Under a New Generation of Promoters, Beijing Becomes an International Musical Haven

Will Griffith | Dec 27, 2018 8:30 am | Add a comment | 1950 reads

At first glance, this year could be viewed in many ways as unexceptional, yet the first thing that struck us from conducting these interviews for The Year From Every Angle is that by and large 2018 was a year of progress.

The positivity and hope displayed among these seemingly disparate endeavors, including art, activism, mental health, and even the leisure pursuits have arisen from communities quietly coalescing around a number of shared and strengthening goals and beliefs. Though some of those objectives fell afoul of the authorities, advancements over the last 12 months have laid a solid groundwork for what looks to be a fine year ahead.

Before we gaze forward, however, it’s time to read back on Beijing’s 2018 from (nearly) every angle.

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Name: Ai Jing

Title: Project Director, Haze Sounds and Showstart
2018 in 5 words: Busy, Fruitful, Significant, Challenging, Confidence

“When I saw them coming toward me to shake my hand and say hi, I was like ‘Oh my god, I’m actually meeting them in person!’” recalls Ai Jing AKA AJ, about meeting UK shoegaze legends Ride. “We booked them right after Chinese New Year. Almost everyone I knew told me not to do it and that it was too risky.” One of the tireless and enthusiastic minds behind Haze Sounds, a promotional branch of ticketing platform Showstart with a focus on bringing international acts to China, AJ’s gamble paid off, selling over 700 tickets for both the band’s Beijing and Shanghai shows.

The event proved just the first of many achievements for the trailblazing promoters. The writing was on the wall – international acts are increasingly eager to enter the Chinese market, and with Haze Sounds, AJ has created a sanctuary for some of the West’s mammoth acts to reach their audience; from the indie music kids who found euphoria at Slowdive back in September to the more pop-oriented (and rabid) fanbase of Sweden’s The Royal Concept who played to 20,000 people at the Rye Music Festival this fall.

The shift can also be felt on the local scene as “more and more Chinese musicians, managers, promoters, and record labels ... are starting to realize the potential of small and medium-sized live music venues.” That’s great news for the ‘next generation’ of bands, but even better news for audiences in the long run. “More and more people will shift into a ‘going to a gig as a regular leisure thing’ kind of lifestyle,” AJ believes. “There are more industry forums and panels where anyone can come and listen” as well as “WeChat fan groups that give people a channel to communicate … that’s a good thing.” At a time when news coverage of Beijing’s music scene leans too hard towards despair, AJ’s positivity as to what’s possible here is a welcome sentiment.