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The entertainment industry has positioned itself as one of the major economic sectors for most countries, whether in its face-to-face or digital structure.
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In the case of Tomorrowland, after $28 million in losses from canceled festivals in 2020 and 2021 due to the pandemic, the festival has come back strong.
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The 2022 edition brought together more than 700 artists, including Karol G and Kimberly Loaiza, creating a network debate.
Among the massive festivals around the world, some have earned a place in people’s preference and one of them is tomorrowland. The festival is held annually at Belgium and manages to bring together more than 400,000 people of nearly 200 nationalities. Its first edition was in 2005 and there is an impressive change from what it is now.
This time the reviews were mostly negative, as in 2022 artists such as Karol G and Kimberly Loaizacreating a debate on the networks around the musical “quality” of the said festival.
the entertainment industry
The entertainment industry has positioned itself as one of the main economic sectors for most countries, whether in its face-to-face or digital structure, since only in Mexico, according to the Federal Institute of Telecommunications (IFT ), the diffusion entertainment and media genre just over $925 million (more than 18,997 million 2 thousand 240 pesos), a figure that should exceed the amount of 400 million dollars by 2025 (8,214 million 799 thousand 872 Mexican pesos).
In the case of music, the industry has been through tough financial times in recent years with the rise of music streaming services and a steady decline in physical and digital record sales. However, one area where business is booming is music festivals, whose revenues continue to increase each year and contribute greatly to industry results.
In the case of tomorrowlandafter $28 million in losses from festivals canceled in 2020 and 2021 due to the pandemic, the festival has come back strong.
Tomorrowland 2022 took just 10 minutes to sell its 600,000 face-to-face festival tickets over three weekends in July in the towns of Boom and Rumst, Belgium.
The 2022 edition brought together more than 700 artists on 14 stages for 3 days, from July 15 to 17, from July 22 to 24 and from July 29 to 31. Major 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 big event, despite the fact that she first 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 latest collaboration with DJ Fuego.
Some users hammered it in the mentioned networks:
“Tomorrowland is electronic music, what were you doing there?”If that was just showing the flag better or doing whatever, what a shame someone like that represents us.” “But if he’s there for the publicity, it’s more than obvious he paid guests to take him,” “Well, nobody knows her, and as you can see, there are no children there.”
In the case of Carol G.the Colombian was around six minutes from Tiësto’s set interpreting his success Provence -with a rhythm closer to electronics- and the collaboration between the two: “Do not be shy “.
reactions
But not all comments were positive before the festival for these presentations:
The comments are somewhat reminiscent of what happened with Vive Latino 2022cartel led by groups like Pixies, C Tangana, Residente, Black Pumas, Camilo Septimoamong others, but who really caught all the attention of the public, it was the members of the famous MS band.
The project of the Sinaloa group has received many criticisms for not being considered 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 comic.
Although there has been a debate on the networks, it shows us how festivals point to trends to satisfy the majority of spectators and in the face of the wave of “new” artists, just like a seller, the space must adapt to grow within it. the market.
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