Impact International: UK/Euro 2024 Honorees Clemente Zard & Andrea Ritrovato

“WE ACHIEVED IN FOUR YEARS WHAT TYPICALLY TAKES 20”

Vivo Concerti is an Italian promoter known for working with some of the biggest international and domestic names in music, as well as the business that handles all things live – promotion, production, booking – for one of the hottest rock acts of the current era: Måneskin.

“We produced nearly 100 shows in two years across five continents,” says Andrea Ritrovato, the company’s general manager. Those included headlining some of the world’s biggest festivals in 2024, such as Germany’s Rock am Ring/Rock im Park, Austria’s Nova Rock, Pinkpop in the Netherlands, and Rock Werchter in Belgium. The year before that, the band sold out arenas everywhere you can think of from Japan to South America to the UK.

“While doing this,” Ritrovato continues, “we experienced what it truly means to face challenges on a global scale. It was a unique opportunity to navigate various logistical, cultural and operational complexities while continuing to support the band’s rise to global stardom. Experiencing different cultures, such as in Japan or North America, has given us a new level of awareness and a fresh approach in how we work with the artists we represent. It was ultimately an opportunity to further strengthen our relationship with a band we had been working with since 2017.”

Navigating industry changes required flexibility in production, contracts, and artist relations. “However,” says Clemente Zard, “this also presented an opportunity to innovate, offering hybrid models of live performances, integrating digital components, and enhancing audience experiences with new technologies. The very challenge, which, by the way, is a very good one to face, has been managing a company undergoing massive growth, from a turnover of 50 million to 170 million in just two years, with continual increases in staff and new artists. We achieved in four years what typically takes a promoter 20 years, pushing us to constantly adapt and grow in every aspect of the business.”

Both men expect a further blending of music, technology, and immersive experiences, where concerts and festivals will evolve beyond music into broader cultural happenings.
“The audience will crave more personalized and interactive elements, and they will want an even stronger emotional connection with the artists. This is particularly true for artists, who, like many on our roster, were performing in small venues just a couple of years ago, and are now selling-out stadiums, or those who are evolving across musical genres. As a promoter we will need to anticipate these needs and be ready to produce even more innovative and unique shows.”

Clemente, if you haven’t guessed it by now, is the son of the late Italian impresario David Zard. “As a child, I would build stages using my father’s cigar boxes. Growing up around my father, who was a monumental figure for live music in Italy, I naturally fell in love with the industry. Breathing in what he did, I always dreamed of following in his footsteps and contributing to the live music world in my own way.”

Andrea would sit “mesmerized in front of MTV at my grandmother’s house, especially during the awards shows when I was little. It was clear in my mind from a young age that this was the direction I wanted to go.”

Given their love for the live music artform, they see the lack of recognition and prioritization it receives in many countries as one of the most pressing issues in the live music industry right now. “While live music is a significant economic driver, generating billions in revenue and creating extensive employment opportunities,” says Zard, “it is often not acknowledged as a formal industry by government and economic plans. This is especially evident when compared to sectors like film or traditional manufacturing, which are frequently supported through dedicated incentives and subsidies.”

“In many parts of the world,” Ritrovato continues, “live music is not seen as a priority within national economic or industrial strategies, despite the profound impact it has on both local and global economies. The live music industry has a multiplier effect on local businesses, from hospitality to tourism, supporting hundreds of thousands of jobs globally. For example, studies show that every dollar spent on a concert ticket can result in several times that amount spent in the surrounding economy, benefiting restaurants, hotels, and local retail. Furthermore, live music has intangible benefits: it enriches lives, fosters community, and supports mental well-being – elements that are challenging to quantify but are universally understood.”

Addressing this issue, Zard and Ritrovato agree, requires “continued advocacy and education to demonstrate the value of live music, not only as a cultural cornerstone but as a vital economic contributor. Progress is being made in some regions where governments have started to recognize and support the live music sector, but there is still a long way to go. Increasing visibility, lobbying for fair policies, and working with international organizations could eventually secure live music’s place as a recognized and supported industry on a global scale.”

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