In 2000, he was part of CIE/Ocesa and the arrival of T4F to Argentina. Now, Sebastian Carlomagno is in charge of operations of Move Concerts, the largest independent American company operating in the region, with whom he produced shows by <a href=”/music/Ed-Sheeran”>Ed Sheeran</a>, <a href=”/music/Green-Day”>Green Day</a> and <a href=”/music/Iron-Maiden”>Iron Maiden</a>, as well as leading the return of local artists such as <a href=”/articles/columns/latin/7825763/la-beriso-billboard-latin-artist-on-the-rise”>La Beriso</a> and <a href=”/articles/columns/latin/7825603/abel-pintos-argentina-premios-gardel”>Abel Pintos</a> to River Plate Stadium.
It’s high season for shows in Buenos Aires. Between announcements, Carlomagno describes, with his usual relaxed demeanor, the last steps to securing the arrival of artists such as <a href=”/music/Katy-Perry”>Katy Perry</a> and <a href=”/music/Radiohead”>Radiohead</a> to Argentina.
Simultaneously, he is making the final arrangements for the 100-year celebration of Obras Stadium, with performances by Guasones, Bulldog, Cadena Perpetua and <a href=”/articles/news/international/7858030/argentina-eruca-sativa-interview”>Eruca Sativa</a>. “Music is a part of each person’s history,” he says.
Renowned for his professionalism, he doesn’t shy away from admitting his respect and admiration for Phil Rodriguez, who he considers a pioneer and the man responsible for the opening of the South American market to foreign shows.
“After all this career, I made it to where I want to be and close to the ideal person,” Carlomagno says. “Phil transmits 40 years of experience, he was the first to bring people like the Jackson 5 or The Police to the region. His challenge was to get the artists closer to the people.”
Sebastian Carlomagno talks to Billboard Argentina:
How much has the live entertainment industry changed in the past few years?
A lot. The changes we’re seeing have been coming for a pretty long time, since the record companies applied a new business model, no longer based on selling records but rather based on streaming and live shows. That’s when promoters began to have a different role: We are the bridge that gets artists connected with the audience, and that is a huge responsibility.
That’s why it’s our obligation to be professional in every sense, and that shows, especially after the arrival of the big companies. I believe that ego and power, which has been very damaging before, no longer manage the market, and it’s understood now that contracts and alliances between companies make the business more profitable. They’re jobs that have begun to appear only lately, and hopefully they’ll grow.
We understand that the artist has to leave happy with the result, sponsors must get a favorable return from their investment, and the audience has to live an unforgettable experience built around that emotional connection they have with the artist.
Promoters have a greater access to content, and now the audience, through social media and the artists, have it too. What role do traditional media have?
With them, we try and come up with ideas and proposals of greater added value. Besides, we integrate with brands, given that sponsoring has become an essential part of the business, and for them, a very valuable marketing tool.
Still, putting a logo in a campaign is not enough. You need to develop proposals that have to deal with experience and that you can amplify through the media, the brands and the digital channels in which everyone participates. One thing powers up the other. When someone comes up with content, he has to think in that amplification with the greatest creativity possible, in order to get to where he wants.
What difference is there between producing a festival and a single artist?
Festivals generate other incomes thanks to people interacting more with the event. Still, they’re projects that need an initial investment to position themselves, be attractive and get an active audience to coexist for some time. Thus, in the business equation, more variables appear, such as merchandising and food.
We also have to bear in mind that production costs are way higher. A show in a stadium is a completely different animal, where most things are already solved. There, ticket sales are more important than sponsoring and vice versa. The festival has to place itself above the art and offer itself as an experience, so that year after year, people keep coming.