Increasingly megalomaniac, Rock In Rio 2019 closes reconciling virtues and new problems

THE Rock in Rio It was never, in fact, a rock festival. The first edition, which took place in 1985, brought in its roster of artists renowned names from other genres, such as Ney Mato Grosso, George Benson and Rod Stewart (who had already distanced himself from Blues and Rock for decades during his The faces and Jeff Beck Group). The biggest change over the next few editions, therefore, was not in the mix of genres – although, over time, music styles once rejected, such as Rio’s funk, gained ground – but in the overall proposal of the event.

Today, Rock in Rio is an event that embraces more than music, but also creativity, culture as a whole, and especially marketing. Today, Rock in Rio is somewhat similar to CCXP: A large mall whose ticket beyond music gives you access to interactive attractions, lots of advertising and licensed products. Booths, displays, interactive arenas grow in quantity with each edition.

This growth is not new, of course. In the 2017 edition, an arena of GameXP was already available and presenting the event, which had its first edition in the same Olympic park in 2018 – and has started as the largest game park in the world. The impression we have, however, is that each edition intensifies this strategy which, from an economic point of view, seems to be seminal for an event of this size to happen.

The event, however, even does an interesting job of managing this conflict between being a gigantic music festival and a big brand and product publicity park. Each year, for example, Rock in Rio adds new stages, allowing the festival to win not only the number of artists, but also the variety of genres.

Nile Rodgers on the World Stage: Musical variety among the main attractions guaranteed the festival quality

And if we talk about variety, Rock in Rio allows us to talk a lot, both for good and for bad. The sound variety offered is very positive indeed. From carioca funk, national rap, MPB and samba, to rock, funk (the american, as seen in the memorable show of Nile Rodgers), pop, rock, metal and so many other musical ramifications were present. It is worth noting, for example, that Rock in Rio can bring a band like King crimson, which is unknown to much of the audience, even though it probably means the lowest audience show on Sunset and Mundo stages every day.

On the other hand, repetition takes away the freshness of the festival. Of course bands like Iron Maiden, Slayer, Red Hot Chili Peppers, Bon jovi and Muse always attract a large audience, but the fact that it is not new ends up giving the feeling that we are getting together every two years just to review the same shows. The event becomes something close to a world Cup, which is repeated every 4 years, with the same teams vying for the title. And obviously, it’s not a lack of options, after all, it’s not hard to imagine artists like Neil young, Bob Dylan, Rolling stones, AC DC, David Gilmour and so many others crowding the World Stage.

Organization: Between ups, downs, and security holes

Because it’s such a big festival, it’s hard to expect security to keep people out of prohibited objects. Even so, the amount of people with bottle caps (which are prohibited), plastic pots and cutlery impressed during the festival.

Inside the event, thefts happen, but they seem inevitable, as it is impossible to prevent a crime that happens without using any illegal object. For example, a gang was arrested on suspicion of stealing around 100 cell phones a day at the event. In such cases, the only option seems to be policing and retrieving objects.

Prices are also a complex issue. Thirteen reais in one Heineken It is a high price, but it does not run so far from what is charged at such festivals. But some brands have gone beyond common sense, like the Habib’s which, charging pennies for a daily spur, offered at the event a three-unit combo for twenty reais – while in a common fast-food unit, the same amount would not amount to three reais.

There was, at the event, the Gourmet Square, which offered cuisine from brands such as Chef Henrique Fogaça, and that charged a price not so distant from those charged by chains located outside the event. A simple sandwich on Bob’s, for example, cost around 20 reais, while a better finished snack from the jury of MasterChef Brasil It cost 36 reais.

Red Hot Chilli Peppers on World Stage: Offering the Same Ride at Each Issue Makes Rock in Rio Losing Value Among the Audience

It is of inspection, however, the most negative point of this edition. At the beginning of the second week of the festival, Rio de Janeiro Regional Labor Office they found event staff sleeping under the structure of a stage. Employees shared space with switchboards and wiring, which puts them at serious risk.

Problems like this are nothing new and apparently (or unfortunately) don’t bother Rock in Rio so much, which is anchored in selling the shared catharsis experience to create a positive image that only exists for those there as a customer. Records of double hours also deserve to be highlighted and criticized, as well reported by the G1.

Ready to please but still unable to deal with disabilities head on

Rock in Rio, as well as Lollapalooza, became an event to be marked in the Brazilian calendar. It is a great opportunity for the city to receive tourists from all parts of the country and the continent and to stimulate tourism in the place. But it is still evident that there are two faces to the event.

If, on the one hand, Rock in Rio has been able to manage such different proposals in one place, mixing games, music, marketing and other ideas, on the other, unpreparedness and disrespect towards its own employees can never be neglected. side in an analysis of the festival.

The expectation for the next edition, therefore, can be summarized in a few basic points. The first is, of course, that the problems encountered by the Rio de Janeiro Regional Labor Office are not repeated. The second is a greater variation in line-up, which can continue to be attractive without chewing on the same artists (who, in most cases, have not even released new material recently, making the shows just reproductions of what they’ve seen before). in recent years). The third is the hope that the festival will be able to continue managing the many proposals without any eventual expansion make it more physically exhausting and commercially appealing as it already is.