Clockenflap’s Justin Sweeting and Woozi Studio’s Mia Min Yen on Asia’s Live Music Boom at Golden Melody Festival: ‘No Longer Is a Fan Just Buying a Ticket, But Investing in a Memory’

Each year, Taiwan’s Golden Melody Festival conferences, which take place before the Golden Melody Awards, bring together local and international music industry experts across a series of keynotes and panels covering topics ranging from the global market and music production to extended economic value and industry trends.

The festival’s first market presentation, titled “The Rise of Asia’s Live Music Economy,” featured Justin Sweeting, co-founder and head of music at Hong Kong’s outdoor music and arts festival Clockenflap, and Mia Min Yen, founder of Woozi Studio, LLC, an agency that bridges the gap between East and West, who shared their perspectives on the evolving landscape of Asia’s live music market.

At the presentation, Sweeting made the structural case for Asia as a key touring destination. Rising costs in Europe and North America are pushing artists and promoters to look eastward, while the region’s geographic proximity and well-connected transportation networks make multi-country routing far more practical than it once was. Collaborative projects like Sunset Rollercoaster’s AAA Tour, he noted, have shown how teams across Asia can pool resources, align on market strategies, and collectively expand what is possible for touring across the region. He also stressed that government support, solid infrastructure, and cultural awareness – knowing when not to schedule, whether around Lunar New Year or Ramadan, and when to lean in during peak festival seasons – are just as critical to long-term success.

“The pandemic reset many people’s relationships with live music. I’d argue there’s a depth of appreciation now which was amplified after being taken away for so long,” Sweeting tells Variety.

Sweeting painted a picture of a region whose time has come. “Broadly speaking, Asia is very much a growth story and I’d say this is the result of several factors coming together. On the audience side, the region has a massive, youthful middle class across Southeast Asia, China, South Korea and India with rising disposable income and a genuine hunger for live experiences,” he says.

Yen agrees the ground has shifted. “Fans’ listening habits and ways of discovering music have evolved, driving a dramatic shift in festival curation over the last ten years. Today’s audiences prioritize community, shared identity and experience, over traditional, commercial, or genre-based lineups,” she tells Variety.

That emotional investment has translated into higher spending and higher expectations. “No longer is a fan just buying a ticket, but investing in a memory. From the queue experience to merch offerings, everything needs to be considered and to feel special,” Sweeting adds.

On the question of sustainable growth, Yen is direct. “I think there needs to be room for local promoters to thrive. The live music industry cannot be a monopolistic market. Furthermore, a clearer division of labor is essential, and the role of Asia-focused booking agents/agencies will undoubtedly become more prominent,” she says.

Sweeting is equally candid. “Asia is not homogeneous, and it is its diversity that presents both challenges as well as what makes the region so exciting. Distinct cultures, languages, geopolitical factors, currencies, tax and visa regulations and more, mean that there are complexities throughout,” he says.

Looking five years ahead, Yen says: “The Southeast Asian market is set to bloom, language barriers will continue to diminish, emerging sounds from this region will become increasingly prominent, [and] more Western artists will be drawn towards this market.”