Primavera Sound, the 22-year-old music festival founded in Spain, is more than just a FOMO program that opens the festival season in Europe. It is a marriage between the festival and the cities in which it is installed. leaving with his hometown of Barcelona, where the three-day festival takes place in the city center, for an event that attracts more than 80,000 people daily.
However, since 2012, Primavera has polyamory, expanding to a sister festival in Porto, Portugal, with a simplified edition of its flagship event in Barcelona. This year, Primavera is pushing the barriers of its polygamous connections by launching almost the same edition of its Barcelona festival (which falls on the first weekend of June) in Madrid a week later, the same weekend as the Porto festival.
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“Maybe we cannibalized, but the call for the festival increases,” says Primavera co-director Alfonso Lanza. “Last year we did double weekends in Barcelona, and it was a success. Now it’s time to make a mirror festival in Madrid that will bring the chances of the festival to new audiences from the rest of Spain, and also from America, because it is very easy to get to Madrid. It is a developing market in terms of the music and entertainment industry, but also as a tourist destination.
Unlike Barcelona and other locations where Primavera has left its mark, the Madrid edition is half an hour from the city. This makes the constant Spring schedules, which last until 6 in the morning, a little less invasive for the locals. The commitment is the accessibility of the Barcelona edition to the Parc del Fòrum, one of the city’s public parks overlooking the Mediterranean Sea.
The convenience of the venue for festival-goers is lost on the organizers of Primavera, who return the favor to the city by hosting a loose “welcome day” (subject to capatown) that introduces this year’s Pet Shop Boys. Great occasion come with Blur, Depeche Mode, Halsey, Calvin Harris, Kendrick Lamar, New Order and Rosalia.
“When we sell a price-price ticket for the Barcelona festival or for Madrid, we sell a price-price ticket for the town,” explains Lanza. “We believe that at some point we have to return the money to the people. A party, and we invite the whole city to come. There are other people who can’t buy a price-price-price-price ticket and can get a share of the festival for free. It is very important for us to make the festival available to everyone. . This is all we owe to the peoples who welcome us.
The Welcome Days will offer a pattern of the forward-looking, cross-gendered and gender-balanced queues for which Primavera is known, which come with as many young foreign talents as famous artists, without repeating the names that appear in many other festival brochures. This year there are heavyweights like Depeche Mode, Rosalia, New Order and Halsey in addition to Beth Orton, Beak> (Geoff Barrow of the experimental project Portishead), Sevdaliza and Om Unit.
“For years we have been making a difference with the maximum apparent component of a festival, which is programming,” says Lanza. “In Europe, at most all festivals have the same programming. This is how artists’ regimes are made different by having artists that others do not have. But that means accepting threats in terms of booking because if you’re going to bring in someone who is rarely very regimented that season, there are more threats of cancellation.
Some of the artists converging on Barcelona and Madrid for Primavera also perform at smaller venues in the city ahead of the festival as part of their Primavera a los angeles Ciutat program, as do Lollos angelespalooza side concerts in Chicago. Those places, again, if capacity allows. Individual tickets can also be purchased for those who do not attend the festival. In addition, there is a final component led by a DJ, for which separate tickets can be purchased. The characteristics of this year’s component Diplo and CamelPhat, among others.
Primavera Pro, a complete musical conference, joins the days before the Barcelona Festival. This year’s program covers all the hot topics in the industry, AI, Web3, intellectual health, timing and licensing, and pop music analysis, a verbal exchange program with artist/songwriter/producer Jack Antonoff and Shirley Halperin of Variety.
Primavera Pro, which has been around since 2010, has grown organically due to the number of industry professionals at the festival venue. “A lot of other people were talking to each other in the field in the middle of the shows,” Lanza says. “These other people want a proper position to speak, to do business, to express themselves. The industry loves to come to the festival, so it’s much less difficult to bring other people together.
Primavera’s thoughtful programming attracts audiences from around the world who, during its two decades of existence, have grown into a strong community. This year, Primavera will make South American circuit in November and December, landing once back in São Paulo and Buenos Aires, and adding Bogotá and Asunción.
Lanza says, “When you start a new destination and you see how temporarily the network is being built, social media and you do a presale without saying a word about the programming and you start promoting tickets, anything. People buy the brand.
While last year’s Los Angeles edition went well, the city will miss Primavera this year for several reasons. The European and South American editions are booked within a tight deadline, exchanging artists over two or three weekends. The Los Angeles date in September took position. at a remote event, which turned out to be a booking challenge for festival organizers. In addition, the position of the US market is saturated, according to Lanza, which led to the resolution to jump this year to think again about how to move forward.
In the meantime, if switching to Spain for Primavera isn’t feasible for you this year, you can watch Primavera’s live stream on Amazon Music. The festival will have two channels, one focused on what happens in multiple scenarios, and the other bringing the scenes to the public.
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