Harlem is coming to Santa Fe: with a record of tickets sold in less than a month – Nolife

On the entire grounds of the Belgrano Station, the fourth edition of the most anticipated festival on the Coast is preparing to receive Nicki Nicole, Chano, Airbag, Emilia, Dillom, El Mató a un Motorizado, Fiesta Bresh, Ca7riel and Paco Amoroso, deejays like Soundexile and Londonground and much more. Esteban Sabbione (creator of this meeting that is here to stay) anticipated the particularities of these two days full of emotions.

Ignatius Andres Amarillo

The Belgrano Station will host the fourth edition of the Harlem Festival over two days (Saturday, October 29 and Sunday, October 30), which will include three stages, food and entertainment stands, brand experiences and many emotions. Currently, the last subscriptions and tickets per day are on sale, in Stage 2 (once sold out, the final stage of advance sale will begin until capacity is exhausted) through www.passline.com.ar, and also without service cost at www.alvearonline.com.ar.

To learn more about an edition that promises to be key in the history of the festival, its creator and main manager, Esteban Sabbione, provided more details.

-This year Harlem redoubles its bet, with a mega production. What can be said about this?

-I think that redoubling the bet and carrying out a mega production is simply living up to what the public demands of us today, that is, in a certain way we were forced to do it. And the truth is that we love it, it challenges us, and it makes us step even stronger as a brand and as a city. For example, what is happening this year with the large number of tickets sold with almost a month to go, we have never achieved before, and that makes us very happy because Santa Fe will show that it is up to the task of having one of the great festivals of the country such as, for example, the Cosquín Rock. We can anticipate that this year we will enlarge the stages, add one more for electronic music (there will be three in total), the ten gastronomic stands are all already under concession, there will be endless entertainment proposals from the brands and for the first time the entire venue will be used of the Belgrano Station, including the outdoor sectors.

There is also something that makes Harlem distinctive, and that is that it not only brings together artists on a grid, but also generates a climate suitable for the visit of many personalities who usually attend the festival as if it were one of the largest in the country. . It is something that surprises us edition after edition and this year we can already say that it will not be the exception, rather it seems that there will be surprises…


– What lessons did you learn from last year’s edition, the first after the year of standstill?

– That you never have to throw yourself into putting together a festival in a month and a half post-pandemic! (laughs). To tell the truth, we consider what happened last year to be a feat that honestly left us with a lot of learning, because despite all the uncertainty generated day by day with what was happening regarding Covid, we managed to make a very big leap in quality in many areas. Festivals are usually scheduled, developed and communicated in no less than four months, and the lack of time made us gather great teams to get to work in record time. I think that was the main lesson: to create work teams, through which we brought together approximately three hundred people to work directly and indirectly for weeks.

And there’s something else from last year that we hadn’t noticed before. By having the path clear in relation to other festival proposals in the country, Harlem became very visible throughout Argentina and many people learned about it through networks or its live broadcast on TV and streaming, and that, indirectly, made many people know Santa Fe and take a relevant place on the map. We learned that we have a beautiful city to show the country with a highly trained receptive tourism, and that makes people from all over the world also come to visit us during the weekend of October 29 and 30.

-After four editions, a festival already has its own personality. What things do you think distinguish Harlem from any other event?

What is happening with Harlem is what every festival would like. There begins to be a love and trust between the brand and the public that are reflected, for example, when we announce the date without revealing any artist and on the first day almost 2,000 tickets are sold, as happened this year, or when the Official merch sells out its stock on its first day of the weekend. Undoubtedly there are things that make people feel represented by the festival, such as the awareness of plant food that we always try to convey, but in one way or another what happens outside also happens inside: we are people of different ages, working and united for everything we like (musically and in terms of values ​​too), and that makes us push to make this grow. I don’t know if there are so many events that suddenly someone well-known calls you and tells you “hey, I want to go” or “I want to help you, I want to join”. Harlem is a communion of characters, a graduate trip for artists, a weekend of harmony and celebration for the public, a photo of the most beautiful thing we currently have as a society.


-A third stage dedicated to electronic music is added. How did this initiative come about, and how does it fit in with the dynamics of the other scenarios?

-We had a first experience with electronic music in the first edition of 2018, where we had summoned local deejays to play one of the three days on the roof of the Agapornis tour group that our friends from Trendo had brought to help us. Later in 2019 we went the other way and proposed this format by closing the main stage grid, with artists such as Augusto Balmaceda, or Peces Raros. In a certain way, we felt that this experience was a bit isolated and we understood that, to have the electronic music proposal within an event, it has to be comprehensive, and that is why we decided to add not only a stage, but a sector of the venue. The electronic stage will be located around the corner from the sheds, away from the sound of the main stages, with a decoration and visual proposal in keeping with the beauty that the Station already has, and it will be a continuous experience, that is, it will last from 6:00 p.m. the closing of doors of each day.

In this scenario we achieved a curatorship of artists that seemed to us very successful and separated in musical genre by day: Saturday will be more “progressive”, with Soundexile at the head (for those who do not know them, they are co-producers with Hernán Cattaneo of most of their tracks and live performances), and on Sunday more “tech-house” with Londonground and Manu Desrets, a duo who know how to make the public dance.

-After four successful own editions in the covered stadium of Unión (one of them in double shift) the Fiesta Bresh joins Harlem again. How were those experiences, and how is this pairing with the festival?

-Just in the previous question I mentioned the roof of the Agapornis bus, and in case you don’t remember, the Bresh was also climbed there for the first time outside of Buenos Aires! Bresh this year in Unión was a goal and a success everywhere, she grew, became more solid and each time proposes a better party experience, and obviously in Harlem it will not be the exception. Moreover, there will surely be one of those Bresh that are not possible to live practically anywhere in the country. With all the figures that will be going around the festival, can you imagine what that stage will be like, right?

Integrating Bresh into Harlem is something that we will always try to make happen, we already feel it is essential for these types of experiences to occur that do not occur in any other way. We were born as brands practically together and I think that at this point a Harlem without Bresh would not be the same; It’s like your best friend or friend who always came to your birthday suddenly one year does not come, you will feel some emptiness. And I don’t think that would only happen to us as organizers, but also to the public!

-El Litoral is added as a media partner in the region. Is it a way to strengthen the presence of Harlem in that area of ​​influence?

-We believe that the way to narrate an event at a national level from media partners that reside in the Federal Capital is not the same as narrating it from a medium such as El Litoral, which knows the people of Santa Fe so well. Although it strengthens us a lot In the region, most of the year we are in Buenos Aires preparing all this, and having the accompaniment of voices from our city makes us feel more comfortable, more at home, more accompanied, while everything is moving forward. We are very happy that it is so.

Airbag performed a Leo Mattioli song and broke it

Hierarchy figures

-Nicki Nicole is coming in her best international moment. Do they experience it as an impulse of hierarchy?

-The truth is that Nicki was always an option or objective to integrate the lineup since 2019 that came out with “Wapo Traketero”. I remember talking to her manager at the time and telling her: “If we don’t do it now, we won’t be able to bring it anymore because it’s going to explode and it’s going to be unattainable for us.” And here we are, she blew up her career, and three years after that Nicki is coming to Harlem. I think that more than an impulse of hierarchy we experience it more as a shot of reality of where we are arriving as a festival. Hopefully this continues and the public continues to accompany, to continue growing and being up to great artists in this festival in our city.

-Artists who were in prominent places, such as Ca7riel, are returning, but also artists who rose in their place on the grid, such as Emilia, Lara91K, Dillom or Taichu. Does this have to do with the growth of the urban scene?

– It has to do, yes. The urban scene conquered us. The live show that these artists display today is one of the best we can see in Argentina. We had Dillom in Corrientes and Misiones a month ago, and what they make the public vibrate I had never seen before. In fact, last weekend we also produced Emilia’s show at the Echagüe Club stadium in Paraná, which sold out in just four hours -and I don’t remember anyone who has achieved that in that city-, and the truth is that his live performance is one of the best we have seen on the scene, an incredible voice with a full band that sounds like the best of rock-pop, dancers and dancers who do not understand how they manage to have that timing, a luxury staging and a huge production team, which make it equal to any international show.


-What other particularities would you highlight about this edition?

By joining many well-known brands as sponsors, we achieved a great staging of what is the entire festival that makes us take advantage of and beautify the Belgrano Station to the fullest. There will be much more entertainment, rest areas, gastronomy sectors with the main local enterprises, VIP tickets that can be purchased with parking inside the premises, preferential sectors with bar services and bathrooms, among other things. In addition, it is worth noting that in this edition we achieved the accompaniment and support of the Municipality of Santa Fe from all the areas that we need to be able to carry out this type of event, who made themselves available from the first day, such as the secretary of culture, tourism, production, control and other areas. This is very important because a festival of these characteristics cannot be done only by the private sector, but rather requires a lot of coordination on the part of the state. Both the public, as well as the sponsors and the municipality, have already taken Harlem as a product of our city and that fills us with pride.

-Are you already thinking about things for next year, or will that work start on Monday, October 31?

We always take the reins of the next edition a few months after the current one ends. So in a way, the 2023 grid is starting to be talked about. We are also at a transition point for the festival, where this year will be a before and after of what Harlem is, because it is already thinking about the dimensions and proposals that it will have next year. We only have to finish selling the tickets for this edition and make the public live a great experience, because it seems that there is a great festival in Santa Fe for a while.

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Harlem is coming to Santa Fe: with a record of tickets sold in less than a month – Nolife

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