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The entertainment industry has positioned itself as one of the main economic sectors for most countries, whether within its face-to-face or digital structure.
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In the case of Tomorrowland, after $28 million in losses from festivals canceled in 2020 and 2021 due to the pandemic, the festival came back with a bang.
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The 2022 edition featured more than 700 artists, including Karol G and Kimberly Loaiza, creating a network debate.
Within the massive festivals worldwide there are some that have earned a place within the preference of the people and one of them is tomorrowland. The festival is held annually in Belgium and manages to bring together more than 400 thousand people of almost 200 nationalities. Its first edition was held in 2005 and there is an impressive change to what it is now.
This time the reviews were mostly negative, because in 2022 artists such as Karol G and Kimberly Loaizacreating a debate on networks about the musical “quality” of said festival.
the entertainment industry
The entertainment industry has positioned itself as one of the main economic sectors for most countries, whether within its face-to-face or digital structure, since only in Mexico, according to the Federal Telecommunications Institute (IFT), the streaming entertainment and media genre just over 925 million dollars (more than 18,997 million 2 thousand 240 pesos), a figure that is expected to exceed the amount of 400 million dollars by the year 2025 (8214 million 799 thousand 872 Mexican pesos).
In the case of music, the industry has faced tough financial times in recent years with the rise of streaming music services and a steady decline in physical and digital record sales. However, one area where business is booming is music festivals, whose income continues to increase annually and adds greatly to the results of the industry.
In the case of tomorrowlandafter $28 million in losses from festivals canceled in 2020 and 2021 due to the pandemic, the festival came back with a bang.
Tomorrowland 2022 took just 10 minutes to sell its 600,000 tickets for the face-to-face festival over three weekends in July in the cities of Boom and Rumst, Belgium.
The 2022 edition featured more than 700 artists on 14 stages over 3 days, from July 15 to 17, July 22 to 24, and July 29 to 31. The main headliners included Diplo, Alesso, Sofi Tukker, Marshmello, Martin Garrix, DJ Diesel and Major Lazer.
However, the variety of guests was surprising, including Karol G and Kimberly Loaiza.
Kimberly Loaiza she appeared on the main stage of said great event, despite the fact that she initially started as a youtuber, later becoming a influencer and now be present at one of the most important festivals in the world. Thanks to your presentation, Kimberly became the first Mexican woman to set foot on the ‘Tomorrowland’s main stage. The artist traveled to Belgium to sing her most recent collaboration with the DJs, Fuego.
Some users thudded it in networks mentioned:
“Tomorrowland is about electronic music, what were you doing there?”, “If that only went to show the flag better or have done anything, what a shame that someone like that represents us “, “But if it’s there for publicity, it’s more than obvious that he paid guests to take it,” “Well, nobody knows her, and as you can see there are no kids there.”
In the case of Carol Gthe Colombian was about six minutes of Tiësto’s set interpreting his success provence -with a beat closer to electronics- and the collaboration between the two: “Don’t Be Shy”.
reactions
But not all the comments were positive before the festival for these presentations:
The comments are somewhat reminiscent of what happened with Vive Latino 2022cartel that was led by bands like Pixies, C Tangana, Residente, Black Pumas, Camilo Séptimoamong others, but who really got all the attention of the public were the members of the famous MS band.
The Sinaloa band project received endless criticism for not being considered as part of the identity of the festival, despite the fact that it has constantly changed, opening up to other offers, not only musical, but also audiovisual or comedy.
Although there was a debate on networks, this shows us how festivals point to trends to satisfy the majority of attendees and in the face of the wave of “new” artists, just like a seller, the space must adapt in order to grow. within the market.
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