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GOIÂNIA, BRAZIL – Promoter-manager, for its first show in Brazil since the beginning of 2020 Marcos “Marquinhos” Araujo got bigger. Fifty-six thousand people attended the second BBQ Mix Festival on July 3, with Brazilian country music, originally driven by a 10-string guitar, which remains the country’s most popular style – and for eating beef. Both had a lot, 10 performances and 52,000 servings – more than double the Guinness World Record for most barbecued beef served in eight hours, which was set at the time. First BBQ Mix two years ago.
Araujo is one of Brazil’s most influential music entrepreneurs, as well as one of its most inventive. He founded the Villa Mix festival nearly a decade ago, which has grown from a single event to its peak in 27 cities. He created BBQ Mix as a way of refreshing the style he helped popularize. “I realized that the Certanejo market was becoming too much of the same thing,” Araujo says. “The idea of collecting meat, beer and music seemed like something new.”
But both Araujo and Sartanejo have experienced challenges recently. Araujo’s top performers have defected during the past two and a half years – including Sertanejo acts Gustavo Lima and Jorge & Mateus, as well as international dance-music sensation Alok – due to management contracts where Araujo has taken up to 60 of his cast. % of income.
And Sartanejo has been embroiled in a national controversy over whether local governments were paying exorbitant prices—using public money—to stage country concerts. Local politicians can use such shows to increase their popularity, and skyrocketing cast fees can generate fallbacks. Controversy escalated in May after supporters of singer Anita lashed out at another Sartanejo pair, Ze Neto and CristianoFor criticizing her butt tattoo and showing Certanejo contracted by local mayors.
Publicly funded concerts have been scrutinized in a highly charged political climate ahead of the October elections. Since May, state prosecutors across Brazil have investigated, temporarily suspended or canceled at least 81 publicly funded city officials for potential contract irregularities such as sewers and public health. Failing to provide services involves high performer fees.
According to public documents, the investigation mentions some of the biggest stars of the genre, including Sony Music artists Lima and Wesley Safadao, who have been paid up to 1.2 million riyals ($218,000) by local governments.
Bruno – of Latin Grammy Award-winning Certanejo duo Bruno and Maron – say they feel the investigation unfairly targets the genre. “Artists from other genres also do publicly funded shows,” he says. “That’s very hypocritical.” Neto E Junior, another pair who played BBQ Mix, fear that “dishonest people” might affect Sartanejo’s image. “The artist can’t ask where the money comes from every time,” Junior says, “if he does this to every contractor, he’ll have nowhere to play.”
According to the label trade organization Pro-Musica Brasil, the wealthy stars of Sartanejo have become the target of a populist backlash as the genre dominates pop music in Brazil, the 11th largest music market, with a total revenue of 2.1 billion reais (Rs 2.1 billion) in 2021. 382 million dollars). More than a third of the songs on Pro-Music’s Top 50 streaming chart in June were Sertanejo tracks, including three in the top 10. In 2021, Sony Music paid $255 million for Brazil’s biggest indie label, Mon Liver, which controls the recorded records—the music catalogs of many of Certanejo’s biggest stars.
Originally seen as a type of cowboy music from the agricultural heartland of Brazil, certanejo rose to popularity in the 1990s, spreading from the interior of the country to cosmopolitan coastal cities such as Rio de Janeiro. Sertanejo is an “amalgamation of many genres” that includes everything from rock to funk, says gustavo alonsowho wrote a book about the genre, Cowboys do Asfalto: Musica Sartaneza a Modernizacao Brasileira (Street Cowboys: Certanejo Music and Brazilian Modernization).
It’s hard to imagine a city that’s more loved by Sertanejo than in Goiânia, often referred to as the “Nashville of Brazil.” In March, the city council named it the “Capital of Sertenzo” – for its growing importance as a cultural and production center for artists – and an estimated 100,000 people turned there in November for the genre’s greatest female artist, Marilia Mendonca. Participated in a Jagran. , after his death in a plane crash.
Araujo grew up in Goiás, the state where Goiás is located, working as a local radio and house music DJ before discovering talents such as Lima and Jorge and Mateus. They formed a strong partnership with WME Agent Rob Marcus, who believe that Certanejo has crossover potential. “When we showed people some Sertanejo music in Nashville, there was definitely some interest,” Marcus explained. Board in 2021. “It’s going to take some clever strategy, because at the end of the day, these are the big pop stars [in Brazil],
Part of the challenge is to persuade Brazilian artists to learn English or Spanish – as Anita did – and to focus on areas outside the lucrative Brazilian market, where they can perform up to 250 shows a year. . (Told by George and Mateus Board They are not planning that kind of investment to go global in 2021.)
Araujo used Villa Mix to engineer the national popularity of some of the biggest artists in the genre, but in 2019 he began to lose them due to contract disputes and a tendency toward self-management. The terms of their contracts, which they say range from 10% to 60% of earnings depending on the artist, are not unheard of in Brazil, especially for new or developing artists, and because the roles of manager, agent and promoter are often are interconnected. Nevertheless, some sources in the Brazilian music industry criticize Araujo, accusing him of greed and strong-arm tactics in his negotiations.
“I’ve always fought for my cast,” he says. “I’ve never got back what I’ve invested” [in them]Araujo also says he is not alone among manager-promoters who have recently lost artists who want to manage their careers he says he has always respected.Henrik and JulianoAnother big Sartanejo pair announced last week that they would not be renewing their contract with Workshow, the Goiá-based artist agency where they began their careers.)
The real passion of the entrepreneur is organizing shows, not managing the cast, and the bulk of Araujo’s income, he says, comes from his vast agricultural holdings, especially animal husbandry. But the challenge of launching new artists continues to inspire them today.
Araujo believes he can create a Certanejo crossover act with management clients. Kevin Breuer, a Brazilian American dance music DJ-producer who performs as Seven. Breuer – who grew up speaking English in Rio de Janeiro – also took the stage in BBQ Mix, and Araujo encouraged him to form a Sertanejo band. “If he understands the American audience and starts singing Sertanejo music in English, he will be a success,” Araujo says. (“Certenzo has a lot of good tunes,” tells Breuer. Board, “I’m just trying to figure out how this will work [U.S.],
For now, the national debate over the publicly funded Sertenzo show has become a topic of discussion in Brazil’s congress and on the campaign trail. on 13th July, Luiz Inacio Lula da SilvaLeft-wing ex-president who is running to oust the president Jair Bolsonaro, weighed in on the controversy. “The mayor spends a fortune on artists who charge 1 million reais [$182,000] And unable to spend 30 rupees [$5.50] On a local theater group with local music,” Lula said at an event for the arts sector, “because it is a society formed by an incomprehensible ruling elite.”
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Reference from www.billboard.com