Arena Market: China

After a three-year wait as the country dealt with the pandemic’s wide-ranging effects, China bid farewell to its “zero Covid” policy by reopening its borders last year. During that time, domestic pop and rock artists took advantage, dominating the live music scene in various venues and livehouses (clubs specifically designed to cater to smaller crowds where local acts are usually booked to perform).

However, given audiences’ increasing interest in western music, there is plenty of opportunity for overseas acts to make their way back to performing in the country despite the strict criteria on lyrics, tattoos, and artists’ backgrounds – which range from political affiliations to merchandise designs.

“It’s quite difficult to promote certain genres to the general audience in order to drive them into attending gigs,” says Lesley Chang, market expert and head of Creative China– a consulting firm that specialises in working with companies in the music industry. “So, even for some of the professionals who work in music, they get the impression that something like jazz is a niche genre for the minority.”

Given that China only opened its doors to the world around “30 or 40 years ago,” Chang also cites social development as a key factor into why certain crowds don’t have a great connection with some genres. “Even for a leading promoter, it’s hard to secure a lineup spot for a headliner at one of our festivals, so that’s a challenge that needs to be resolved. I’m not quite sure there’s a solution for now, but they are incredibly keen on exploring these opportunities. However, there is an impatience from many companies to merge A-level artists with musicians of all levels. It’s hard to break through in the market, so we’re not in a very healthy position in that regard.”

“Even for a leading promoter, it’s hard to secure a lineup spot for a headliner at one of our festivals, so that’s a challenge that needs to be resolved.

Once referred to as the Shanghai World Expo Cultural Center, the Mercedes-Benz Arena is arguably China’s key venue when it comes to being a pitstop for international touring acts taking the stage in the country. In recent years, the

18,000-capacity arena has seen performances by Sam Smith, Mariah Carey, Jessie J, Troye Sivan, and Jason Mraz; and hosted a two-date show by Westlife in late May.

In Beijing, the key pitstop for the world’s leading artists is the Cadillac Arena (also known as the Wukesong Arena). A multipurpose venue that also showcases basketball and ice hockey events, the arena – which can be configured to host between 9,000 to 19,000 people – has seen Kesha, Metallica, Ariana Grande, and Fall Out Boy on stage in the past, and Jacky Cheung recently performed an April show that spanned nine dates.

While China’s two biggest venues for international artists have seen major success over the years, Chang says that they don’t pay much attention to the market, leading to a lack of communication when it comes to promotion. However, she cited Westlife as a prime example of the importance of retaining a connection with local audiences. “Last year, they toured 11 cities in the country, and they’re scheduled for a few dates in May. We already have the funds here to accommodate them, and they realise how important it is to build relationships with the audience. Despite language barriers and a stark difference in platforms and social media advertising, it’s a lot easier to promote them because they actively engage with the market.”