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Primavera Sound 2024: Festival Reveals Day Splits For Line-up And Who's Headlining When
Primavera Sound has revealed its festival day splits for its 2024 line-up along with its headliner schedule.
On Tuesday, November 21, the festival announced a handful of headliners which included Lana Del Rey, Pulp, The National, FKA Twigs, SZA, Disclosure, Justice, Mitski, Phoenix, PJ Harvey and Vampire Weekend.
Today (November 27), the festival has shared the day splits for the line-up and when each headliner will perform. Check out the poster below:
Tickets for the annual Spanish festival, which is set to take place from May 30 to June 1 at the Parc del Fòrum, are on sale now. Prices for a full festival pass range from €265 (£229) to €535 (£463). Single day tickets are set to go on sale tomorrow, November 28 at 11am CET (10am GMT). Visit here to purchase festival passes.
A full festival pass will grant attendees access to Opening Day on May 29, 2024 as well as Brunch Electronik on June 2, 2024 by booking in advance, as both events are subject to capacity. Day tickets for Brunch Electronik will also be on sale on November 28 for those who do not have a full festival ticket.
Last year's instalment saw performances from Blur, Kendrick Lamar and Rosalía, which NME hailed as the "always excellently-curated Barcelona festival" which "returned to form".
It added: "A festival that entreats its punters to care about the future looks to be gradually entering a new, bright and reinvigorated era of its own."
Meanwhile, Primavera Sound will not be returning to Madrid next year. While the Spanish festival has taken place in Barcelona since 2001, 2023 was the first year that it became a dual-site event, with the same line-up playing both locations.
"Although both the city of Madrid and the whole region welcomed us with open arms, with a warmth that was mirrored in the institutions, the cultural agents and of course the audience, the external difficulties that the festival had to face in the final stretch of the pre-production gave rise to one of the most complicated events that Primavera Sound has ever had to face," said Almudena Heredero, director of Primavera Sound Madrid, in a press release.
However, Primavera Sound will debut in Peru this year, marking the festival's latest expansion.
The Women Building Transparency Into Live Events And Ticketing
Music lovers and artists are increasingly focused on ticket transparency, seeking alternatives to behemoths like Ticketmaster. This has paved the way for smaller ticketing platforms to emerge as industry disruptors, one of them being indie-venue focused DICE. DICE is an exclusive event ticket provider pushing for price transparency across the industry. They offer list prices with no hidden fees that only show up at checkout, remove the markups that happen in ticket resales by removing the ability to resell tickets, and boast a waiting list feature, so if a show is sold out, folks can join the waitlist in hopes of getting a ticket if one goes back on sale.
Fans at a DICE ticketed show
Tim BarberFounded in London in 2014, DICE works with major artists, from Brooklyn Mirage, Olivia Rodrigo to Primavera Sound Festival. The company has since expanded to several European countries, the U.S. And most recently to Canada. The company raised $65 million in 2023 to foster that European and North American expansion. According to DICE, they are the largest independent music ticketing platform in the world.
In June, DICE joined President Biden at the White House to show how it's leading the industry with a fan-first model for ticketing and tackling junk fees as a result of the now infamous Taylor Swift x Ticketmaster lawsuit.
Music industry veteran Caron Veazey was recently appointed to DICE's board. Veazey has build most of her career as a talent manager, managing high profile artists such as Pharrell Williams for nearly a decade. She also co-founded the Black Music Action Coalition (BMAC), an influential advocacy group committed to combating racism in the music business and promoting parity for Black artists and industry professionals.
She points out that she has spent most of her impressive career advocating for transparency, and her role on DICE's board is an extension of that.
"DICE is artist-first and artist driven," Veazey says. "It's an ecosystem, a world. It's not just about ticketing, it's about discovery and community. The goal is to make going out easier. It hasn't been easy because of fees, because of the pandemic, because of logistics. But this really makes the experience so much better and so much more fun."
One of DICE's offerings for artists is in the data it shares back with talent, something rare across the industry.
"This platform was created for fans and for artists," Veazey says. "At the beginning of an artist's career, you are trying to figure out who and where the fans are. If one show is sold out, could we have done a second show, or gone into a bigger room? But we don't get that data elsewhere."
Ali McCloud is the person who manages that data. A self described "ticketing nerd" who built her career working at places like TicketWeb and Ticketmaster, McCloud now works as DICE's VP of Live Music Partnerships.
"At our core, we need to be able to safely and securely sell tickets," she says, "But DICE is unique because we provide great data to these indie venues and indie artists."
That data allows the venues and the artists to be better informed about what shows to book next.
She says DICE's main user base is not necessarily fans who are buying tickets to huge arena or stadium tours, but those seeking tickets to see independent artists in mid-sized venues and smaller clubs. "You might be using it every weekend to discover where you might go out in your city," she says.
"I don't think of DICE necessarily as a ticketing app," says Matthew, a DICE user based in London. "It's discovery and a little history of concerts that I've been to in the way that Airbnb is a history of holidays I've been on. So I scroll through my past tickets on DICE and can be like this is what March looked like. It's incredibly irritating when a show is not on DICE because it's so much more complicated to go get a ticket."
The company also boasts how simple the two-tap checkout process is for fans. That process is front and center in DICE's latest brand campaign, Weirdly Easy. According to Chief Business Officer Katie Soo, the campaign is part of an effort to bring to life DICE's mission: making it as easy for people to go out as it is to stay in, and creating a fairer, more inclusive ticketing alternative at a time when ticket price transparency is more important than ever.
But the main selling point for users remains the price transparency. The price the fan sees is the price they pay when they click "purchase" on their ticket. The platform also offers the ability to return tickets, and then have it resold, directly from the venue, at the same price point, so there's no marked up resale. There is, however, a waitlist, and fans can be notified if someone has returned their ticket, which is now available for purchase.
"The mission when DICE was built was to help connect the fans with the right shows," McCloud says. "The waitlist feature is also a favorite for fans. They love that they don't have to go to a resale site and pay three times the price."
McCloud says DICE has no goals to grow so much that they focus on tickets for stadium level events.
"We focus on independent music lovers, a younger demographic, people who go out a lot," she says. "We want to be independent, we want to be on the cusp of what's breaking onto the scene right now."
Price transparency is a benefit for both fans and artists. DICE is hoping to use price transparency, data and access to information as a way to help more artists understand where to play shows, and help connect fans with the artists they love so they can see more live music.
"I'd like to see it not be so expensive for artists to tour," Veazey says. "I wish we could get artists to tour because live music is so important to building an artist's career. Things are fractured right now. The attention economy is convincing people they don't need to see live shows because they can just digest music on TikTok. I see YouTube and TikTok as platforms in the same way MTV was a platform and an outlet 30 years ago. It's just utilized in a different way."
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