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The Town draws hundreds of thousands to S?o Paulo Economy valorinternational.txt
Juliana Torres (left) and blaze ipother fans of Mariah Carey — Foto: Acervo pessoal Audiovisual producer Juliana Torres says her trips are usually “much more than just tourism.” A devoted fan of American singer Mariah Carey, she has left Rio de Janeiro, where she lives, countless times to follow the artist. One of her most memorable experiences was watching Ms. Carey perform at the Hollywood Bowl in Los Angeles on Christmas Day 2024. On Saturday, the 13th, her destination will be S?o Paulo, where the singer is set to headline the Skyline stage at The Town. Ms. Torres is just one among hundreds of thousands of people expected to travel to attend the S?o Paulo festival, held at the Interlagos Racetrack. Organizers estimate that half of the 600,000 attendees expected over the next two weekends will come from other cities and states in Brazil. According to SPTuris, the S?o Paulo City Hall tourism agency, the event is expected to inject R$2 billion into the local economy. The city will also feel the impact of the Coala Festival, scheduled at the Memorial da América Latina from the 5th to the 7th, which is expected to draw more than 40,000 people. “Large concerts and festivals are important not only for their direct economic impact but also for the broader tourism economy, including gastronomy and hospitality,” says Luiz Justo, CEO of Rock World, the company behind The Town, Rock in Rio, and Lollapalooza Brazil. He notes that festivalgoers typically stay in the city for two to three days, exploring other tourist attractions. In the second half of this year, S?o Paulo will host more than 130 concerts—an increase of 47% compared to 2024—with an estimated audience of more than 1.5 million people. “Not to mention the visibility and international projection the city gains, which makes new artists want to tour Brazil, especially here,” says Gustavo Pires, president of SPTuris. Fernanda Pereira, head of operations at Coala Music and organizer of the Coala Festival, adds that major festivals play a crucial role in solidifying S?o Paulo’s image as a cultural destination. But this requires efficient transportation, diverse accommodation options, security, and clear information. “That way, tourists feel welcome and return home with the sense that the entire city was part of the experience—and they’ll want to come back,” she says. Ms. Torres has been involved in the world of music tourism for a long time. She became a fan of Mariah Carey in 1999, when the singer first came to Brazil. Fifteen years ago, she married another fan, and today she is part of the team behind Mariah Connection, the largest and oldest Brazilian fan site dedicated to the artist. Advertising executive Priscila Napolitano Ramos is another music tourist who travels for her favorite artist. In her case, Beyoncé was the reason to fly to London. “I combined the show with visits to museums, incredible restaurants, and historical tours,” she says. Rodolfo Chagas, coordinator of the International Relations course at the Belas Artes University Center in S?o Paulo, is also a regular on this circuit but with a different approach. “What makes me travel to see a concert or festival is the type of music and the artist who will be playing. I don’t even consider the place that much,” he admits. According to Gustavo Gonzalez, director of international relations and business affairs at the Brazilian Association of Music and Arts (Abramus), music tourists can generally be divided into three groups: event tourists, who travel specifically for a concert or festival; music itinerary tourists, who seek out cities or regions with strong musical identities; and immersive experience tourists, who take part in workshops, jam sessions, carnival blocks, or music retreats. Ramon Duccini, creator and host of the Disco Voador podcast, says he enjoys visiting places connected to music and record stores. His travels have taken him to South Africa, New Zealand, Alaska, Hawaii, and Iceland. “Another great experience is visiting the locations where album covers were photographed and seeing where the artist spent time, lived, and created. It’s history right in front of you,” he says. For Luiz Oscar Niemeyer, CEO of Bonus Track—the company behind the free mega-shows of the Todo Mundo no Rio project on Copacabana Beach in Rio de Janeiro—the economic and cultural impact of major events is undeniable. He cites American singer Lady Gaga’s concert in May 2025, which, according to Riotur, drew 2.1 million people and injected R$600 million into the Rio economy. “Between February 21, when the show was confirmed, and May 5, there were 1.7 million mentions on the Todo Mundo no Rio platform and across social media, with an estimated reach of 2.2 billion people,” Mr. Niemeyer says. Marta Poggi, a consultant specializing in marketing, trends, and innovations in tourism, notes that mega-shows can also create challenges, such as overcrowding, higher prices for lodging and food, traffic congestion, and strain on garbage collection systems. “There is even the term ‘Beyoncé Effect’ or ‘Taylor Swift Effect,’ which captures the impact these celebrities have on the destinations they visit,” she explains. Still, Ms. Poggi underscores that the economic benefits are undeniable. She cites a study by Mabrian, a company specializing in Big Data for tourism, which estimates that Colombian singer Shakira’s tour in Mexico this year will inject $106.4 million into the ten Mexican cities hosting her concerts. And it is not only pop divas or rock stars who attract music tourists. Conductor and professor Kleber Mazziero, for instance, travels frequently to attend concerts and operas. For fans who want to make the most of their experiences, Luiz Felipe Carneiro—an expert on music tourism and author of The 50 Greatest Shows in Music History and The 50 Greatest Shows in Brazilian Music History—advises keeping an eye on an artist’s tour schedule and planning around it. “In 2017, I went to New York to see Roger Waters’ concert and also saw Depeche Mode, Paul McCartney, Eric Clapton, and Pete Townshend of The Who. These four concerts would never all happen in the same week in Rio de Janeiro or S?o Paulo,” he recalls. Translation: Todd Harkin
