Known for its distinctive improvisational style and unique fusion of Eastern musical traditions with Western jazz, Azerbaijani jazz covers a broad range of styles, including traditional, post-bop and fusion. It often blends seamlessly with traditional Azeri music.

The best-known form of Azerbaijani jazz is jazz mugham, a sultry combination of Mugham and traditional American jazz.

A Brussels audience this week was treated to a taste of this unique musical heritage during a special concert dedicated entirely to Azerbaijani jazz at Flagey.

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The concert, held on Monday, was organised by the Embassy of the Republic of Azerbaijan to Belgium and took place at one of Brussels’ most renowned cultural venues, itself known for a rich jazz tradition.

The event featured distinguished Azerbaijani jazz musicians Rain Sultanov, Shahin Novrasli, Nicat Pashazade and Hasan Bilalov, who performed selected works from Azerbaijan’s musical repertoire.

In his opening remarks, Mammad Zulfugarov, Chargé d’Affaires a.i. of the Embassy, described Azerbaijani jazz as “an integral part of the country’s rich musical heritage”.

He stressed the importance of such cultural initiatives in promoting Azerbaijan’s culture and traditions internationally.

Belgian musician, jazz artist and composer Quentin Dujardin praised the Azerbaijani jazz school for its “distinctive style”.

From Soviet prohibition to ethno-jazz

Jazz became hugely popular in Azerbaijan in the 1920s, with pianist Tofig Guliyev and conductor Niyazi creating the country’s first jazz orchestra in the 1930s. However, after the Second World War, the genre was banned across the Soviet Union, forcing many musicians underground.

During this period of prohibition, pianist and composer Vagif Mustafazadeh began incorporating mugham elements into jazz from his apartment in Baku’s old city, creating an entirely new subgenre. Mustafazadeh is today considered the founder of Azerbaijani jazz, also known as jazz mugham. Although he was unable to freely perform his music internationally at the time, his legacy endured and evolved into what is now known as ethno-jazz.

“Just like jazz, mugham is multifaceted, inexhaustible, based on improvisation and possessing different forms. In Baku, a new and already local subgenre of jazz organically and subtly merged into one, wisely and philosophically revealing to us the intricacies of jazz improvisation in mugham stops,” Rain Sultanov wrote about the emergence of ethno-jazz.

A flourishing jazz scene in modern Azerbaijan

Following the end of the Soviet-era prohibition, jazz resurfaced and flourished once again in Azerbaijan.

In 1969, the first jazz festival was held in Baku. Since the 2000s, the country has seen a growing number of jazz and music festivals held annually. The Baku Jazz Centre was also created to support the development of jazz culture in Azerbaijan.

The Baku International Jazz Festival, organised every year since 2005, celebrates jazz music while encouraging and supporting young emerging musicians.

Recalling his participation in the Baku Jazz Festival, Quentin Dujardin also shared positive impressions of Azerbaijan’s vibrant jazz scene, talented musicians and the festival’s high level of organisation.

The concert in Brussels was warmly received by the audience and widely appreciated as a valuable contribution to promoting Azerbaijani musical heritage and jazz culture in Belgium.

The event was attended by diplomats, Belgian and European Union officials, representatives of cultural and artistic circles, members of the music community and representatives of the Azerbaijani diaspora.

Louis Armstrong once famously said: “If you have to ask what jazz is, you’ll never know.” In Azerbaijan, it seems people do not simply listen to jazz, they feel it.

L’article Azerbaijan brings its unique jazz fusion to Brussels est apparu en premier sur Travel Tomorrow.

Whether shepherd songs, the melodies heard at village festivities, or the drumbeats of local processions, the traditional music and instruments of the Central Asian republic are being captured or recreated for the digital record by researchers working with Uzbektelecom.

The “Ohang” initiative makes these haunting mountain calls and rhythms available to contemporary creatives who are increasingly seeking out inspiration from the Uzbek cannon but come up against barriers or labour under misperceptions about the origins of the folk music they hear.

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“Non-specialists often confuse local motifs with Arabic, Azerbaijani, or Turkmen music,” said Uktam Khakimov, an Uzbek singer, musician, composer, and international performer who is an intangible cultural heritage specialist. “When searching on music stock platforms using queries like ‘Uzbek music,’ relevant results are often missing, or platforms suggest unrelated tracks.”

To address this, the new Ohang catalogue offers a free digital archive of Uzbekistan’s traditional music, embracing base melodies, rare instrument recordings, and samples in a one-stop, open resource.

“Our goal is to bring together the key traditional Uzbek melodies and make them accessible,” said a spokesperson for Uzbektelecom. “We want to share the musical culture of Uzbekistan and promote it among the younger generation.”

Musicians who still perform traditional pieces and artisan instrument makers have been brought together in a professional studio to deploy 24 traditional instruments and create a bank of over 200 recordings. These include the “gajir nay,” a “rare and distinctive” wind instrument made from the wing bone of a scavenger bird,” Khakimov explained.

As well as providing grist for the modern musical mill, Ohang aims to faithfully preserve the sound of traditional instruments, despite taking them out of their natural habitat. “For us, it was important that professional recording did not change the authentic sound,” Khakimov said. “We worked with sound engineers who understand how these instruments sound in real life.”

The project has also managed to capture for perhaps the first time material that has not been performed for around half a century and that might otherwise have passed out of human memory, such as “ancient surnay melodies,” Khakimov said, highlighting that “as far as we know, such recordings do not exist elsewhere.” He went on: “These recordings are important not only for creators, but also for future research.”

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Future additions and interpellations are invited. The researchers hope that users of the platform will download and re-use tracks in video, film, music, or even promotional content—and perhaps undertake their own field expeditions to track down rare ancient grooves.

Material from initial field recordings will be launched officially on the platform in June 2026, but, as project coordinator Maftuna Abdugafurova says: “This is only the beginning.”

L’article New digital archive of Uzbek folk music to inspire future journeys into sound est apparu en premier sur Travel Tomorrow.

On 11 May 2026, Apple Corps Ltd, the company founded by The Beatles, announced it would be opening an official seven-floor fan experience on 3 Savile Row. The central London location is well-known to avid fans of the pop group; not only did it serve as Apple Corps Ltd headquarters from 1968 to 1972, but it was also the location where Let It Be was recorded and where The Beatles gave their last public performance on 30 January 1969.

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“It was such a trip to get back to 3 Savile Row recently and have a look around. There are so many special memories within the walls, not to mention the rooftop. The team have put together some really impressive plans, and I’m excited for people to see it when it’s ready,” Paul McCartney said about the upcoming project.

The concert on 30 January 1969 has since become an important part of music history. In the middle of the day and after insistence by group member John Lennon, The Beatles gave their last public performance from the rooftop of 3 Savile Row. The gig, which included songs such as Don’t Let Me Down, I’ve Got A Feelin’, and Get Back – quickly created chaos as fans gathered around, and after 42 minutes, the police put an end to the matter. In 1970, the band broke up.

“Wow, it’s like coming home,” drummer Ringo Starr commented on revisiting 3 Savile Row.

The immersive experience, which will be called The Beatles at 3 Savile Row, should open its doors in 2027. Allegedly, the idea was first introduced by Tom Greene, CEO of Apple Corps since 2025, who worked on the Harry Potter franchise in the past.

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 Although not all details about the project have been unveiled just yet, fans will be able to visit a recreation of the basement studio where Let It Be was recorded and to relive the Beatles’ rooftop concert in the exact same spot. The Beatles at 3 Savile Row will also include a shop where fans can buy licensed Beatles products.

“Well, you go in on the ground floor, and there’s memorabilia and stuff like that. Then you work your way up through the building, and [see] various things that happened here and there, until you get to the top, where you go out on the roof and pretend to be a Beatle,” Paul McCartney summarised the experience.

The Beatles at 3 Savile Row will be the first The Beatles experience. Neither Liverpool‘s Beatles Museum nor the Beatles Story are officially licensed, while popular The Beatles spots such as Abbey Road are easily visitable but not necessarily adapted to the crowds that often gather around.

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Fans who are eager to visit The Beatles at 3 Savile Row can already register online in order to be kept up to date once the venue opens its doors. In the meantime, Peter Jackson’s documentary series The Beatles: Get Back includes a fragment of the epic rooftop concert, and Sam Mendes is producing four separate biopics about The Beatles at the moment of writing.

L’article London to open first official The Beatles immersive experience in 2027 est apparu en premier sur Travel Tomorrow.

Performing her high-energy anthem “Bangaranga”, Dara secured a total of 516 points, ahead of Israel’s Noam Bettan, whose song “Michelle” reached 343 points. Romania’s Alexandra Căpitănescu came third.

Hosted at the Wiener Stadthalle by Austrian broadcaster ORF, the anniversary edition brought together 25 finalists and millions of viewers worldwide under the theme “United by Music”, with votes cast from 148 countries across participating nations and the rest of the world.

Bulgaria’s breakthrough moment

Dara’s victory marks a historic milestone for Bulgaria, whose national broadcaster BNT first entered the competition in 2005. It is the country’s first win in the contest’s 70-year history.

“Bangaranga”, written by Anne Judith Stokke Wik, Darina Yotova, Dimitris Kontopoulos and Monoir, topped both the jury and public vote. It is the first time since 2017 that a winning entry has achieved this double success.

With its infectious rhythm and tightly choreographed performance, the song stood out in a highly competitive final. Despite not being among the early favourites, Dara built momentum throughout the evening and ultimately secured one of the largest winning margins in Eurovision history.

Israel leads before final vote

Until the final public vote was announced, it appeared as if Israel’s Noam Bettan was set to win the contest.

Bettan was loudly cheered during his performance of “Michelle”, a rock ballad sung in Hebrew, French and English, although there was also a smattering of boos inside the arena. His entry received strong support across Europe and beyond, with many countries awarding high points.

The final public vote ultimately shifted the result in Bulgaria’s favour, delivering a dramatic conclusion to the night.

Strong performances across the board

Australia’s Delta Goodrem finished fourth with “Eclipse”, while Italy’s Sal Da Vinci placed fifth with “Per Sempre Sì”. Finnish favourites Pete Parkkonen and Linda Lampenius ended up sixth.

The United Kingdom, represented by Sam Battle, finished last after receiving no points from the public vote for the fourth consecutive year.

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A politically charged edition

The 2026 contest was also marked by political tensions linked to Israel’s participation. Demonstrations took place in Vienna in the days leading up to the final, with protesters gathering near the venue.

Five countries, Spain, Ireland, the Netherlands, Iceland and Slovenia, chose to boycott the contest, raising concerns about the event’s political dimension and its potential impact on audiences and funding.

Despite the controversy, organisers emphasised the contest’s role as a global platform for cultural exchange, bringing together millions of viewers around a shared celebration of music.

A landmark anniversary

The 70^th edition of Eurovision showcased major advances in live production, including energy-efficient lighting systems and enhanced broadcast technology. Around 11,000 spectators attended the final inside the Wiener Stadthalle, with millions more watching worldwide.

As Eurovision marks seven decades on stage, Bulgaria’s breakthrough victory confirms once again that the contest remains unpredictable, competitive and globally influential.

L’article Bulgaria wins Eurovision 2026 with Israel finishing second in dramatic final est apparu en premier sur Travel Tomorrow.

Music events drive travel, this much we know after the worldwide economic phenomenon that was Taylor Swift’s Eras tour. Swift’s 2024 global run of shows broke records as the first to gross $2 billion (€1.7 billion). Fans sought to find available tickets and combine the gig of a lifetime with a bucket list trip, in line with documented travel and leisure trends that show a growing consumer taste for experiencing a live show in a special place.

Celine Dion’s 16-date run in Paris’ La Défense Arena in September and October 2026 looks set to be no exception. Since it was announced in March, accommodation providers in the City of Lights have reported a surge in interest. Hotel brand Adagio, which boasts 10 hotels in the La Défense district alone, has seen a 400% rise in bookings, and Booking.com reports a 49% spike in “Paris” searches.

Overall, it could add up to a whopping injection of revenues. The president of business and destination agency, Choose Paris Region, Alexandra Dublanche told AFP stakeholders are anticipating a Dion-shaped uplift to the regional economy of between €300 and €500 million, while MKG analyst Vanguelis Panayotis, said “the Dion effect” could be worth more than a billion. “The economic benefits could reach €1.2 billion if taking into account transportation, and all the associated expenses and logistics of Dion’s support team as well as fans,” Panayotis explained.

By demand, six shows have been added to CELINE DION PARIS 2026 this September and October at Paris La Défense Arena.

Pre-sale is happening now through April 9. If you pre-registered for the pre-sale keep checking your email for access.

For details visit… pic.twitter.com/JTZ9SBpmZM

— Celine Dion (@celinedion) April 7, 2026

Paris is not usually short on visitors. The city (and country) is consistently one of the most-touristed in Europe and the world, and even as a destination accustomed to the limelight and designed with wide Haussmanian avenues, it has suffered its own problems with overtourism, including an emergency shutdown by overwhelmed staff at the Louvre art museum. But that popularity has not stopped it promoting the prospect of Celine Dion making it the home of what is being billed as her comeback tour. Even the Eiffel Tower was illuminated to celebrate and signal the beloved singer’s return.

As a bilingual francophone and anglophone, Dion enjoys a special relationship with France, Paris and, indeed, the Eiffel Tower. The opening ceremony of 2024’s Paris Olympic Games culminated in her performance of the Edith Piaf anthem, Hymne à l’Amour from the tower’s balcony. Now, with the fall tour drawing closer, as the song declares, those who love each other shall be reunited, much to the joy of the travel sector.

L’article Céline Dion’s 16-date tour to drive millions in Paris tourism revenue est apparu en premier sur Travel Tomorrow.

The latest “K-craze” in Australia is partly driven by the runaway success of the animated film K-Pop Demon Hunters, which is now Netflix’s most-watched film of all time, but its appeal goes far beyond a single blockbuster. Australians say they are being won over by the country’s creativity, kindness, and cuisine.

Travel insurer PassportCard Australia has seen this trend reflected in its sales figures, with travel insurance purchases for South Korea rising by 47% between October 2024 and March 2025 compared to the previous six months. September also saw a sharp uptick.

The scale is remarkable. By August 2025, K-Pop Demon Hunters had become Netflix’s most popular film ever, with more than 236 million views.

THEIR #1 ERA

With 236 million views, KPOP DEMON HUNTERS is OFFICIALLY the most popular Netflix film OF ALL TIME. pic.twitter.com/A6yEiXzbHd

— Netflix (@netflix) August 26, 2025

And as Michael Storozhev, PassportCard’s chief underwriting officer, told Explore, “Australians aren’t just watching Korean culture anymore, they’re booking flights to experience it firsthand.”

Storozhev also noted that, “while Japan, Vietnam and Thailand have historically been popular, we have not seen the same growth there – and in fact, we saw a 30 per cent decline in the number of travellers to Japan, and growth in Vietnam and Thailand was less than 20 per cent over the same time period.”

The cultural driver goes beyond just music. Justin Hong, general manager of Trip.com Korea, noted that “Korean pop culture has captivated hearts worldwide, and this is driving travel to South Korea, as well as a global demand for local cultural experiences. Our latest data shows that the travel surge is largely driven by Millennials and Gen Zs, highlighting the massive appeal and influence of Korean pop culture among young travellers worldwide.”

K-pop’s global popularity can be traced back to the viral success of Gangnam Style, which introduced a generation to Korean pop culture and paved the way for the current explosion of interest. This influence continues to grow. In 2025, Apple TV+ launched K-Popped, starring Psy alongside Megan Thee Stallion. The show blends Western and Korean music cultures for a global audience.

K-pop is about to get savage.#KPOPPED — August 29 pic.twitter.com/2bPl2OOw6E

— Apple TV (@AppleTV) August 29, 2025

According to Trip.com data, three in five Millennial and Gen Z Australians say that films and TV shows influence their choice of travel destination. This includes K-drama tourism, where fans visit the filming locations of their favourite series and films.

Cosmetics are another major draw. One in three Gen Z travellers says the K-beauty industry motivates their trips. South Korean skincare, celebrated for its quality and affordability, has become a global benchmark.

Peter Klemt, CEO of PassportCard Australia, has noticed a clear shift: “We’re seeing a generational change where online content drives offline travel. For many younger travellers, inspiration comes from culture first – whether via TikTok, K-pop or films. The K-wave is setting the pace.”

Then there is the food – K-food, to use the inevitable shorthand. While Korean BBQ remains popular, Australian travellers are increasingly seeking out street food staples such as tteokbokki and hotteok, which are heavily featured on TikTok and Instagram.

From K-pop to K-beauty and K-drama to K-food, Korean culture is not just trending in Australia – it is influencing travel decisions and has become a major driver of tourism.

L’article South Korea becomes Australia’s hottest travel fix est apparu en premier sur Travel Tomorrow.

Where music is born

There’s something about music in Xinjiang that feels different. It’s not just what you hear — it’s where it comes from, not from fancy studios or big-name artists, but from dusty courtyards, handmade instruments, and centuries of passed-down legends and motives.

If you’ve ever wondered what it really means to hold onto tradition, there’s no better place to experience it than the Ethnic Musical Instrument Village in Shufu County, where all instruments are still made by hand. 

It’s a living example of how tradition can shape a community’s future. With over 150 years of history, this village has become a centre for the preservation and production of traditional Uyghur musical instruments. About 68% of the villagers are involved in the craft, producing over 50 different kinds of instruments across 27 categories — from the dutar and chewawa to the sattar. 

Each piece is handmade, often using mulberry wood and cow bone, and can take more than a week to complete. Recognised as a national intangible cultural heritage site and the first batch of productive protection demonstration bases in 2012, the village continues its legacy through a master-apprentice system, training more than 150 young artisans.

The pulse of Uyghur music begins not with a melody but with hands that carve. Stepping into the village, visitors are greeted by the scent of mulberry wood, the rhythmic tapping of chisels, and the gentle hum of strings being tightened. The instruments made here — dutar, rawab, ghijek, sunay, naghar, among many others — each one is a living artefact, shaped by generations of inherited skill and deep cultural knowledge. 

Alongside the crafting process, visitors also have the chance to hear the instruments played, filling the air with the distinctive sounds of traditional Uyghur music, offering a full sensory experience of the region’s musical heritage.

In the workshop, tourists also have the opportunity to meet and talk to real artisans – masters of their craft. One of them, Imin Khushur, now in his eighties, has been making instruments since he was a kid, guided by the legacy of previous generations who passed down the craftsmanship traditions. “A deep love for music makes me continue my work for 75 years,” he says, “It’s not easy work, but it’s good work. You get to make something with your hands, and when you hear that the instrument sounds right, it feels right.” 

“Sometimes it takes days just to get one part right,” he says with a smile. “But when someone plays it and it sounds good, you forget how tired you were.” 

The village received the status of a National Demonstration Base for Intangible Cultural Heritage in 2012, which has brought more attention to the business. With support from local government and the growing appeal of cultural tourism, the workshops have welcomed more than 70,000 tourists, according to data collected by May 2025.

Tradition lives, breathes, and flourishes at Shufu County’s village, which is more than just a place where instruments are made. In order to respect the past while constructing a future, generations of Uyghurs managed to combine traditional skills with contemporary equipment and tourism. It stands as a powerful example of how culture, when nurtured with care and shared with others, can become both a source of pride and a path to prosperity.

Where music lives — the Xinjiang Regional Museum and the Muqam Art Troupe

Uyghur music, deeply rooted in the region’s ancient history and shaped by centuries of cultural exchange along the Silk Road, reflects the rich and complex heritage of the Uyghur people. Central to this tradition is the Muqam — a unique blend of poetry, storytelling, dance, and instrumental performance — recognised by UNESCO as an Intangible Cultural Heritage. A complex and deeply revered art form, the Twelve Muqam comprises over 300 pieces and spans more than 20 hours, offering a powerful emotional and narrative experience.

To begin understanding Muqam, tourists might visit the Xinjiang Regional Museum in Urumqi. With over 40,000 cultural relics — ranging from prehistoric mummies and Silk Road maps to musical instruments and traditional costumes — the museum provides a comprehensive overview of Xinjiang’s past and ethnic diversity. Their expositions trace the evolution of regional music while also providing an in-depth experience of the Muqam tradition. And the museum doesn’t just inform — it prepares, because next, visitors can see the real thing, at Xinjiang Art Theatre, home of the Muqam Art Troupe.

Founded in 1949, the troupe is more than just a performance group — it’s a keeper of history. Here, Uyghur artists carry forward the Twelve Muqam, a centuries-old musical tradition recognised by UNESCO in 2005 as part of the world’s Intangible Cultural Heritage. It represents a rich synthesis of music, dance, poetry, and storytelling, reflecting the history, culture, and social values of the Uyghur people.

What makes Muqam so powerful isn’t just its beauty — it’s its humanity. These songs once told stories of love, war, grief, and faith, and when you watch them performed on stage by people who have studied not just the music but the feeling behind it, you realise you’re witnessing something rare. Not just a performance, but a living link to the past.

Each Muqam suite is a journey in itself, comprising three main parts: naghma (melody), dastan (epic narrative), and meshrep (folk dance and celebration). A complete cycle can take several hours, shifting in mood and rhythm, drawing on centuries of oral poetry and musical structure.

Performers with the Muqam Art Troupe undergo rigorous training, not only mastering vocal and instrumental techniques but also absorbing the cultural and historical weight of the tradition. Their stage presence is captivating — women wear elegant, brightly colored dresses made of flowing silk or velvet, often decorated with intricate embroidery and beadwork. Outfits usually include long skirts and fitted bodices, with sheer sleeves or scarves that move gracefully as they dance. Some complete their look with traditional headpieces ornamented with beads, coins, or feathers, adding a touch of sparkle and tradition to their performance. Men wear traditional outfits made of silk or cotton, often in deep, rich colours. Their clothing typically includes long tunics or coats with embroidered patterns, paired with wide trousers and soft boots. Many also wear doppa — the square-shaped Uyghur hat — adding a distinct cultural touch to their appearance on stage.

Right now, the troupe is preparing The Soul of the Silk Road show, a two-and-a-half-hour performance that blends traditional Muqam music with modern elements like piano and electronic instruments, creating a unique, contemporary fusion. Featuring acoustic regional sounds, it showcases the rich musical heritage of Muqam art, shared by over 90 countries and rooted in Arabic and Central Asian culture. The show has already aired on local TV, and now, the troupe is preparing to take the performance abroad, with international shows planned for next year. 

Even glimpsing small parts of the show reveals a Muqam performance as a deeply emotional experience, a bridge connecting past and present, rooting personal identity in collective memory that continues to unfold. When asked to describe this art in a single word, one of the performers responded without hesitation: “Significant.”

Alongside Muqam, the Uyghur musical landscape includes epic tales, folk songs, and spiritual genres. These forms, shaped by both nomadic and settled lifestyles, express themes of love and life’s hardships, carried through melodies that mirror the vast and varied landscapes of Xinjiang.

A journey through sound and spirit

The journey from Shufu to Urumqi reveals more than music. It is a journey into the heart of Xinjiang’s intangible heritage, where craft and creativity come together in remarkable harmony. In the village workshops, music is carefully born, shaped by wood, hands, and patience. On the theatre stage, it comes alive — voiced in poetry, breath, and motion.

Together, these experiences offer a rare opportunity: to witness the full life cycle of a cultural tradition, from raw material to refined performance. And along this journey, we hear people speaking across time, in rhythm, and spirit. The sounds of Xinjiang continue, not only in recordings or memory but in the living hands and voices that still carry them forward.

L’article Sounds of Xinjiang: From traditional instruments to Muqam performances est apparu en premier sur Travel Tomorrow.

Between 11 July and 14 September 2025, singer Bad Bunny will be hosting a series of 30 concerts in Puerto Rico. The residency, known under the name ‘No Me Quiero Ir de Aquí’ (I Don’t Want to Leave Here), will take place at the Coliseo de Puerto Rico is expected to boost the country’s tourism sector far beyond the concerts alone.

The impact of the residency became clear from the start. Bad Bunny announced the events on 13 January 2025 (with tickets selling out a few days later) and according to data gathered by ForwardKeys, international flight searches to Puerto Rico reached 510,000 the next week – about seven times as many as the week before. Especially flights departing from Los Angeles, Mexico City, and San Francisco proved to be popular.

Since then, hotel bookings and other holiday rentals have reached all-time highs, and according to Glorianna Yamín, vice president of marketing at Discover Puerto Rico, people are clearly extending their stay beyond the actual concert date.

“It’s definitely a change for the industry. The entire tourism industry is getting ready. We are making sure that we’re educating those visitors; first, so they behave as they should, but also so they’re intrigued about our culture, our music, our history, our gastronomy… things Bad Bunny touches on in his album and already has momentum with,” Glorianna Yamín told USA Travel Today.

Indeed, on his latest album ‘Debí Tirar Más Fotos’, Bad Bunny makes a case for Puerto Rico and against the consequences of mass tourism. His song ‘LO QUE LE PASÓ A HAWAii’ directly addresses the issues at stake, such as protecting the local culture and being aware of the possibly negative impact of overtourism.

“Don’t let go of the flag … I don’t want them to do to you what they did to Hawaii,” he sings.

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Tourism but do it sustainably

In order to ensure a positive outcome for Puerto Rico, the tourism board has launched several initiatives to educate tourists and to try and limit the ecological impact of the growing visitor numbers. For example, the campaign ‘Return the Love: A Call to Celebrate Puerto Rico’ is an invitation to explore Puerto Rico responsibly and to leave both natural and cultural sites better then they found .

“Whether it’s supporting local businesses, protecting natural resources, or embracing our culture with gratitude, these are simple ways to travel mindfully. Through short videos and tips from local experts, you’ll learn how to enjoy Puerto Rico in a way that respects the destination and preserves its magic for generations to come.”

Another campaign launched by Discover Puerto Rico is called ‘The Green Path’. By completing four learning modules about sustainable tourism, travellers can obtain a certificate proving they’re ‘responsible travellers’, which in turn unlocks exclusive discounts from participating businesses.

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According to Alejandro Pabón, the Move Concerts promoter behind the residency, about 200.000 international concert goers are expected, which is a milestone in itself. The period of the concerts isn’t a coincidence either, as the month of July is traditionally the least popular to visit the country.

Moreover, the global number of international visitors might be even higher than the 200.000 concertgoers from abroad who bought a ticket, and the ‘No Me Quiero Ir de Aquí’ residency might even start a trend. In an interview with Billboard, travel and concierge expert Rob Dellibovi, CEO of RDB Hospitality, states other artists might very well follow in Bad Bunny’s footsteps by opting to host a residency in their native country instead of organising an international tour, thus effectively boosting the tourism industry.

L’article How Bad Bunny’s residency is boosting tourism in Puerto Rico est apparu en premier sur Travel Tomorrow.

The first ever World Music and Tourism Festival in Kinshasa, Democratic Republic of Congo, is set to take place from 16-18 July 2025, in a collaboration between President Félix Tshisekedi’s government and UN Tourism. It represents, according to a press release, “a unique opportunity to promote the DRC destination,” and will showcase the Congolese Rumba, which was recognised on UNESCO’s Intangible Cultural Heritage List in December 2021.

Programme and venues

Traditional, urban, folk will also feature at the event, through “rhythmic and immersive performances from around the world” as well as a series of roundtables, addressing music as a unifying art form, issues related to copyright and intellectual property, the dynamization of destinations, the digital revolution, and the role that young people play in innovation and the promotion of musical heritage.

Venues include the newly inaugurated Centre Culturel des Arts – a 93,000m² complex financed through millions of Chinese and US dollars – as well as the Palais du Peuple, inspired by the architecture of the Great Hall of the People in Beijing, and the  recently transformed Gare Centrale area.

In addition to the gigs and panel events, the itinerary also offers a major food fair presenting cultural and gastronomic “treasures”;  an exhibition park with arts, crafts, and fashion stands; guided tours of the city of Kinshasa; and excursions on the iconic Congo River.

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Promoting Brand Africa and South-South ties

The DRC is launching the festival at a key moment for music and the travel and tourism sector, in the wake of a new report by Grand View Research that projects 18.8% growth in music travel worldwide over the next five years, amid increasing fan engagement with their favourite artists and iconic events, as well as surging investment in festivals and gigs by governments and tourism authorities.

Organisers emphasise that the initiative is “fully in line” with the priorities of the UN Tourism Agenda for Africa and the goal of Tourism for Inclusive Growth. A vision document sets out how the festival is designed to advocate for Brand Africa, promote cultural heritage and innovation, and empower young people.

Through its exploration of rumba, it also aims to strengthen so-called “South-South” ties, presenting different forms of artistic expression and cooperation between Africa and the Americas, and consolidating links between Latin America, the Caribbean, Africa, and beyond. Registrations for the event close on 27 June 2025.

L’article Kinshasa to host first ever World Music and Tourism Festival est apparu en premier sur Travel Tomorrow.

Providing a 110-page analysis of events companies such as AEG Presents, Glastonbury Festivals Ltd, Live Nation, Lollapalooza, Ticketmaster, and Tomorrowland, the findings by Grand View Research, put the current value of worldwide music tourism at $96.78 billion (around €86 billion).

The impact of music events on local economies was illustrated recently by US megastar Taylor Swift, whose global Eras tour prompted the coining of the phrase “Swiftonomics” to describe the significant uplift in tourism and the hospitality sector in cities where she performs. Fans travelling to attend her concerts spend money not only on travel and gig tickets, but on accommodation, food, and other entertainment.

18-34 age bracket

Though the economic alchemy of music is not restricted to the arrival of the American Girl, the report finds that consumers in the 18-34 age bracket are particularly likely to take part in “experience-driven consumption, wherein cultural, emotional, and social experiences are prioritised over material possessions.”

Performers such as Beyoncé, Blur, and Harry Styles contributed to a 33% surge in UK tourism in 2023. In fact, some events are worth so much that destinations are increasingly prepared to pay out to support festivals and attract high-profile performers, the report points out. The Western Australian government shelled out $8 million to help secure two Coldplay gigs in 2024, causing an anticipated Rush of Blood to fans’ heads and, according to official estimates, generating a financial return in the tens of millions.

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Festivals franchising worldwide

As well as the effect of individual groups or performers, the report highlights the economic power of festivals, some of which have become popular enough to support international franchising. Miami’s Ultra Music Festival, for instance, has now taken place as far and wide as Australia, Brazil, Croatia, South Africa, and South Korea.

Paying to attract multimillionaire performers and expanding local music festivals on a global scale might seem cynical, however, the report’s authors note that the growth of music tourism “is largely driven by a desire to engage with local culture in deeper ways. Rather than merely visiting landmarks, travelers seek activities that foster personal connections, emotional engagement, and cultural enrichment.”

Music tourism offers tourists “a chance to connect with local culture through music, often in authentic and memorable settings,” they say, adding that this “fosters a deeper emotional bond between the destination and the tourist, encouraging repeat visits.”

If their estimates are correct, the sector could reach USD $267.85 billion (€248 billion) by 2030.

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