Keni Martins and the rise of hip hop as a business force in Brazil

At a time when the creative economy is gaining global prominence, few names in Brazil represent this transformation as consistently as Keni Martins. At 32, the entrepreneur has positioned himself as one of the key figures shaping the country’s new cultural economy, connecting music, business, innovation and social impact into a scalable and highly relevant model.

Founder and CEO of RAP IN CENA, recognised as the largest hip hop festival in Brazil, Martins has transformed a vision rooted in urban culture into a platform that engages thousands of people, activates major brands and influences trends on a national scale. More than an event, the project has evolved into a strategic platform that integrates entertainment, audience development and opportunity creation.

His trajectory reflects a defining trait of the new generation of entrepreneurs: the ability to identify value where the market has yet to recognise it. From an early age, this mindset was already evident. As a teenager, he balanced activities such as recycling collection and informal trade, experiences that shaped his resilience and practical understanding of business.

The discipline developed through sport also played a decisive role. As an Olympic boxing athlete for Sport Club Internacional, Martins achieved significant titles, including three consecutive state championships and a Brazilian national title. This competitive foundation later translated into a strategic, results-driven approach in business.

His first structured entrepreneurial move came at the age of 18, with the creation of New Island, an entertainment production company that quickly became a reference among young audiences in southern Brazil. This initiative paved the way for what would become his main asset: RAP IN CENA, founded in 2014.

Over the years, the festival has evolved from a music gathering into a robust operation within the entertainment economy. Between 2022 and 2025, it attracted more than 180,000 attendees, establishing itself as one of the main hubs of urban culture in Brazil.

The strategic expansion of the business also included partnerships with major market players. Martins led the curation and production of stages within Planeta Atlântida, in collaboration with brands such as Atlântida and Budweiser, bringing hip hop into one of the country’s largest festivals and expanding its relevance to new audiences.

At the same time, he diversified his presence through the launch of a proprietary programme on Rádio Atlântida, strengthening RAP IN CENA’s footprint in the media landscape and reinforcing his influence as a communicator.

More recently, he expanded his operations further. In 2024, Martins founded RIC Music, a record label that, within its first year, accumulated more than 22 million streams and reached over 500,000 monthly listeners on Spotify. The initiative positions him not only as an event promoter, but as an active player across the music industry value chain.

Another strategic differentiator lies in his role as a business executive, with strong expertise in securing both public and private funding. Over the past four years, he has led the mobilisation of more than R$20 million through negotiations with major brands, incentive laws and institutional partnerships. This capability turns cultural projects into financially viable and scalable operations, one of the sector’s greatest challenges.

His academic and professional development reflects this systemic vision. With more than 40 certifications, Martins combines expertise in business management, marketing, event production and artificial intelligence applied to business, creating a multidisciplinary foundation that supports his strategic decisions.

Recognition has followed his trajectory. Among the main highlights are the Young Entrepreneur of the Year awards in 2024 and 2025, as well as ESG responsibility awards for the social impact generated through RAP IN CENA.

Beyond the numbers, his work represents a structural shift in how urban culture is perceived in Brazil. Hip hop is no longer seen solely as artistic expression. It is increasingly recognised as a relevant economic asset, capable of generating revenue, employment and social transformation.

By integrating culture, business and impact, Keni Martins embodies a model aligned with global trends in the creative economy. His trajectory demonstrates that, when properly structured, culture is not only identity. It is strategy, market and future.