For two decades I've worked at the seam between two industries that look nothing alike — the music business and the Olympic movement. On the music side I built content and artist-marketing operations at Amazon Music, Deezer and Universal Music Brazil — the last through the strategic-content agency I founded and ran in Rio for nearly a decade. On the sports side I've worked six Olympic and Pan-American Games, from Rio 2007 to Milano Cortina 2026. Today I run that same thinking into fan-data strategy — helping artists and promoters own the audience they currently only rent from platforms.
The moment is what everyone sees. The system underneath is what I do — and I've been building it in music and in sport at the same time.
It started as an entrepreneur. In 2008 I founded 14 — a strategic-content agency in Rio I ran for nearly a decade, growing it to 25 people and a client list that ran from Rock in Rio, Coca-Cola and Universal Music to Uber, Twitter and the Brazilian Olympic Committee. Most of what looks like separate projects actually happened inside that agency: Oi Novo Som, a live-streaming studio I launched in 2009 — before "YouTuber" was a word — that grew into Brazil's most complete indie-music portal with 50M unmonetised views; and the digital operation for Universal Music Brasil, where fixing broken process turned into 1M clicks a month to sales and +250% paid-media performance.
It was also a decade of invention under constraint. When a livestream ban threatened Paul McCartney's Brazil tours, I built a website that rewrote itself song-by-song, live with the show — 20M reached across five tours. For Tour do Rio I solved live broadcast from a moving cycling race with no connectivity — 34M over 797 km. At Rock in Rio I ran Brazil's first 100% mobile real-time production line — 203 videos in seven days, 13M views. At Circuito Banco do Brasil I turned fans into the jury of a national band competition and reached 116M people.
Then I went in-house. At Deezer, as Head of Content, I stopped thinking like a platform and started producing — we won a Cannes Lions Bronze for "Silêncio," an Emicida track built around sixty seconds of actual silence, while the Originals catalogue crossed 25M+ plays and Brazil became Deezer's #2 market in the world. Then Amazon Music Brasil, where across three years and three roles I built the country's first unified Content area from zero — Original, Editorial and Live Streaming under one team and a BRL 12.4M budget — shipping 120 Originals, 47M+ Original plays, a 186% recoupment, and Brazil ranked #2 worldwide for First Streams. Most recently I led the Brazil operation of Winclap, a global creative studio, on performance content with Meta and TikTok.
The other half started on a podium. At the Rio 2007 Pan American Games I was one of only three professionals in Brazil with victory-ceremony experience — and I never stopped. At Rio 2016 I ran the Olympic Park cluster, the highest-volume venue of the Games — 4,833 medals, 827 ceremonies, 376 podiums, still the largest medal-giving operation in Olympic history. At the Buenos Aires 2018 Youth Olympics I built a 300-volunteer operation from scratch, in a second language — 239 ceremonies, 1,250 medals. Then the Lima 2019 Pan American Games (transport & logistics) and the first winter Youth Olympics in Lausanne 2020 (music direction). Today I'm Victory Ceremonies Cluster Manager for Milano Cortina 2026 — senior authority over an entire Winter-Olympics cluster: four venues, three sports, 60 ceremonies, 303 medals. Six Games across two decades.
Different rooms, one method: the invisible system that makes a medal land on a champion's neck at the exact right second — or a song find the person who needed it. I'm now pointing that same discipline at a problem the music industry still hasn't solved — helping artists and promoters own the audience they currently only rent from the platforms.
Available for senior leadership roles and hands-on consulting — in music, live entertainment and large-scale operations.