego Kill Talent, Negra Li, Leozin, Make U Sweat, Radiomatik, Sambô, Latino, WOAK, Pele MilFlows, Jair Oliveira.

Distribution to 200 stores in 250 countries, received via Merlin (representing the global independent sector) in sterling, and the values are available on the Ditto platform in foreign currency through the label / artist dashboard.

"There, they can request payments at any time, making the currency exchange for their banking institution and separating the Ditto Music commission according to the percentage stipulated in the distribution contract", says the aggregator. Audience data is updated daily to reflect the consumption of music within the platforms. The royalty data is updated as soon as the reports consolidated by the DSPs are sent and are available on the customer's dashboard with filters by territory, month, stores and other details.

There are two concomitant models: one for labels and artists, with specialized management and strategic intelligence, in which a percentage of sales is charged (negotiated on a case-by-case basis). The other model is a subscription service for beginning artists, in which they pay an annual fee of R $ 39.90 and can release singles, EPs and/or albums unlimitedly during the subscription validity period, receiving 100% of sales royalties. "This, by the way, is considered one of the cheapest digital distribution services in the world. And these artists have the same access to the platform, tools, online reports and support materials for their development."

"Ditto Music distributes more than 200 thousand artists worldwide and has 24 offices in 20 countries, in addition to cutting edge technology and total transparency. The team in Brazil has very experienced professionals in the music market; head Rodrigo Ratto has 25 years of career (ex-Universal Music), the artist & label service is Tiago Agostini (Ex-Naspter, ex Rolling Stone magazine), and the customer support is Marcelo Garcia (ex-Elemess). One of the company's main priorities has always been customer service, especially sharing knowledge with our customers, working as an arm with the MKT and A&R teams. We are interested in participating in the entire process, from the finalization of the product in the studio, how to study the best launch and communication strategy."

ONErpm www.onerpm.com Principal clients: Gustavo Mioto, Nando Reis, Hungary, Daniel, Bikini Cavadão, Isadora Pompeo, Racionais MCs

"And many other labels that we distribute, such as Trama, Radar Records and Midas," says Arthur Fittzgibbon, president of the distributor in Brazil (worldwide, there are 160 thousand artists).

The revenue management is done automatically by their own platform, developed by the ONErpm team. "We offer several types of reports, such as a complete financial report that goes into detail in dozens of columns, such as, for example, what music played the most in a particular country," says Fittzgibbon.

There is also an online management report that allows daily monitoring of plays on streaming platforms. Tracking of playlists is also available, indicating how many and which lists a certain song is playing, in addition to a report indicating the number of copies identified on the YouTube system, and the approximate number of views that are generating per week.

"We work hard on the basis of the partnership, where there is no initial cost of distribution for streaming platforms, and we are left with a small percentage of the revenue that is eventually generated from each content," says Fittzgibbon.

"In some cases, we have more aggressive marketing. We are involved with planning, investment and even a stronger partnership so that the reach of the music is greater - of course, also the revenue. Even so, we are always creating automated tools for everyone that they distribute with us, like a free smartlink, a free pre- save campaign, free personalized art etc."

"I believe that the main differential that we have is that the company is more flexible, agile and with a local team of more than 100 people, a direct involvement in the marketing of many artists, a studio to create and promote digital content, in addition to intense activation new marketing tools and cross promotions with other territories," concludes Fittzgibbon.

The Orchard www.theorchard.com Principal clients: Som Livre, Deck, Kondzilla, Phonomotor, Atração, MZA, Biscoito Fino, MCD, Galeão, Brazil Deluxe, Waves Sound, Tratore, Indie Records, CWB, Azul Music, Liga Entertainment, Dubas, Kuarup, Mins, TV Record, Dabliu, Detona Legena Funk, among others.

They also serve artists directly, such as Zeeba and Daniela Mercury. Outside of Brazil, they have in their portfolio BTS, the phenomenon of K-Pop, and Ozuna.

The system allows you to track data in real time from the main platforms, not only streams, downloads and views, but which audience profile is consuming your music (location, age, gender), which playlists are generating more streams for a given track and what impact this in the general consumption of the artist. In addition, you can track the track's skip rate and save rate on Spotify. The customer can also track their data in real time in the Orchard Go app. On the platform, it is still possible to create smartlinks and pre-save links.

“Soon, it will also be possible to create digital marketing campaigns. We constantly invest in technology to offer the best platform on the market. Last year alone, the investment was over US $ 10 million,” says Sylvia Medeiros, brand and marketing manager at Orchard.

It charges a percentage of the revenue generated, either with the various modalities of streaming, downloading, YouTube, public execution (outside Brazil) or synchronization.

“We offer support with the platforms in order to search for highlights, insertions in playlists and special actions. We offer consultancy to optimize and increase the audience on social networks, including YouTube. We participate in the planning of launches for all our customers. We have an in-house agency that creates and manages digital marketing campaigns for our clients, in addition to a marketing team that

develops actions out of the box, on demand. In addition, we run some media campaigns within Spotify to promote priority content,” says Medeiros.

“We are pioneers in digital distribution - we were founded in 1997, even before iTunes was born. We are a global company; our team is present in more than 40 countries. We have the most robust, complete and transparent platform on the market. The Orchard was acquired by Sony in 2015 and, since then, we have access to negotiations and guarantees with platforms that were previously not possible for the universe of independents. An example of this was the equity payment we made to all of our customers when Sony sold part of the shares it owns Spotify. In addition, we are the only distributor to have, at the same time, the status of Preferred Plus Partner at Apple and Preferred Label Distributor at Spotify,” says Medeiros.

Tratore www.tratore.com.br Principal clients: Galinha Pintadinha, O Terno, Rubel, Fafá de Belem, 5 a Seco, Fresno, Carne Doce, Letrux, Nelson Sergeant, Thiago Pethit, Kiko Dinucci, Graveola, Rico Dalasam, Mauricio Pereira, Rosa Passos, Getulio Abelha, Luiza Lian, Giovani Cidreira and over 10,000 artists.

Tratore has a registration and reporting platform, www.fonomatic.com.br, developed in Brazil, for monitoring sales and checking any reports. In addition to financial data, it sends automatic emails with the daily movement of the artist on the main platforms.

For registration of a single album, R$50. But Tratore does volume negotiations in the case of labels. Tratore keeps 25% and passes on 75% to the artist or label.

"We have direct contact with the platforms' offices in Brazil and recommend the launches for the official playlists. Tratore offers smartlink for all products and assists the artist in planning the launch", says Mauricio Bussab, president and founder of Tratore.

"Tratore is Apple's preferred distributor, being the only Latin American distributor recommended by Apple on the company's website. While the competitors are offices representing companies from abroad, Tratore has developed all its technology and is headquartered in Brazil. the advantages that this provides are the fact that Tratore, by having an office here, is able to make physical distribution, in addition to digital, something that only even Tratore has," affirms Bussab.

05. PLATFORMS ollowing Youtube and iTunes, other players opened their offices in Brazil: Rdio (2011), Deezer (2013), Napster/Rhapsody (2013), Google Play (2014), Spotify (2014) and Tidal (2015) and Amazon (2019). FFrom partnerships to pricing, all have a range of strategies to increase their presence in the market. Pricing:

Tidal YouTube Music R$24,90 Family R$16,90 to R$ 29,70 R$16,90 Individual Individual R$25,50 Family Deezer R$25,35 to R$ 50,80 Family R$16,90 Individual Napster/Rhapsody R$26,90 Family Amazon Music R$17,90 Individual R$9,90 Individual Spotify R$25,90 Family Apple Music R$16,90 Individual R$16,90 Individual R$26,90 Family

According to IFPI data for 2019, streaming revenues made up 75.5% of the entire market. These gains were largely due to subscriber growth which led to growth of 18.9% in subscription audio revenues. One factor which contributed to this success was the launch of Spotify Lite in Brazil, designed to work in areas of low connectivity or expensive data charges. Users of family plans were the largest growing sector of paid subscriptions in 2019 and accounted for more than half of the total growth in users. Free streaming formats also saw rapid growth: video streaming revenues grew by 41.4% and ad-supported audio revenues grew by 20.6%.

The penetration of streaming is between 5% and 10% in Brazil, so there is still enormous space for growth. The importance of mobile phones in Brazil is underlined by the partnerships undertaken with mobile operators. Telecom Italia Mobile have a deal with Deezer; Vivo (owned by Telefonica de Espana)̃ relies on a renewed Napster/Rhapsody paid service; Claro has its own service, Claro Musica,́ launched in 2012, and powered by iMusica.

In Brazil, Deezer’s main partner is TIM, a telecommunication operator that concentrates 23.85% of the segment’s market share, according to a report by Teleco in 2019. The brand has also had a partnership with the Brazilian soccer team Flamengo in the past and does not rule out the possibility of establishing new agreements with relevant brands in the Brazilian market to continue expanding its operations in the country. Deezer has two strong fronts: its B2C marketing campaigns (for example, with Lollapalooza and Gospel Day), and its B2B2C strategy (partnerships with TIM and Itaú).

For the launch of Tidal in 2018, the company partnered with one of Brazil’s largest mobile communications brands, Vivo, creating a strategy where Vivo would offer its clients a lower price for Tidal subscriptions. This allowed Tidal to have a wider geographical reach.

These international streaming platforms are also experiencing competition with national streaming companies, like Sua Musica and Palco MP3. Sua Musica has over thirteen million active users and focuses

on local genres such as sertaneja, forro and arrocha. They concentrate their activities in the northeast region of Brazil, where the digital world is less developed and people are more engaged with local musical styles. Many national artists carry out exclusive releases on these platforms, attracting potential users as well as stimulating existing customers to upgrade to a paid subscription.

But content piracy is still rife. The loosening of the protection of author’s rights, including by the national government, is causing serious concern. The streaming growth has focused principally on the sertaneja and funk genres at the cost of other genres, which is not healthy, with much of the revenue and success in the hands of a small number of companies.

A new player on the scene is ByteDance’s TikTok, which has been quickly embraced in Brazil, becoming the fastest growing content creation platform. The company is developing partnerships with local companies such as Guaraná Antarctica soft drink, Corinthians football team and Amaro clothing company. Havaianas sandals created a campaign with TikTok, and enlisted popstar Carlinhos Brown to create, produce and direct an exclusive video clip, as part of the strategy to connect the brand to the Z generation.

Superplayer www.superplayer.company E-mail: [email protected]

Superplayer is a leader in B2B music digital solutions in Brazil. Founded in 2013, the company offers a full spectrum of services to help businesses innovate through music and technology, including: Superplayer, Brazil’s largest music streaming premium service with more than 5 million users; LOUVE, world's first music service exclusively focused on evangelic content (distributed in partnership with Record, Brazil's top 3 television broadcasting company); SBT HITS, music streaming service created in partnership with SBT, Brazil's top 3 broadcasting television company with an audience of more than 15 million people per month; Azul Sounds and Radio Azul Viagens, onboard music channels for Azul airline company.

Mobile According to Anatel (National Telecommunications Agency) for August 2019, Vivo is the leader of the mobile market in Brazil. The company controlled by the Telefónica Group had the largest market share, with 73.67 million lines in operation, which corresponds to 32.28% of the total in the country.

In second place is Claro, with 56.51 million (24.76%) lines; TIM appears in the third position, with 54.68 million (23.96%) and Oi occupies the fourth position, with 37.51 million (16.43%). The other mobile operators added 5.88 million lines in the period (2.57%).

06. MUSIC CONFERENCES he Brazilian music industry has had a contant and strong presence in international music conferences such as Midem, SXSW and Womex. About 10 years ago local managers began to embark on creating Ttheir own national events, which feature a strong international presence, and a growing participation from Latin American countries.

The export offices from United Kingdom, France, Quebec and Australia maintain regular representation at events such as SIM São Paulo, with showcases and networking opportunities. In 2018 Sounds Australia partnered with UBC and APRA AMCOS (Australian collective management company) on the SongHubs songwriters camp. The coronavirus pandemic means all events are cancelled for the moment as the organizers seek alternative dates and formats.

February various formats (panels, interviews, debates, Porto Musical speeches), concerts, films, workshops, Recife gastronomic fair, business fair, maker fair, games www.portomusical.com.br fair and more activities. Porto Musical is one of the most important September convention for music professionals in country, Hacktown with seminars, speed meetings, round-tables and Santa Rita de Sapucai showcases. It is organized by Fina Produção and hacktown.com.br Astronave Cultural Initiatives – in collaboration HackTown is the most important innovation with WOMEX and Porto Digital. event in Brazil with its 6th edition in 2020. With May very much a SXSW vibe, it takes place in Santa Rio2C Rita do Sapucaí, a small city of 40 thousand Rio de Janeiro inhabitants with more than 150 technology-based www.rio2c.com/en companies, with 3 incubators/accelerators and 3 Rio2C is the leading conference for the educational institutions. The activities take place audiovisual sector with more than 60 seminars throughout the city with lectures, workshops and tackling such issues as creation, development and music events. production; direction; scriptwriting; VOD; October artificial intelligence; big data; blockchain; Trends Brasil Conference audiovisual public policies; tax incentive laws and Rio de Janeiro commercialization for the international market. www.trendsbrasilconference.com.br June [email protected] Path Music Trends Brasil is one of the principal São Paulo encounters of the recording industry, held www.festivalpath.com.br annually in Rio de Janeiro, with a strong national and international presence. Festival Path offers experiences in education, entertainment and business. The aim is to December connect and inspire the creative community of Rio Music Market Brazil and encourage dialogue between people Rio de Janeiro who wish to innovate the way of thinking and www.riomusicmarket.com.br acting. The program consists of lectures in

The Rio Music Market (RMK) brings together music industry, as well as artists and media from professionals from around the world, as well as both Brazil and abroad. Brazil, participating in over 30 panels on the The event focuses on the new music market and transformations and new opportunities in the new ideas and concepts which are transforming international music industry. The event is the music scene. SIM LIVE is a branch of the organized by the ABMI in partnership with event dedicated to live music and it is presented SEBRAE/RJ. in two different moments: daily showcases in December Centro Cultural São Paulo and night parties and SIM Saõ Paulo concerts, throughout the city. The Saõ Paulo CONVENTION features lectures, speeches, www.simsaopaulo.com keynotes, debates and workshops. At the PRO The Semana Internacional de Música de São AREA registered professionals participate in Paulo (São Paulo Music Week) is one of the most cocktails, closed and open meetings, speed- important music conventions in Latin America. meetings, creating opportunities for partnerships During five days, the city becomes a meeting in Brazil and abroad. point for professionals from all sectors of the

07. PRODUCERS he new generation of music producers are equally at home in the studio as they are in selling a project to a sponsor or brand. Collective projects such as Los Brasileros, Brabo Music and Tropkillaz are Tdefining the sound of contemporary Brazil, following in the footsteps of André Midani, Roberto Augusto, Marco Mazzola, Mariozinho Rocha, Liminha and Rick Bonadio. There are thousands; listed are just some of the most prominent.

El Rocha 102.9) and has released a nationwide project to www.elrocha.com.br produce and develop new artists, supported by Oi E-mail: [email protected] (Telephone Company) in association with Oi Established in 1997, El Rocha is a major reference Futuro. within the São Paulo independent scene. Producer Daniel Ganjaman produced such acts Head Media as Sabotage, BaianaSystem, Criolo and Nação www.headmedia.com.br E-mail: [email protected] Zumbi, as well as international acts such as the Founded in 2012, Head Media is one of the main English rapper Jevon. music production studios in Brazil. With more Leo D Mixing Engineer and Moringa Audio than 1 billion views generated from their www.leod.com.br productions, they have their own label and also E-mail: Leo Domingues [email protected] operate in the advertising sector. Pedro Dash is Music producer, mixing engineer and musician co-Founder of Head Media and producer of such for artists and advertising, working with many acts as Projota, Anitta and Mc Guime, as well as music genres from Brazilian pop to percussion A&R at Universal Music Brazil. Pedro is also one driven rhythms, from rock to EDM. The of the mentors of the UBC Impulso project, company has worked with such artists as DJ impulso.ubc.org.br. Together with Dan Valbusa Dolores, Mombojó, Johnny Hooker, Mundo and Marcelinho Ferraz, Pedro has the Los Livre S/A, Cordel do Fogo Encantado, Jopin, Brasileiros project. Romero Ferro, DJ Patrick Tor4, Jam da Silva, Bruno Souto, Lara Klaus and Igor de Carvalho. Pablo Bispo E-mail: [email protected] Toca Discos (Toca do Bandido Studio) Pablo Bispo is a music producer, composer and www.tocadobandido.com.br one of the founders of Som Livre's music label, E-mail: [email protected] Inbraza. He has composed hits for such acts as Brazilian guitar player and music producer from Iza, Ludmilla, Anitta, and Pabllo Vittar. Rio de Janeiro, Felipe Rodarte has worked with Internationally, he has already worked with Constança Scofield at Toca Discos since 2010. In Major Lazer and Charli XCX. Currently, Pablo addition to producing a plethora of successful works with Sérgio Santos and Ruxell, collectively albums and tracks, Felipe has been working on known as “Dogz”. Pablo is also part of the Brabo the development of new artists. Introducing Music Team, which includes Maffalda, Rodrigo several grassroots artists to each other and Gorky, Zebu and Arthur Marques. supporting their collaborations. He has organized a rock music network, A Cena Vive (The Scene Dudu Borges Lives) for spotlighting new bands. Felipe also www.duduborges.com.br presents a rock radio program (Radio Cidade, E-mail: [email protected]

Dudu Borges began his career as a producer and www.facebook.com/Tropkillaz arranger in gospel. In 2009 he started a successful [email protected] partnership with Michel Teló, recording the song Tropkillaz is a duo formed by two top Brazilian Ai Se Eu Te Pego, a worldwide success. In 2009, producers, both from the old school (DJ Zegon) Dudu opened Studio Vip, one of the largest and and new school (Laudz). DJ Zegon is one of most modern studios in Brazil in terms of Brazil’s most respected DJ/Producers – with a equipment and concept. His productions are career spanning over 20 years, and having regularly among the 5 most played songs on worked in over 100 records, including radio in Brazil, according to data provided by collaborations with Kanye West, M.I.A, David Crowley Broadcast Analysis. Byrne (Talking Heads), George Clinton, a few Wu Tang Members (RZA, Method Man, Ol’Dirty Bastard) amongst others. Laudz is a new cat in UN Music Group the game, however even with only 5 years in the www.unmusic.com.br business he’s worked with the likes of like Snoop E-mail: [email protected] Dogg, Dr Dre, as well as Brazil’s top hip hop Grupo UN Music, from Minas Gerais, is the MCs. The two have also scored movies, result of the merger of Ultra Music - record label commercials and tracks for videogames. and event producer; Neutra - audiovisual publisher and producer; and Under Discos - Kassin record label. Started in 2005 by Barral Lima, an www.facebook.com/kassin experienced musician, the project offers a variety E-mail: [email protected] of services and solutions. Over 500 established Kassin is a hugely influential producer and and new artists have used their studios, musician in Brazil. He has been a member of los including: Milton Nascimento, Lô Borges, Alceu Hermanos, The +2's, Orqestra Imperial, and Valença, Pabllo Vittar, Marku Ribas, Toninho produced albums for Marisa Monte, Bebel Horta, Fernanda Abreu, Fernanda Takai, Wayne Gilberto, On Filmore, and made an album from Shorter, Ivan Lins, Beto Guedes, among others. the bleeps of a Gameboy. And has recorded with More than 500 shows produced by several Sean O’Hagan. He has also played bass in national and international artists; Promotion of Caetano Veloso's live shows and co-produced more than 60 music, art, technology and Gillies Peterson's Brazilian project, Sonzeira. gastronomy festivals; More than 50 albums released by the label Ultra Music; More than 15 Mauricio Tagliari books launched by Neutra Editora. [email protected] Musician and producer, in 1995 he was a co- Papatinho founder of YBMusic, where he produced and / or papatinho.com/papatunes released over 120 CDs by artists such as Nina E-mail: [email protected] Becker, Passo Torto, Otto, Trio Mocotó, Walter Papatinho is a beat maker and DJ as well as Franco, Curumin, Rômulo Froes, Felipe producer of the Cone Crew Diretoria rap crew, Cordeiro, Tulipa Ruiz, Nação Zumbi, Siba, combining various music styles such as samba, Karina Buhr, among others. jazz, blues, film soundtracks and even meditation music. In 2015, Papatinho began working with Lately he has been dedicating himself to music Travis Baker and Snoop Dogg. projects for cinema and TV series, both in Brazil and abroad. Tropkillaz

08. MUSIC PROMOTION AND MEDIA igital marketing has changed the terrain of the local music industry, with huge opportunities to highlight new artists. From social media to word-of-mouth, new talent has never had so many tools D and so much competition. If marketing previously was focused on DJs, radio stations, television and the press, today, it embraces Facebook, Twitter, Instagram and TikTok, and the new gatekeepers of Spotify, Deezer, iTunes, Soundcloud….., a digital world where people consume music through their mobile devices. But the traditional media of radio and TV continues firme e forte. Money speaks, and the mainstream music companies and their artists dominate the big open TV channels, the commercial FM radios, the few remaining printed vehicles and the big web portals. A criticism of the traditional media is that they do not reflect the diversity and plurality of the music sector. Radio There are many large commercial radios in Brazil. Their musical programming is defined through the bête- noire of the industry: commercial negotiations (a legalized form of payola, aka jabá). Their promotional force is huge and undeniable.

The Brazilian radio network developed in the early 1920s. In order to develop the technology, the Federal Government granted broadcasting concessions to private companies in exchange for shared interests. The long-term result has been that Brazil lacks well-defined legislation to protect the national and social interest of radio, avoiding its use for economic, political, and electoral purposes.

From the 1960s to the end of the 1980s, popular TV programs and AM radio disseminated the most popular music, while FM radio dedicated itself principally to international music, MPB and local rock music. In 2013, the Brazilian government authorized AM stations to migrate to FM frequencies.

Radio is now a media complex in which take part AM/FM radio stations, web radio, podcasting, paid TV, social media and mobile phone companies.

A 2019 report, Inside Radio, published by Kantar IBOPE Media, states that 83% of the population listen to radio during an average of 4h33 every day. Also, the five most popular genres correspond to 80% of the songs on radio.

According to a survey by Crowley, sertaneja corresponds to 29%, or almost a third, of the entire radio impact around the country. Right behind, with 25%, is pop music, which covers both Brazilian artists such as Anitta and Iza as well as international names, such as Sam Smith and Maroon 5, followed by gospel (10%), pagode (9%) and pop/rock (8%). The category "others" corresponds to 19%, including genres such as samba, MPB, forró, axé, reggae, rock and Latin, among others. According to the survey, conducted in 13 metropolitan regions, the songs were heard on radio more than 175 billion times over the past year.

The Funk scene has a different public. Although it rivals - and even surpasses – most genres on the digital platforms, including Spotify and YouTube, it does not have the same space on radio.

More than 7,300 advertisers, spread across more than 8,900 brands, invested in radio advertising in the first half of 2019. Of these, 3686 advertisers are exclusive, that is, they only advertise on the radio. There were 3541 new advertisers in the middle in the first half of 2019 (who had not done advertising in the first half of

2018 on radio). Radio continues to be the main means of communication for advertisers with their target audience, according to Kantar IBOPE Media. Consumer services, commerce, culture/leisure/sports/tourism together account for almost two thirds of their investment (64%). PRINCIPAL RADIO STATIONS

São Paulo Alpha FM 101.7 Metropolitana FM 98.5 www.alphafm.com.br www.metropolitanafm.com.br

Band FM 96.1 Transcontinental FM 104.7 www.band.fm.br www.transcontinentalfm.com.br

Jovem Pan FM 100.9 www.jovempanfm.com.br

Music radio 89 A Rádio Rock FM 89.1 Mix FM 106.3 www.radiorock.com.br www.tvtropicalrn.com.br

Kiss FM 102.1 www.kissfm.com.br

College radio Brasil Atual Rádio Frei Caneca www.redebrasilatual.com.br/radio www.freicanecafm.org São Paulo/SP Recife/PE

Rádio UFSCar Rádio Universitária FM www.radio.ufscar.br www.radiouniversitariafm.com.br/audio São Carlos/SP Fortaleza/CE

The national Web radio stations are listed at: www.radios.com.br

Classic Rock A Magia Do Rock Rádio Studio Souto – Rock Clássico São Paulo/SP Goiania/GO

Rádio 4 Tempos Rádio Web Putzgrila Brasilia/DF Porto Alegre/RS

Rádio 91 Rock FM Rock FM Brasil Curitiba/PR Rio De Janeiro/RJ

Rádio Back Stage Classic Rock São Paulo/SP

MPB Atitude Popular Fortaleza/CE

MPB Brasil Online Goiania/GO Rio de Janeiro/RJ Rádio Viva o Samba Rádio Jovem Pan Web MPB Rio de Janeiro/RJ São Paulo/SP

Rádio Studio Souto – Roberto Carlos

Pop/Rock Esportes Brasília Sao Carlos/SP Brasilia/DF Rádio Estação Pop Funk Web Belo Horizonte/MG Rio de Janeiro/RJ Rádio Flashback FM Heavy Metal Ears Radio São Paulo/SP São Paulo/SP Rádio Jovem Pan Web 80 Rádio Arquivo Pop São Paulo/SP

Instrumental FM Premium Curitiba/PR Porto Alegre/RS Rádio Chorinho Gold Instrumental Rio de Janeiro/RJ National Rádio Scalla Máquina Instrumental São Paulo/SP

Jazz Estação Sonido Rádio Bossa Jazz Brasil Curitiba/PR Santos/SP

Litoral Jazz Rádio Jovem Pan Web Gold Santos/SP São Paulo/SP

Mais FM Web Rádio RadioNos Jazz Channel São Paulo/SP Fortaleza/CE

PRINCIPAL GOSPEL RADIO STATIONS

São Paulo Aleluia FM Nossa Radió FM Gospel FM Gospel FM Feliz FM Nossa Radió FM Belo Horizonte Feliz FM Vitoria 107 FM Novo Tempo FM Rio de Janeiro Lideŕ FM 93 FM Florianopolis Salvador Melodia FM 89 FM Rede Aleluia FM

Santa Catrina Fortaleza Brasilia Natureza FM (Balnearí o) Jerusalem FM Sara Brasil FM Vida FM Fe ́ FM

Porto Alegre Goiânia Campinas Rede Aleluia FM Vinha FM Gospel FM (Araras) Paz FM Recife

Evangelicá FM Ribeirão Preto

Maranata FM Lider FM

Nossa Radió FM Rede Fe ́ FM

PRINCIPAL HIP HOP WEB RADIO STATIONS

Geração Hip-Hop Rap São Paulo/SP Rap Life Radio São Paulo/SP

Rádio West Side Brasilia/DF The Beat FM São Paulo/SP

PRINCIPAL HIP HOP RADIO STATIONS

A Voz Do Rap Espaço Rap E-mail: [email protected] radio105fm.com.br www.radiosulcuritibafm.com.br Evolução Hip Hop Bacanga É Resistência E-mail: [email protected] E-mail: www.educadora.ba.gov.br/evolucaohiphop [email protected] Hora Rap facebook.com/BacangaeResistencia/ E-mail: [email protected] www.radiobacangafm.com facebook.com/horaraoficial Black Songs Império Periférico transcontinentalfm.com.br www.facebook.com/imperioperiferico104.9 Boogie In Braza www.aperipe.com.br facebook.com/boogieinbraza Zumbi Instragram: @boogieinbraza E-mail: [email protected] www.redebrasilatual.com.br/radio www.radiouniversitariafm.com.br Cultura Hip Hop E-mail: [email protected] www.cultura.df.gov.br TV RecordTV Popular soap operas, news and chat shows, linked recordtv.r7.com to the evangelical church.

Rede Bandeirantes group also has a subscription service, Globosat, www.band.uol.com.br/tv with more than 30 channels, as well as a portal Popular programming with an emphasis on for classifieds, a news portal, an on-demand sports. content platform for the internet, the Som Livre record company and publisher (Som Livre) and a Rede Globo www.globo.com film production unit (Globo Filmes). The Globo Group is a behemoth, the largest SBT media group in the country. Along with the www.sbt.com.br largest nationwide open TV channel (Rede Popular soap operas, news and chat shows. Globo, owning 5 stations and with partnerships with affiliated companies), it has a radio system, TV Cultura tvcultura.com.br with its own and affiliated broadcasters, the CBN State-owned public TV, with intelligent cultural news channel and Rádio Globo and BH FM. The and informative programming.

Music channels (broadcasting live festivals, live music shows, interviews, etc.)

With the continued success of live events (and noting that Brazil had a massive industry in live DVDs), some of the TV channels dedicate space in their programming. The most relevant are Multishow, Bis and MTV, who invest massive resources in their coverage of Rock in Rio, Lollapalooza, Planeta Atlântida, held in Rio Grande do Sul, and the Summer Festival, in Salvador.

The channels also have partnerships with brands who sponsor events. Multishow aired an exclusive show promoted by a cosmetics brand, O Boticário, featuring love stories received through a contest held by the brand. The delivery was multiplatform and involved TV, Multishow Play and personalized digital activities, developed in partnership with VIU Hub, Globosat's digital business unit. The channel also worked with the Cultura Inglesa Festival, with shows by Duda Beat and Lily Allen.

Although with a much-diminished music content, MTV still has some major live content, including the transmission of Tomorrowland, Ultra and Nave. Another is the MTV Acoustic series. The broadcaster closed sponsorship deals with 123Milhas, Banco do Brasil, Subway, Anhembi Morumbi University and Via Marte for the series.

Arte 1 A mixture of own and third-party productions of canalarte1.com.br live music content and documentaries. An arts channel with talk shows, documentaries GNT and films. gnt.globo.com BIS Programs focused on entertainment, behavior, globosatplay.globo.com/bis gastronomy, decoration, innovation in the form Specialized in rock, MPB, pop, pagode and of series, documentaries and films. Several sertaneja presenters of the programs are musical artists. Canal Brasil MTV Brasil globosatplay.globo.com/canal-brasil www.mtv.com.br Focused on teen reality shows

Multishow PLAY TV multishow.globo.com playtv.com.br Includes the Multishow Award, one of the most Specialized in pop culture, music and video important for national music games Music Box Brazil VH1 www.boxbrazil.tv.br mi.tv/br/canais/vh1 Specialized in national music, alternative channel Mainstream/commercia

INTERVIEW WITH MARCOS HERMES

Marcos Hermes is the leading photographer of the Brazilian music scene, from MPB through samba, from rap to eletrônica, from the revolutionary artists of the tropicália movement to the contemporary metal scene. He began his career working in newspapers in Rio de Janeiro, covering everything from crimes to politics, before focusing on the music scene. By the late 90s, he was working with most of the record labels, registering photos used on almost 700 albums and DVDs. He has worked as an official photographer for names like The Rolling Stones, Paul McCartney, Elton John, Beyoncé, Amy Winehouse, Steve Wonder, among others, as well as taking over 80,000 exclusive photos during 10 years of the Rock in Rio concerts. Marcos is responsible for all the photos in this Report. www.marcoshermes.com E-mail: [email protected]

Marcos, how important is photography and the image of the artist in Brazil?? The success of an artist in the musical scene is based on having a great collection of images of everything he or she does every day. From social media and digital platforms to vinyl, publicity, press and anything that'll be invented, photography, video, design.... everything is based on images. The public want a diverse selection of images. With a good team of professionals around, a great mobile, it will be gold for a marketing team.

How long have you been photographing international acts? How did it start? I started in 1989, shooting Metallica on their Damage Inc. Tour, when they came to Brazil for the first time, so since the beginning I’ve been working with international acts. It’s been almost 30 years shooting international artists and festivals in Brazil and around the globe.

What are the legalities or restrictions involved? Each artist has their own rules and the photographers needs to accept it to keep shooting. For example, I was the official photographer for Beyoncé, when she came the first time to Brazil, 10 years ago. The rule was just 90 seconds of the first song for photos, so I needed to adapt myself and be 100% secure and creative to get the best shots. Sometimes international artists came with abusive contracts with rules conditioning the

"opportunity" to shoot them to freely giving them the content for social media, etc... I will never agree with an absurdity like this, but some colleagues accept this because having the artist on their portfolio is more important.

You’ve now moved into video. How did that come about? My first music video as a director was in 2001 (Cajamanga, who played in Rock in Rio that year). I'm a visual artist, a nerd into everything that moves me, like contemporary art, collage, cinema, video art, mapping, illustration, so everything can be a reference for a music video. I directed the video for the latest Elza Soares single, Comportamento Geral. I also did Paul McCartney's Back in Brazil, produced for Lightening Productions, with the director Charlie Lightening. I'm writing scripts and producing a couple of new projects for artists at the moment. PRESS The space for music in the printed press is a pale shadow of what it used to be. But there is still space for emerging acts and mainstream artists deemed of cultural interest.

National Newspapers with culture sections

Estadão O Globo cultura.estadao.com.br oglobo.globo.com Culture section covering national and Folha de São Paulo mainstream music themes. www1.folha.uol.com.br/fsp/ilustrada Art and entertainment section covering music.

Magazines with culture sections

Carta Capital www.aviancaenrevista.com www.cartacapital.com.br Revista da Gol Guia da Folha www.voegol.com.br guia.folha.uol.com.br Veja Isto É veja.abril.com.br istoe.com.br Vogue Marieclaire vogue.globo.com revistamarieclaire.globo.com

Revista Avianca BLOGS Blogs come and go, depending on a mixture of enthusiasm, public and finance. These are some of the more resistant. Some blogs also hold their own festivals, others are moving into podcasts and opening YouTube channels. Many of the journalists involved also work as curators for festivals and cultural projects.

Portal POPLine E-mail: [email protected] portalpopline.com.br Amplificador

blogs.oglobo.globo.com/amplificador www.somdosom.com E-mail: [email protected] E-mail: [email protected] Tenho Mais Discos Que Amigos Blog do Mauro Ferreira www.tenhomaisdiscosqueamigos.com g1.globo.com/musica/blog/mauro-ferreira E-mail: [email protected] E-mail: [email protected] Scream & Yell Blog do Antônio Carlos Miguel www.screamyell.com.br g1.globo.com/musica/blog/antonio-carlos- E-mail: [email protected] miguel/ E-mail: [email protected] Trabalho Sujo trabalhosujo.com.br Música Pavê E-mail: [email protected] www.musicapave.com E-mail: [email protected] Brasileríssimos www.brasileirissimos.com.br Rolling Stone E-mail: [email protected] www. rollingstone.uol.com.br E-mail: [email protected] Azoofa www.azoofa.com.br Hits Perdido E-mail: [email protected] hitsperdidos.com E-mail: [email protected] MonkeyBuzz monkeybuzz.com.br Indie X Indie E-mail: [email protected] www.facebook.com/Indiexindie E-mail: [email protected] Noize www.noize.com.br Minuto Indie E-mail: [email protected] minutoindie.com E-mail: [email protected] RockinPress www.rockinpress.com.br Porão da Música E-mail: [email protected] www.poraodamusica.com E-mail: [email protected] Popload www.popload.com.br Vírgula E-mail: [email protected] www.virgula.com.br E-mail: n/a Miojo Indie www.miojoindie.com.br PapelPop E-mail: [email protected] www.papelpop.com/contato Som do Som E-mail: [email protected]

The following have content focused on the music industry:

Billboard Brasil Música, Copyright & Tecnologia www.billboard.com.br mct.mus.br E-mail: [email protected] E-mail: [email protected] Sucesso Music Journal web.portalsucesso.com.br www.musicjournal.com.br E-mail: n/a

[email protected] PODCASTS Podcast consumption has grown by approximately 300% during 2019. Today four out of ten Brazilian Internet users have already listened to a podcast. 42% of respondents who said they listen to podcasts said they do it through YouTube. The data is from a 2020 survey by Ibope and encouraged YouTube to invest in a podcast and videocast area in the YouTube Space in Rio de Janeiro.

Top Music/Culture Podcasts

A Verdade É Que Sei Lá Poucas

Café da Manhã Pretinho Básico

Aposta Rádio Globo PrimoCast

DrummerCast Projeto Humanos fermatapod.com.br Rádiofobia Classics

Filhos da Grávida de Taubaté Rock com Vina (Podcast)

G1 Ouviu Rock na Sala

Lista do Grilo Sala de Música

Mamilos Podcast Tenho Mais Discos Que Amigos!

NerdCast Troca o Disco

Não Ouvo Podcasts Um Milkshake Chamado Wanda

NÓIZ com Emicida Stagecast

O Dia na Música

Podcast TMDQA

Half Deaf is the first producer totally specialized in podcasts in Brazil. Created by the writers, comedians and podcasters Vitor Brandt and Gus Lanzetta in partnership with the digital agency GMD, it produces and publishes quality programs, fostering the culture of podcasts in Brazil, both for entertainment and for the advertising market.

Half Deaf halfdeaf.com.br E-mail: [email protected] An association of podcasters was set up in 2006. ABPod abpod.com.br E-mail: [email protected]

YOUTUBE Video marketing has emerged as one of the best tools for digital marketing. National pop stars like Anitta, Iza and Ludmilla were discovered by Sergio Affonso, the president of Warner Music Brasil. He told Billboard that he spends at least an hour a day looking for new talent on the YouTube platform: “I sit there looking for artists with the most views - artists who identify with my brand and who have talent.”

According to MIDiA Research, 79% of Brazilians watched video clips on YouTube in 2019, a number higher than the global average of 44%. The same is true for the number of Brazilian users per week, 65% used YouTube and 30% used Spotify. The global average is 46% for YouTube and 17% for Spotify.

Leo Morel, director of market intelligence at digital aggregator iMusics assesses that Youtube is the biggest competitor for streaming services in the country: “It has brand recognition and it's free.”

“It's a democratic platform open to everyone,” says Sandra Jimenez, YouTube's music director in Latin America. "And for new talent, it's an opportunity to explode and be able to choose your own path, either with a record company or be independent."

With the cancellation of all live shows during the coronavirus pandemic, the platform has become one of the principal tools for the sector. Live-streaming events attract millions of viewers and have especially been embraced by sponsors and brands.

TOP YOUTUBE MUSIC CHANNELS

The Minuto Indie Pipocando Música youtube.com/TheMinutoIndie www.blues.ag www.facebook.com/MinutoIndie E-mail: [email protected] minutoindie.com 1.87M subscribers E-mail: [email protected] Canal NB 200,000 subscribers www.youtube.com/user/NirvanaBrasil Canal Riff 80,000 subscribers www.youtube.com/user/canalriff Canal Musicalize canalriff.com www.youtube.com/user/MusicalizeChannel www.facebook.com/CanalRIFF www.facebook.com/canalmusicalize E-mail: [email protected] E-mail: [email protected] 40,000 subscribers Alta Fidelidade Missão Musical www.youtube.com/channel/UCjbwfB_8hlg_Gebx missaomusical.com.br V46O_0A www.youtube.com/user/gabrielcamargoficial www.altafidelidadetv.com E-mail: [email protected] E-mail: [email protected] 366,000 subscribers 93,000 subscribers Tá Na Capa Music Thunder Vision www.youtube.com/user/canaltanacapa www.youtube.com/channel/UCWjXVbDgc_Xlxk www.facebook.com/tanacapa NBBI58DRA 209,000 subscribers www.facebook.com/luiz.thunderbird

E-mail: musicthundervisiongmail.com www.youtube.com/channel/UC7wsDYvKYrSexw 66,000 subscribers x1sfDLEPA www.facebook.com/mundofonograficotv Mundo Fonográfico TV 126,000 subscribers

The children's music market is a major player in the sale of licensed products, licensed music, original music and involves a strong sales network for toys or shows, which has maintained its strength over the years. Some of the main channels for children on YouTube that are consumed in Brazil:

1. Galinha Pintadinha 6. Peppa Pig

2. 3 Palavrinhas 7. Turma da Mônica

3. Patati Patatá 8. Baby Shark

4. Mundo Bita

5. O Show da Luna! PR AGENCIES There are various agencies with specialized PR and promotion services for the music industry.

Agência Lema ForMusic web.facebook.com/AgenciaLema www.formusic.com.br E-mail: [email protected] E-mail: [email protected] Clients include T4F, Universal, Beggars, Rough Artplan Trade, etc. www.artplan.com.br E-mail: [email protected] Hoffman & O’Brian www.facebook.com/hoffmaneobrian Batucada E-mail: [email protected] www.batucadacomunicacao.com Specialized in Rock and Metal, successfully E-mail: [email protected] promoting over 500 shows in more than 90 tours Clients include the Deck record company and the with artists from all over the world. Polysom vinyl factory. In Press Bebel Prates www.inpresspni.com.br www.facebook.com/bebel.prates E-mail: [email protected] E-mail: [email protected] One of the top 3 communications agencies in the country. Binômio www.binomiocomunicacao.com Inker E-mail: [email protected] inkeragencia.com E-mail: [email protected] Carola Gonzalez Promotes national and international artists and www.facebook.com/carolabg1 tours. E-mail: [email protected] Jangada Comunicação

www.jangada.ag www.perfexx.com.br E-mail: [email protected] E-mail: [email protected]

Miki Malka Tropi:Press mikimalka.com.br www.tropi.press E-mail: [email protected] E-mail: [email protected]

Mynd8 Trovoa Comunicação mynd8.com.br trovoa.com E-mail: [email protected] E-mail: [email protected]

NaMidia www.namidia.com.br E-mail: [email protected]

Perfexx

INTERVIEW WITH NANDO MACHADO, FORMUSIC Nando Machado is a co-founder of ForMusic, a marketing and promotion company based in Brazil with a global network of independent clients and partners, including Beggars, Caroline, Domino and 4AD. Nando founded ForMusic in 2011 with his partner, IT entrepreneur Daniel Dystyler, after 15 years’ experience working at Sony, BMG, Zomba, Desk, EMI and Universal in promotion and international marketing roles. A pioneer within the South American music industry, ForMusic leads a content department and manages two music news websites: Wikimetal and MadSound. The focus is on serving musicians and bands that want to gain visibility in Brazil, brands that use music in their activities and companies that invest in entertainment as a way to contribute to the well-being of employees.

What international and/or Canadian artists have you worked with? Our main Canadian client was Dine Alone Records and the main campaign we did for them were the last two City and Colour albums that did really well in Brazil. On the live album that Dallas Green released in 2018 we did a campaign with social media influencers. We looked for famous people that were fans and sent them the music one day prior to the album release with a personal video message from Dallas. All these influencers loved to receive the music first and organically shared the content when it was released. With the 2019 Pill for Loneliness album, we did an outdoor campaign with street posters in São Paulo. We also did a radio special in one of the country’s main radio stations. On the night prior to the release, Dallas sent a track by track audio explaining each one of the songs. We had great support from this radio station. A few months later City and Colour was confirmed to play at Lollapalooza. It’s a project we're very proud of.

What marketing tools should artists have ready to go if they are looking to enter the Brazilian music market? We are currently working the Black Pumas, Lauv, Georgia, Nada Surf, Passenger, Tame Impala, The Raconteurs and others, these are some examples of artists that have been doing well in Brazil lately. A lot of audio-visual content is important, to put some effort on social media (which is huge in Brazil). If possible, some extra budget for a radio campaign is important.

What are some key trends in Brazilian music promotion and media right now? I'd say TikTok is growing really fast, but it's also always a good idea to engage with local influencers (for exposure on social media) and local artists (through collaborations).

INTERVIEW WITH BRUNO CAPINAN Born in Brazil, Bruno Capinan is a singer/songwriter, currently residing in the city of Toronto. He has three records under his belt, Gozo (2010), Tudo Está Dito (2014). His latest release, Divina Graça (2016) is, according to France's Libération, a "wickedly beautiful album." The Guardian described his voice as "acrobatic, sensual, both angelic and profane.” In 2017, he began collaborating with Japanese composer Jun Miyake and appeared on his new release Lost Memory Theatre-act 3 (2018) as both lyricist and vocalist. www.capinan.com

Bruno, you’re an artist with experience in both Canada and Brazil. Is it possible to further a career in Brazil as an independent artist? Bruno: In order to further my career in Brazil I had to build a team in Brazil and to be physically present as often as I can. I travel in between both countries at least five times a year for performances or when I’m releasing a new album or single. I don’t think you can’t be as an independent artist if you don’t build a team in the territory you want to explore. A team of booking professionals that will get on the phone with venues like the SESCs in Sao Paulo, or a PR team that will connect the dots in regards of who to send your new material and make your music heard. Do you have help from your local digital distributor? Bruno: I have always worked with different digital distributors for territory. It helps to have local distribution because they know who to connect your music with, what playlists your music will be most suitable for a pitch and they will get excited to roll-up their sleeves based on the personal relationship you build with them. Getting people to believe in your work is as important as making music. Your latest album generated a lot of positive press in Brazil. How did this come about? Did you contract a local agency? Bruno: Yes, with my latest album “REAL” (2019) I worked with a team of PR professionals in coordination with our local digital distributor ‘Altafonte’. I travelled to Brazil for the album’s listening party and went on a media tour giving interviews to talk about the recording process. ‘REAL’ was mentioned on various lists of ‘best albums of 2019’ and received a nomination for the APCA (Sao Paulo’s Critics for the Arts Association) the country’s most prestigious list. And what about TV and radio, what are the opportunities? Bruno: There are lots of opportunities, but not easy to access I must say. In 2018, one of my songs was picked by Globo TV to be the opening of a soap opera; you know how popular they are in Brazil right? It was such a big deal at the time, but unfortunately it fell thought on the opening week. Since then, I have been in direct contact with the people responsible for Globo’s synchronization. On the other hand, there are lots independent radio programs and radio professionals that are very approachable, and I find once they know you they will keep on showcasing your music. What about cultural differences, what will a Canadian artist and/or manager find difficult to understand and work with?

Bruno: I tend to think that we are more similar than different when it comes to our cultural backgrounds and work ethics. Just like Canadians, Brazilians are very friendly and easy to work with. I’m not sure if I share this view because I’m a dual citizen and I speak both languages, but I’m sure one will find a joy to work in between those two cultures.

09. MUSIC PUBLISHING ehind everything is the song. And the law. The first register of protecting the interests of the author date back to 1827 with the Imperial Law which created the first law schools in the country and B conceded “exclusive privilege” (during ten years) to the professors who wrote the adaptations of textbooks. Soon after, in 1830, and a first for Latin America, the violation of the author’s right was treated in Brazil as a crime. In the constitutional arena, the author’s right was only regulated in the beginning of the republican period with the Carta Constitucional of 1891.

The Brazilian legal regime is based on the constitutional principal that the author is the exclusive owner of his work.

The existing federal law is # 9610 of 1998 (which replaced the previous of 1973), while that in relation to computer programmes is law # 9609, passed on the same date.

The right of the author in Brazil belongs exclusively to the private sector controlled by private individuals, companies, or collectives.

The body, linked to the then Ministry of Education and Culture, denominated the National Committee of Author’s Rights – CNDA, created in 1973 an installed in 1976, operated during 14 years, being deactivated when the ministry of culture was extinct in 1990.

Since 1990 there has been no state body to look after the norms and fiscal aspects of copyright. The only activity is that of the police repression in the case of crimes against intellectual property and obviously that of the legal system.

Established by law # 9610/98, intellectual works are “protected as creations of the spirit, expressed by any means or fixed in any support, tangible or in tangible, now known or to be invented in the future...” It also related other protected works, including:

• the texts of literary, artistic and scientific works; • dramatic or musical-dramatic works; • choreography and pantomime whose performance are fixed in a written or in any other form; • musical compositions, with and without lyrics; • audiovisual works, with and without soundtracks; • adaptations, translations and other transformations of original works, presented as new intellectual creations; and

• collections or compilations, anthologies, encyclopedias, dictionaries, banks of information and other works which because of their selection, organization or content constitute an intellectual creation.

The protection of an intellectual work includes its title, if original and unmistakable with the work in the same genre as that of another author, explicit in Law 9610 the following are not covered:

• the ideas, normative procedures, systems, methods, projects or mathematical concepts as such; • schemes, plans or rules for carrying out mental acts, games or business; • blank forms to be filled out with any type of information, scientific or not, and their instructions; • texts of agreements or treaties, laws, decrees, regulations, legal decisions and other official acts; • information of everyday use such as calendars, diaries, reference files or subtitles; • names and titles; • industrial or commercial utilization of ideas contained in the works. b) Other protected rights: Connected rights

The properties protected in the field of connected rights are:

• interpretation and artistic performance (including musical); • radio broadcasts; • the recording – all the fixation of sounds of a performance or interpretation or of other sounds, or of the representation of sounds which is not a fixation included in an audio-visual work. c) Rights and ownership

The Brazilian legal system establishes that the author is the individual who creates literary, artistic or scientific work, but that the protection given to the author may be given to legal entities in the cases foreseen in this Law.

Excluding the moral rights of the author (which are inalienable and cannot be renounced), the patrimonial rights of the author can be owned by companies.

The only companies who can, under Brazilian law, be the original copyright owners are the record producers and radio stations.

In the area of music, the owners of the author’s rights and connected rights are the following:

• the composer and the lyricist, who usually pass the administration of their rights to a music publisher; • the arranger, who usually passes his rights to the record company; • the interpreter, whose rights usually belong to the record company.

Use of intellectual works

Article 29 of Law 9610/98, establishes that the prior authorization of the author (or anyone controlling his rights) is needed for the usage of an intellectual work:

• its partial or total reproduction;

• the edition; • adaptation, the musical arrangement and any other transformations; • the translation to any other language; • the inclusion in a phonogram or any audiovisual production; • the distribution, when not inherent to the contract signed by the author with third parties for the use and exploration of the work; • the distribution for offering of works or productions by means of cable, optical fiber, satellite, waves or any other system that allows the user to make the selection of the work or production to receive it at a time and place previously determined by the person who formulates the demand, and in the cases where the access to the works or production is done by any system that means payment done by the user; • the direct or indirect use of the literary, artistic or scientific work, by means of: a) representation, recitation or declamation; b) musical execution; c) use of loudspeakers or similar systems; d) radio or television broadcasting; e) reception of transmission of radio broadcasting in places of collective attendance; f) background music; g) audio-visual, cinematographic display or by any similar process; h) use of artificial satellites; i) use of optical systems, telephone wires or not, cables of any kind and similar means of communication that may be adopted; j) exhibition of works of art;

• the inclusion in database, the storage in computer, microfilming and the other forms of filing; • any other existing forms of use or that may be invented. Public Performance Rights The first society was established in 1917 to act specifically with regard to theatres: Sociedade Brasileira de Autores Teatrais (SBAT), followed in 1938 by the Associação Brasileira de Compositores e Editores (ABCA), and the União Brasileira de Compositores (UBC), in 1942.

Because of a dispute between composers and publishers, the Sociedade Brasileira de Autores, Compositores e Editores de Música (SBACEM) was set up in 1946. Ten years later saw the founding of the Sociedade Arrecadadora de Direitos de Execução Musical no Brasil (SADEMBRA). In 1960 SICAM (Sociedade Independente de Compositores e Autores Musicais) was created in São Paulo.

This proliferation of societies has caused a certain conflict and tension throughout the panorama of Brazilian copyright – both for the owners and the users. In 1966 SBAT, UBC, SADEMBRA and SBACEM

created the Serviço de Defesa do Direito Autoral (SDDA), a central body to control distribution for these four societies. SICAM refused to participate.

In 1967 the Sociedade de Intérpretes e Produtores de Fonograma (SOCINPRO) was set up to include the rights of the record companies and producers.

ECAD www3.ecad.org.br E-mail: [email protected] ECAD, the Central Office for the Collection and Distribution of Rights (created in 1973), collects royalties for performing and neighbouring rights within Brazil, issuing licenses to radio and TV broadcasters, cinema, live events and general users.

These royalties are distributed to its six full-member societies – ABRAMUS, AMAR, SBACEM, SICAM, SOCINPRO and UBC – and its four associate members (who have no voting rights) – ABRAC, ANACIM, ASSIM and SADEMBRA – which then forward them on to their members. The number of votes each society has is in proportion to its total income. ECAD deducts an administration fee of 10% while the societies retain 5%. Part of this fee is also invested in the development of IT systems and data management. The annual budget and strategic plan are decided by the voting members. The data system contains both the ISWC and ISRC numbers.

ABRAMUS de Direitos Intelectuais Associaca̧ õ Brasileira de Musicá e Artes www.socinpro.org.br www.abramus.org.br UBC AMAR Uniaõ Brasileira de Compositores Associaca̧ õ de Musicos,́ Arranjadores e Regentes www.ubc.org.br www.amar.art.br ABRAC SBACEM Associaca̧ õ Brasileira de Autores, Compositores, Sociedade Brasileira de Autores, Compositores e Interpreteś e Musicoś Escritores de Musicá www.abrac.art.br www.sbacem.org.br ASSIM SICAM Associaca̧ õ de Interpreteś e Musicoś Sociedade Independente de Compositores e www.assim.org.br Autores Musicais SADEMBRA www.sicam.org.br Sociedade Administradora de Direitos de SOCINPRO Execuca̧ õ Musical do Brasil Sociedade Brasileira de Administraca̧ õ e Proteca̧ õ

These societies also have reciprocal agreements with international societies. CISAC receives royalties for Canadian writers through UBC (although it also has agreements with the other societies to distribute royalties generated in Canada for Brazilian writers, as not all Brazilian writers are members of UBC).

All royalties collected are split as to 2/3 to authors’ rights and 1/3 to neighbouring rights, with the exception of live performance royalties which are purely for the author’s right (composer and publisher).

The entity currently has 12 million songs, 8 million recordings and 179,000 audiovisual works in its database, the largest in Latin America.

Over the last decade the financial performance of ECAD has grown steadily, totaling R$1121 billion in 2019, distributed to 383,000 rights holders.

According to ECAD´s 2019 annual report, revenue from TV accounted for 37% of the total collected, 23% came from general customers – which includes commercial stores, hotels, gyms and restaurants, and 16% for shows and events.

Rock in Rio, the largest music festival in the world, generated R$9.4 million for 3,170 authors who had their songs performed during the seven days of the event in 2019. This represents an increase of 13% in relation to the previous edition, held in 2017. In total, ECAD registered 6,400 songs played at the festival.

Among the public performance segments, video streaming was the most outstanding, with a 48% growth in 2019. Radio (9%) and pay TV (7%) segments also showed significant growth compared to the previous year.

The audiovisual segments (open TV, closed TV, cinema and video streaming) continue to be strong: this category corresponded to 48.5% of what was passed on to artists and other owners in 2019.

The creation of new systems for importing and identifying music, especially in the streaming segment, brought significant gains, including a reduction in the identification time of these performances from 4 hours to 10 minutes, and an increase in the musical identification index from 75% to 80%, with an identification peak of 90% in some players.

Of the 383,460 rights holders for 2019, 83,103 are Brazilian and 300,357 are international.

Category Nationality Quantity Amount (R$) Composer International 254.929 139.424.739,45 National 62.855 312.764.773,29 Total 317.784 452.189.512,74 Publisher International 36.032 21.248.937,05 National 2.266 208.265.601,96 Total 38.298 229.514.539,01 Performer International 16.339 30.591.852,31 National 30.207 62.351.397,97 Total 46.546 92.943.250,28 Non-featured performer International 3.050 2.239.986,12 National 26.952 32.502.729,10 Total 30.002 34.742.715,22

Record label International 1.527 2.637.889,14 National 12.528 94.901.415,27 Total 14.055 97.539.304,41

In 2008 it launched Mobile ECAD Tec, a technology designed to speed up license requests, and the ECAD Tec Sound, which automates identification of musical works. ECAD connected its database to CIS-Net in October 2007, making the Brazilian repertoire available for consultation. www.ecadnet.org.br/client/app/#/home

In October 2020, ECAD published a listing of the most performed songs on radio in the country over the last 10 years, between 2010 and 2019. The top track is “I Want to Know What Love Is,” written by Mick Jones (of Foreigner). Other international songs include Coldplay’s Paradise, Happy (Pharrell Williams), Set Fire To The Rain (Adele) and Get Lucky (Daft Punk).

# Title Composer 1 I want to know what love is - Mick Jones 2 Paradise - Brian Eno/Coldplay/A Martin 3 Happy - Pharrell 4 Set fire to the rain - Smith Fraser Lance Thorneycroft/Adele 5 Get lucky - Nile Rodgers/Pharrell/Daft Punk/Christo Guy Manuel Homem 6 93 million miles - Jason Mraz/Daly Michael/Michael Lee Natter 7 Someone like you - Dan Wilson /Adele 8 When I was your man - Andrew Wyatt/Phillip Lawrence/Bruno MarsAri Levine R E 9 Rude - Nasri Atweh/Messy/Mark Pellizzer/Alex Tanas/Magic! 10 Fugidinha - Rodriguinho/Thiaguinho

South: # Title Composer 1 Fugidinha - Rodriguinho/Thiaguinho 2 Na linha do tempo - Sérgio Porto/Marcelo 3 Maus bocados - Gerson Gabriel/Rafael/Bruno Varajão 4 Get lucky - Nile Rodgers/Pharrell/Daft Punk/Christo Guy Manuel Homem 5 Ai se eu te pego - Sharon/Antonio Dyggs/Amanda Cruz/Aline Medeiros Da Fonseca/Karine Vinagre/Duda 6 Amo noite e dia - Humberto Junior 7 Paradise - Brian Eno/Coldplay/A Martin 8 Happy - Pharrell 9 Do lado de cá - Gisele de Santi/Fabrício Gambogi 10 Hey soul sister - Espen Lind/Bjorklund Amund/Pat Monahan South East: # Title Composer 1 Paradise - Brian Eno/Coldplay/A Martin

2 I want to know what love is - Mick Jones 3 Happy - Pharrell 4 Set fire to the rain - Smith Fraser Lance Thorneycroft/Adele 5 Someone like you - Dan Wilson/Dan Wilson/Adele 6 Só os loucos sabem - Chorão/Thiago Castanho 7 Get lucky - Nile Rodgers/Pharrell/Daft Punk/Christo Guy Manuel Homem 8 When I was your man - Andrew Wyatt/Phillip Lawrence/Bruno Mars/Ari Levine R E 9 Shape of you - Edward Christopher Sheeran/Steven Mccutcheon/Tameka D Cottle/John Mcdaid/Kandi L Burruss/Kevin Briggs 10 93 million miles - Jason Mraz/Daly Michael/Michael Lee Natter

North: # Title Composer 1 A última pedra - Élvio Meireles/Rogerio Formigoni 2 Assim você mata o papai - Nicco Andrade 3 I want to know what love is - Mick Jones 4 Happy - Pharrell 5 Humilde residência - Fernando/Luiz Henrique/Tiago Marcelo/Malcolm Lima 6 Thinking out loud - Amy Victoria Wadge/Ed Sheeran 7 Rude - Nasri Atweh/Messy/Mark Pellizzer/Alex Tanas/Magic! 8 Raridade - Anderson Freire 9 Só os loucos sabem - Chorão/Thiago Castanho 10 Na linha do tempo - Sergio Porto/Marcelo

North East: # Title Composer 1 Esse cara sou eu - Roberto Carlos 2 I want to know what love is - Mick Jones 3 Ainda bem - Arnaldo Antunes/Marisa Monte 4 Raridade - Anderson Freire 5 Flores em vida: boa sorte/good luck - Vanessa Da Mata/Ben Harper/Felipe Duram/Alberto Araújo 6 Muito estranho - Dalto/Claudio Rabello 7 Pássaro de fogo - Paula Fernandes 8 You’re beautiful - Skarbek Sacha/James Blount/Amanda Ghost 9 Advogado fiel - Anderson Freire 10 Tantinho - Carlinhos Brown

Center West: # Title Composer 1 Madri - Sorocaba 2 Na linha do tempo - Sergio Porto/Marcelo 3 Fui fiel - Fabio O’brian/Pablo/Magno Santanna/Filipe Escandurras

4 Anjo protetor - Cesar Augusto/Eduardo Costa/Cabrera 5 Aí já era - Jorge 6 I want to know what love is - Mick Jones 7 Mentes tão bem - Luiz Claudio/Nahuel Schajris Rodriguez/Leonel 8 Vidro fumê - Carlos Colla/Kaliman Chiappini 9 Inventor dos amores - Gusttavo Lima 10 Flor - Zé Henrique/Renato Barros UBEM The Brazilian Union of Music Publishers - UBEM, is a non-profit civil association, governed by its bylaws and applicable legal provisions, composed mostly of music publishing companies. Created on May 5, 2010. The Association aims to:

a) promote the development and prosperity of publishing activities in the field of music, including holding and sponsoring exhibitions, contests, festivals and seminars; b) represent and defend the interests of its members before the federal, state and municipal constituted powers, collaborating with them, as a technical and advisory body, in the administrative issues of the music publishing sector and in the study of matters related to the activities of the musical editing; c) represent and defend the interests of its members before any public or private, civil or commercial entities, studying with them the solutions of matters of common interest, being able to enter into covenants, agreements and contracts, in their own name or that of their associates whenever authorized to do so by the General Assembly; d) organize, when requested, arbitral tribunals, designed to resolve, through conciliatory means, disputes that may arise between its members, or between these and third parties; e) ensure that high standards of professional conduct are maintained by its members; f) maintain cultural exchange with entities with related and related objectives, in the country and abroad, signing any agreements or covenants, including representation contracts; g) maintain utility services for its members; h) defend the interests and rights of its members, in or out of court, as a legitimate representative and procedural substitute for the Editors regularly linked to UBEM, including for the collection of rights;

UBEM www.ubem.mus.br E-mail: [email protected]

UBEM Members:

Angelim Produções Artísticas Eireli - ME Edições Musicais Moleque Ltda Email: [email protected] Email: [email protected] Contact: Andre Angelim Contact: Rosa Miranda

Atração Prod. Ilimitadas Ltda Editora Adorando Ltda Email: [email protected] Email: [email protected] www.atracao.com.br www.adorando.com.br Contact: Paulo Andrade Contact: Anne Caroline Bastos

Azul Music Multimidia -Eireli - EPP Editora Damasceno Music Ltda Email: [email protected] Email: [email protected] www.azulmusic.com.br www.damascenomusic.com.br Contact: Corciolli Contact: Diego Damasceno

Berger Produções Ltda. Editora e Import. Mus. Fermata Do Brasil Ltda. Email: [email protected] Email: [email protected] www.bergermobile.com.br www.fermatadobrasil.com.br Contact: Nelson Ferrone Contact: Lena Lebendiger

Caco Music Editora Musical Panttanal Ltda Email: [email protected] Email: [email protected] www.cacomusic.com.br www.panttanal.com.br Contact: Vilza Carla Pereira Contact: Catia Laura

D.O.D - Diego Oliveira Dmasceno E Cia Ltda Elemess Music N Services Email: [email protected] Email: [email protected] Contact: Diego Damasceno Contact: Ed Guerreiro

DC Consultoria (Setembro Edições / Duncan Escandurras - Felipe Costa Silva Ed. Musicais) Email: Email: [email protected] [email protected] www.zelia.duncan.com.br Contact: Ademilton Santana Contact: Nadja Leal Faro Fino Produções Artisticas Ltda Deck Produções Artísticas Ltda Email: [email protected] Email: [email protected] Contact: Tenison Del Rey www.deckdisc.com Fortuna Musical Ed. e Prom.Art.Ltda. Contact: Elisangela Souza Email: [email protected] Dubas Música Ltda Contact: Iara Fortuna Email: [email protected] Gege Edições Musicais Ltda www.dubas.net Email: [email protected] Contact: Marcela Boechat www.gilbertogil.com.br Edições Euterpe Ltda Contact: Eveline Alves Email: [email protected] Humaitá Edições Musicais Ltda Contact: Lourdes Email: [email protected]

www.humaitamusicpub.com.br Marola Edições Musicais Ltda Contact: Beth Lessa Email: [email protected] Contact: Gabriela Lacombe Indie Publishing Ltda Email: [email protected] Mega Produções Art. Ltda Email: [email protected] Instituto Alberione - Paulinas - Comep www.megaproducoesartisticas.com.br Email: [email protected] Contact: Paula Camila Pires Cabral www.paulinas.com.br Contact: Sandra Milagro Prod E Ediçoes Ltda Email: [email protected] Irmãos Vitale Editores Ltda www.milagroweb.com.br Email: [email protected] Contact: Luciano Da Luz www.vitale.com.br Contact: Cibelle Lacerda Minha Autoria Assess.Em D. Mus, Ltda. Email: [email protected] Itamar Pereira Rocha Fusion Musc www.minhautoria.com.br Email: [email protected] Contact: Paulo Cesar sites.google.com/view/editorafusionmusic Contact: Tiago Mota MK Music Edições Musicais Ltda Email: [email protected] JC Edições Musicais Ltda. Contact: Mariana Vieira Email: [email protected] www.jcedicoes.com.br MM Music - Ana Paula E De Melo Contact: Luciana Fernandes Email: Contact:@mmmusic.com.br www.mmmusic.com.br JKF-Juliana Fakri De Assis APP Contact: Mauricio Mello Email: [email protected] Contact: Juliana Fakri de Assis Muralha Eventos E Prod Art Email: [email protected] Jobim Music Ltda Contact: Rosimara Assis Email: [email protected] Contact: Sophie Bernard Musile Pub Gestão De Direitos Autorais Ltda Email: [email protected] LD5 Entretenimento Ltda www.musilerecords.com Email: [email protected] Contact: Pâmela Rodrigues www.ld5.com.br Contact: Vagner Cecotti Nossa Musica Edições Musicais Ltda Email: [email protected] Live Talentos Contact: Severo Melo Email: [email protected] www.livetalentos.com.br Nowa Produções Artísticas Ltda Contact: Monique Garcia e Stella Email: [email protected] Contact: Simone de Oliveira Luanda Edições Musicais Ltda Email: [email protected] Olê-Olá Prom.Eventos E Edições Musicais Ltda www.djavan.com.br Email: [email protected] Contact: Suzy Martins

www.oleolaproducoes.com.br Single Hits Produções Art Ltda: Contact: Diogo Leite Email: [email protected] Contact: Paula Pires Pé De Verso Email: [email protected] SM Publishing (Brazil) Edições Musicais Ltda www.pedeverso.com Email: [email protected] Contact: Renata Carvalho Contact: Andréa Guedes Peermusic Do Brasil Edições Musicais Ltda Spin Edições Musicais Ltda – ME Email: [email protected] Email: [email protected] Contact: Graciela Pechetto Contact: Fernando Yazbek

Pepato & Pepato/Nossa Mjusica Top Show Music Limitada- ME Email: [email protected] Email: [email protected] Contact: Caroline Alvares Martinelli Pepato www.topshowmusic.com.br Contact: Nauilan Vicentini Zulai Ramos Pommelo Distrib. E Editorações Ltda-ME Email: [email protected] Tres Sons Editora Musical E Grav Digital Ltda www.pommelo.art,br Email: [email protected] Contact: Arthur Cruvinel Contact: Raquel Carelli

R3 Produções - Thiago Abdulahab Nunes Rios - Tupiniquim Music E Entretenimento Me Email: [email protected] Email: [email protected] Contact: Estyven Araújo www.r3producoesartisticas.com.br Universal Music Publishing Mgb Brasil Ltda Contact: Carla Abdul Email: [email protected] Record Produções E Gravações Ltda Contact: Aline Souza Email: [email protected] Uns E Outros Produções E Filmes EIRELI Contact: Edna Costa Email: [email protected] Contact: Moreira Rede Pura Comunicação Ltda Email: [email protected] VM Empreendimentos Artísticos E Culturais www.redepura.com.br Ltda Contact: Bruna Campos Email: [email protected] Contact: Elaine Rocha Rocking Gorillas Music Ltda Email: [email protected]; Warner Chappell Edições Musicais Ltda www.rockingorillas.com Email: [email protected] Contact: Helena Cavalcanti Contact: José Araken

SIGEM - Sistema Globo De Edições Musicais Wendell Vieira Marques Epp (Nuxx Ltda Entretenimento) Email: [email protected] Email: [email protected] Contact: Liziane Contact: Lincoln Ben Hur

Worldshow Prom E Eventos Ltda Wstf Studio De Gravação EIRELI Email: [email protected] Email: [email protected] www.worldshow.com.br Contact: Renata Paulo Souza/William dos Santos Contact: Rosana

ORB Music consumers, optimizing their revenue. ORB Music orbmusic.com.br gives the power to artists and creators to dedicate E-mail: [email protected] their time and creativity to the music, providing: ORB Music is a Music Business Platform created • Publishing Administration • Label Services + in Brazil, providing infrastructure to publishers, Digital Strategy & Distribution • Tracking & labels and creators for reaching their public of Analysis

SYNC Although Brazil does not yet have the recognized role of the music supervisor, most of the music publishers, aggregators and record labels are actively involved in finding and helping clients. The Brazilian audiovisual market has traditionally used original soundtracks; part of the music supervision work was carried out by the track composers themselves or by music directors. Over the past decade there has been a growth in the number of audiovisual productions, especially for the advertising sector but also including Netflix and Amazon. It has become an important source of revenue for the publishers.

1M1 Arte estudioangels.com.br www.1m1arte.com E-mail: [email protected] E-mail: [email protected] InputSom Alma1111Audio www.inputsom.com.br www.facebook.com/alma1111audio E-mail: [email protected] E-mail: [email protected] Kiwii BRTrax www.kiwiii.com.br en.brtrax.com E-mail: [email protected] E-mail: [email protected] MugShot Classical Tracks mugshot.com.br www.classicaltracks.com.br E-mail: [email protected] E-mail: [email protected] Music Mind Comando S Áudio www.musicmind.com.br www.comandosaudio.com.br E-mail: [email protected] E-mail: [email protected] Music Solution CulturaXchange musicsolution.com.br www.culturaxchange.com.br E-mail: [email protected] E-mail: [email protected] Punch Audio Estudio Angels

punchaudio.com.br E-mail: [email protected] E-mail: [email protected] Tweedy Music Punks S/A www.tweedymusic.com punkssa.com E-mail: [email protected] E-mail: [email protected]

Sync Originals syncoriginals.com The games industry has an annual event, the largest business videogames conference in Latin America, bringing together the most important local and international players from the industry. Their site lists contact details for many of the games companies.

Big Festival www.bigfestival.com.br

Many of the audio-visual producers are affiliated with APRO, with over 80 associates.

APRO www.apro.org.br E-mail: [email protected]

10. LIVE SECTOR

razil is the largest live market in Latin America, with a touring circuit for local and international acts. Sponsorship is central to the economic feasibility of the sector. B The country is rich in regional folk festivals and events, principally the Carnaval and the festivals for St. John in June, which are particularly prevalent in the north.

Mega events such as Rock In Rio and Lollapalooza continue to attract major local and international names, drawing publics of over 100,000, and with sponsorship from the beer, food and telecommunications companies.

The independent events also look to support from the consulates and international export offices. The French, Canadians, Australians and British have all organized showcases. Although local music accounts for over 70% of music sales, many independent acts from abroad tour the independent festival circuit, some regularly - indie, jazz, metal, reggae, experimental, etc., promoting their music through local blogs. The live entertainment sector was the first in the local music industry to have suffered in the wake of coronavirus in 2020, with festivals, shows and events either rescheduled or cancelled. There has been a plethora of live- streaming events with mixed results as companies and sponsors struggle to find an ideal format. If Time For Fun‘s second quarter balance sheet is anything to go by, the devastation caused to the live sector in Brazil by Covid-19 has been total.

The company’s net revenue for the second quarter of 2020 was R$2.6 million, a drop of 98% in comparison with the second quarter of 2019, when the revenue was R$132.4 million. Time For Fun organizes such festivals as Lollapalooza, tours for acts ranging from Paul McCartney and the Rolling Stones to U2, as well as being behind Brazilian productions of Les Misérables and The Phantom of the Opera. Competitors in Brazil include Move Concerts, Mercury Concerts and Live Nation. “Due to the Covid-19 pandemic and the legal restrictions imposed on our sector, we did not promote any live music events during the quarter,” says the company in their recently published balance sheet. “Therefore, the comparability of the data is distorted, impairing some analyzes.”

“In live music, the pipeline of events in the 2Q20 (second quarter 2020) before the stoppage (sic) had 39 shows and 214,000 tickets sold, especially the Lollapalooza Festival. Almost all events initially scheduled for this period were rescheduled.” “For ‘family and theater’ events, in 2019 we presented the original Broadway musical ‘The Phantom of the Opera’, with 91 performances and 70,000 tickets sold, while in 2Q20 there was no activity due to the pandemic.” The only revenue generated was R$1.5 million from sponsorship for live streaming events.

The company managed to reduce costs thanks to the reduction of the workforce; the suspension of some employment contracts, the use of credit benefits from the national government; and the renegotiation or suspension of some service contracts. The company spent R$9.2 million with the payment of administrative expenses and expenses with maintenance of its venues. It ended the second quarter with R$217.9 million in cash, versus R$224.1 million in the same period in 2019 and R$222.5 million in the first half of 2020.

Numerous concert halls - small, medium and large - that were closed since March are beginning to reschedule their stages after authorization from city halls. None went through the pandemic unscathed. Most had to cut their costs drastically and fire employees. Others, like the traditional Metropolitan, in Rio de Janeiro, simply closed the doors definitively.

Various linked to the independent music scene, such as Casa da Matriz, Comuna and Baródromo, have already announced that they will not reopen. Some have managed to sustain themselves through collective financing, others still have contracts with suppliers of food and beverages and have obtained support. Others organized monetized live streamings in order to generate income for artists and to maintain their own spaces.

But it remains to be seen, of the names listed ahead – agents, venues, festivals – who will emerge on the other side.

Booking Agents/Concert and Tour Promotors As with the other sectors, booking agents can embrace a wide range of services, from management to booking shows to curating events. Agência Alavanca Agência Powerline www.facebook.com/alavanca powerlinemusic.com E-mail: [email protected] E-mail: [email protected]

Powerline is a music content and event Brain Productions production agency. It also acts as curator and www.facebook.com/Productions.Brain producer of shows, international and national E-mail: [email protected] tours, corporate parties and in the elaboration BRAIN is an agency based in São Paulo and has and realization of cultural projects related to worked with such acts as Acid Mothers Temple music. (Japan), Elephant Stone (Canada), The Holydrug Couple (Chile), Los Siberianos Agencia Produtora (Argentina), Paul Edward Higgs (Uruguay), www.agenciaprodutora.com.br mainly in São Paulo, Sorocaba, Rio de Janeiro E-mail: [email protected] and Brasília. Alavanca Branco Produções facebook.com/alavanca www.brancoproducoes.com E-mail: [email protected] E-mail: [email protected] Atelier Cultural Construtora www.ateliercultural.com/o-atelier www.facebook.com/aconstrutoramusicaecultura E-mail: [email protected] E-mail: [email protected] Balaclava D-EDGE Agency www.facebook.com/BalaclavaRecords dagency.art.br E-mail: [email protected] E-mail: [email protected] Alex G (USA), Land of Talk (Canada), Kelela Conceived in 2011 by entrepreneur and artist (USA), Shame (UK), David Pajo (USA), Ryley Renato Ratier, D.AGENCY has established itself Walker (USA), Ride (UK), Wild Nothing with excellent artistic curation and bookings by (USA), Warpaint (USA), Deerhunter (USA) national and international artists. The company Barravento Artes has expanded to include the Clubs [São Paulo barraventoartes.com.br and Rio de Janeiro], record companies [D.EDGE E-mail: [email protected] REC. and OLGA], restaurant and studio [Bossa] and fashion [Ratier]. BConcerts bconcerts.com.br DJCOM E-mail: [email protected] www.facebook.com/DJcomBrasil Bconcert is an entertainment company that has E-mail: [email protected] been operating in the national and international DJCOM Brasil exists since 2006 and its main market for over 20 years. With more than 500 activity is tours for national and international shows performed, it moves the cultural scene of electronic music artists. Minas Gerais promoting events with renowned Flow Creative Core attractions from the musical and theatrical www.flowcreativecore.com milieu, providing unforgettable experiences for E-mail: [email protected] its audience. Over these two decades, he brought Specialized in creating content and experiences to Minas Gerais great names in world for brands, linked to art, culture and innovation, entertainment such as: Julio Iglesias, Camila FLOW Creative Core is the startup responsible Cabello, Simple Plan, Djavan, Maria Bethânia, for curating and producing the Unique Music Caetano Veloso, Marisa Monte, Dj Thascya, Festival, Hotel Unique's intimate festival. It is Barbara Labres, New Order, Make U Sweat, MC also in charge of the project "Casa de Música WM, Iza, Ana Vitória, Nando Reis, Zé Ramalho, Escuta As Minas", with Spotify, and the TNT Milton Nascimento, Paulo Gustavo and David Energy Stage festival. Created in 2012 by Dilson Guetta.

and Juliana Laguna, it develops customized Opinião Produtora projects for brands, curatorial services, executive www.opiniao.com.br production, artistic production and content. E-mail: [email protected] Created in 1992, Opinião Produtora is Mercury Concerts recognized as one of the national exponents in mercuryconcerts.com the sector of managing cultural shows, projects E-mail: [email protected] and business events. The company has its origins Mercury Concerts has been working with in Opinião, a renowned Porto Alegre venue international tours throughout South America founded in 1983. Among the prominent events for over 20 years. The company has worked on promoted are Bob Dylan, REM, Red Hot Chili such festivals as Monsters of Rock, Ruffles Peppers, Kiss, Metallica, Iron Maiden, Mark Reggae, Close-up Planet, Skol Rock, Kaiser Music Knopfler, Lenny Kravitz, Eric Clapton, Norah and São Paulo Trip, as well as shows by AC / DC, Jones, Rush and Imperial Circus of China. Bon Jovi, Iron Maiden, Kiss, Yes, Black Sabbath,

Guns N Roses and Aerosmith. Opus Entretenimento Move Concerts www.opusentretenimento.com moveconcerts.com/br E-mail: [email protected] E-mail: [email protected] Producing entertainment and great shows since Move Concerts is the biggest independent concert 1976, the company is also responsible for the promoter in Latin America. With offices in management and operation of eight important Argentina, Brazil, Colombia, Costa Rica, Peru and venues: Bradesco Theater and Opus Theater (São Puerto Rico besides a regional headquarters in Paulo/SP), VillageMall Theater (Rio de Miami, Move Concerts has built the most extensive Janeiro/RJ), Bourbon Country Theater, Feevale network in Latin America with one goal only: to Theater (Novo Hamburgo/RS), Riachuelo provide the best concert experience for the fans, Theater (Natal/RN), RioMar Recife Theater artists and corporate clients. (Recife/PE) and RioMar Fortaleza Theater MP Tour Management (Fortaleza/CE). mptourmanagement.com Plus Network With roots in Frankfurt, Germany and heavy www.plus.network involvement during the early/ mid 80s in the then E-mail: [email protected] emerging European underground music scene, In over 20 years dedicated to electronic music, promoting early shows of Destruction, Sodom, Plusnetwork has already produced hits such as Exumer, Slayer and countless others MP Tomorrowland Brasil, Electric Zoo Brasil, Armin Tourmanagement is based in São Paulo since Only, I Am Hardwell, A State Of Trance, 1988, providing promoting, production and Milkshake Festival, Skol Summer On, Skol Beats, management services in all fields of the music Smirnoff Experience and much more . industry. Exclusive South American Management Queremos of Rock’n Roll of Fame inductee and Grammy www.queremos.com.br Award Winner Marky Ramone of the Ramones Successful crowdfunding platform since 1997. T4F/Planmusic Omertà Produções t4f.com.br www.facebook.com/omertaprod [email protected] [email protected] One of the country’s most prominent promoters Established in 2017, bringing such acts as is São Paulo-based Time 4 Fun (T4F), which in Homeshake and Lee Ranaldo to Porto Alegre. May 2016 acquired Planmusic. T4F also operates

venues including the Credicard Hall (cap. 7,000) bands in Latin America. Celebrating its 25th in Rio de Janeiro and the KM de Vantagens Hall anniversary, the company has produced over (8,500) in Belo Horizonte. 3,500 shows. Top Cat Producoes Artisticas Traga Seu Show Produtora www.topcat.com.br tragaseushow.com.br E-mail: [email protected] E-mail: [email protected] Has recently worked with Camille Bertault Top Link Music (FRA), Thomas Strønen Quintet (NOR), Mad www.toplinkmusic.com Professor (UK), Steamboat Switzerland (SWI), E-mail: [email protected] Arild Andersen (NOR). Top Link Music, Production and Management has organized countless tours for international

TICKET COMPANIES The Brazilian live sector, focused on the major cities, is estimated to generate R$5 billion a year, according to a study by ticket seller Ingresse and McKinsey consultancy, with a possible R$50 billion if the market can expand to the smaller cities and rural areas. Added to that is the potential for merchandising, hotels, flights, parking and other add-ons.

CTS Eventim StubHub www.eventim.com.br www.stubhub.com.br

Ingresso Rápido Sympla www.ingressorapido.com.br www.sympla.com.br

Ingresse Tickets For Fun www.ingresse.com premier.ticketsforfun.com.br Livepass Tickets360 www.livepass.com.br www.ticket360.com.br

Brazil has a law that guarantees a 50% discount on tickets for students and other groups. But promoters can restrict this benefit to 40% of sellable tickets. PRINCIPAL VENUES Belo Horizonte

ExpoMinas Minascentro Km de Vantagens Hall Palácio das Artes Mega Space Brasília

Centro de Convenções Ulysses Guimarães Teatro Nacional Cláudio Santoro Ginasio Nilson Nelson

Curitiba

Live Curitiba Teatro Guairá Ópera de Arame Teatro HSBC Teatro do Sesc Teatro Positivo

Porto Alegre Auditorio Araujo Vianna Pepsi On Stage Bar Opinião Teatro Sesi - Porto Alegr Bourbon Shopping Country

Recife Baile Perfumado Classic Hall Centro de Convenções de Pernambuco Teatro Guararapes

Rio de Janeiro Cidade das Artes - Grande Sala Teatro do Leblon Circo Voador Teatro Dos Quatro Fundição Progresso Teatro Municipal do Rio de Janeiro Jeunesse Arena Teatro Oi Casagrande KM de Vantagens Hall Teatro Vanucci Teatro Carlos Gomes Vivo Rio Teatro Clara Nunes Salvador

Bahia Café Hall Teatro Castro Alve Museu do Ritmo e Concha Acústica

São Paulo Audio Teatro Municipal de São Paulo Cine Joia Teatro Net Espaço das Américas Teatro Procópio Ferreira Teatro Alfa Teatro Renault Teatro Bradesco Teatro Sérgio Cardoso Teatro Cetip Teatro Shopping Frei Caneca Teatro da Universidade Católica de São Paulo Tom Brasil (TUCA) UnimedHall Teatro das Artes Vila Country Teatro FAAP

Venues and Clubs 00 (zerozero), Rio Fosfobox, Rio Alambique, Belo Horizonte Fundição Progresso, Rio Audio, São Paulo Jazz nos Fundos, São Paulo Autentica, Belo Horizonte La Paz,, Rio Beco, São Paulo Neu Club, São Paulo Café com Letras, Belo Horizonte Santo Scenarium, Rio Casa do Nucleo, São Paulo Studio RJ Circo Voador, Rio Tapas Clube, São Paulo D-Edge, São Paulo Teatro Rival, Rio Deputamadre, Belo Horizonte The Week, São Paulo

Cultural Institutions (Public and Private) Banco do Brasil cultural centres SESC cultural centres culturabancodobrasil.com.br/portal www.sescsp.org.br/programacao Caixa cultural centres SESI cultural centres www.caixacultural.com.br www.sesisp.org.br/cultura Oi Futuro cultural centres www.oifuturo.org.br/en

FESTIVALS In 2016, 339 music events were held in the country. In 2018, the number jumped to 1,008, according to a survey carried out by the Sympla event platform, in partnership with Data SIM, a music research center.

“Bananada started with 400 people. Now the public is over 20,000. And almost a third of these people come from outside Goiânia,” says Fabrício Nobre, creator of the event. In 2019, the line-up, which started with Fabrício's friends performing, had names like Pitty, Criolo, Duda Beat and Baco Exu do Blues. In addition to fostering the national music market, the festival boom has also stimulated tourism in the cities that host these parties.

This is what the Department of Tourism of Belém realized, which last year began to support Se Rasgum, which has established itself as a great moment of cultural connection between the Amazon region and the rest of the country.

These figures are very different from those registered by the mega music festivals - which bet on major international attractions, such as Lollapalooza (246,000 people), in São Paulo, or Rock in Rio (700,000 people), in the capital of Rio -, but which reveal the potential for the dissemination of these events across the country.

The same goes for the movement of money in the music market. Bananada, for example, invests around R$2 million in Goiânia on the days of the event. It may seem little, but it is enough money to promote the scene.

Among the main festivals focused on national music, the São Paulo Coala Festival started in 2014 with an audience of 6,000 people and, five years later, already gathered 26,000 payers in the two days of the event.

Throughout its history, No Ar Coquetel Molotov went beyond the limits of Pernambuco, with editions in Salvador and São Paulo. The first edition had 800 people. The last reached 10,000.

Despite the public's success and the growing interest of brands in this type of event, it is still challenging to work with culture in Brazil, especially in the midst of the crisis in recent years.

Live music has always been a common way of consuming music in all parts of Brazil. There are regions, however, in which there is a stronger presence of concerts and festivals due to the economic development and technological advancements of certain cities.

In the southeast region of the country, where São Paulo, the most populated city in Brazil, is located, the live music scene has constant growth; the largest festivals in Brazil such as Lollapalooza Brazil, Rock in Rio,

Tomorrowland Brazil, and João Rock are held in this region. Lollapalooza Brazil was the second largest grossing festival in the world in 2018, with a revenue of over $23 million.

These festivals are perceived as a unique holistic experience rather than exclusively as a musical performance, and so many factors are taken into consideration when consumers are in the process of making decisions to buy tickets: the lineup, whether or not their friends will attend the festival, the location, the cost, and what other attractions (other than the artists) are offered in the concert.

By encompassing a wide range of attractions, festivals are leading the live music scene in Brazil. In contrast to this, smaller venues that promote individual artists also have a drastic effect on the market; in a survey carried out by SIM São Paulo, it is shown that 300 venues will provide over ten thousand shows per month in Sao Paulo.

This helps not only with economic development, but also with engaging the local community in cultural programs (sixty-two percent of these venues have performances by international artists), as well as helping Brazil create an identity and reputation in the international music scene.

Abril Pro Rock www.bigdiadamusica.com.br pt-br.facebook.com/festivalabrilprorock São Paulo/SP Recife/PE Bourbon Festival Paraty E-mail: [email protected] paraty.com.br/bourbon_festival_paraty.asp Adhana Paraty/RJ adhanafestival.com.br Br 135 Rio Negrinho/SC festivalbr135.com.br Aldeia Rock São Luiz/MA www.aldeiarockfestival.mus.br Breve Casimiro de Abreu/RJ brevefestival.com Amazon Power Music Festival Belo Horizonte/MG www.instagram.com/amazonpowermusicfestival Cena Cerrado Belém/PA www.facebook.com/CenaCerrado Balaclava Fest Uberlândia/MG www.balaclavarecords.com Circadélica São Paulo/SP circadelica.com.br/ Bananada Sorocaba/SP www.festivalbananada.com.br E-mail: [email protected] Goiânia/GO Circuito Repique Do Tambor E-mail: [email protected] www.casadefulo.com.br/circuito-repique-do- Big Bands tambor/ festivalbigbands.blogspot.com Brasília/DF Salvador/BA E-mail: [email protected]

Big Dia Da Música Coala

www.facebook.com/coalafestival/ www.digitalia.com.br São Paulo/SP Salvador/BA

Coma Dosol www.festivalcoma.com.br/ dosol.com.br Brasília/DF Natal/RN E-mail: [email protected] Conceição Podreira Carasinha/RS El Mapa De Todos Ao Vivo www.facebook.com/elmapadetodos Porto Alegre/RS Congresso Bruxolico facebook.com/festivalcongressobruxolico Exponeja Joinville/SC www.exponeja.com.br São Paulo/SP Contato festivalcontato.com.br Favela Sounds São Carlos/SP www.favelasounds.com.br Brasilia/DF Coolritiba coolritiba.art.br Febinstrumental Curitiba/PR www.febinstrumental.com Porto Alegre/RS Coquetel Molotov E-mail: [email protected] coquetelmolotov.com.br/novo Belo Jardim / Recife / São Paulo Febre: Festival & Conferência De Música PE and SP www.festivalfebre.com.br Sorocaba/SP Cracca E-mail: [email protected] www.facebook.com/cracabeat São Paulo/SP Feira Da Música feiradamusica.com.br Cultura Inglesa Fortaleza/CE blog.culturainglesasp.com.br E-mail: [email protected] São Paulo/SP Feira Noise Festival Dekmantel www.feiranoisefestival.com.br www.dekmantelfestival.com.br/pt Feira de Santana/BA São Paulo/SP E-mail: [email protected] Demosul Festival Brasileiro De Música De Rua www.facebook.com/DemoSul www.facebook.com/fmusicaderua Londrina/PR Caxias do Sul/RS Dgtl E-mail: [email protected] dgtl.nl Festival De Música De Ponta Grossa São Paulo/SP www.facebook.com/festivaldemusicapg Digitália Ponta Grossa/PR

Festival De Música Instrumental Da Bahia Ibitipoca Blues www.facebook.com/festivalinstrumentalbahia ibitipocablues.com.br Salvador/BA Ibitipoca/MG

Festival De Verão de Salvador Igatú pt-br.facebook.com/FestivalVerao www.facebook.com/festivaldeigatuoficial Salvador/BA Igatu/BA

Fibra Festival Ilumina www.facebook.com/fibrafestival www.iluminafestival.org Varginha/MG São Bento de Sapucaí/SP

Internacional Da Sanfona Festival de Inverno de Garanhuns festivaldasanfona.com.br www.fig.com.br Juazeiro/BA Garanhuns/PE Jazz Do Capão Floripa Noise festivaldejazzdocapao.com.br www.facebook.com/floripanoize/ Palmeiras/BA Florianopolis/SC João Rock Forro Da Lua Cheia www.joaorock.com.br festivalforrodaluacheia.com.br Ribeirão Preto/SP Altinópolis/SP Kaballah Goiânia Noise www.facebook.com/Kaballah goianianoisefestival.com.br São Paulo/SP Goiânia/GO Kundallini Goyaz Festival www.kundalinifestival.com.br www.facebook.com/GoyazFestival Praia Grande/SC Goiânia/GO Levada Grito Rock www.festivallevada.com.br gritorock.org Rio de Janeiro/RJ São Paulo/SP Liquidificador Microfestival Grito Rock Amapá www.facebook.com/liquidificadorfestival pt-br.facebook.com/GritoRockAmapa Belo Horizonte/MG Macapá/AP Locomotiva Festival Hacienda locomotivafestival.com www.facebook.com/haciendafestival Piracicaba/SP João Pessoa/PE Lollapalloza Hype lollapaloozabr.com festivalhype.com.br São Paulo/SP Salvador/BA Mada - Música Alimento Da Alma

www.madafestival.com Mundo De Oz Natal/RN www.mundodeoz.art.br Lagoinhas/SP Maloca Dragão malocadragao.org.br Música Estranha Fortaleza/CE www.facebook.com/musicaestranha.me São Paulo & Rio de Janeiro Marisco www.mariscofestival.com.br Nema - Nossa Energia Move A Amazônia São Paulo/SP www.moveamazonia.com.br Manaus/AM Maximus maximusfestival.com.br No Caminho São Paulo/SP www.facebook.com/FestivalNoCaminho Salvador/BA Meca Inhotim meca.love/festivais-mecainhotim2018 Novas Frequências Brumadinho/MG www.novasfrequencias.com Rio de Janeiro/RJ Milkshake milkshakefestival.com.br Palco Do Rock São Paulo/SP www.facebook.com/FestivalPalcoDoRock Salvador/BA Mimi - Mostra Internacional De Música Instrumental Paraíso Do Rock www.miminstrumental.com.br www.paraisodorock.com.br São Paulo/SP Paraíso do Norte/PR

Mimo Path mimofestival.com/brasil www.festivalpath.com.br Paraty, Rio, São Paulo and Olinda São Paulo/SP RJ, SP and PE Pib - Produto Instrumental Bruto Mineiro Beat www.facebook.com/festivalpib www.facebook.com/MineiroBeat São Paulo/SP Uberlândia/MG Picnik Morrostock picnik.art.br www.facebook.com/morrostock Brasília/DF Santa Maria/RS Pira Rural Mucho www.pirarural.com.br m.facebook.com/festivalMUCHO Ibarama/RS São Paulo/SP Pixel Show Mundo www.pixelshow.co www.facebook.com/FestivalMundo São Paulo/SP João Pessoa/PB Planeta Rock

www.facebook.com/meuplanetarock www.facebook.com/mareproducoesculturais São José do Rio Preto/SP Salvador/BA

Popload Saravá www.poploadfestival.com www.facebook.com/festivalsarava São Paulo/SP Florianópolis/SC

Porão Do Rock Satelite 061 www.poraodorock.com.br www.facebook.com/Satelite061 Brasília/DF Brasília/DF

Profusão Cultural Se Rasgum www.facebook.com/Profusao www.facebook.com/serasgum Sorocaba/SP Belém/PA

Psicodália Sêla www.psicodalia.com.br www.facebook.com/selamusical Rio Negrinho/SC São Paulo/SP

Psycho Carnival Sensacional www.facebook.com/psychocarnival www.facebook.com/festivalsensacional/ Curitiba/PR Belo Horizonte MG Pulsar pulsarfestival.art.br Setembro Negro Ipoema/SC www.clubedoingresso.com/setembronegrofestival São Paulo/SP Quebramar www.facebook.com/festivalquebramar Suiça Bahiana Fortaleza/CE www.coletivosuicabahiana.com.br Vitória Da Conquista/BA Radioca www.radioca.com.br/festival Tenho Mais Discos Que Amigos Salvador/BA www.tenhomaisdiscosqueamigos.com/festival E-mail: [email protected] São Paulo/SP

Rec-beat Terra Azul recbeatfestival.com/2019/ www.facebook.com/FestivalTerraAzul Recife/PE Rio Negrinho/SC

Respect Festival Timbre respect.art.br www.facebook.com/TimbreCultural Ilha Comprida/SP Uberlândia/MG

Sai Da Rede Transborda pt-br.facebook.com/festivalsaidarede pt-br.facebook.com/transborda Brasília/DF Belo Horizonte/MG

Sangue Novo Três Olhos Music Festival

www.3omf.com.br www.facebook.com/festivalvenusemfuria São Paulo/SP Porto Alegre/RS

Tribaltech Virada Cultural tribaltech.com.br viradacultural.prefeitura.sp.gov.br Curitiba/PR São Paulo/SP

Tum Virada Cultural Paulista tumsoundfestival.com.br www.cultura.sp.gov.br Florianopolis/SC SP/SP

Universo Paralello Warung Festival universoparalello.org/pt warungfestival.com.br/ Pratagi/BA Curitiba/SC

Vaca Amarela Xxxperience Festival www.facebook.com/festivalvacaamarela www.facebook.com/events/693337871023038/ Goiânia/GO Itajaí/SC

Vento Zona Mundi www.ventofestival.com.br www.facebook.com/zonamundi/ São Sebastião/SP Salvador/BA

Venus Em Furia

Law Firms Cesnik, Quintino & Salinas Advogados cqs.adv.br/en/home-2 San Galo Advogados Associados www.sangaloadvogados.com.br Veirano Advogados www.veirano.com.br Trench Rossi Watanabe www.trenchrossi.com