STAGETURBO: DEVELOPMENT OF A DIGITAL PLATFORM FOR MANAGING MUSIC STAGES AND FESTIVALS
Technical production; Stage direction; Event management; Digital innovation; Creative economy.
The technical production of live music festivals is an operational field characterized by high complexity, intense simultaneity of activities, and a large volume of critical information distributed among various teams. Despite the sector's growth and the centrality of festivals in the current music ecosystem, a scenario of informational fragmentation, lack of process standardization, and strong dependence on the tacit knowledge of professionals still predominates. This context limits efficiency, increases operational risks, and hinders the transmission and consolidation of technical knowledge. Given this scenario, this research investigates how the creation of a specialized digital platform can contribute to mitigating these problems by structuring workflows, organizing technical data, and strengthening coordination between teams. The technical-technological object under development is named StageTurbo.
The overall objective of the research is to develop and validate a digital platform focused on the technical management of stages in music festivals, with an emphasis on information standardization, automated processing of technical riders, and the organization of operational activities, in order to improve efficiency, communication, and decision-making in the technical production of live music events. Complementarily, this study seeks to validate the central problem identified in the sector through participatory procedures, analyze typical workflows of technical production, and evaluate the potential of digital technologies, including automation and artificial intelligence, to support operational decisions.
The methodology combines qualitative and quantitative approaches and articulates exploratory, descriptive, and applied procedures. The methodological path includes a literature review, document analysis, an exploratory study of public databases of cultural agents, application of creative ideation processes, survey and specification of technical requirements, construction of interface prototypes, and experimental development of the platform, using technologies such as JavaScript, TypeScript, Next.js, React, Prisma, TailwindCSS, and other current tools. Problem validation will occur in a later stage, through the application of the Delphi Method. The study also includes the initial development of a specialized database for public consultation and for use in future automation routines.
The preliminary results achieved include the systematic identification of the main challenges in technical production at festivals, the structuring of the platform's conceptual model, the development of the first functional modules (registration of stages, teams, artists, documents, and management panels), the definition of the data architecture, and the planning of the automated processing module for technical riders using AI. These results reinforce the relevance of the proposal and demonstrate the potential of specialized platforms to reorganize processes, standardize information flows, and strengthen operational management in the sector.
It is concluded that the adopted approach makes significant contributions to understanding and addressing the central problem of the research, indicating that StageTurbo can constitute a relevant socio-technical infrastructure for the live music sector. However, the research is still under development, with pending stages of validation and technical improvement. Future perspectives include conducting Delphi rounds, advancing the artificial intelligence module, testing with real festival data, and consolidating the open database.