SIM São Paulo catalyzes meetings: professionals from different areas of the market attend the fair and expand their horizons and connections. The Humans of SIM series brings stories of people who come and enjoy the best of SIM. This week's episode is about Uruguayan Gabriel Turielle, responsible for the Contrapedal platform.
Even before founding Contrapedal Records, Gabriel Turielle played bass in band Psimio and gained prominence and awards in your country, Uruguay. Then, what started as a label in 2005, became not only his breadwinner, but also a project that would integrate many other professionals and artists from all over Latin America. Contrapedal became an agency and producer of shows and festivals that bears the same name, with editions in countries like Cuba, Mexico, Peru, Colombia and Brazil. The Brazilian edition was held in São Paulo in 2017, in partnership with Inker (producer responsible for SIM São Paulo).
“In 2014, I went to live in Mexico for a few years and, there, we created a booking agency that toured artists such as Dona Onette, Ava Rocha, Francisco, El Hombre, Tulipa Ruiz, among others,” says the producer. He adds: “2014 was intense, as in the same year we promoted the creation of MMF Latam (Latin American Association of Managers), of which I was the first president, and vice president of the IMMF (International Music Management Forum).”
Along with all this, there is room for even more work. Turielle also works as a consultant and offers support for the internationalization of technological innovation projects in Latin America, since he is originally trained in Computer Science. Finally (whew!), He is about to launch his first book, “Manual of Survival for Entrepreneur Musicians”, a project that also has the Mentoria Musical portal full of training materials and other resources for the sector.
The founder of Contrapedal has been with SIM São Paulo since the beginning: “The first time I heard about SIM, I believe it was in its first edition, when I represented the artist Franny Glass, from Uruguay. I remember the impact that this convention had on me. The contents, the guests, the parties and the quality of the production. I always admired Fabiana Batistela a lot because, in each edition, she bet even higher ”.
Latin America has a complex history and culture and hosting a festival that passes through several countries on the continent presents unique challenges. “First, the most important challenges have to do with understanding the idiosyncrasies of each place. Then, find the right partners and, finally, continue to generate long-term profitability. In Latin America, it is very difficult because of the economic and political dynamics ”, he explains.
As a territory permeated by political tension since the beginning of its colonization, art and culture play an important role in Latin American struggles. For Turielle, the place of music in these situations is, not only for combat, but also for innovation: “Unfortunately, the pandemic caused people's attention to deviate from political problems, since the coronavirus was the opportunity that some governments expected to exercise even more authoritarianism. I think that the role of music and all musicians should be more challenging, to expose the most profound reality. Music should take this revolutionary role for itself from speech, to aesthetics and artistic movements ”.
Regarding the impact of coronavirus on the market, the producer does not hit a stake but does not see the flood of live broadcasts of concerts and other free activities like light at the end of the tunnel. “The music business is a business for the few and a means of survival for the vast majority. I see an overexposure of concerts in streaming, as well as conferences and workshops, but I believe that, over time, the frequency will decrease, because it is not possible to live on free activities all the time. Thus, artists will have to start getting the public used to paying for digital content ”, he reflects.
Turielle believes that until a vaccine is created, the sector will walk with difficulty, since social distancing protocols make it difficult to resume activities as they were before and many projects become unfeasible: “The uncertain future forces us to reflect and diversify our offers and services. I think that musicians and producers need to strive to create new value propositions in order to monetize and survive the times ahead. More than ever, it is time to work to create a community based on its original essence and build loyalty ”.