Rock in Rio officially debuted in the summer 1985, marking the beginning of a biannual rock festival in the vibrant Marvellous City—Rio de Janeiro—just as spring was emerging. The festival quickly claimed a special place in the hearts of fans, including Freddie Mercury, who performed there and left behind cherished memories with his iconic anthem ‘Love of My Life,’ transcending language barriers. Over the past four decades, Rock in Rio has expanded beyond its rock origins, with nine editions in Lisbon, three in Madrid, and one in Las Vegas. As the festival has evolved, it has embraced popular genres and reshaped the way music is consumed. Let’s take a look at how Rock in Rio has grown and transformed.
1985 was a pivotal year for Brazil, marking the end of the military dictatorship and the dawn of a new democratic era, propelled by Diretas Já—a civil movement demanding direct presidential elections. The "anos de chumbo" (years of lead) were defined by authoritarianism, human rights abuses, political persecution, and censorship, but this dark period also saw a cultural resurgence. Diretas Já was instrumental in Brazil’s journey back to democracy, ultimately leading to the election of the country’s first directly elected president in over two decades during the summer of 1985.
Amidst this backdrop, Brazilian rock mirrored the political and social climate, drawing influences from punk rock, post-punk, English new wave, metal, and the rebellious spirit of the Tropicália movement. The music captured the anxieties of youth and their thirst for change, with thought-provoking lyrics that reflected the struggles of the era.
Rádio Fluminense FM, also known as "Maldita" (The Damned), played a crucial role in the rise of Brazilian rock during the 1980s. Based in Niterói, near Rio de Janeiro, it was one of the first stations to provide significant airtime to underground and alternative rock bands in Brazil.
1980s Brazilian Rock, also known as Brock, is considered the golden age of the genre. Its beginning is a clash between the release of Gang 90 e as Abusurdettes’ 1981 single “Perdidos na Selva” and Blitz’s 1982 debut album “As Aventuras da Blitz 1.” The genre quickly spread across Brazil, with bands emerging in cities like Rio de Janeiro, São Paulo, and Brasília. Legião Urbana, Paralamas do Sucesso, Barão Vermelho, and Titãs defined the sound of the generation, alongside Plebe Rude, Kid Abelha, Capital Inicial, Ultraje a Rigor, and Ira! Honourable mentions include Lobão, Lulu Santos, Leo Jaime, Ritchie, Biquini Cavadão, Engenheiros do Hawaii, RPM, and many others.
Rock in Rio emerged as a defining cultural moment, showcasing 16 international artists and 15 Brazilian acts over 10 days on one of the biggest stages of its time. The festival cemented the careers of many bands from the Brock era and captivated the Brazilian audience with international names, some of whom made their Latin American debuts there. The event also highlighted Brazilian rock royalty, including Rita Lee, the queen of Brazilian rock and patroness of the Black Sheeps. Televised from the start, the festival created unforgettable experiences for families and united Brazilians who were socially, politically, and geographically distant.
In the winter of 1984, Roberto Medina met with the managers of Rádio Fluminense FM to discuss his plans for a Brazilian version of the 1969 Woodstock. Together, they combined curation with a gymkhana, allowing listeners to choose the bands they wanted to see live. Despite their efforts, Brazil was often dismissed as an international tour destination due to prejudices and misinformation about the country’s economic crisis.
A noteworthy observation is the greater number of international artists compared to Brazilian ones. This reflects the "Mongrel Complex," a term coined by Brazilian writer Nelson Rodrigues after the 1950 World Cup match between Brazil and Paraguay. Rodrigues defined the "Mongrel Complex" as a self-imposed sense of inferiority in which Brazilians view themselves as inferior to the rest of the world, likening them to a backward Narcissus who spits on their own reflection. This complex was evident in the festival’s emphasis on international acts, as Brazil continued to perceive itself through a lens of inferiority despite its rich musical heritage. While the abundance of international acts excited many, it also underscored a lingering sense of inferiority, with local talent often overshadowed on the global stage.
In the years that followed, Rock in Rio set records in Maracanã, hosted major names and tributes, hiatus and embraced the streaming revolution. The turn of the millennium brought a shift in the festival’s lineups, incorporating a broader range of music genres. While this diversity attracted a wider audience and rekindled connections to its Brazilian roots as a melting pot of cultures, it also led to a fragmentation of the fanbase, with some attendees feeling disconnected from the evolving musical offerings. Additionally, rising ticket prices exacerbated social divides, widening the gap between the rich and the poor.
In 2024, Rock in Rio is celebrating its 40th anniversary with a post-pandemic return.
On the other side of the Atlantic, Glastonbury’s story began in 1970 when Michael Eavis decided to host the first festival after attending an open-air concert headlined by Led Zeppelin. Originally known as the Pop, Blues & Folk Festival, it was held at Worthy Farm on the day after Jimi Hendrix’s death, extending his legacy and connecting with the British counterculture movement. Over the years, Glastonbury has evolved into a festival renowned for its eclectic music lineups, artistic expressions, activism, community focus, and commitment to social issues and sustainability. It has also become a major televised event.
Both Rock in Rio and Glastonbury offer unforgettable experiences and draw crowds that span decades, each with its own rich and storied history.
This piece is also available on Outside Left: https://outsideleft.com/main.php?updateID=3207
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