Brazil
Brazilian DJ Alok is poised to electrify the Amazon rainforest with a free concert expected to draw a massive crowd of 120,000.
Presented by Banco do Brasil, with sponsorships from the Government of Pará, Estrella Galicia, Vale and Vivo, and as part of the artist’s Áurea Tour, the landmark event will be livestreamed globally on Saturday (Nov. 23), marking the official one-year countdown to the international climate summit, COP30. Hosted at the Mangueirão Olympic Stadium in Belém, Pará, along the fringes of the Amazon jungle, the event is a celebration of resilience and hope for our planet’s future.
“We need to make COP pop,” Alok told Billboard Español days before the concert, expressing the desire to make the Conference of the Parties (COP) — the United Nations Climate Change Conference — more mainstream and accessible to the general public.
“It is [imperative] that the population understands the importance of COP30, which is going to be the most significant one in history,” he said. “We are approaching [what is called] the point of no return. Just this year in Brazil, we’ve lost an area equivalent to 130 cities the size of São Paulo — home to 11.5 million people — to deforestation. The forest cannot recover by itself. People need to realize that Brazil can be a leader in sustainable growth and how we can onboard others. The population must pressure our leaders to make real changes.”
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This approach will aim to bridge the gap between high-level climate negotiations and the general public’s understanding and involvement in these issues.
Local talent Joelma, Gaby Amarantos, Zaynara, Viviane Batidão and Pinduca are among the confirmed acts, as well as indigenous artists Mapu Huni Kuin, Owerá, Brô MC’s, Yawanawás, Célia Xakriabá, Kaingang and Guarani Nhandewa, who are also featured on Alok’s latest album, The Future Is Ancestral.
“We understand that the use of entertainment to engage society is fundamental,” the Governor of Pará, Helder Barbalho, told Billboard. “It is an extraordinary opportunity to host the world’s largest climate change event, making Belém’s selection a new paradigm for humanity in valuing the rainforest. Alok has been doing this over time — not just now — defending the forest, valuing ancestral peoples, and connecting the history and challenges of the Amazon with a global dialogue. Through this connection, this allows us to make our voices heard around the globe.”
“What we present is the voice of the forest,” said Mapu Huni Kuin, spiritual leader, chief, and musician of the Huni Kuin people in Brazil. “We pray for the healing of humanity as we perform. This event in Belém is an offering of our prayers and chants, a profound plea for the welfare of all.”
“Participating in the Future Is Ancestral project allows us to bridge the gap between modern platforms and our ancient voices,” added Célia Xakriabá, an indigenous educator and activist of the Xakriabá people of Brazil. “For over five centuries, we’ve remained unheard, but today, our presence on platforms like these, alongside the greenery of forests and the resilience of our cultures, communicates crucial messages. Entertainment plays a unique role in conveying our message even to those reluctant to endorse our causes. If humanity wishes to survive, it must align with the perspectives of indigenous peoples, as our fight is for the survival of everyone’s future.”
The intersection of worlds at the event will be complemented by a cutting-edge, pyramid-like stage setup, featuring over 100 tons of equipment, a 360-degree rotating platform, and more than 2,000 LED panels to ensure an immersive experience.
The live stream will start at 7 p.m. ET. Watch it below:
Brazilian superstar Alok is gearing up to launch the official one-year countdown to COP30 on Saturday (Nov. 23). Located in the fringes of the Amazon jungle in Belém, Pará, Brazil, at the 55,000-capacity Mangueirão Olympic Stadium, the free event is a celebration of the forthcoming international climate summit and also part of Alok’s Áurea Tour.
During the event, the Brazilian bass DJ will host six indigenous ethnic groups that are part of his United Nations-supported Future Is Ancestral project. The stage itself will be a technological marvel, featuring a pyramid-like structure with over 100 tons of equipment, a 360-degree rotating platform rising as high as a ten-story building, and more than 2,000 LED panels.
Alok was recently nominated twice at the Latin Grammys in the new category of best Latin electronic music performance for two tracks: “Drum Machine” with Pickle and “Pedju Kunumigwe” with Guarani Nhandewa. On Friday (Nov. 15), he released his latest track, “Looking For Love” with Anitta.
As Alok continues to foster cultural celebration through his music and influence, his commitment to ensuring justice has also been noteworthy.
In a legal dispute in June, São Paulo’s civil court system ruled in favor of Alok against Kevin Daniel Brauer de Oliveira, affirming the DJ as the creator and holder of adaptive rights to the song “nananana Un Ratito,” which subsequently extends to “Un Ratito” with Luis Fonsi, Lunay, Lenny Tavárez, and Juliette, according to court documents. The judgment obliges Brauer de Oliveira to pay Alok $20,000 Brazilian reals ($3,475.78) in compensation for “moral damages.”
The legal outcome is the culmination of several conflicts between Alok and the Brauer brothers — Kevin and Sean — who formerly collaborated with Alok as part of the duo Sevenn. Over the years, their partnership helped escalate Brazilian bass music onto the world stage, but that partnership eventually soured. As articulated in a 2022 Billboard article, the Brauer brothers had accused Alok of exploiting their work — including their contributions to at least 14 tracks — without appropriate credit or compensation.
“I have always had full confidence in the justice system. My work is transparent and everything is clarified and proven,” Alok said in a statement regarding the court ruling. “I will take this opportunity to donate the compensation from this case to the victims in Rio Grande do Sul. This is the best way to respond to the wrong they tried to do, by doing good for those who need it most at this moment. I hope the compensation also serves as a lesson to deter malicious people from defaming others’ honor with the simple sense of impunity.”
Deezer has appointed Pedro Kurtz as director of operations for the Americas, Billboard can exclusively announce today (Nov. 7). Kurtz—who joined the company in 2020 as head of music in Brazil and served as director of content for LATAM—will be based at Deezer’s Brazil headquarters in São Paulo and report directly to the global team […]
Brazilian pop singer/songwriter Giulia Be has signed a new recording deal with Sony Music Latin Iberia. The rising Brazilian star, whose music draws from Brazil’s tropicalismo movement with influences of disco and urban music, is currently working on new material that will be released through Sony worldwide. “I am deeply grateful for this new journey […]
The old ways are dying. That was the message Spotify CEO Daniel Ek delivered during a headline-generating 2020 interview with Music Ally. “Some artists that used to do well in the past may not do well in this future landscape,” Ek said. “You can’t record music once every three to four years and think that’s going to be enough. The artists that are making it [today] realize that it’s about creating continuous engagement with their fans.”
Perhaps no artist exemplifies this ethos better than the Brazilian rapper Mc Gw. He makes his vocals widely available for sample-happy producers, and as a result, he has already appeared on over 3,700 releases so far this year. That’s more than 10 times as many as any other artist in Spotify’s top 500, according to the analytics company Chartmetric.
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Mc Gw’s jaw-droppingly prolific release schedule, the growing popularity of his chanting vocals, and the rapid rise and mutation of the internet sub-genre known as phonk have combined to fuel remarkable growth on Spotify. He now has around 20 million monthly listeners, up from 3.7 million two years ago. He has become the 11th most popular artist in Brazil, according to Chartmetric.
“Before streaming, if you saw that [an artist with a ton of releases], you would think, ‘This super popular guy spends all his time running around different studios in São Paulo and everybody knows him,’” says Glenn McDonald, a former Spotify employee and the author of You Have Not Yet Heard Your Favorite Song: How Streaming Changes Music. “The fact that you can now take a shortcut to that by having your samples run around instead of you is pretty effective.”
“If everybody did it,” McDonald continues, “it wouldn’t be as effective. But the first person who does it can temporarily get very successful that way.”
And that appears to be what’s happening to Mc Gw. He’s now collaborating with Ana Costa, a revered samba artist, and the producer DENNIS, whose “Ta OK” was a hit in Brazil last year. “It’s just scaling from there,” says Jake Houstle, co-owner of the label Black 17 Media, which has distributed a number of songs featuring Mc Gw. “All these opportunities are coming in, and they’re all based on the fact that people use his vocals on everything.”
Mc Gw grew up in Rio de Janeiro, listening first to more traditional musical styles — samba and pagode — before turning to Brazilian funk, also known as baile funk, in 2011. Baile funk is a home-grown descendent of Miami bass, typically characterized by a distinctive up-tempo rhythm and severely streamlined production that focuses the ear on the boisterous rapping. “My main influences are MCs from Rio: MC Didoo, Mc Frank, Mc Tikão, Mc Vuk Vuk, and Mc Smith,” Mc Gw says. (He responded to email questions with help from a translator.)
Mc Gw is an adaptable performer: 2017’s “Ritmo Mexicano,” which has over more than 260 million views on YouTube, nods to commercial reggaetón. And it’s actually a different genre that has played a crucial role in his rise in the last two years. Confusingly, this style is known as phonk, leading to a nomenclature nightmare — while Brazilian funk is different from American funk, and phonk is another thing altogether, all three share the same pronunciation.
Phonk has been around for more than a decade, one of several styles gobbled up by extremely online listeners. When the genre started to reach a wider audience in 2019 and 2020, it was bleak, militant music, with freeze-dried synthesizers and drums so grimy listeners reflexively reached for the Windex. Samples of Memphis hip-hop legends added a human jolt to the unforgiving tracks.
Most of phonk’s biggest artists — like Kordhell, who has a platinum single in the U.S., and DVRST, whose song “Close Eyes” was synced in a commercial that played during the NBA playoffs — are faceless producers. The music thrives on TikTok pages devoted to weightlifting, careening cars, video game highlights, and anime edits, not on the live circuit. “It’s like a substance: Just keep pouring the phonk over my ears,” McDonald says.
The genre’s commercially popular wing often follows a specific formula, at least for a time. Phonk’s initial streaming hits sampled the likes of DJ Paul, a founding member of the group Three 6 Mafia, and Kingpin Skinny Pimp, a rapper who contributed to Three 6’s debut album and maintained a regional following. Other producers hoping for a phonk hit of their own also lifted vocals from the same sources.
More recently though, Memphis rap textures are out of vogue, and Brazilian vocals are in favor. This has been a boon for Mc Gw. “Nowadays many phonk producers are using [my voice],” he acknowledges.
Mc Gw makes it easy for them to do so by creating packs of a cappellas that samplers can sift through on YouTube, SoundCloud and elsewhere. (They’re initially free, but producers may pay a price — in the form of a fee, a cut of publishing income, or both — for the sample after release, especially if the song is successful.) “He is essentially the Kingpin Skinny Pimp of this movement,” says Houstle, who estimates that close to a third of the phonk records that borrow Brazilian vocals lean on Mc Gw.
The rapper enjoyed more name recognition as he was sampled more frequently. And to an extent, this fire fed itself: “As his notoriety grew, he started being placed on more and more songs,” Houstle explains. That helps increase his notoriety further, and the cycle continues.
Just as TikTok creators use a trending sound in the belief that it will make them more likely to get eyeballs, phonk producers thought an Mc Gw sample would make their song more likely to attract listeners. “If I want to go find new songs that are popping in Brazil, I just scroll through his most recent releases,” Houstle continues.
One snippet of Mc Gw’s vocals found its way to the Argentinian producer S3ZBS, who dropped it into “Montagem – PR Funk” in 2023. This strident, 61-second anxiety attack of a song has nearly 400 million plays on Spotify alone.
Mc Gw calls “Montagem – PR Funk” a new door that opened for me.” But that doesn’t mean walking through it was easy.
Online music communities often operate without regard for music industry convention. Producers tend to sample first and ask questions later, obtaining official clearances after a release — rather than beforehand — if they clear them at all. “Montagem – PR Funk” was no different.
Black 17, which owes much of its recent success to embracing phonk, signed “Montagem – PR Funk” once it started to perform well on TikTok. The label almost immediately found itself in dispute with the owners of uncleared samples, according to Houstle. One was Mc Gw.
Black 17 and Mc Gw’s team negotiated a deal — he was eventually added to “Montagem – PR Funk” as a primary artist — and they now work together regularly. Black 17 previously forged similar business relationships with DJ Paul and Kingpin Skinny Pimp when the phonk community started sampling them.
Mc Gw now employs several staff members whose primary job is to track down uncleared samples of him and negotiate deals with the producers behind the songs. This is a business necessity, the rapper says, since “currently almost 100 songs are released per week with my voice.”
It’s impossible to catch them all, but if Mc Gw puts agreements in place at least with the songs that are earning noticeable streams, this continues to expand his reach, and ensures that he gets paid for the use of his voice. It’s an odd system, but for now it’s working.
The rapper doesn’t only want to rely on the favor of sample-based producers; he is also hard at work on his own album, tentatively titled Phonk Nation. “Every day I’m in the studio,” Mc Gw says. “Thank God the phonk appeared — the work is being rewarded.”
In July, more than 420,000 people competed for tickets to The Weeknd‘s highly anticipated show in São Paulo, Brazil, scheduled for Saturday (Sept. 7) and just under a year after his last visit to the country. The overwhelming success of “Blinding Lights” gave the 34-year-old Canadian the title of most popular artist on the planet by Guinness World Records in March of last year (which he just lost to Billie Eilish). On Billboard’s Hot 100, the song reached the top, remained among the most listened to for 90 weeks and boosted the popularity of his albums After Hours (2020) and Dawn FM (2022). It holds the title of being the biggest song in all Hot 100 history.
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Only 16% of those 420,000 people got the chance to see Abel Tesfaye in person. Being successful in the competitive music industry did not exempt the composer, however, from struggling with his mental health. But, according to him, giving up was never in his plans. One of the keywords of his new phase is “rebirth.”
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The choice of the capital of São Paulo for the start of this tour was not a coincidence. The Weeknd visited the city last October, performing two sold-out nights at Allianz Parque with the show After Hours Til Dawn. It was in São Paulo that Tesfaye composed the central song of the new album, Hurry Up Tomorrow – affectionately nicknamed “Frankenstein” by the singer for exploring different sounds, but without losing its essence — something he does masterfully.
The Canadian details the importance of the Brazilian public for the next steps in his career, which has lasted 14 years and includes great achievements such as being the most listened to artist on Spotify (until Billie surpassed him in August), with 105 million monthly listeners, winning four Grammy Awards (despite not submitting his work for the awards since 2021, as a statement that shook the industry) and having almost $500 million in gross sales with the After Hours Til Dawn Tour, which filled stadiums around the world.
“I can speak for all artists when I say it’s hard to put into words the love and energy that the Brazilian people express when you’re on stage,” says The Weeknd in an exclusive interview with Billboard Brazil. “You feel the music so deeply. São Paulo and Rio reminded me that the frequencies we radiate as musicians are important. They remind me why I wanted to make music: to connect. I’ll spend the rest of my life knowing that.”
The broadness of The Weeknd’s discography is another factor that explains such success. He navigates the world very well to the pop, R&B, electropop and other genres, and he is spot-on in his dark lyricism when sings about the pains of love, fame and the challenges he faced (and still faces) to make a living from music. Shortly after announcing the concert in Brazil, the singer spoke on social media about “facing the abyss”. “It can mean many things. For me, it is something very specific,” he says in the interview, in a mysterious mood. “I faced it long enough. Most of the time, I overcame it. But I work on it every day. I hope that [my music] helps others face and overcome the abyss, too.”
One of the abysses Tesfaye faces is mental health. “What makes a grown man want to cry? / What makes him want to take his own life? / His happiness is never real,” he sings on 2018’s “I Was Never There.” In his faith—he was raised in an Ethiopian Orthodox Christian family—and in music, the Canadian has found comfort to overcome the most difficult moments. “I think about giving up every day. But I also find purpose every day,” says the singer, unafraid to open up and show his vulnerability. “My relationship with God is stronger than ever. I find comfort in His presence when I need it most. I talk to Him constantly. It’s been a long journey, but I’m here,” concludes the artist.
Tesfaye was born in Toronto, Canada, the son of Ethiopian immigrants. Inspired by Michael Jackson, he discovered his love for music at a young age. The artist has revealed that he was penalized for singing at inopportune times, such as during school classes or at the dinner table. Despite being discouraged, he released his first mixtape as The Weeknd, House of Balloons, in 2011, while splitting his time between art and work at a North American clothing retailer. The project entered the Billboard 200, anticipating the success of subsequent releases. “Wicked Games,” the first single, debuted at No. 53 on the Billboard Hot 100 in 2013. In the following years, he reached No. 1 on the chart with hits such as “Can’t Feel My Face,” “Save Your Tears” and “Die For You.”
When asked about taking care of his mind, the singer is even more honest. Brutally honest, as rarely seen in showbiz. “It’s funny you should mention this [mental health]. I just had a panic attack right before this interview. My anxiety is a constant battle, and I feel like it never goes away. I’m learning to control it, but I’ve already realized that it’s part of my life. I can’t escape it.”
Tesfaye spent part of his adolescence living on the streets, but he assures us: the main difficulty he faced in life was questioning his purpose and his connection with art. “The biggest challenge is not knowing if you were made for this, not knowing if it was meant to be. Most people still don’t know. I feel very lucky. I was able to take these depressive and nihilistic feelings and put them into my work. That ended up being my therapy,” he says, citing the philosophical school of thought that believes life has no value or purpose, often associated with the German philosopher Friedrich Nietzsche.
On YouTube, The Weeknd has accumulated almost 28 billion views on his channel. “Call Out My Name,” “The Hills” and “Starboy” are also part of his extensive list of hits. Expectations for his new era are high – both from fans and music critics. Dawn FM, released in January 2022, was acclaimed by the British newspaper The Guardian, from which it received the highest score: “Abel Tesfaye confirms his status as one of the greatest of all time with an album of icy splendor influenced by the 1980s”.
Another newspaper that praised the album was The New York Times. “His fifth album […] is elegant and vigorous and also, once again, a light reinterpretation of what big-scale music can sound like today, in an era in which most global stars have abandoned that concept.”
“There is always pressure to surpass my last project,” he says about the new era, presented for the first time at the show in São Paulo. “Growth is important. Sometimes it may not be what people want to hear from me at the moment, but, when the body of work is complete, I hope they can appreciate what I have been trying to achieve. I have been working on this discography for a long time. It was all planned,” he assures, escaping from the monotony. “I always try to achieve something that I haven’t done before musically. Sometimes it may not be clear on the first listen [to the album], but fans seem to figure it out over time,” he believes. Being at the top, for the Canadian, is subjective. “The only pressure for me is to be better than the older version of myself, focusing on growth, achieving my own goals, not other people’s.”
Tesfaye also spoke about the pains and pleasures of fame, a common theme in his work, whether in music or in the visual arts. When asked about how to keep his feet firmly on the ground, he repeated the sincerity demonstrated throughout the conversation with Billboard Brazil. “I stay away from people as much as possible. I try to have as much privacy in my life as possible. I never give off [that] ‘famous’ energy. I think trying to be famous is a talent in itself. I haven’t mastered that talent… And I don’t intend to,” he says, escaping the industry buzz.
Last year, the composer spoke about controlling the way he is seen and heard by the public. In the midst of the transition of concepts in his career, he revisits the idea. “Honestly, I don’t even remember saying that. But everyone would love to be able to control the narrative. It’s impossible. So you try your best and make the most of it. Less is more. I’ve learned a lot in the last two years, and it’s definitely the least control I’ve ever had. But I’ve learned a lot, and that’s the most important thing,” he says.
“Too much control is unhealthy. Collaboration is important, whether it’s artistically, with ideas, or even with energy. I’ve been on both sides of the fence, being too controlling and not having enough control. And leaning too far toward either side can be dangerous. It’s a constant balancing act, but the results are the best.”
Mending the dark parts of himself, The Weeknd’s Frankenstein must bring the singer’s lessons learned at the height of his fame—and pursue his chosen purpose in life, bringing comfort and refuge to those facing their own demons.
This article originally appeared in Billboard Brazil.
Warner Music Brazil has introduced a series of measures aimed at boosting its impact across a range of local music genres, the company announced today (Aug. 29). These initiatives demonstrate a strong commitment to widening the company’s presence in the competitive music market.
“As we elevate our regional approach to be closer to our global leadership, expanding our presence in Brazil, the world’s ninth largest music market, is crucial to the company’s growth,” Alejandro Duque, president of Warner Music Latin America, said in a press release. “We’ve always had a strong presence in the country, but we know we need to do more to support its diverse musical genres.”
In an effort to support that vision, Leila Oliveira, president of Warner Music Brazil, has strengthened her leadership team by appointing Tatiana Cantinho as general manager and Mariana Frensel as director of marketing. Both appointees have commenced their roles and will be based at the company’s headquarters in Rio de Janeiro.
“Warner Music Brazil is reinventing the role of the record company in our rapidly changing industry. We need to be more nimble than ever when it comes to connecting artists with fans and building a wave of support for our talent that can be turned into a sustainable career,” Cantinho said. “Music can travel further and faster than ever before and we want to help artists from different backgrounds take their place centre stage.”
Cantinho brings over two decades of industry experience to her role. Her career includes regional positions at Sony Music and leadership at the independent label Som Livre (since purchased by Sony), before she founded her own music company, Stamina Musical, in 2022.
Meanwhile, Frensel returns to Warner Music Brazil, where she previously served as international label manager from 2011 to 2015. Her latest role comes after an eight-year tenure at Match Group, where she most recently held the position of director of revenue and growth for new verticals.
“I’m super pleased to be returning to Warner Music at this key moment in its development,” Frensel said. “Leila has a vision for how a modern music company should evolve and the importance of artist narratives is at the heart of it. I want to bring my experience to bear as our new genre-focused teams get to work supporting Brazil’s most vibrant talent.”
“This is a key moment for Warner Music Brazil,” Oliveira said. “The arrival of Tatiana and Mariana strengthens my leadership team and together we’ll rewrite the rules about how the industry operates here. Our new genre-specific teams mean that we’ll be able to superserve artists better than ever and help all types of Brazilian talent connect with fans here and around the world.”
At the same time, Warner Music Brazil is restructuring its A&R and marketing departments to better focus on key Brazilian genres such as sertanejo, forró, samba, funk and urbano music. Marcos Kilzer will continue to lead the A&R team as its director, collaborating closely with Cantinho.
Additionally, the newly-formed Creative Services team, led by Thiago Abreu who reports directly to Oliveira, will support both marketing and A&R departments while being heavily involved with brand partnerships and live music projects.
These adjustments are among several significant initiatives undertaken by Oliveira since she became the first female label head in Brazil in 2022. Just last month, following the establishment of the new Warner Music Space headquarters in Rio’s Barra da Tijuca, Oliveira facilitated an investment with ADA Brazil in Sua Música group, blending efforts to nurture regional talent.
According to the latest IFPI figures, Brazil ranks as the ninth-largest recorded music market globally, valued at $573.6 million and growing at 13.39% last year, with “87.1% of industry revenues coming from streaming channels,” according to a press release.
Warner Music Brazil is home to artists like IZA, Pedro Sampaio, Ferrugem, MC Hariel, MC Ryan SP, Kayblack, MC IG, MC Don Juan, Azzy, Marvvila, Thiago Freitas, US Agroboy, João Bosco & Vinícius and Clayton & Romario.
Luísa Sonza has been announced as one of the attractions for the historic first regular-season NFL game that will take place in Brazil. She will perform the Brazilian National Anthem. Other confirmed acts include Anitta, who will perform during the halftime show. Zeeba (who is American, with Brazilian parents) will sing the U.S. National Anthem, while DJ Carola will present a set before the game begins. The event will take place on Sept. 6 at Arena Corinthians in São Paulo.
In a conversation with Billboard Brazil, Luísa described the moment as an opportunity to increase the projection of her name and career outside her country. “This is a very important exposure. But above all, representing my country to the world is the greatest honor I can have as an artist,” she said.
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The National Anthem moment precedes the start of the match, and for Sonza, it’s a time that generates a lot of anticipation for the audience. “It’s always emotional because it’s about our roots, our homeland. Being able to represent that to the world will be an honor.” Read the exclusive interview below.
How did the invitation to sing the National Anthem at the NFL event in São Paulo come about?
The invitation came through Kley Tarcitano, an artistic director who currently works in the United States and collaborates with the NFL, along with Maria Garcia, who works with the NFL and the halftime show in the U.S. and worldwide. I said yes right away! The NFL is a global event, and I was very happy to be invited to their first game in Brazil. Singing the National Anthem is always a unique moment, especially at an event of this magnitude. Representing my country is incredible.
Can you give more details about what you’re preparing for your performance?
The performance of the National Anthem always comes with great expectations. I’ve been singing since I was a child, and I always sing along with all the other Brazilians during important moments in our history, at games, and in celebrations. The anthem is always emotional because it brings our roots, our homeland, and being able to represent that to the world will be an honor.
In the United States, there is a strong connection between pop music and sports, particularly with American football. How do you see this playing in Brazil?
I believe entertainment and sports always succeed together. I’ve always followed the Super Bowl finals, the incredible shows that happen every year, and I’m very happy to be part of this moment here in Brazil.
Regarding the audience here in Brazil, do you think being part of this historic NFL event could also introduce you to a new audience?
It always adds value. Being able to perform and sing for new audiences is important for all artists. Music is very vast in Brazil, and having this kind of representation is relevant for any artist’s career.
Do you believe that this performance could also bring international exposure to your career? Is that an important point for you?
Yes. I’ve already been more present abroad, and this is a very important exposure. But above all, representing my country to the world is the greatest honor I can have as an artist. I’m very happy with the invitation.
The NFL is gearing up for a significant milestone by hosting its inaugural regular-season game in São Paulo, marking a historic expansion of American football into South America.
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Amid this groundbreaking event, Brazil‘s own baile funk superstar Anitta will kick off the halftime show, Billboard can exclusively announce Tuesday (Aug. 20). Her performance is set to meld the vibrant spirit of Brazilian music with the exhilarating intensity of American football. “I am incredibly excited to perform in São Paulo at the NFL’s first game in my home country of Brazil,” the artist tells Billboard Español. The event is taking place September 6 at 8:15pm ET.
Steering Anitta’s presentation are NFL’s head of music, Seth Dudowsky, Senior vp of global event operations & production, Jon Barker, and director of event presentation & content, Tim Tubito, all in collaboration with Production Club. “When we talked about artists that we wanted to work with, Anitta was at the top of that list,” explains Dudowsky. “We don’t want to come in and make this very American and Western. We want it to weave into the culture of the environment that we’re at,” adds Jon Barker.
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In a discussion with Billboard Español, Anitta, Dudowsky, and Barker delve deeper into the preparations and expectations for this unprecedented NFL game, sharing their visions of blending sports, music, and culture to create an unforgettable experience for fans around the globe.
How do you feel about performing at the historic NFL game in São Paulo, the first of its kind in South America?
Anitta: I am incredibly excited to perform in São Paulo at the NFL’s first game in my home country of Brazil. Growing up here has completely shaped me as an artist and, of course, as a person. So it means everything to be able to bring fans around the world the excitement and joy of our amazing music and culture. It’s really a dream come true to be a part of this moment.
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Seth and Jon, how was Anitta decided on for this halftime show at the NFL’s first game in São Paulo?
Seth Dudowsky: We wanted to make sure that coming to Brazil, we were putting on the spectacle and the level of quality that you expect from an NFL event. Also, doing it in a way that felt natural and embracing the culture of São Paulo and Brazil. The most authentic way to do that is to work with artists and performers who are from those places. Artists who have been not only a face of Brazilian music, and what that represents around the world, but also being an icon in America as well. This creates a bridge for us to come from American culture down to São Paulo. When we talked about artists that we wanted to work with, Anitta was at the top of that list. It’s been an amazing opportunity, not only to have her perform at the game and help us create an incredible game-day experience for the fans, but also to help be an ambassador so that fans understand we’re coming down to Brazil. We’re going to do it in a special way that celebrates Brazilian culture.
Jon Barker: American football is becoming a global sport, and we are starting to play more games in different parts of the world. The opportunity to bring our game to São Paulo, Brazil, to South America, is really exciting. When you think about an opportunity to work with an artist like Anitta, it just elevates everything that we’re going to do. We don’t want to come in and make this very American and Western. We want it to weave into the culture of the environment that we’re at, so that fans who are coming to this game can identify with the entire experience. Anitta just brings that one hundred times for us, because she’s such a wonderful talent.
Anitta, have you previously followed American football? If so, what does this sport mean to you personally?
Anitta: I love sports in general, and I’m one of those fans who screams in front of the TV! With American football it would be no different. As a Brazilian, I love getting together with friends and family to have a barbecue and to cheer.
How do you plan to connect with an audience that might be experiencing both Anitta and NFL football for the first time?
Anitta: Music is something that brings us all together, no matter where you’re from or what your background is. Football does the same, so I think that uniting force from both music and football creates a natural connection to the audience. I hope this global audience will really enjoy the performance.
Seth and Jon, how important is local culture in choosing a halftime performer for international NFL games?
Barker: Extremely important. It’s part of the overall environment that we create. I know we’re talking about halftime, about Anitta, but it sits in the way that we think about decor and the use of color and pattern, and how that reflects local culture. It’s in the music selection that we use in pregame DJs and artists who are going to be singing the national anthems for both countries. It shows up in many different ways, not just in the music that we select at halftime. It’s integrated along the journey. When you start to see the decor pattern that we’re using, you’ll see that it’s reflective of Brazilian culture.
Dudowsky: We’re going to make sure that we are representing and being authentic to the culture there. One of the most direct and effective ways to make it feel like I’m seeing something that’s not just another regular season game [with] the way we’re using art, imagery, and music. To go back to Anitta, we’ll have assets that are going to be created both in Brazil and America. For the fans in Brazil, it’s to make sure that they feel like we’re doing something authentic with an artist they recognize and love. But also for American fans to see that content, to see Packers-Eagles highlights. With Anitta and Brazilian music, it gives [Americans] that feeling that this is unique and special, even if [they’re] not actually going to São Paulo to experience it.
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The NFL is focusing on global expansion and bringing American football to new audiences. As a Brazilian artist, how do you see your role in this initiative?
Anitta: Seeing the NFL grow football internationally has been great to watch, and when I saw they announced the first game in South America, I felt like the stars were aligning. I know many football fans out here in Brazil, so having the opportunity to perform for so many of my fans here and beyond is an amazing experience.
Jon and Seth, how do you ensure that the music appeals to both longtime NFL fans but also new audiences?
Dudowsky: On the music strategy point, one of my biggest beliefs is that music is universal, just like sports is. Every country on earth has their own version of what they love in sports and what they love in music. You won’t find a corner of the planet that doesn’t have those two things as part of that culture. While it’s universal, it’s also specific. Everybody’s music choices and opinions on music are personal. So we know not every single piece of music everybody’s going to love, and that’s okay. We try to work with artists that are authentic and are uniquely themselves and represent a space in music. We speak a lot with our office counterparts in Brazil and Latin America. We work with labels and trusted sources, artists, agents, tastemakers, people that really are on the ground and know what’s relevant.
Barker: It’s such a great line that sport and music are universal, and they don’t need to be translated; they just carry over. Who would have ever thought that playing John Denver in Munich, 70,000 people would just stop doing what they’re doing and sing together in unison? It happened! Sometimes we get it right, and sometimes we don’t. We experiment, and we see what hits and what doesn’t. You’ve got a different audience inside the stadium at varying ages, a different audience tuning in television locally, and a different one tuning in the United States.
How do we listen and learn from the local community? And how do we weave that into this game and create the environment that we want new fans in São Paulo to experience? That’s the process we go through, and I hope that each year we get better and better at it.
Anitta, can you give us a hint about what viewers can expect from your halftime show?
Anitta: While I want to keep a lot of elements of the show a surprise, I can tell you I will perform Brazilian funk! I can’t wait to do this in front of so many Brazilians at home, as well as the global audience who will be able to see the show as well. It’s going to be big, and I’m excited for everyone to see what we have in store.
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Last words?
Barker: I don’t want to be hyperbolic but we’re about to do something historic, bringing our game to a place that’s never been played before. The excitement that is bouncing off the walls at our headquarters in New York and Seth’s offices in Los Angeles is palpable. How we’ve been received in [Brazil] from the day we made the announcement that we’re coming has been overwhelmingly welcoming. I’m proud that I can be a part of something like this, being part of the NFL, and being part of a group that’s bringing this game to Brazilians, and have them, hopefully, experience it and love it the same way that we all do here.
Dudowsky: One of the things that keeps me energized and passionate about being at the NFL for over a decade is the opportunity to not only learn about these cultures, but to be a part of something that is happening for the first time. Whether it was in Munich or the first Super Bowl in Las Vegas, when a city gets the opportunity to do something like this for the first time, it just feels extra special. The energy, the passion that especially Brazilian fans come with, we couldn’t be more excited to see it with our own eyes and to be a part of it; and to see what the country and fans of Brazil do with this game going into the future.
Working with a global icon like Anitta has only made everything we’re saying even more tangible. Her team has been amazing. She has been fantastic. We’re excited to have Anitta and all the energy and excitement that she brings. It’s only going to add to what we know is going to be a really special and historic night in São Paulo.
Brazilian singer Ayres Sasaki has died after being electrocuted during a live performance in Brazil. The 35-year-old musician died almost instantly after hugging a soaking-wet fan during a concert on July 13 at the Solar Hotel in Salinopolis. The contact between the two triggered a nearby cable to jolt, causing the fatal electric shock, according […]