Trailblazers is MBW’s interview series that spotlights music entrepreneurs who are making waves in their home markets, and who have the potential to become strong players in the global business of the future. This time, we spoke to Carlos Aristides, CEO of Brazilian music company Vybbe.
Brazil is a country of extraordinary proportions and extraordinary potential for the music business.
from South American market 214 million-Plus population, more 165 million It’s estimated that 77% of people are online, according to Hootsuite’s DIGITAL 2022: Brazil Report.
The population is also young and highly involved in social media.
It is estimated that the 18-24 age group accounts for 10.8% of the population, while 15.8% of the population is between the ages of 25 and 34.
Citing numbers from ByteDance’s ad sources, Hootsuite’s report indicates this Tik Tok It was 74.07 million Users aged 18 and over in the country in early 2022.
Moreover, according to the report, 72.4% of internet users between the ages of 16-64 listen to music streaming services every month.
This is all good news for the Brazilian recorded music business of course, as streaming took the lion’s share (85.6%) of the market revenue in 2021, generating revenue of R$2.111 billion (~US$391 million). That was a 32% increase year over year according to Pro-Musica Brasil.
Carlos Aristides, CEO and co-founder of the prominent Brazil-based independent music label Carlos Aristides, says there’s still plenty of growth ahead for South America’s largest recorded music market.
“Brazil is a country of continental proportions, extraordinarily diverse, and culturally rich. However, in the vast majority of the country, there is still no broadband Internet access. Therefore, we have a negligible penetration rate of video and audio streaming,” he says.
“Away from the big capitals, it is still common to consume music through CDs and disk drives, which greatly favors piracy. I think our biggest challenge still lies in democratizing high-speed Internet access and educating the population to use apps like Spotify Apple Music, Deezer, YouTube, and more.”
“Brazil is a country of continental proportions, extraordinarily diverse, and culturally rich.”
Carlos Aristides, Phoebe
An expert in the “forró” genre and an expert in the music industry for more than 20 years, Aristides has played a major role in breaking nationally-produced artists in Brazil such as Aviões do Forró and Xand Avião; Avene Feni Priscilla Sina Ze Vaquero Ntan, among others
He told MBW that the “blueprints” for Vybbe, a record and management company, which will launch in 2020, “have been on paper for a long time.”
“COVID-19 has accelerated this whole process,” he says. “The entertainment and music markets were the first to stop and the last to get back into action, and in fact we all ended up having the time to create Vybbe. We needed to create something new, for a unique moment. It was like we had gone through a reset and needed To start our machines, so to speak.”
Some of Vybbe’s biggest stars are Zé Vaqueiro, NATTAN, Felipe Amorim, and Mari Fernandez who have 24 million monthly listeners on Spotify combined. Mary Fernandez has 9 million alone.
Aristides tells MBW that “it’s important to mention that all these artists have [had] Relatively short stints.” For example, NATTAN only started releasing music in 2019. Others, says Aristides, started releasing music in 2021 and 2020.
Looking at the company’s future, Aristides told MBW he hopes “Vybbe will become a hotbed of new talent in the music industry” and insists his ambitions extend beyond Brazil.
“Our goal,” he says, “is to be a music company of all kinds, an increasingly global company.”
Here, Carlos Aristides tells us how he made his way in the independent music business in Brazil, and how he plans to expand his company’s presence globally.
How did you first enter the world of music?
I come from a family that traditionally works with music, concerts, events and bands. Around the age of 18, I started getting involved in my father’s band, Caviar com rapadura; I admired him and began to create my own convictions about the work. At some point, my dad and I realized it was time to go my own way and put into practice whatever I had in mind. That’s when the idea was created Aviões do forró I came up.
We launched Aviões do forró In September 2002, about 200,000 copies of the debut album had been sold. The band spent 13 years with over 14 million CDs and DVDs sold worldwide, with shows in Brazil, the United States and many European countries.
since then, [my career of] 20 years [has included] Launching bands and artists from the world of Forró [like] Forró Muído, Solteirões do Forró, Forró dos Plays, Zé Cantor, vine Vinny, Priscila Senna, Zé Vaqueiro, Nattan, Felipe Amorim, Mari Fernandez, among others.
What are some of your most notable professional achievements?
I would like to highlight the beginning of it all, with creation Aviões do forróWhich [was released by [Universal Music [Brazil].
The second defining moment for my career was the transition from Aviões do forró to launch Zand Aviaosolo career. until that time, avis It started as a duo of singers Solange Almeida and Xand Avião. With Sol out of the group, the challenge was designing Xand’s new image and branding; We changed the artistic approach with a new band and new repertoire; Then Xand’s first solo release was promotion No commando, which broke records with 2 million downloads and 5 million streams in two months. Today Xand remains one of the leading names not only for Foro But from Brazilian music.
And the third moment is what I still live with: the challenge of launching and developing a new career [artists]such as Zé Vaqueiro, NATTAN, Felipe Amorim and Mari Fernandez who have a total of 24 million monthly listeners with Mari Fernandez being the biggest with 9.2 million monthly listeners.
It’s also important to note that all of these artists have had relatively short careers with the longest being NATTAN who started releasing songs in 2019, and all the others starting in 2021 or 2020.
You’ve been responsible for launching the careers of a number of artists – how hard is it to break ground for artists in Brazil today?
Artist releases remain the same. part [of the choice about signing an] That includes the artist [whether or not] He’s a good talent, if he sings well, [or] If he has charisma. It’s the same basic principles.
What has changed is that with the globalization of the internet, the way to reach people today is more direct. Previously, we relied a lot on radio and television. Today, we have a direct channel – not only with fans but with the public in general – through digital platforms, reaching everywhere at once. This change made it more manageable in terms of the artist’s maturity and arrival time from the point of view of distribution to places and people.
But apart from this point, the artist’s success is still closely related to the music, good repertoire selection, excellent arrangements and flawless production.
Why did you launch Vybbe and what are the company’s highlights over the past two years?
We were already working under new names, during the pandemic, Brazilian music came in with it Foro And the Peseiro. Scored by Mari Fernandez, Ze Vaquero, Natan, and Felipe Amorim [No.1s] in the Brazilian charts during this period and were the new names we announced alongside Xand Avião, Zé Cantor, Avine Vinny and Priscila Senna when we launched Vybbe in May 2021.
Since then, we have managed to keep our artists at the top of the charts on Brazilian platforms. This year, we had two No. 1s [with] No Ouvidinho (Written by Felipe Amorim), W Balanço da Rede (Written by Xand Avião and Matheus Fernandes).
Moreover, Mari Fernandez, Natan, Felipe Amorim and Xand Aveo always remain among the 50 most listened to artists on Spotify Brasil, showing how much the genre has grown since 2018 and how strong the genre is throughout Brazil.
Vybbe owns [also] He achieved the impressive feat of having 12 songs in the top 100 of Spotify Brazil.
What sets Vybbe apart from other players in the market?
Vybbe was designed to be a company that cares about others, about people, committed to renewal and encouraging new people to enter the world of music in general. We are preparing new features to support this project to generate new talent with a strong structure that includes art, marketing, image positioning, audio recording management and much more.
What are your ambitions for the company in the coming years?
I hope that Vybbe will become a bastion of new talent in the music industry, from the embryonic stage to professionalization, launching and encouraging the development of new talent. This premise goes beyond desire. Our dream is for Vybbe to become one of the leading entertainment companies in Brazil, generating new opportunities, creating new brands, new products, all this in addition to our original genre, which is Foro. Our goal is to be a music company of all kinds, an increasingly global company.
The music market in Brazil was valued at $338 million in 2021, up from $252 million in 2020 – what are your predictions for the growth of the music industry in Brazil over the next five years?
Brazil is 11 [biggest] The music market in the world, according to the International Federation of the Phonographic Industry (IFPI), with a turnover of R$ 2.1 billion in 2021, mainly driven by the consumption of streaming platforms.
These numbers have doubled in recent years, and the trend is for this curve to continue to rise because, in Brazil, there is still an audience to be captured on the Internet, and a part of the population still does not have access to streaming platforms.
Streaming music consumption has a lot of room for growth and, in my opinion, is still far from stable.
What trends do you see in the market, business or creativity, that Vybbe is looking to capitalize on at the moment?
The music industry has learned a lot from technological innovation and does not want to be left behind when we talk about new trends such as the metaverse, NFTs, blockchain, augmented reality, and virtual reality.
These new tools represent an opportunity for us to bring the artists even closer to the audience, to have their own personal space in the Metaverse. So, I think the next step in the music industry is to start focusing on increasing the user experience by exploring hybrid music experiences, which blend the real and the virtual worlds. To name a few examples: granting exclusive VR access to an exclusive festival launch party, digital assets that can generate new income for artists, turning music consumption into gaming, and more. The possibilities are endless.
What advice would you give to a music director trying to start a music company in Brazil today?
I think there are many challenges in the music industry today. I believe the best place to start a company today in the music world is to be surrounded by good professionals and partners who bring technological knowledge with marketing expertise and have the best tools to improve our performance and increase our credibility in the sector. these [pieces of] Any advice can be applied [field]: to be surrounded by good professionals and good people.
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