If someone wondered if the fiasco at the box office of ‘Joker: Folie à Deux’ was going to have a negative impact on the career of Lady Gaga, this weekend the artist has been in charge of demonstrating that she has not been beating a stunning world record: about two and a half million people, according to sources of Lady Gaga, congregated in Rio de Janeiro for a direct artist. It is the largest amount of audiences ever gathered for a female singer, thus exceeding the figure that Madonna had previously held with 1.6 million people.
Free abracadabra. The artist played on the beach of Copacabana before these two and a half million spectators, and came to thank the presence of the live crowd. In the previous days, the fever by the singer, who has been preparing the event since last Tuesday, has taken over Brazil. Lady Gaga had been seen for the territory for 12 years, and took the opportunity to review all her great successes, including some of her last supervants, ‘Mayhem’.
After being a sign in Coachella and giving this historic concert, the singer addresses Singapore. Shortly after the world tour will begin to promote his latest album.
More macroconcientes. The echo that Lady Gaga’s concert has had nothing strange: the macro -concent is, paradoxically, the new unity of music expression. Media mastodon with a media deployment only within reach of the largest and that are the musical equivalent of Marvel’s-evidence. Its profitability is beyond doubt: in Spain in 2024, live music entered 25.32% more than the previous year, 725.6 million euros. This upward traction is only possible in terms of great events and concerts in giant enclosures.
The authentic business. We can jump to a global scale: according to Pollstar data, only the 100 most successful tours in the world (that is, all macroconcientes) reached a joint collection of 9,500 million dollars. If we take into account that globally, the music industry billed 29.6 billion dollars in 2024, we can get an idea of how important this part of the business is: practically a third of the total. Let’s add another nuance: in 2023, concerts and macroconciertes generated 304 million euros in Spain, but their real economic impact was 2.2 billion euros.
The figures are multiplied in proportion to global scale, and it is understood why the industry is interested in supporting the great events, however expensive they are.
The roller of the macroconciente. Macrofestivals and macroconcierts have become a completely autonomous monster and outside the industry movements. Undoubtedly, this new normality of the industry has affected, above all, the smallest concerts and the most modest proposals. As Nando Cruz, author of the ‘macrofestival’ essay, says, “the penalty is that the possibility of enjoying live music is only in enclosures with 40,000 people, video screens, overlapping groups. We should be able to have other ways to consume live music because I believe that this does not generate public for music, but in any case for more festivals.”
More money does not imply growth. Or said with figures, Pollstar numbers of 2024 throw a paradox. While concert revenues increased by number 8.7 % compared to the same period of 2023 and the number of shows increased by 16.7 %, which suggested an expanding industry, that growth is not uniform. On the other hand, the average gross income per show fell 6.9 % and the average number of tickets sold by show decreased by 14.9 % (what does this mean: that in a year the tickets have risen notoriously at the price).
Obstacles for the rooms. All these figures point to a domination of macroeventos and macroconciertes in the musical panorama. And it is not necessary to go to the specific numbers: in Madrid, institutional efforts are turned into the reopening of Santiago Bernabeu and in a fight with Barcelona to see who organizes the most gigantic event. Meanwhile, the legislation for small rooms and events is extremely demanding, with very noticeable capacity limitations, and the most modest concert organizers find continuous obstacles to access specific subsidies or to guarantee the survival of their businesses.
The artist loses. The artists themselves in groups not only small (who often have to pay rates for the rental of concert rooms), but of medium impact and sometimes international reach, they lose with the comparison. British Kate Nash talked about how after a medium -sized rooms she could lose 50,000 pounds. A few weeks ago, the group of Wales the peasants! He took off the costs of turning out of his country, and no matter how successful they had, they hardly square them. The Spaniards Viva Belgrade talked about how La Riviera and Tokyo Salas filled and could not live on music.
They are just some examples that give away a situation that may not be reversed. The monster of the macroconciertes devours the most modest scene, and it is not so much a popular impact problem (two and a half million people!) Or income for the industry, but of something so simple and essential for the survival of music as there are still groups that compose new songs, and that make the medium beyond the castle of fireworks.
Head | Ralph_ph – Peter and
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