1 - ILive concerts have always existed as social events, as ludic experiences and entertainment. Beyond that, they are losing their meaning in themselves. If what one seeks is not to be at a party or enjoy a collective experience, new ways of consumption are replacing live performances. Refined music lovers take shelter in their home listening rooms, while many artists become "content creators" focused on social media.

But there is a mysterious element (not playful, not ornamental, not social) that cannot in any way arise without a real presence. It is something undescribable that even remarkable productions often lack today, being able to be enjoyed comfortably via the internet. When that something appears, one experiences the awareness that being there physically was really necessary, absolutely unavoidable.

BIRTH OF THE RITUALS is a production intentionally conceived for that to happen.

2 - It is said that there can no longer be any real communication between audiences and artists, because nobody seems willing to embrace anything genuinely new these days. Unfortunately, artists themselves often don't have much to say either. Much of today's music, across all genres, seems to repeat itself. Young musicians are trained in academies and conservatories, where they follow identical curriculums. They play very well, and it seems that no one expects anything more than that: simply to play well. Some musicians even boast of playing "for themselves" in a display of pretended honesty and commercial indifference, forgetting the ultimate meaning of what they do.

However, there is an enthusiastic public right today, eager for true innovations in contemporary music, beyond just entertainment. Receptive listeners, time and again disappointed by the emptiness of each new production, turning to our old favourites (that naturally grow old and die) while waiting for new creators to provide some glimpse of what we long to receive.

BIRTH OF THE RITUALS arises from a genuine need to contribute and has been built as a vehicle which to channel that need.

3 - Programmers, agents and even managers often say that programming is dictated by the audience. They refer, for example, to unsuccessful performances that had been programmed according to their tastes and criteria, contrasting them with performances that were not of interest to them but were nevertheless profitable.

Accepting this implies the disappearance of these professionals, turned de facto into nothing more than mere trend managers, easily replaceable by artificial intelligence and algorithms. It reveals a myopic perception, focused on immediacy, that ignores the meaning of art. Art has always pointed beyond, pushing human beings forward.

BIRTH OF THE RITUALS vindicates those "useful" actors that really enrich the value chain of the music business, bringing relevant novelties to their audiences. It is obvious that both concert venues and festivals, as well as the different intermediaries in the industry, must bet on what is known, profitable and safe. But managers, agencies and programmers with a medium and long-term vision cannot fail to invest in the only thing that will ensure their future. The only thing that justifies and gives meaning to their existence!