68 million passengers a year: Spain’s government and corporate headquarters flying out, the executives, buyers, and visitors flying in, and FITUR, the Champions League final, and the Grand Prix on top. Get the MAD media kit for formats, planning ranges, and booking windows.
You’re in good company
At a glance
MAD is 68.2 million passengers, 74% international, and Iberia’s Europe–Latin America hub in Terminal 4 and T4S. Two complexes sit about three kilometres apart, so a plan picks a complex before it picks a unit. Planning ranges, excluding VAT, run €5,000–€65,000 for one week on a single digital unit or network, and €18,000–€210,000 for four weeks.
MAD handled 68.2 million passengers in 2025 (AENA’s count is 68,179,054), up 3%, the busiest airport in Spain and fifth in Europe. The operator forecasts about 70 million in 2026. About 74% of passengers are international and 26% domestic.
Five terminals in two complexes about three kilometres apart. T4 and T4S: Iberia, Iberia Express, Vueling, Level, and the oneworld carriers. T4 with T4S carried about 37 million in 2025, more than half the airport. T1, T2, and T3: Air Europa and SkyTeam, Ryanair, and the non-oneworld international carriers, about 31 million combined. Metro and a free shuttle connect the complexes. The airline decides which complex the audience uses. Airline lists below are indicative.
It is a hub. Iberia carries more than 40% of the airport. A share of T4S passengers are connecting and never leave the building. The units that reach them are on the concourse, not at baggage claim. The useful audiences are the Madrid business traveler, the Latin American executive, and the international visitor. Business travel runs both ways: people flying in to meet Madrid’s companies, and those companies’ people flying out.
The calendar is spread across the year, mostly at IFEMA. FITUR runs January 20–24, 2027; ARCOmadrid March 3–7, 2027; the Madrid Open April 19–May 2, 2027; the UEFA Champions League final at the Metropolitano on June 5, 2027; the Spanish Grand Prix at MADRING, beside the fairground, September 10–12, 2027 (the 2026 debut drew 353,000 spectators); South Summit and Fruit Attraction in October; holiday travel mid-December to early January. Summer, July and August, is the traffic peak.
Planning ranges, excluding VAT: a single digital unit or network runs €5,000–€65,000 for one week and €18,000–€210,000 for four weeks, plus a technical cost per unit of roughly €150–€4,500 per week. A two- or three-unit arrival-path plan runs €30,000–€150,000 for a week. Screens run 5:00 to midnight, seven days. Those are planning ranges, not a rate card.
Sold by the week or by four weeks. A four-week period is 28 days. Every digital unit runs in a loop of four, six, or eight advertisers, so share of voice is never below one in eight. Hold terms, cancellation, and proof-of-posting timing are set at contract. Plan digital creative 14–18 business days before start and static creative 21–28 days before start. Competitive separation may be possible, but it isn’t guaranteed; ask when booking and write it into the contract.
Start your MAD plan
Three ways to start, depending on where you are.
What you can run
Seventeen digital placements: the T4 digital tunnel and its floor projection, fast-track and retail LEDs, Hall 10 descent and exit, the T4S duty-free LED, belt screens in T1 Halls 1 and 2, a T2 check-in LED, a Hall 6 claim LED, a T3 boarding-pier LED, and six-sheet networks of 180, 105, or 75 screens. Loops are one of four, one of six, or one of eight. The complex, and inside T4 the border, decides which units can reach the audience. The 2026 specifications are digital, plus optional vinyl at the T2 check-in LED.
Terminal 4 · Digital
Both sides of two main T4 walkways between check-in and security. Every T4 and T4S departure passes through.
Terminal 4 · Digital
Projected on the floor inside the digital tunnel. Sold only with the tunnel.
Terminal 4 · Digital
Immediately after security in the Fast Track and shuttle area, between screening and the duty-free entrance. Regular passengers use the route too.
Terminal 4 · Digital
On the stairway down to the T4 duty-free and retail area.
Terminal 4 · Digital
Opposite the staircase to the north commercial area of T4.
Terminal 4 · Digital
Two large LEDs in the centre of the T4 boarding zone, the busiest stretch of the gates.
Terminal 4 · Digital
On the mandatory route down to Hall 10, the T4 baggage claim, covering both routes to the arrivals hall.
Terminal 4 · Digital
Above the exit doors from the T4 baggage claim into the public arrivals hall. Shares the screen with airport information.
T4 Satellite · Digital
Along the mandatory route to the T4S boarding gates, just before duty free.
Terminal 1 · Digital
Two double-sided screens between the belts in T1 Arrivals Hall 1, Schengen and non-Schengen, with 10–25 minutes of dwell.
Terminal 1 · Digital
Two double-sided screens on belts 10 and 12 in Hall 2, Schengen arrivals including Ryanair.
Terminal 2 · Digital
On the main route from T2 check-in to the gates. Optional corridor vinyl branding around it. This is the one unit on the 2026 kit with a wrap option.
Terminals 2 and 3 · Digital
In the T2/T3 baggage hall where both terminals’ Schengen arrivals converge.
Terminal 3 · Digital
All terminals · Digital network
Vertical 4K screens across all five terminals: check-in, boarding, baggage claim, arrivals halls, waiting areas.
All terminals · Digital network
The departure-side screens: check-in and boarding, all terminals.
All terminals · Digital network
The arrivals-side screens: baggage claim, passport control, arrivals halls, all terminals.
Every digital unit runs in a loop of four, six, or eight advertisers. The tunnel and the retail-approach screens are one in four. The fast-track LED, the central boarding LEDs, and the Hall 10 descent LEDs are one of six. The belt screens, the Hall 10 exit LED, and the six-sheet networks are one of eight. This page does not state that fraction. Ask at quote.
Screens run from 5:00 to midnight, seven days. Creative is static or motion. A one-of-four loop on the tunnel means the creative fills both walls one pass in four. At the belts, where the wait is 10–25 minutes, one in eight still delivers several exposures per passenger.
The six-sheet network is also sold in subsets: by terminal range, by route (Schengen or non-Schengen, arrivals or departures), and by audience (an executive selection around the shuttle and the lounges; a shoppers selection around the T4 retail).
A Latin American executive changing planes at T4S for Paris walks past the T4S duty-free LED and the concourse six-sheets and never sees the arrivals units at Hall 10. A brand targeting that audience buys the satellite. Hall 10 descent LEDs cover both Schengen and non-Schengen routes for passengers who do enter Madrid. Both routes exit through one set of doors.
The 2026 MAD specifications behind this page are digital only, apart from optional corridor vinyl branding around the T2 check-in LED. Other static or experiential units are not listed. If that inventory exists and should be on the page, it has to come from a later kit.
The assignments on this page come from the airport media specifications and public guides. AENA’s terminal capacity management from summer 2027 will move some carriers. Confirm the terminal for a specific airline at contract.
The digital, static, experiential, and exterior units brands buy in airports. For MAD we plan specific units and dates against what is open at the time.
Digital screens and video walls in airline business club lounges reach affluent business decision-makers and high-net-worth travelers in a captive setting.
Travelers often spend 90 minutes or more in the club. Screens in dining and seated areas and larger video walls (about 84–100 inches) give the brand both frequency and a dominant face.
Full motion or static creative can rotate through the loop while the audience is already seated.
* Differs depending on the airport.
Target high-level decision-makers and affluent individuals with entrance banners in airport business club lounges.
Engage with a discerning audience in a premium, brand-safe environment.
Showcase innovations for business-to-business brands or emphasize luxury for high-end brands.
* Differs depending on the airport.
Baggage claim digital network screens provide a unique opportunity to connect with travelers at a prime moment.
Strategically placed in high-traffic areas throughout the baggage claim area, these screens ensure maximum exposure for your brand.
By using baggage claim digital network screens, you can deliver your message to travelers multiple times, building frequency and driving engagement.
* Differs depending on the airport.
Packages can range in screen size and quantity. Strategically positioned throughout central airport concourses.
These screens can target 100% of arriving and departing traffic as passengers move towards airport exits and a large percentage of departing traffic as passengers move through the concourses and frequent favorite concessions in the area.
* Differs depending on the airport.
Large format banners offer a large, eye-catching space that can capture the attention of everyone walking through the airport.
They can be strategically placed on walls or hung from ceilings throughout the airport, ensuring maximum exposure for your brand.
With large format banners, you have the opportunity to own 100% of the share of voice in that area.
* Differs depending on the airport.
Experiential advertising at airports lets the brand interact with a captive audience through immersive installations.
Activations can include brand ambassadors, tech-focused displays, and product sampling.
Exhibit space is the same idea: a physical footprint where travelers can engage face-to-face.
* Differs depending on the airport.
Digital charging network screens are a highly effective advertising tool for brand marketers looking to reach a captive audience of travelers.
Travelers engage with the screens while charging devices, which adds dwell to the impression.
* Differs depending on the airport.
Digital spectacular screens offer a powerful advertising tool to capture significant attention in airports.
Strategically located in high-traffic areas, these screens provide maximum visibility and impact for your brand.
With their attention-grabbing size and creative flexibility, digital spectacular screens hold the attention of travelers and drive engagement.
* Differs depending on the airport.
By using digital network screens, you can deliver your message to travelers multiple times throughout their journey.
Strategically placed in high-traffic areas, these screens ensure maximum exposure for your brand.
These screens build frequency and drive engagement, making them an effective advertising option.
* Differs depending on the airport.
Dioramas are backlit displays at eye level in corridors and holdrooms.
They offer a lit, poster-scale face with 100% share of voice on that unit.
* Differs depending on the airport.
Leverage exterior signage to engage airport visitors as they arrive or depart, keeping the brand visible on the campus.
High-impact banners on the building or approach create a lasting impression before travelers enter the terminal.
* Differs depending on the airport.
Flight information screens are some of the most frequently viewed screens in the airport, where passengers already look for gate and time updates.
Advertising on these screens puts the message next to information travelers are actively reading.
* Differs depending on the airport.
Jet bridge wraps put the brand on the walk between gate and aircraft.
The space is captive and sequential: every boarded passenger on that gate walks the length of the wrap.
* Differs depending on the airport.
Large format digital screens offer a unique opportunity to make a lasting impression on travelers.
These screens have the wow factor needed to capture your target audience's attention and inspire them to engage with your brand.
Large format digital screens offer creative flexibility to showcase your brand's messaging and art in a way that resonates with your target audience.
* Differs depending on the airport.
Large format banners offer a large, eye-catching space that can capture the attention of everyone walking through the airport.
They can be strategically placed on walls or hung from ceilings throughout the airport, ensuring maximum exposure for your brand.
With large format banners, you have the opportunity to own 100% of the share of voice in that area.
* Differs depending on the airport.
Mini-spectaculars are smaller spectacular units that still dominate a sightline without a full-wall takeover.
They own share of voice on that face and work in tighter terminal pockets.
* Differs depending on the airport.
Exterior digital billboards at the airport engage a wide mix of travelers on the approach and campus roads.
Creative on digital billboards can run full motion or static.
* Differs depending on the airport.
Large format banners offer a large, eye-catching space that can capture the attention of everyone walking through the airport.
An overhead banner package is sequenced across multiple faces so the brand owns a stretch of the travel journey and a specific airport area, which is what creates the wow effect.
They can be placed on walls or hung from ceilings, with 100% share of voice in that zone.
* Differs depending on the airport.
Spectaculars are large-format displays built for a single dominant face in a high-traffic terminal space.
With the ability to own 100% of the share of voice, your message is the only one being seen by travelers in that area.
* Differs depending on the airport.
Tension fabric displays are a visually stunning way to showcase your brand or product in the airport.
They command attention in a crowded terminal and offer a cost-effective way to reach a large audience.
With tension fabric displays, you have the opportunity to own 100% of the share of voice in that area.
* Differs depending on the airport.
By advertising on airport security trays, the brand reaches travelers during an essential part of the departing journey.
Every passenger who uses that lane handles the tray.
* Differs depending on the airport.
By using vertical digital network screens, you can deliver your message to travelers multiple times throughout their journey.
These are vertical units with a different view profile: most sit at eye level and read with a poster feel.
Strategically placed in high-traffic areas, they build frequency as passengers walk the concourse.
* Differs depending on the airport.
Video walls are strategically positioned in high-traffic areas of the airport, ensuring maximum visibility and engagement for your brand.
These high-impact screens provide maximum visibility for your brand, making a lasting impression on travelers.
* Differs depending on the airport.
Wall wraps offer a visually striking and modern way to showcase your brand in the airport, with the ability to customize them to your brand.
Strategically placed in high-traffic areas, wall wraps capture attention and own 100% of the share of voice on that surface.
* Differs depending on the airport.
Sponsoring Wi-Fi access at airports engages travelers on their personal devices.
Call-to-action pages can be video or static, which is what turns access into a media placement.
* Differs depending on the airport.
Window wraps offer a visually striking and modern way to showcase your brand on terminal glass, with the ability to customize them to your brand.
Strategically placed on windows in high-traffic areas, they capture attention from the interior walkway or the curb and own 100% of the share of voice on that glass.
* Differs depending on the airport.
Examples
Airport advertising in practice, photographed across many airports. Availability at MAD varies by format.
Real brands. Real campaigns.
Campaigns across several countries and media owners, each bought through one contract. Swipe or use the arrows for the markets, the scope, and the result.
U.S. + Canada
Multiple media owners.
One coordinated buy.
EAM brought a U.S. and Canada airport campaign together across multiple media owners.
Five continents
Different markets.
One media partner.
Large-format digital and screen networks across five continents, including London, Paris, Tokyo, and São Paulo.
Airports + airline lounges
Airports and lounges.
One coordinated plan.
A combined airport and airline-lounge presence across the U.S., Europe, and the Middle East.
Five U.S. airports
A year of visibility.
One coordinated rollout.
EAM bought year-long security-tray takeovers across five major U.S. airports.
Latin America
Four airports.
One regional campaign.
EAM planned digital and physical branding across Buenos Aires, Santiago, Bogotá, and Mexico City.
San Jose · SJC
One airport.
A complete takeover.
EAM coordinated a full San Jose airport takeover across digital displays and all 760 security trays.
Airline lounges · 7 U.S. cities
Executive education.
Reached in the lounge.
EAM planned and executed a lounge campaign for Wharton Executive Education in United, Delta, and American clubs across Philadelphia, New York, Dallas, Atlanta, Denver, Minneapolis, and San Diego.
4 markets · Year-round
Four markets.
A full year on screen.
EAM built a year-round enrollment campaign on airport digital video: always on in Salt Lake City, rotating through Dallas, Chicago, and Washington, D.C.
U.S. + Spain
An album launch.
Two countries at once.
For the Saturno release, EAM planned and executed airport advertising in Miami, New York, Chicago, Madrid, and Barcelona, plus an in-flight buy across the JetBlue fleet.
“EAM made a nationwide airport campaign feel much easier to manage. The team was responsive, organized, and always on top of the details. They helped us make smart decisions with the budget, kept everything moving, and ultimately delivered exactly what we were looking for.”
Chief Marketing OfficerFortinet · nationwide airport campaign“This was one of the most challenging campaigns we had ever managed, launching during COVID and the unprecedented freeze in air travel. EAM was an incredible partner throughout the entire process. They worked closely with the airports and media partners to protect our placements and ensure our space was held until travel resumed. Their persistence, communication, and attention to detail made an extremely difficult situation manageable. Without EAM, navigating this campaign would have been a nightmare.”
Chief Marketing OfficerInvest in Canada · airports and airline lounges“We ran a security tray advertising program across several key airports, and EAM was a tremendous partner throughout the process. Their team helped secure the space, manage renewals, and coordinate the campaign seamlessly from start to finish.”
Chief Executive OfficerFlexispot · security tray programThese examples show past EAM campaigns—not a minimum campaign size, a forecast, or a guarantee of results. One-airport briefs are welcome, too.
Cost
€5,000–€65,000 for a single digital unit or network for one week, and €18,000–€210,000 for four weeks, excluding VAT. Add a technical cost per unit of roughly €150–€4,500 per week. A two- or three-unit arrival-path plan runs €30,000–€150,000 for a week. Every confirmed digital unit runs in a loop of four, six, or eight advertisers. Those are planning ranges, not a rate card.
MAD is sold by the week and by four weeks, at rates that do not move by season on the card. What moves is availability. A FITUR week costs what any week costs on paper. The tunnel and the Hall 10 units are what sell out.
Share of voice is stated as a fraction on every confirmed unit: one in four, one in six, or one in eight. Units are sold by terminal and, inside T4, by route.
Rates are quoted in euros and exclude VAT. The technical cost per unit, roughly €150–€4,500 per week, is a fixed fee that covers scheduling and playout, not creative production. EAM contracts in euros or U.S. dollars as the client prefers and handles the VAT treatment for advertisers outside Spain.
What a budget buys at MAD
Planning ranges, excluding VAT. Pick the one closest to your brief and we’ll build the plan from it.
A single unit or network, one week
A single unit or network, four weeks
A two- or three-unit week
These are planning ranges, not packages or a rate card. Actual plans depend on the unit, the period, and what is open when you book. Technical cost of roughly €150–€4,500 per unit per week sits on top and is not a media range.
Media is priced in euros, excluding VAT, and sold by the week or by four weeks. Screens run 5:00 to midnight, seven days. Digital creative is due 14–18 business days before start; static creative 21–28 days before start. Creative needs airport authority approval.
Competitive separation may be possible, but it isn’t guaranteed; ask when booking and write it into the contract. Hold expiry, cancellation, and proof-of-performance terms were not in the 2026 specifications, so they are set at contract rather than quoted here.
Unit rates, loop-position premiums, and period-specific quotes. Those numbers move with availability and with the period. What you can plan against: one week or four weeks; €5,000–€65,000 for a single unit or network per week; €18,000–€210,000 per four weeks; €30,000–€150,000 for a two- or three-unit week; technical cost of roughly €150–€4,500 per unit per week; all excluding VAT. Specific units and periods come back as a quote.
| Unit or network | Where it reaches them | Faces or screens | Your spot in the loop | Best for |
|---|---|---|---|---|
| Digital tunnel | Both sides of two main T4 walkways between check-in and security. Every T4 and T4S departure passes through. | Digital, 4 faces, about 15.5 × 2.6 m each | One of four, 25% share of voice | The signature departure read; a launch, a luxury statement, a category claim |
| Tunnel floor projection | Projected on the floor inside the digital tunnel. Sold only with the tunnel. | Digital, 2 faces, about 16 × 2.8 m | One of six | The immersive add-on to the tunnel buy |
| Fast-track LED | Immediately after security in the Fast Track and shuttle area, between screening and the duty-free entrance. Regular passengers use the route too. | Digital, 1 face, about 4.3 × 2.3 m | One of six | The Madrid–Barcelona shuttle and the business traveler on the way to the gate |
| Duty-free escalator LED | On the stairway down to the T4 duty-free and retail area. | Digital, 1 face, about 6.3 × 3.4 m | One of four | The last read before retail; luxury, fragrance, fashion |
| North descent LED | Opposite the staircase to the north commercial area of T4. | Digital, 1 face, about 3.1 × 1.7 m | One of four | A second retail-approach read |
| Central boarding-area LEDs | Two large LEDs in the centre of the T4 boarding zone, the busiest stretch of the gates. | Digital, 2 faces, about 5.1 × 2.3 m each | One of six | Frequency against the domestic and European departure |
| Hall 10 descent LEDs | On the mandatory route down to Hall 10, the T4 baggage claim, covering both routes to the arrivals hall. | Digital, 2 faces, about 5.1 × 2.3 m each | One of six | The first arrival-side read for every T4 and T4S passenger who enters Madrid |
| Hall 10 exit LED | Above the exit doors from the T4 baggage claim into the public arrivals hall. Shares the screen with airport information. | Digital, 1 face, about 6.5 × 1.5 m | One of eight | Every arriving passenger who leaves the airport, once |
| T4S duty-free LED | Along the mandatory route to the T4S boarding gates, just before duty free. | Digital, 1 face, about 6 × 2.8 m | One of four | Long-haul and non-Schengen departures and connections, including passengers who never enter Madrid |
| Baggage belt screens, Hall 1 | Two double-sided screens between the belts in T1 Arrivals Hall 1, Schengen and non-Schengen, with 10–25 minutes of dwell. | Digital, 4 faces, 98 inches | One of eight | The T1 international arrival at the dwell moment |
| Baggage belt screens, Hall 2 | Two double-sided screens on belts 10 and 12 in Hall 2, Schengen arrivals including Ryanair. | Digital, 4 faces, 98 inches | One of eight | The low-cost European arrival |
| T2 check-in LED | On the main route from T2 check-in to the gates. Optional corridor vinyl branding around it. This is the one unit on the 2026 kit with a wrap option. | Digital, 1 face, about 4 × 2.3 m | Loop position confirmed at quote | The Air Europa and SkyTeam departure |
| Hall 6 baggage claim LED | In the T2/T3 baggage hall where both terminals’ Schengen arrivals converge. | Digital, 1 face, about 3.1 × 2 m | Loop position confirmed at quote | The SkyTeam and Air Europa arrival |
| T3 boarding-pier LED | Digital, 1 face, about 6.3 × 2 m | Loop position confirmed at quote | The SkyTeam long-haul departure | |
| Digital six-sheet network, arrivals and departures | Vertical 4K screens across all five terminals: check-in, boarding, baggage claim, arrivals halls, waiting areas. | Digital network, 180 screens, 85 and 75 inches | One of eight | Frequency across the whole airport; the only buy that covers both complexes |
| Digital six-sheet network, departures only | The departure-side screens: check-in and boarding, all terminals. | Digital network, 105 screens | One of eight | The departing business traveler in every complex |
| Digital six-sheet network, arrivals only | The arrivals-side screens: baggage claim, passport control, arrivals halls, all terminals. | Digital network, 75 screens | One of eight | Arrivals coverage that reaches the non-Schengen route before baggage claim, in every complex |
Timing
For tourism brands, FITUR week in late January. For art and luxury, ARCO in late February. For technology and produce, South Summit and Fruit Attraction in October. Between them, MAD is bought for the resident audience and the hub, by the week or by four weeks. Hold FITUR and Grand Prix periods 3–4 months out.
| Event | Timing | Who arrives | What it means for the buy |
|---|---|---|---|
| FITUR | January 20–24, 2027, IFEMA; trade days January 20–22, public weekend January 23–24 | The global tourism industry: destinations, hotel groups, airlines, tour operators. | The week destination and hospitality brands buy MAD. The audience is the industry that markets travel. |
| ARCO Madrid | March 3–7, 2027, IFEMA (46th edition) | The international art market: galleries, collectors, institutions. | Luxury, wealth, and cultural brands. A small, dense inbound. |
| Madrid Open | April 19–May 2, 2027, Caja Mágica (25th edition) | International tennis audience, sponsors, and the Caja Mágica crowd. | Sports, luxury, automotive, and financial brands. Sponsors and team-side hospitality are in the building, not only spectators. |
| UEFA Champions League final | June 5, 2027, Estadio Metropolitano | International football audience, sponsors, UEFA partners, and the executives they host. | A one-weekend inbound from across Europe; sponsors, financial, and hospitality brands. Arrivals Thursday to Saturday, departures Sunday and Monday. |
| Madrid Fashion Week | February and September each year | Fashion industry and press. | Fashion and beauty, paired with the departure-side luxury units. |
| Summer | July and August, the two busiest months. | Families and international leisure; Latin American summer travel to Europe. | Tourism, retail, and the Latin American audience at its traffic peak. |
| Madrid Grand Prix | September 10–12, 2027, MADRING, the circuit beside the IFEMA fairground and minutes from the terminals; the 2026 debut drew 353,000 spectators over three days | International motorsport audience, sponsors, teams, and press. | Team partners and sponsors, many of them enterprise technology, financial, and automotive brands, host executives and clients all weekend; luxury, automotive, and hospitality compete for the same loops. Sponsors and team partners host clients that week. Not a consumer-only window. |
| South Summit | October, IFEMA | Founders, investors, and the Spanish and Latin American startup ecosystem. | Technology, venture, and the Latin American business audience. |
| Fruit Attraction | October 6–8, 2026, IFEMA; about 117,000 visitors and 2,200 exhibitors from 100 countries | The fresh-produce trade. | A trade week for European and Latin American agribusiness. |
| Holiday season | Mid-December to early January. | International and Latin American family travel. | Consumer and retail at the year’s second peak. |
The mistake is buying Madrid like one airport. It is two, three kilometres apart, and the audience you want is almost always in one of them. A Latin American business audience is T4 and T4S, and part of it never leaves the concourse. A European low-cost leisure audience is T1 and T2. The Spanish corporate traveler is T4 and T2. Buying arrivals at MAD without saying which arrivals hall is buying the wrong half of the airport. The second mistake is timing: the calendar is spread across the year, so the always-on buy in a four-week period usually beats chasing a week.
The four-week periods containing FITUR and the Grand Prix: hold inventory 3–4 months out. ARCO, the Madrid Open, and the October shows: 8–12 weeks. Standard periods: 4–8 weeks is usually enough. MAD prices by the card, not by the event.
The premium at MAD is availability, and it is concentrated in two places: the T4 digital tunnel, which luxury and fashion houses hold well ahead, and the Hall 10 arrivals units, which tourism and transport brands hold around FITUR and the summer. The rest of the inventory, the south complex in particular, is open on reasonable notice most of the year. Because the calendar is spread across the year, a four-week period often contains a show as a bonus rather than as the reason for the buy.
| Tier | Examples | Hold by | What sells first | Pricing character |
|---|---|---|---|---|
| Peak | The four-week periods containing FITUR and the Grand Prix | 3–4 months | Digital tunnel, Hall 10 descent LEDs, arrivals six-sheet network | Card rate. The tunnel is held by category leaders year-round |
| High | ARCO, Madrid Open, South Summit and Fruit Attraction periods; summer for arrivals units | 8–12 weeks | Duty-free escalator LED, T4S duty-free LED, belt screens | Card rate. Contested by luxury on departures and tourism on arrivals |
| Standard | All other periods; most of the south complex year-round | 4–8 weeks | Most units open | Card rate. One-week minimum |
Ready to plan?
Tell us who you need to reach, where, and when. We come back with current availability at every airport in the plan and a recommended mix.
Placement
In the complex your audience uses, then along the route. Iberia, oneworld, and Latin America: T4 for check-in and Schengen departures, T4S for long-haul and connections, Hall 10 for arrivals into Madrid. Air Europa, SkyTeam, and Ryanair: T2 and T3 for departures, Halls 1, 2, and 6 for arrivals. Both complexes: the six-sheet networks. Nothing reaches everyone except those networks.
| Step | T4 / T4S (Iberia, oneworld, Latin America) | T1 / T2 / T3 (Air Europa, SkyTeam, Ryanair, others) | Priority |
|---|---|---|---|
| Check-in and the walk to security | Digital tunnel (four faces, both walls); check-in six-sheets | T2 check-in LED with optional corridor wrap; six-sheets | Highest on the departure side in T4 |
| After security | Fast-track LED; duty-free escalator LED; north descent LED | — | High for the business and shuttle audience |
| The gates | Central boarding-area LEDs (T4 Schengen); train to T4S; T4S duty-free LED | T3 boarding-pier LED; six-sheets | High for luxury and the Latin American audience at T4S |
| Arrivals, the descent | Hall 10 descent LEDs, both routes; passport-control six-sheets for non-Schengen | Six-sheets | Highest for a T4 arrivals buy |
| Baggage claim | Hall 10; exit LED at the door | Hall 1 and Hall 2 belt screens (T1); Hall 6 LED (T2 and T3) | High; the dwell moment in every hall |
| Connections | T4S concourse: duty-free LED and six-sheets | — | The only units that reach the passenger who never enters Madrid |
Departures check in on T4’s upper level, walk the two main walkways (the digital tunnel) toward security, pass the fast-track LED after screening, and either go down to the T4 retail area and the Schengen gates or take the underground train to T4S for long-haul and non-Schengen flights. Arrivals into Madrid from T4’s own gates come down to Hall 10. Arrivals from T4S take the train back, pass through passport control if non-Schengen, and descend to Hall 10. Both routes exit through one set of doors. Connecting passengers at T4S never make that trip.
T2 is the SkyTeam Schengen check-in, with the check-in LED and the optional corridor wrap. T1 is the non-oneworld international and part of the low-cost operation. T1 arrivals use Halls 1 and 2. T2 and T3 share Hall 6. Six-sheets run throughout. A passenger does not walk from the south complex to T4.
A Spanish corporate buy is departures in T4 and T2, both directions for the shuttle. A Latin American buy is T4S, and it does not need Hall 10 unless the audience is entering the city. A luxury buy is the tunnel and the retail approaches. A tourism or welcome buy is Hall 10 and the south-complex halls, weighted by which carriers the visitor flies. A calendar buy is arrivals in both complexes for the inbound days, then departures on the last day.
The airport operator has announced that from the summer 2027 season it will manage passenger capacity by terminal and traffic type at peak hours, ahead of a 2027–2031 investment program that includes expansions of T4 and T4S and renovations of T1, T2, and T3. Expect airline moves between terminals and construction in the south complex over that period. Confirm the terminal for a specific airline against the current airport map at contract, and ask for current photos on any south-complex unit.
Why MAD
Because Spain’s capital flies from here and Latin America enters Europe here, and IFEMA is a short ride from the terminals. 68.2 million passengers a year, 74% international, and a satellite terminal that carries an executive audience that may never leave the airport. Whoever you need to reach in Madrid, or on the way through it, the plan starts by naming the complex.
It is Spain’s capital airport. The IBEX headquarters, the banks, the ministries, the law firms, and the consultancies are here, and their people fly to Brussels, London, Frankfurt, and the rest of Spain from Terminal 4 and Terminal 2 every week. The Madrid–Barcelona air shuttle has its own area in T4. This is the resident audience a Spanish B2B, financial, or professional-services brand is buying. The traffic runs both directions.
It is the Europe–Latin America hub. Iberia’s network to Mexico City, Bogotá, Lima, Buenos Aires, Santiago, São Paulo, and other cities runs through T4 and T4S. A share of those passengers connect at T4S without entering Madrid. For a brand selling to Latin American executives, the concourse units at T4S reach that audience whether or not it clears customs.
And it is a visitor’s airport. 74% of passengers are international, year-round. Tourism, luxury, retail, hospitality, and consumer brands that want the arrival buy the arrivals side year-round. FITUR, ARCO, the Madrid Open, and the Grand Prix add industry and sport weeks on top.
Two terminal complexes sit three kilometres apart, each with its own arrivals halls, and inside T4 there is a Schengen and non-Schengen split. Schengen arrivals come down from T4’s own gates. Non-Schengen arrivals ride the train back from T4S and pass through passport control. Both routes descend to Hall 10 and exit through one set of doors. The units on that descent and at that door reach both routes.
Audience
68.2 million passengers in 2025, 74% international. Terminal 4 and T4S carried about 37 million: Iberia, Iberia Express, Vueling, Level, and the oneworld carriers, including the Europe–Latin America and long-haul operation. T1, T2, and T3 carried about 31 million. The useful audience is the Madrid business traveler, the Latin American executive, and the visitor, in different terminals. A share of T4S traffic connects and never enters the city.
| Terminal | 2025 passengers | Airlines (indicative) | What it means for the buy |
|---|---|---|---|
| Terminal 4 | About 20.7 million | Iberia, Iberia Express, Iberia Regional (Air Nostrum), Vueling, Level. Schengen and domestic departures. Check-in for T4 and T4S flights, as the kit describes it. Indicative. | The hub’s front door. Digital tunnel, fast-track LED, boarding-area LEDs, Hall 10. The Madrid–Barcelona shuttle boards here. |
| Terminal 4 Satellite (T4S) | About 16.1 million | Iberia long-haul and oneworld long-haul as the kit describes it, including the non-Schengen T4 flights. Indicative. | Reached by underground train from T4. Long-haul, the Americas, and the connecting passenger. Duty-free LED is here. Arrivals into the city return to Hall 10. |
| Terminal 1 | About 14.1 million | Non-oneworld international carriers and part of the low-cost operation, as the kit describes it. Indicative. | Baggage belt screens in Halls 1 and 2. |
| Terminal 2 | About 10.1 million | Air Europa and SkyTeam Schengen, as the kit describes it. Indicative. | Check-in LED. Hall 6 baggage claim is shared with T3. |
| Terminal 3 | About 7.2 million | SkyTeam non-Schengen boarding, as the kit describes it. Indicative. | Boarding-pier LED beside the VIP lounge. Arrivals through Hall 6. |
MAD served 68,179,054 passengers in 2025, up 3%, on about 430,000 movements. The operator’s forecast for 2026 is about 70 million. By terminal in 2025: T4 about 20.7 million, T4S about 16.1 million, T1 about 14.1 million, T2 about 10.1 million, T3 about 7.2 million. July and August each pass 6 million. January and February, the FITUR and ARCO months, run about 5 million. About 26% of passengers are domestic and 74% international. It is the figure the 2026 specifications cite, and it is the figure used everywhere on this page.
T1, T2, and T3 connect by walkway. T4 and T4S connect to each other by an underground train and to the south complex by a free shuttle and the metro. A passenger does not cross from one complex to the other unless connecting between airlines. A plan is a complex plan first, then a terminal plan.
Corporate Spain: IBEX headquarters, banks, ministries, law and consulting firms, flying to Brussels, London, Frankfurt, Lisbon, and the rest of Spain, mostly on Iberia and Air Europa from T4 and T2. Heaviest Monday and Thursday. The Madrid–Barcelona shuttle has its own area in T4. This is the audience for Spanish B2B, financial, and professional-services brands. The same people fly out, and their clients fly in.
Executives, entrepreneurs, and families from Mexico, Colombia, Peru, Argentina, Chile, Brazil, and the rest of the region, for whom Madrid is the gateway to Europe. They arrive at T4S. Some continue to T4 and the city. Some connect onward. The T4S concourse units reach that audience whether or not it leaves the building.
74% of the airport, year-round, heaviest in summer and around the holidays. and Italy among them, plus the Americas and a growing Asia share. Tourism, attractions, retail, luxury, and hospitality buy for them on the arrivals side.
IE and the Madrid campuses of IESE and ESADE draw executives and MBA candidates from Latin America and Europe. The Complutense, the Autónoma, and Carlos III draw international students. Education brands EAM has placed in airports include Wharton, BYU, the University of Michigan, the University of Pittsburgh, and UT Dallas.
Who advertises
Spanish corporate, financial, and professional-services brands reaching the capital’s business traveler; banks, telecoms, business schools, and airlines reaching the Latin American executive in T4 and T4S; luxury and fashion houses on the tunnel; tourism and transport at arrival; FITUR, ARCO, and Grand Prix sponsors in their periods; and employers and universities reaching the resident. The objective picks the complex, the terminal, and the direction.
| Objective | Who buys it | Who it reaches | What the buy usually looks like |
|---|---|---|---|
| Spanish corporate presence | IBEX companies, banks, insurers, energy and telecom, consultancies, law firms | The Madrid business traveler on T4 and T2 departures; the shuttle | Departures six-sheet network and its executive subset; the fast-track LED; always-on |
| Latin American audience | Banks, telecoms, business schools, real-estate developers, airlines, consumer brands | T4S: the long-haul passenger, the connection, and the departure back to the region | T4S duty-free LED, T4S six-sheets, Hall 10 for those who enter Madrid |
| Luxury, fashion, fragrance, and retail | Fashion and fragrance houses, watch and jewellery brands, T4 retailers | The international departure walking through the tunnel with duty free ahead | Digital tunnel and the floor projection, duty-free escalator LED, north descent LED, the shoppers subset |
| Destination and attraction presence | Museums, including the Prado and Reina Sofía, Real Madrid, city and regional tourism bodies | International arrivals | Hall 10 descent LEDs and exit LED, Hall 1 and Hall 6 belt and claim screens, arrivals network |
| Calendar inbound | FITUR exhibitors, ARCO galleries, Madrid Open and Grand Prix sponsors, South Summit and Fruit Attraction exhibitors | Their industry or sport, arriving for that period, in every terminal | The four-week period containing the show; arrivals network, Hall 10 for T4, belt screens for the south |
| Arrival-moment services | Hotels, ride-hail, rental cars, the airport express, SIM and connectivity, currency | Arrivals deciding how to get into the city | Hall 10 exit LED, belt screens, arrivals-hall six-sheets; always-on |
| Banks and inbound welcome | Spanish and international banks, payment brands, telecoms | International arrivals on both routes, both complexes | Arrivals six-sheet network; the descent and belt units |
| Business schools and universities | IE, IESE Madrid, ESADE Madrid, and peers; programs recruiting Spanish students | Executives on the shuttle and the Latin American routes; students at intakes | Executive subset of the six-sheets; T4S for the Latin American candidate; September and January |
| Employers and hiring | Companies hiring in Madrid’s technology, finance, and consulting sectors | The resident workforce departing; candidates arriving | Departures network; a South Summit period when the brief is that inbound |
| Launch or brand moment | A product launch, a store opening, a route launch, a Grand Prix activation | Everyone in T4 for a week | Digital tunnel plus the Hall 10 units plus the network; one week |
The useful fact about MAD is that a share of the passengers in T4S never enter Madrid. For a Spanish or European audience that is a discount on the impressions. For a Latin American audience it is the reason to buy the satellite. A bank or a business school selling to that traveler buys T4S because the audience is there, on the way to somewhere else.
The T4 digital tunnel is the unit luxury houses hold, which is why Madrid media kits show fragrance and fashion creative there. A brand in that category should expect to share the four-slot loop and plan share of voice. A brand in another category gets the signature read with less competition in the loop than the category leaders face.
The natural windows are the September and January intakes and the spring admissions season.
For a Spanish plan, Barcelona adds the Fira calendar and a second international gateway. For a European plan, other capitals add markets. EAM buys them as one plan when a brief needs it. That is a scoping conversation, not something this page needs to argue.
How EAM works
One call, one plan, one contract. We follow up to learn who you need to reach and the objective, then come back with current availability and a recommended mix.
Step 01
Always-on, a calendar period, or a launch. Which complex the audience uses (T4 and T4S, or the south terminals). Whether the audience enters Madrid or connects through. Which route: Schengen, non-Schengen, or both. Arrivals, departures, or both. One airport, or Madrid as part of a Spanish or European plan.
You getThe period, the complex, and the direction
Step 02
Which units are open for the period, how many of the loop positions are taken, whether the tunnel is available, and whether competitive separation is possible. It may be possible, but it isn’t guaranteed; ask when booking and write it into the contract.
You getAvailability and loop position
Step 03
Units, share of voice, complex and route coverage, and a range, not a scraped rate card. After we know who you need to reach, we come back with current availability and a plan you can take inside.
You getA quoted plan you can take inside
Step 04
Specs across every unit in the buy. The tunnel walls, the LED units, the floor projection, and the portrait six-sheets are four shapes. Airport authority approval. Digital creative is due 14–18 business days before start; static creative 21–28 days before start. EAM handles the euro contract and the VAT treatment for non-Spanish advertisers.
You getOne contract and one spec sheet
Step 05
Confirm posting before the first arrival wave. Deliver proof of posting and play logs after the flight.
You getProof of posting and play logs in one report
EAM Advertising is an independent airport and in-flight media agency, founded in 2015. We specialize in airport and in-flight media and nothing else, and we do not own media assets at MAD or any airport. That independence is why the recommendations hold up. We plan and buy across 125+ airports and 45+ airlines worldwide, which is the leverage and the current-availability knowledge a one-time MAD buyer does not have. Clients include Fortinet, Dynatrace, Rubrik, McGraw-Hill, and Wharton. When the strategy extends beyond Madrid — a roadshow, a multi-city launch, an international push — the same relationship covers the other markets. See the airport advertising hub.
For agencies and consultants
Agencies and consultants bring EAM Advertising in as the airport specialist behind a client’s plan. The client relationship stays with you. We plan, buy, and report under NDA, and can work white-label.
Get our media kitMeasurement
Proof of posting and digital play logs are factual. Delivered impressions are modeled. Brand lift is the only method that speaks to effect, and it has to be fielded before the flight. Direct pipeline attribution is not reliably available. At MAD the impression model has to say which complex and which route, and for T4S it should say how many of the passengers counted actually entered Madrid.
| Measure | What it actually tells you | When to set it up | Confidence |
|---|---|---|---|
| Proof of posting | Photographic confirmation that every unit ran, in the right place, for the full period. The 2026 kit does not publish the delivery window, so the timing is written into the contract. | Written into the contract before signing | High — factual |
| Delivered impressions | Modeled from monthly terminal traffic (about 5.4 million a month across the airport; about 3 million in T4 and T4S) and unit position. Treat them as audience sizing, not verified views. On T4S units, ask for the estimate net of connecting passengers if the brief is Madrid, and gross of them if the brief is Latin America. | Requested at proposal stage | Moderate — modeled |
| Digital play logs | Actual spot counts and share of voice on digital units. The check on whether the loop you planned against actually materialized. | Requested at contracting | High — logged |
| Brand lift study | Survey-based awareness or perception change against a control. The only method that measures effect rather than exposure. | Fielded pre-flight for a baseline | Moderate — needs budget and lead time |
| Direct attribution to pipeline | Not reliably available. Airport media has no click, and the same brands run other touchpoints at the same time. | — | Low — treat claims here with skepticism |
For an always-on Spanish corporate buy, the audience lives in Madrid, so a pre- and post-period survey can be fielded against a geo-targeted panel of business travelers. For a FITUR or Grand Prix period, the population is defined and the window is short. Decide which you are buying before deciding what to measure. At T4S, say whether the impressions are people who entered Madrid or people who connected.
Proof of posting and play logs prove the campaign ran as bought, delivered impressions size the audience, and a lift study is the only line that speaks to effect. A vendor promising attributed pipeline from airport media is overselling. EAM contracts proof of posting and delivery reporting on every campaign as standard and will tell you plainly when a proposed measurement approach will not produce a number worth presenting.
FAQ
A single digital unit or network runs €5,000 to €65,000 for one week and €18,000 to €210,000 for four weeks, excluding VAT, plus a technical cost per unit of roughly €150 to €4,500 per week. A two- or three-unit arrival-path plan runs €30,000 to €150,000 for a week. Those are planning ranges; specific units and periods are quoted against current availability, in euros or dollars.
By the week or by four weeks. Every digital unit runs in a loop of four, six, or eight advertisers. The T4 digital tunnel and the retail-approach screens are one in four. Screens run 5:00 to midnight, seven days. Rates are the same across the year on the card; availability is what changes.
The one your audience’s airlines use, and they are in two complexes three kilometres apart. Iberia, Iberia Express, Vueling, Level, and the oneworld carriers, including the Latin American and long-haul flights, use Terminal 4 and its satellite T4S, more than half the airport. Air Europa, Air France, KLM, and SkyTeam use T2 and T3. Ryanair and the non-oneworld international carriers use T1 and T2. The airline list on this page is indicative. Confirm the current list at contract. The operator’s 2027 capacity plan will move some carriers.
Iberia’s Latin American network runs through T4 and its satellite T4S, and a share of those passengers connect at T4S without entering Madrid. The units that reach them are the T4S duty-free LED and the T4S six-sheets, which every long-haul and non-Schengen departure and connection passes. The Hall 10 arrivals units reach the ones who come into the city.
At T4S, yes. The concourse units there reach the passenger changing planes between the Americas and Europe. Nowhere else at MAD does, and the arrivals units at Hall 10 do not. If the brief is the Latin American executive on the way to Paris or Frankfurt, buy the satellite.
Three to four months for the four-week periods that contain FITUR and the Grand Prix. The digital tunnel and the Hall 10 arrivals units sell first. ARCO, the Madrid Open, and the October shows: eight to twelve weeks. Standard periods: four to eight weeks.
For the Spanish corporate audience, yes, year-round. The capital’s headquarters, banks, ministries, and firms fly from T4 and T2 every week, and the Madrid–Barcelona shuttle is one of the busiest business routes in Europe. For a Latin American business audience, that traffic is concentrated on Iberia’s T4 and T4S network. For conference inbound, the calendar is spread across the year (FITUR, ARCO, South Summit, Fruit Attraction) rather than packed into one season.
Two of Terminal 4’s main walkways between check-in and security, lined with LED on both sides, with a floor projection available inside it. Every T4 and T4S departure walks through it. It is the signature departure read at MAD, sold in a four-slot loop, and it is held mostly by luxury, fashion, and fragrance brands. A brand in another category gets that scale with less competition in the loop.
Yes. IE, IESE Madrid, and ESADE Madrid recruit executives and MBA candidates across Latin America and Europe, Madrid’s universities recruit international students, and programs abroad recruit Spanish students through the same airport. Education brands EAM has placed in airports include Wharton, BYU, the University of Michigan, the University of Pittsburgh, and UT Dallas. The natural windows are the September and January intakes and the spring admissions season.
Plan digital creative 14–18 business days before start and static creative 21–28 days before start; the exact deadline is set at contract. Expect four shapes in a multi-unit buy: the tunnel walls, the LED units, the floor projection if bought, and the portrait six-sheets. All creative is subject to airport authority approval before it posts.
Rates are quoted in euros and exclude VAT. EAM contracts in euros or U.S. dollars as the client prefers and handles the VAT treatment for advertisers outside Spain.
Everything after the objective. We check what’s open for the week, which loops are crowded and which units will sell out, and where on the arrival path your audience actually walks. We recommend the mix, secure the units, traffic the creative through airport approval, confirm posting on day one, and deliver proof of posting and play logs after. If MAD is one market in a larger plan, the same relationship covers the others.
Independent airport advertising media agency. Est. 2015.
Send your work email for the media kit: formats, planning ranges, and how EAM works. We’ll follow up to learn who you need to reach and when, then come back with current availability and a recommended mix.
Independent since 2015 · 125+ airports · 40+ media vendors
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