Ghali principe di TikTok
On TikTok, in terms of followers, Ghali (over 100 thousand), Mahmood (54,800) and Clara (49,900) especially grew. In terms of views, always Ghali (more than one million), BigMama (872 thousand) and Mahmood (806 thousand). The most viewed post is a behind-the-scenes look at Mahmood from the third evening. A curiosity: the only competing artist who lost followers on both Instagram and TikTok in three days of the festival was Sangiovanni. «The preliminary observation to make – comments Marta Migliore, managing director of Buzzoole – is that on Instagram growth of followers and engagement are decisive, while on TikTok virality and therefore views matter more: we are talking about a media that is more similar on TV. Having said that, public appreciation is the trait d’union between the two social networks. And the public’s appreciation of the Festival is growing: last year during the event we detected 27 thousand contents generated with Sanremo hashtags, now we are already at half that figure. The trend of interest is confirmed because there is a Sanremo community, an industry that is created because the artists’ performances and outfits need to be commented on, an experience that is now part of the event itself. In addition to looking for a sounding board for one’s ideas, today we are looking for integration with content creators.”
The 2024 Festival is worth 205 million
Meanwhile, new estimates have arrived on the festival’s economy: according to EY, the estimated total impact of the event in 2024 is equal to 205 million, of which 77 million in added value, an increase of around 6 million compared to the previous edition, mainly due to greater advertising revenue. Of these 205 million, the indirect and induced impacts are estimated to be approximately 125 million. The jobs activated amount to over 13,00 workers, of which approximately 860 resulting from indirect and induced effects. The sectors most impacted thanks to the activation of supply chains are those relating to advertising services (96 million turnover), accommodation and catering (13 million) and film, television and music production (10 million). «The economic repercussions of the Sanremo Festival – underlines Mario Rocco, EY Valuation partner, modeling and economics leader – highlight, this year too, the fundamental role of the music industry in our country, as well as the importance of the festival in the economy of the same”. In case there’s still anyone who doesn’t get it.
A program with 10.5 million viewers
This year too the Festival has certainly attracted the attention of public opinion, also due to the interweaving of themes amplified by the same audience opportunities that the Ariston stage makes available. «The Sanremo Festival is a unique event on Italian television, and not just Italian. We are talking about a program which in this 74th edition produces an average audience of 10.5 million people for over two hours of broadcast. Speaking on that stage gives the possibility of being heard live by a number of Italians, young and old, unattainable and unthinkable for any other program and talk show”, underlines Francesco Siliato, media analyst at Studio Frasi.
The farmers’ protest (which does not go up) on stage
These are numbers, but it is easy to find them stuck like thorns at the first stumble or at the first political or social concomitance. The hype surrounding the farmers’ protest and the possibility that this protest could arrive dramatically on the Ariston stage is proof of this. It won’t happen, limited to the reading of a message, but in the meantime Prime Minister Giorgia Meloni received the representatives of Coldiretti, Confagricoltura, Cia, Copagri, Alleanza Coperative and after a couple of hours of conversation the Prime Minister put her offer on the table of aid to farmers: Irpef exemption for agricultural and Sunday incomes which do not exceed the amount of ten thousand euros.
The case of John Travolta
Meanwhile, the Travolta case ends up in court. Codacons has announced that it has been exposed to the Public Prosecutor’s Office of Imperia and Rome for the possible case of aggravated fraud (American actor at the Festival thanks to a fee paid by the sponsor), while in turn Rai itself claims to have been “swindled” and threatens legal action against the company that manages John Travolta’s image in Italy. Of course, the memory of the fine from the Antitrust after the Ferragni case last year is still very fresh. And it hurts.