How can we Create a More Sustainable Live Music Ecosystem for ASEAN

Imagine a biodiverse jungle. It's got a lot of species and a complex food web with a lot of plants and prey with a few top predators. Now, imagine a homogeneous forest with a lot of tall trees fighting for sunlight with smaller trees barely around.

A lively and healthy music ecosystem is like a jungle. It needs venues from tiny bars all the way up to gigantic stadiums for the artists to hone their craft and grow their career. Imho, we can't achieve that without the right policies; thus, this presentation proposes suggestions on to how it can be possibly achieved.

1. How can we Create a More Sustainable
Live Music Ecosystem for ASEAN
Piyapong Muenprasertdee (Py)
Bangkok Music City
Co-founder & Co-organizer
AXEAN Festival
Co-founder & Co-organizer
Fungjai Co., Ltd.
Co-founder & Director of
Educational, Governmental and
Overseas Partnership
Chulalongkorn School of Integrated
Innovation (CSII)
•Director of Innovative Partnership
& Marketing Strategy
•Head of Business, CSII Launch Pad
(Start-up Ecosystem Support),
Innovation & Commercialization
•Adjunct Professor

3. My workload

4. Hello. I’m Py - the Thai [ ] Guy
3
I love data and memes
[Insert whatever is relevant that day]
Music industry
+ Sustainability
+ Innovation

5. My Company
4
Bangkok Music City
Co-founder & Co-organizer
AXEAN Festival
Co-founder & Co-organizer
Fungjai Co., Ltd.
Co-founder & Director of
Educational, Governmental and
Overseas Partnership
Chulalongkorn School of Integrated
Innovation (CSII)
•Director of Innovative Partnership
& Marketing Strategy
•Head of Business, CSII Launch Pad
(Start-up Ecosystem Support),
Innovation & Commercialization
•Adjunct Professor
From small gigs to big festivals

6. My Job
5
Bangkok Music City
Co-founder & Co-organizer
AXEAN Festival
Co-founder & Co-organizer
Fungjai Co., Ltd.
Co-founder & Director of
Educational, Governmental and
Overseas Partnership
Chulalongkorn School of Integrated
Innovation (CSII)
•Director of Innovative Partnership
& Marketing Strategy
•Head of Business, CSII Launch Pad
(Start-up Ecosystem Support),
Innovation & Commercialization
•Adjunct Professor
Music Industry Researcher, Advisor and Collaborator for
Thai Government Agencies International Organizations

7. My Festivals
6
Bangkok Music City
Co-founder & Co-organizer
AXEAN Festival
Co-founder & Co-organizer
Fungjai Co., Ltd.
Co-founder & Director of
Educational, Governmental and
Overseas Partnership
Chulalongkorn School of Integrated
Innovation (CSII)
•Director of Innovative Partnership
& Marketing Strategy
•Head of Business, CSII Launch Pad
(Start-up Ecosystem Support),
Innovation & Commercialization
•Adjunct Professor
Co-founder of Music Conferences & Showcase Festivals

8. My Other Job
7
Bangkok Music City
Co-founder & Co-organizer
AXEAN Festival
Co-founder & Co-organizer
Fungjai Co., Ltd.
Co-founder & Director of
Educational, Governmental and
Overseas Partnership
Chulalongkorn School of Integrated
Innovation (CSII)
•Director of Innovative Partnership
& Marketing Strategy
•Head of Business, CSII Launch Pad
(Start-up Ecosystem Support),
Innovation & Commercialization
•Adjunct Professor
Innovations & Sustainability Educator

9. I am a failed musician… but an OK dad and music industry academic
8

10. If our goal is to have
a healthy music ecosystem,
let’s imagine a natural ecosystem…
9

11. Image generated by ChatGPT

12. Nature vs. Music Ecosystem Analogy
11
Music Festivals
Stadium Concerts
Concert Halls
Live Houses
Predator
Prey
PlantsPlants Plants PlantsPlants
Prey Prey
Big & Less
Small & More
DIY Gigs

13. An Artist’s Natural Artistic Development Journey
12
Music Festivals
Stadium Concerts
Concert Halls
Live Houses
DIY Gigs

14. The Current State of the Music Industry
(Well, some parts of it)
13

15. The 2 Main Industries of Music
14
RecordedLive
Music Industry Music Industry

16. The 2 Main Industries of Music
15
RecordedLive
Music Industry Music Industry

17. The 2 Main Industries of Music
15
RecordedLive
Music Industry Music Industry

18. 16
USD billions
0
10
20
30
40
50
2017201820192020202120222023202420252026202720282029 45.7
43.3
41.0
38.8
36.7
34.5
32.2
25.0
5.3
3.9
24.7
22.5
20.0
Sources: https://www.statista.com/outlook/amo/media/music-radio-podcasts/worldwide (searched in 2023 & 2025); https://www.grandviewresearch.com/industry-analysis/music-tourism-market-report (searched 23 SEP 2025)
Live music has recovered from the
pandemic and growing every year
USD billions
0
50
100
150
200
250
300
2018201920202021202220232024202520262027202820292030 268
215
179
146
121
113
97
77
66
59
52
64
58
North America
Europe
Asia Pacific
Latin America
MEA
The music tourism industry is expected
to grow significantly
+5.63%
CAGR
+18.8%
CAGR

19. USD billions
0
20
40
60 45.743.341.038.836.734.4
+5.63% CAGR
USD billions
0
5
10 5.55.25.04.74.54.2
+5.11% CAGR
USD millions
0
250
500
750
1,000
2024 2025 2026 2027 2028 2029 839
792747706666
620
+5.93% CAGR
Live Music Revenue Growth Projection (2024-2029)
Global
Asia
excl.
ASEAN
ASEAN
17
Sources: https://www.statista.com/outlook/amo/media/music-radio-podcasts/worldwide (searched on 22 May 2025)

20. RecordedLive
Music Industry Music Industry
Some Statistics on
18

21. Sources: https://explodingtopics.com/blog/music-streaming-stats, https://www.statista.com/outlook/amo/media/music-radio-podcasts/worldwide (searched on 22 May 2025)
19
USD billions
0
5
10
15
20
2005200620072008200920102011201220132014201520162017201820192020202120222023 19.3 17.5 13.6 11.4 9.2 6.5 4.6 2.8 1.9 1.4 1 0.6 0.4 0.4 0.3 0.2 0.1 0.1
Revenue from music streaming has
grown year over year
2024 2025 2026 2027 2028 2029 8% 9% 10% 10% 11% 12% 2% 2% 3% 3% 3% 3% 13% 13% 13% 13% 13% 13% 77% 76% 75% 74% 73% 72%
Music Streaming (Subscription)
Music Streaming (Advertising)
Music Download
Music (Physical)
Revenue from music streaming is now 85% of
total recorded music and continues to grow 12% 3% 13% 72%
85%
90%

22. Sources: https://www.statista.com/outlook/amo/media/music-radio-podcasts/worldwide (searched on 22 May 2025)
20
USD billions
0
20
40
60 55.854.252.250.248.446.5
+3.62% CAGR
USD billions
0
5
10
15 13.713.212.612.111.611.1
+4.20% CAGR
USD millions
0
250
500
750
1,000
2024 2025 2026 2027 2028 2029 997
947
902859820
770
+5.01% CAGR
Recorded Music Revenue Growth Projection (2024-2029)
Global
Asia
excl.
ASEAN
ASEAN

23. $
$$
$$
$$
$
$$
$$
$$
Sources: https://explodingtopics.com/blog/music-streaming-stats, https://www.statista.com/outlook/amo/media/music-radio-podcasts/worldwide (searched on 22 May 2025) ; https://loudandclear.byspotify.com/#takeaway-6
21 Others 9.6% Deezer 1.3% Yandex 3.4% NetEase 6.7% YouTube
Music 9.6% Amazon 11.0% Apple
Music 12.5% Tencent
Music 14.3% Spotify 31.5%
Share of music streaming subscribers
worldwide in the 4th quarter of 2024

24. So, we’re all rich now, right?
Oh! Why not?

25. Spotify’s Top 1,500 Earning Artists (USD millions/year, 2024)
23
174 artists
>USD 10M each
RankArtist Name Country
1 Bad Bunny Puerto Rico
2 Taylor Swift USA
3 The Weeknd Canada
4 Drake Canada
5 Kendrick Lamar USA
6 Bruno Mars USA
7 Billie Eilish USA
8 Travis Scott USA
9 Rihanna Barbados
10SZA USA
500th rank
USD 4.86M
Sources: https://chartmasters.org/most-streamed-artists-ever-on-spotify/; https://imusician.pro/en/resources/blog/spotifys-loud-clear-2024; https://www.aepo-artis.org/spotifys-loud-but-not-so-clear/;
500
th
Top 10 artists
> USD 40+ million each
1,500
th
1,500th rank
>USD 1.0M

26. Number of artists with at least one track on Spotify (2024)
24
~ 12 million artists
12,000,000
th
Sources: https://loudandclear.byspotify.com/#takeaway-1; https://imusician.pro/en/resources/blog/spotifys-loud-clear-2024
Extreme earnings gap…

27. Sources: THERE ARE NOW 120,000 NEW TRACKS HITTING MUSIC STREAMING SERVICES EACH DAY, MBW ; Average Songs Released per Year (1950s-2020s) by ChatGPT (10 SEP 2025)
25
10,000
1,000,000
100,000,000
1950s 1960s 1970s 1980s 1990s 2000s 2010s 2020s 45,000,000 10,000,000 2,000,000 700,000 250,000 75,000 30,000 10,000 25,000,000 5,000,000 1,000,000 400,000 150,000 50,000 20,000 5,000
Min
Max
Average Songs Released per Year (1950s-2020s)
Limited to major labels,
singles-driven era.
Explosion of rock/pop, Motown,
British Invasion, more LPs.
Growth of global pop, disco, punk;
more independent pressings.
Cassette/CD boom, MTV era,
globalization of pop/rock.
CD peak, more regional/global
markets, indie labels surge.
MP3 + internet distribution,
rise of DIY releases.
Streaming services,
globalized digital distributors.
(= 43.8 million tracks per year)
Why do artists have so much competition?
And then, AI Music
Technology affects music industry

28. Festivals are canceling left and right
Sources: https://www.npr.org/sections/planet-money/2024/09/17/g-s1-23026/music-festival-cancel-inflation-price-streaming, https://www.musicfestivalwizard.com/music-festivals-cancelled-so-far-in-2024/
26

29. Festivals are canceling left and right
Sources: https://www.npr.org/sections/planet-money/2024/09/17/g-s1-23026/music-festival-cancel-inflation-price-streaming, https://www.musicfestivalwizard.com/music-festivals-cancelled-so-far-in-2024/
26
(just the smaller ones)

30. My company’s own festival cancelation…
Source: https://www.facebook.com/photo/?fbid=1295698688594488&set=a.744921373672225
27
Maho Rasop Festival (2018-2024) 2025 edition cancelation announcement

31. My company’s own festival cancelation…
Source: https://www.facebook.com/photo/?fbid=1295698688594488&set=a.744921373672225
27
Maho Rasop Festival (2018-2024) 2025 edition cancelation announcement
Also hearing the same issue from other similar scale promoters in ASEAN…

32. What could be the Reason(s)?
28
(With a lot of simplifications)

33. The Types of Music Businesses
Sources: 1) Music Industry, reigatemedia, SlideShare.net, 13 MAR 2012
29
Songwriting & Publishing Recording of Music Live Music Artist Management

34. The Segments of the Music Industries
Sources: 1) Music Industry, reigatemedia, SlideShare.net, 13 MAR 2012; 2) The Music Industry in an Age of Digital Distribution, BBVAopenminds
30
Songwriting & Publishing Recording of Music Live Music Artist Management
Recording Industry Live Music Industry
Music Licensing Industry Recording Industry Live Music Industry

35. Each music industry segment complements each other
31
Perform shows to
promote release
of new record
Release and
market new record
to promote shows
Attracts fans of film
and TV series to
explore artist’s music
Licensing music
to film, TV series,
commercials, etc.
Music Licensing Industry Recording Industry Live Music Industry

36. How Music is Commercialized
32
Music festivals, Concerts, Events
Video Media Players
Establishments, Bars, Clubs Physical & Digital Merchandise
Social & Mass Media Brand Endorsements & SponsorsMusic Media Players

37. How Music Revenue is Collected (a web a value chains)
Remarks: (1) CA = Content Aggregator; (2) DSP = Digital Service Provider; (3) CMO can serve as both PRO and MRO; (4) For many Southeast Asian music industries, the Artist Manager and Strategist are employees of the Record Label; (5) Reproduction/Mechanical Royalties can be paid to songwriters directly via MROs bypassing PROs.
33
Work Direct Revenues Copyright Revenues
Artist
Manager
Digital
Distributor
(CA)
(1)
Music Streaming
Platform (DSP)
(2)
Video Streaming
Platform (DSP)*
Sync Agent
CMO
(3)
Performance Royalties
Reproduction/
Mechanical Royalties
PRO
MRO
Publisher’s Share
Writer’s Share
Record Label
(4)
Promoter Venue
Ticketing Agent
Artist/
Songwriter
Music
Publisher
Booking Agent
Strategists
Communications
Media &
Platforms
Brand
Partnership
Talent Agent
Merchandizer
Fulfillment
(5)
Music Fan Touch-points
Music festivals, Concerts, Events
Video Media Players
Establishments, Bars, Clubs
Physical & Digital Merchandise
Social & Mass Media
Brand Endorsements & Sponsors
Music Media Players

38. Work Direct Revenues Copyright Revenues
Artist
Manager
Digital
Distributor
(CA)
(1)
Music Streaming
Platform (DSP)
(2)
Video Streaming
Platform (DSP)*
Sync Agent
CMO
(3)
Performance Royalties
Reproduction/
Mechanical Royalties
PRO
MRO
Publisher’s Share
Writer’s Share
Record Label
(4)
Promoter Venue
Ticketing Agent
Artist/
Songwriter
Music
Publisher
Booking Agent
Strategists
Communications
Media &
Platforms
Brand
Partnership
Talent Agent
Merchandizer
Fulfillment
(5)
Music Fan Touch-pointsMusic Fan Touch-points
Performance Royalties
Video Media Players
Establishments, Bars, Clubs
Physical & Digital Merchandise
Social & Mass Media
Brand Endorsements & Sponsors
Music Media Players
How can one Ensure & Increase Profit in Live Music?
Source: XXX Company Annual Report 2024
34
Music festivals, Concerts, Events
Our Strategy
Our strategy is to grow our global leadership position in live entertainment, promote more shows, sell more tickets and
partner with more sponsors, thereby increasing our revenue, earnings and cash flow. We serve artists, venues and sports teams
and leagues to secure content and tickets; we invest in technology to build innovative products which advance our ticketing,
digital presence, including mobile platforms, and advertising; and we are paid by advertisers that want to connect their brands
with our passionate fan base.
Our core businesses surrounding the promotion of live events include ticketing and sponsorship and advertising. We
believe our focus on growing these businesses will increase shareholder value as we continue to enhance our revenue streams
and achieve economies of scale with our global platforms. We also continue to strengthen our core operations, further
expanding into global markets and optimizing our cost structure. We execute on our strategy and thereby grow and innovate
through the initiatives listed below.
•Expand our Concert Platform. We will deliver more shows, grow our fan base and increase our ticket sales by
continuing to build our portfolio of concerts globally, expanding our business into additional top global music markets,
and further building our presence in existing markets. This includes investing capital expenditures in new venues and
enhancements to existing venues. Through our culture of serving artists and a focus on supporting the development of
emerging artists, we believe we can continue to expand our concert base.
•Grow our Revenue per Show.We will grow our revenue per show across our venues through more effective ticket
pricing, broader ticketing distribution and more targeted promotional marketing. We will also grow our onsite fan
monetization by improving ease of purchase, through improved onsite food and beverage and other products,
merchandising, and enhanced experiences for our fans.
•Invest in our Ticketing Platform. We will continue to invest in our ticketing enterprise system and develop innovative
products to better serve our enterprise clients and continue to build our global client base. These include technological
and digital transformations, enhanced marketing capabilities, and improved analytical tools to meet the needs of
venues, event organizers and our fans.
•Grow our Marketplace Capabilities. We are focused on selling tickets through a wide set of sales channels including
mobile, online and affiliate partners while continuing to broaden our digital rollout. We will grow the volume of
secondary tickets sold through a trusted environment for fan ticket exchanges, allowing our fans to have a dependable,
secure destination for secondary ticket acquisition for all events. Within this, we will continue to invest in tools that
reduce fraud and help artists and teams determine how to get their tickets into the hands of real fans. Lastly, we are
focused on leveraging our platform by growing non-service fee revenue streams including insurance, additional
enterprise tools, payment integration and other upsells.
•GrowSponsorshipandAdvertisingPartnerships. We will continue to drive growth in our sponsorship relationships
and capture a larger share of the global music sponsorship market by further monetizing our fan base and growing our
portfolio of brands. We will focus on expanding existing partnerships and developing new corporate sponsor partners
to provide them with targeted strategic programs, accessing the fans attending our shows. We will continue to develop
and to scale new products in order to drive onsite and digital revenue.
Our Strengths
We believe we have unique resources that are unmatched in the live entertainment industry.
• Fans. During 2024, we connected over 788 million fans to their favorite live events. Our database of fans and their
interests provides us with the means to efficiently communicate to them about shows they are likely to be interested in.
•Artists. We have extensive relationships with artists ranging from those just beginning their careers to established
superstars. In 2024, we promoted shows for approximately 11,000 artists globally. In addition, through our artist
management companies, we managed more than 380 artists in 2024.
•DigitalPlatformsandTicketing. We own and operate various branded websites, both in the United States and abroad,
which are customized to reflect services offered in each jurisdiction. Our primary commercial websites,
www.livenation.comandwww.ticketmaster.com, together with our other branded ticketing websites, are designed to
promote ticket sales for live events. We also have both Live Nation and Ticketmaster mobile apps that our fans can use
to access event information and buy tickets.
3
•DistributionNetwork. We believe that our global network of promoters, venues and festivals provides us with a strong
position in the live concert industry. We believe we have one of the largest global networks of live entertainment
businesses in the world, with offices in 47 countries worldwide. In addition, we own, lease, operate, have exclusive
booking rights for, or have an equity interest for which we have a significant influence in 394 venues and have
operations located across 51 countries as of the end of 2024, making us, we believe, the second largest operator of
music venues in the world. We also believe that we are one of the largest music festival producers in the world with
137 festivals globally in 2024. In addition, we believe that our global ticketing distribution network—with
approximately 11,500 clients worldwide in 2024 — makes us the largest ticketing network in the world.
• Sponsors. We monetize our physical and digital assets through long-term sponsorship agreements and advertising. We
employ a sales force of approximately 760 people that worked with more than 1,500 sponsors during 2024, through a
combination of strategic partnerships, local venue-related deals, national agreements and digital campaigns, both in
North America and internationally. Our sponsors include some of the most well-recognized national and global brands
across diverse sectors including consumer, financials and leisure, such as Citibank, O2, Mastercard, Cisco, Red Bull
and Anheuser Busch (each of these brands is a registered trademark of the sponsor).
Our Industry
We operate in the following main industries within the live entertainment business: live music events, music venue
operations, the provision of management and other services to artists and athletes, ticketing services and sponsorship and
advertising sales.
The live music industry includes concert promotion and/or production of music events or tours. Typically, to initiate live
music events or tours, booking agents work with artists. Booking agents then work with promoters, who will contract with them
or with artists directly, to promote events. Promoters earn revenue primarily from the sale of tickets. Artists are paid by the
promoter under one of several different formulas, which may include fixed guarantees and/or a percentage of ticket sales or
event profits. In addition, promoters may also reimburse artists for certain costs of production, such as sound and lights. Under
guaranteed payment formulas, promoters assume the risks of unprofitable events. Promoters may renegotiate lower guarantees
or cancel events because of insufficient ticket sales in order to reduce their losses. Promoters can also reduce the risk of losses
by entering into global or national touring agreements with artists and including the right to offset lower performing shows
against higher performing shows on the tour in the determination of overall artist fees. Artist managers primarily provide
services to music artists to manage their careers. The artist manager negotiates on behalf of the artist and is paid a fee, generally
as a percentage of the artist’s earnings.
We believe the artist-fan connection is the source of nearly all commercial value and as a result, our artists receive the
majority of all ticketing revenue. For music tours, four to eight months typically elapse between initially booking artists and the
first performances. Artists, in conjunction with promoters, managers and booking agents, set ticket prices and advertising plans.
Promoters market events, sell tickets, rent or otherwise provide venues and arrange for local production services, such as stages
and equipment.
Venue operators typically contract with promoters to have their venues rented for specific events on specific dates and
receive fixed fees and/or percentages of ticket sales as rental income. In addition, venue operators provide services such as
concessions, parking, security, ushering and ticket scanning at the gate, and receive some or all of the revenue from
concessions, merchandise, parking and premium seating.
Ticketing services generally refers to the sale of tickets primarily through online and mobile channels, but also include
sales through phone, outlet and box office channels. Ticketing companies will contract with venues and/or promoters to sell
tickets to events over a period of time, generally three to five years. The ticketing company generally gets paid a fixed fee per
ticket sold or a percentage of the total ticket service charges. The ticketing company receives the cash for the ticket sales and
related service charges at the time the ticket is sold and periodically remits these receipts to the venue and/or promoter after
deducting its fee. Venues will often also sell tickets through a local box office at the venue using the ticketing company’s
technology. Venues set the ticketing service fee to be charged on tickets and typically retain the majority of these fees.
Ticketing resale services generally refers to the sale of tickets by a holder who originally obtained the tickets from a
venue or other entity. Resale tickets are also referred to as secondary tickets. Generally, the ticket resale company is paid a
service charge when the ticket is resold and the remaining ticket value is paid to the holder.
The sponsorship and advertising industry within the live entertainment business involves the sale of international,
national, regional and local advertising and promotional programs to a variety of companies to advertise or promote their brand,
product or service. These sponsorships typically include venue and festival naming rights, onsite venue signage, online and in-
app advertisements and exclusive partner rights in various categories such as credit card, beverage, travel and
telecommunications, and may include venue and festival event pre-sales and onsite product activation.
4
Case Study of a Successful Company
Main Elements of Live Music Industry
Artist
Manager
Promoter Venue
Ticketing Agent
Artist/
Songwriter
Booking Agent

39. How can one Ensure & Increase Profit in Recorded Music?
Remarks: (1) CA = Content Aggregator; (2) DSP = Digital Service Provider; (3) CMO can serve as both PRO and MRO; (4) For many Southeast Asian music industries, the Artist Manager and Strategist are employees of the Record Label; (5) Reproduction/Mechanical Royalties can be paid to songwriters directly via MROs bypassing PROs.
35
Work Direct Revenues Copyright Revenues
Video Streaming
Platform (DSP)*
Sync Agent
CMO
(3)
Performance Royalties
Reproduction/
Mechanical Royalties
PRO
MRO
Publisher’s Share
Writer’s Share
Promoter Venue
Ticketing AgentBooking Agent
Strategists
Communications
Media &
Platforms
Brand
Partnership
Talent Agent
Merchandizer
Fulfillment
(5)
Music Fan Touch-points
Music festivals, Concerts, Events
Video Media Players
Establishments, Bars, Clubs
Physical & Digital Merchandise
Social & Mass Media
Brand Endorsements & Sponsors
Music Streaming
Platform (DSP)
(2)
Artist
Manager
Digital
Distributor
(CA)
(1)
Record Label
(4)
Artist/
Songwriter
Music
Publisher
Main Elements of Recorded Music Industry
Music Media Players
Same same la

40. Sources: https://www.waterandmusic.com/data/ownership-map/ updated FEB 2025; XXX Company Annual Report 2024
36
Work Direct Revenues Copyright Revenues
Artist
Manager
Digital
Distributor
(CA)
(1)
Music Streaming
Platform (DSP)
(2)
Video Streaming
Platform (DSP)*
Sync Agent
CMO
(3)
Performance Royalties
Reproduction/
Mechanical Royalties
PRO
MRO
Publisher’s Share
Writer’s Share
Record Label
(4)
Promoter Venue
Ticketing Agent
Artist/
Songwriter
Music
Publisher
Booking Agent
Strategists
Communications
Media &
Platforms
Brand
Partnership
Talent Agent
Merchandizer
Fulfillment
(5)
Music Fan Touch-points
Music festivals, Concerts, Events
Video Media Players
Establishments, Bars, Clubs
Physical & Digital Merchandise
Social & Mass Media
Brand Endorsements & Sponsors
Music Media Players
Case Study of a Successful CompanyWho owns What in Music Tech
In reality… the majority of the music industry is owned, influenced
and run by monopolies/oligopolies—domestic & international…

41. Sources: https://www.waterandmusic.com/data/ownership-map/ updated FEB 2025; XXX Company Annual Report 2024
36
Work Direct Revenues Copyright Revenues
Artist
Manager
Digital
Distributor
(CA)
(1)
Music Streaming
Platform (DSP)
(2)
Video Streaming
Platform (DSP)*
Sync Agent
CMO
(3)
Performance Royalties
Reproduction/
Mechanical Royalties
PRO
MRO
Publisher’s Share
Writer’s Share
Record Label
(4)
Promoter Venue
Ticketing Agent
Artist/
Songwriter
Music
Publisher
Booking Agent
Strategists
Communications
Media &
Platforms
Brand
Partnership
Talent Agent
Merchandizer
Fulfillment
(5)
Music Fan Touch-points
Music festivals, Concerts, Events
Video Media Players
Establishments, Bars, Clubs
Physical & Digital Merchandise
Social & Mass Media
Brand Endorsements & Sponsors
Music Media Players
Case Study of a Successful CompanyWho owns What in Music Tech
In reality… the majority of the music industry is owned, influenced
and run by monopolies/oligopolies—domestic & international…
Live
Music
Recorded
Music

42. Recorded Music Market Share
Sources: https://musicandcopyright.wordpress.com/tag/market-share/; https://loudandclear.byspotify.com/#takeaway-9; https://musicindustryblog.wordpress.com/2024/10/31/independent-music-market-sharesglobal-fragmentation-and-consolidation/
37 Non-Major
Labels 30.5% Warner 15.3% Sony 22.5% Universal 31.7% Major
Labels 53.3% Non-Major Labels
(distributed by Major Labels) 12.5% Non-Major
Labels 28.3% Artists Direct 5.9% Major
Labels 53.3% Non-Major
Labels 40.8% Artists Direct 5.9%
From an Ownership Basis (2023) From a Distribution Basis (2023)
The Big Three
1.Universal
2.Warner
3.Sony
From Total Revenue Basis (2024)

43. Can ASEAN compete with them?
38

44. USD billions
0
20
40
60 45.743.341.038.836.734.4
USD billions
0
5
10
15 5.55.25.04.74.54.2
USD millions
0
250
500
750
1,000
2024 2025 2026 2027 2028 2029 839792747706666620
Remember these graphs?
39
+5.63% CAGR
+5.11% CAGR
+5.93% CAGR
Global
Asia
excl.
ASEAN
ASEAN
USD billions
0
20
40
60 55.854.252.250.248.446.5
USD billions
0
5
10
15 13.713.212.612.111.611.1
USD millions
0
250
500
750
1,000
2024 2025 2026 2027 2028 2029 997947902859820770
+3.62% CAGR
+4.20% CAGR
+5.01% CAGR
Global
Asia
excl.
ASEAN
ASEAN
Recorded Music Revenue
Growth Projection (2024-2029)
Live Music Revenue
Growth Projection (2024-2029)

45. USD billions
0
20
40
60
2024 2025 2026 2027 2028 2029 1.00
0.95
0.90
0.86
0.82
0.77
13.7
13.2
12.6
12.1
11.6
11.1
41.1
40.1
38.6
37.3
36.0
34.6
Remember these graphs?
40
Recorded Music Revenue
Growth Projection (2024-2029)
Global
Asia
excl.
ASEAN
ASEAN
Global
Asia
excl.
ASEAN
ASEAN
USD billions
0
20
40
60
2024 2025 2026 2027 2028 2029 0.84
0.79
0.75
0.71
0.67
0.62
5.5
5.2
5.0
4.7
4.5
4.2
39.4
37.2
35.2
33.3
31.5
29.5
Live Music Revenue
Growth Projection (2024-2029)
Table 1
excl.
Asia
excl.
Asia
ASEAN is really small…

46. USD billions
0
20
40
60
2024 2025 2026 2027 2028 2029 1.00
0.95
0.90
0.86
0.82
0.77
13.7
13.2
12.6
12.1
11.6
11.1
41.1
40.1
38.6
37.3
36.0
34.6
Remember these graphs?
40
Recorded Music Revenue
Growth Projection (2024-2029)
Global
Asia
excl.
ASEAN
ASEAN
Global
Asia
excl.
ASEAN
ASEAN
USD billions
0
20
40
60
2024 2025 2026 2027 2028 2029 0.84
0.79
0.75
0.71
0.67
0.62
5.5
5.2
5.0
4.7
4.5
4.2
39.4
37.2
35.2
33.3
31.5
29.5
Live Music Revenue
Growth Projection (2024-2029)
Music Market Size: ASEAN vs. Global
~ 1.6% of Global
~ 1.3% of Global
AXEAN is ~ 1.4% of Global
Table 1
excl.
Asia
excl.
Asia
ASEAN is really small…

47. When something is small, it means that
there is room to grow.
41
Think positive!

48. GDP (USD trillions)
10
20
30
40
USA EUChinaJapanASEANIndia 3.93 3.98 4.00 18.75 19.99 25.40
ASEAN can rival the world’s top markets & economies!
42
Population (millions)
500
1,000
1,500
2,000
IndiaChinaASEANEU USAPakistan 251
345
449
678
1,4251,451
ASEAN compared with world’s
top 5 largest markets (2024)
ASEAN economy compared with world’s
top 5 largest economies (2024)
(17.9%)(17.6%)
(4.2%)
(3.1%)
(8.4%)
(5.5%)
(24.2%)
(19.0%)
(3.8%) (3.7%)
(17.9%)
(3.8%)
Global GDP = USD 110.1 trillionGlobal Population = 8.12 billion
Sources: IMF, UN, and World Bank

49. This imbalance can mean ASEAN Music Industry has a lot of room to grow!
Sources: IFPI Global Music Report 2023; Music Events, Statista (Data collected JAN 2023); Population data from World Bank; Nominal GDP from CIA.
43
8.4% of Global Population
3.8% of Global GDP
1.4% of Global Music Market
Country/Region % of Global Population % of Global GDP % of Global Music
ASEAN 8.4% 3.8% > 1.4%
USA 4.2% 25.5% < 39.9%
Japan 1.5% 4.2% < 7.9%
UK 0.8% 3.1% < 6.7%
South Korea 0.6% 1.7% ~ 1.5%
For comparison:

50. Main moneymaking music markets, i.e. US & Canada, Europe, Japan & Australasia
Sources: 1) What ‘trigger cities’ really mean for music marketing, Musically, 31 OCT 2019; 2) Sure Shot: Music Marketing in Trigger Cities, Musically, 10 JUL 2019

51. Social media created ‘Trigger Cities’ where new global hits start their journeys
Sources: 1) What ‘trigger cities’ really mean for music marketing, Musically, 31 OCT 2019; 2) Sure Shot: Music Marketing in Trigger Cities, Musically, 10 JUL 2019

52. Westerners sharing vs. Southeast Asians “sharing”
46
I want
friends to
see who
I am!
I want
friends to
see what
I like!
So they can enjoy it with me!
So they know how cool I am!
Source: Sure Shot: Music Marketing in Trigger Cities, Musically, 10 JUL 2019

53. Also, social media ads are cheap in SEA…
So, they (force) feed us their music
as part of their global strategy?!
Source: Sure Shot: Music Marketing in Trigger Cities, Musically, 10 JUL 2019

54. Predicted growth of Live Music Revenue in ASEAN countries (2025-2029)
49
Revenue (USD millions)100
200
300
Users (million)
1 2 3 4 5 6 7 8 9Laos
US$16.74 Brunei
US$27.49 Cambodia
US$28.51 Myanmar
US$14.61 Malaysia
US$24.98 Vietnam
US$14.29 Singapore
US$82.31 Philippines
US$30.72 Indonesia
US$10.57 Thailand
US$44.33
X = Users (live event attendees); Y = Total Revenue; Bubble Size = Average Revenue Per User (ARPU)
2025
Source: Music, Radio & Podcasts, Statista.com (Data collected on 22 MAY 2025)
2029
Revenue (USD millions)100
200
300
Users (million)
1 2 3 4 5 6 7 8 9Laos
US$18.44 Brunei
US$27.87 Cambodia
US$30.08 Myanmar
US$15.64 Malaysia
US$27.34 Vietnam
US$14.70 Singapore
US$91.51 Philippines
US$34.97 Indonesia
US$11.13 Thailand
US$51.57

55. Incoming of International Music Festivals and Touring Superstar Artists
Source: https://www.nationthailand.com/life/entertainment/40053285; https://www.thestar.com.my/aseanplus/aseanplus-news/2025/03/10/first-taylor-swift-now-lady-gaga---singapore-builds-on-blockbuster-2024
50
Thailand Singapore
So, they knew about our potential?!

56. Why do governments support these international events/artists?
51
Trickle-down Economy
Tourism creates a “Trickledown Effect” (in theory)
Small businesses, restaurants,
services, laborers, etc.
Airlines
Hotels
Transportation
Tourist Spending

57. But in reality, especially for local music businesses, it might not be the case…
52
Trickle-down Reality
Local promoters
Local venues
Local artists
Trickle-down Economy
Small businesses, restaurants,
services, laborers, etc.
Airlines
Hotels
Transportation
Tourist Spending
Music Fan Spending
Global-level promoters

58. Music Festivals
Stadium Concerts
DIY Gigs
Concert Halls
Live Houses
DIY Gigs
The local artist’s natural artistic development journey disrupted…
53
Trickle-down Reality
Global-level promoters
bring in global superstars
for their own large scale events
Local promoters
Local venues
Local artists
Source: https://www.npr.org/sections/planet-money/2024/09/17/g-s1-23026/music-festival-cancel-inflation-price-streaming
Global-level promoters
Music Fan Spending

59. Music Festivals
Stadium Concerts
DIY GigsDIY Gigs
The local artist’s natural artistic development journey disrupted…
53
Trickle-down Reality
Global-level promoters
bring in global superstars
for their own large scale events
Local promoters
Local venues
Local artists
Source: https://www.npr.org/sections/planet-money/2024/09/17/g-s1-23026/music-festival-cancel-inflation-price-streaming
Global-level promoters
Music Fan Spending

60. 54
Images generated by Sora
Waterfall vs. Dam

61. So… How can we compete with that?
55

62. Can we look to the
K-pop model for inspiration?
56

63. Case Study: K-pop—Soft Power as Economic Driver
Source: SM Entertainment’s Head of A&R Chris Lee speaking at #SXSW 2019, Twitter; Korea Visitor Arrivals; The effect of Hallyu on tourism in Korea; Value of music industry exports from South Korea from 2005 to 2021 (in million U.S. dollars), Statista (Data collected in 2022-2023); Korea Focus - April 2012 The Korea
Foundation Mar 2013 à´´®(dñ page 165-167
57
USD millions
0
200
400
600
800
20052006200720082009201020112012201320142015201620172018201920202021 775 680 756 562 513 443 383 338 278 240 200 85 33 18 16 19 25
South Korea Music Industry Export Revenue
BoA Super Junior SHINee Girl’s Generation NCT
Head of A&R
SM Entertainment

64. Case Study: K-pop—Soft Power as Economic Driver
Source: https://www.statista.com/statistics/1200219/south-korea-gdp-by-sector/, Korea Focus - April 2012 The Korea Foundation Mar 2013 à´´®(dñ page 165-167
58
Broadcast/Cinema/Game
Tourism/Leisure
Fashion/Beauty
IT/Home Appliances
Automobiles
Food/Beverages
Others
0% 10% 20% 30% 40% 50% 60% 70% 1.4% 3.1% 4.2% 16.0% 49.7% 61.5% 64.0%
Industries Expected to Benefit from K-pop Boom
~3% of GDP

65. South Korean Government’s Policy on Supporting National Industries
Source: By Poiuyt7115 - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=75102577; https://unctad.org/system/files/official-document/ditctsce2023d3_en.pdf
59
1960s - 1980s: Support some industries to grow first2000s–2020s: Support some cultures to shine first
Birth of Chaebols Birth of KOCCA and Hallyu Wave

66. ASEAN Case Study: Thailand
60
PUSH Program PULL Program
5.1. บทวิเคราะห์และข้อแนะนําการปรับปรุงแผนยุทธศาสตร์การพัฒนา Soft Power ของบอร์ดซอฟต์พาวเวอร์
•แผนยุทธศาสตร์การพัฒนา Soft Power ของบอร์ดซอฟต์พาวเวอร์ เป็นแผนที่ดีและครอบคลุมในหลาย ๆ มิติเพื่อใช้คอนเท้นต์
ในการสร้าง Soft Power แก่ประเทศไทย
•บทย่อยนี้ ผู้วิจัยจะขอแสดงความเห็นเพื่อปรับปรุงแผนดังกล่าว โดยเน้นเรื่องดนตรีอันเป็นจุดประสงค์ของรายงาน
218
ที่มา: บอร์ดซอฟต์พาวเวอร์ ชู 3 เรื่อง 2 ยุทธศาสตร์ เร่งดัน Soft Power ไทย สู่เวทีโลก, 9 ธ.ค. 2565 (ค้นคว้าเมื่อ ม.ค. 66)
Est. 2023 +

67. ASEAN Case Study: Thailand
61
National Soft Power
Strategy Committee
Paetongtarn ShinawatraSrettha Thavisin Anutin Charnvirakul
InstatedPrime Minister
Established
Ousted
Disolved
Instated Ousted
Re-established Disolved
Instated
Not re-established
interim entity of
2023 2024 2024 2025 2025
THACCA Act finalization planned for early 2026
Source: https://plus.thairath.co.th/topic/politics&society/105674
Note for Future Projects…
Government stability is
essential for effective
policy implementation.

68. So… what should we do?
62

69. 1. Open to International Music Businesses
whilst also protecting local businesses
63

70. 64
Policy Proposal: Protect Local Music Businesses
Enforcing Knowledge Transfer
from International Players to
Local Professionals
Prevent Monopolization and
Enforce the Hiring of Local
Professionals
$
Music Festivals
Stadium Concerts
DIY GigsDIY Gigs
Support the Viability of Local Venues
that are Important Stepping Stones
for Artist Growth
Examples:

71. 64
Policy Proposal: Protect Local Music Businesses
Enforcing Knowledge Transfer
from International Players to
Local Professionals
Prevent Monopolization and
Enforce the Hiring of Local
Professionals
$
Music Festivals
Stadium Concerts
DIY Gigs
Concert
Halls
Live Houses
DIY Gigs
Support the Viability of Local Venues
that are Important Stepping Stones
for Artist Growth
Examples:

72. 2. Support Music Export & Exchange Initiatives
by supporting artist exchange programs
65

73. Fun Fact: 1/3 of artists get >75% royalties from outside their countries
Source: https://loudandclear.byspotify.com/#takeaway-7
66

74. Fun Fact: 1/3 of artists get >75% royalties from outside their countries
Source: https://loudandclear.byspotify.com/#takeaway-7
66

75. Music Export is a Two-way Street
67
Let me in! I want to
sell stuff to you!!! No!!!
$
$
I’ll buy
your stuff!
I’ll buy
your’s too!
Hard Sale vs. Fair Trade

76. Policy Proposal: Facilitate Cross-border Music Exchanges
68
Visa-Free & Work Permit-Free
Programs for ASEAN Artists
PASSPORT
Establish Music Export Offices
and/or Artist Mobility Funds
Support International Music
Business Events & Initiatives

77. Exchange Artists at the Mid-levels as well as Top-levels to Develop Export-ready Artists
69
Music Festivals
Stadium Concerts
DIY Gigs
Concert
Halls
Live Houses
DIY Gigs
Music Festivals
Stadium Concerts
DIY Gigs
Concert
Halls
Live Houses
DIY Gigs

78. Exchange Artists at the Mid-levels as well as Top-levels to Develop Export-ready Artists
69
Music Festivals
Stadium Concerts
DIY Gigs
Concert
Halls
Live Houses
DIY Gigs
Music Festivals
Stadium Concerts
DIY Gigs
Concert
Halls
Live Houses
DIY Gigs

79. 3. Take Advantage of Trends & Data
to support strategy & policy
70

80. ASEAN Trigger Cities: We can Collectively “Trigger” the Streaming Algorithms
Sources: 1) What ‘trigger cities’ really mean for music marketing, Musically, 31 OCT 2019; 2) Sure Shot: Music Marketing in Trigger Cities, Musically, 10 JUL 2019

81. Are you aware of this viral hit?
72
Piki Piki Dance Song is an Indonesian “Full Bass / Jedag‑jedug” remix of "My Lecon" by the
K-pop group jtL from their album Enter the Dragon (2001) by DJ Prengky Gantay!

82. Music Data Analytics can support More Effective Strategies
Sources: app.viberate.com; https://www.waterandmusic.com/takeaways-from-our-inaugural-music-marketing-data-bootcamp/
73

83. Recall: Each music industry segment complements each other
74
Perform shows to
promote release
of new record
Release and
market new record
to promote shows
Attracts fans of film
and TV series to
explore artist’s music
Licensing music
to film, TV series,
commercials, etc.
Music Licensing Industry Recording Industry Live Music Industry

84. Examples from T-pop & T-indie
Sources: https://concertsintownph.com/tickets-for-scrubb-live-released/
75
From BL Series Original Sound to Headliner Concert Tour-Stream-Repeat Strategy

85. 4. Build an ASEAN Music Cities Network
to Create a Collective Voice and
Connect our Scenes at the Grassroots
76

86. The world might not hear a small country shouting…
77

87. But together, we are louder!!!
78

88. Py
Mak
David
Joff
Satria
MC Ian
Kanita
Honorary
Southeast Asian
Josh
Our Core Members are
Experts & Leaders in Their Markets

89. What we hope to help initiate
Regional Touring Network
•We want to create regional
touring routes and market entry
points for each other
Music Cities & Music Tourism
•We want to encourage music
cities and music tourism
initiatives for a more
sustainable music ecosystem

90. We love our music scenes!! So, our missions are…
81
To Bring the World
to Experience Southeast Asia’s Music
To Help Connect Music
from Southeast Asia to the World

91. To spread the word about our awesome music!!!

92. 5. Governments should
Invest in Music and The Arts
as it is a Direct Investment in its People
and Generates Economic Return
(and hope the politics don’t get in the way!!)
83

93. Socioeconomic Study of Bangkok Music City 2025
84
Economic Impact
SUMMARY
Social Impact
The event effectively stimulated the economy in
Bangkok and is well-positioned to grow and
accommodate more participants from other provinces
and abroad.
92% of respondents were from Bangkok and its
surrounding areas, indicating the need to attract more
visitors from outside the region.
Doing so would increase spending and amplify the
event’s overall economic impact.
•MICE expenditure 28,730,587.38THB
•GDP 16,062,791.27 THB
•TAX REVENUE 2,951,801.70 THB
•JOB creation 24 position
•Return on Investment (ROI) 86.34%
•Multiplier 1.56 times
Personal Impact
Cultural Impact
Residential
Community Impact
4.45| 86%
4.6 | 92%
4.54 | 91%
4.56 | 90%
spark Inspiration and Creativity, Participants felt energized and
empowered to return to daily life, Emotional release
Increased Visibility of the venue as a creative hub, Paved the way
for future events in the area, Creative Economy Boost, Enhanced
the area’s reputation as a host for international events
Artists gained valuable experience and insights from performing,
Greater exposure led to potential business and employment
prospects, Opened doors for Thai musicians to access wider markets
Global Stage for Thai Music, Showcased Thai Event Expertise, cross-
Cultural Exchange, Served as a stage to present Thai culture.

94. Socioeconomic Study of Bangkok Music City 2025
84
Economic Impact
SUMMARY
Social Impact
The event effectively stimulated the economy in
Bangkok and is well-positioned to grow and
accommodate more participants from other provinces
and abroad.
92% of respondents were from Bangkok and its
surrounding areas, indicating the need to attract more
visitors from outside the region.
Doing so would increase spending and amplify the
event’s overall economic impact.
•MICE expenditure 28,730,587.38THB
•GDP 16,062,791.27 THB
•TAX REVENUE 2,951,801.70 THB
•JOB creation 24 position
•Return on Investment (ROI) 86.34%
•Multiplier 1.56 times
Personal Impact
Cultural Impact
Residential
Community Impact
4.45| 86%
4.6 | 92%
4.54 | 91%
4.56 | 90%
spark Inspiration and Creativity, Participants felt energized and
empowered to return to daily life, Emotional release
Increased Visibility of the venue as a creative hub, Paved the way
for future events in the area, Creative Economy Boost, Enhanced
the area’s reputation as a host for international events
Artists gained valuable experience and insights from performing,
Greater exposure led to potential business and employment
prospects, Opened doors for Thai musicians to access wider markets
Global Stage for Thai Music, Showcased Thai Event Expertise, cross-
Cultural Exchange, Served as a stage to present Thai culture.
Economic Impact
SUMMARY
Social Impact
The event effectively stimulated the economy in
Bangkok and is well-positioned to grow and
accommodate more participants from other provinces
and abroad.
92% of respondents were from Bangkok and its
surrounding areas, indicating the need to attract more
visitors from outside the region.
Doing so would increase spending and amplify the
event’s overall economic impact.
•MICE expenditure 28,730,587.38THB
•GDP 16,062,791.27 THB
•TAX REVENUE 2,951,801.70 THB
•JOB creation 24 position
•Return on Investment (ROI) 86.34%
•Multiplier 1.56 times
Personal Impact
Cultural Impact
Residential
Community Impact
4.45| 86%
4.6 | 92%
4.54 | 91%
4.56 | 90%
spark Inspiration and Creativity, Participants felt energized and
empowered to return to daily life, Emotional release
Increased Visibility of the venue as a creative hub, Paved the way
for future events in the area, Creative Economy Boost, Enhanced
the area’s reputation as a host for international events
Artists gained valuable experience and insights from performing,
Greater exposure led to potential business and employment
prospects, Opened doors for Thai musicians to access wider markets
Global Stage for Thai Music, Showcased Thai Event Expertise, cross-
Cultural Exchange, Served as a stage to present Thai culture.
Economic Impact
SUMMARY
Social Impact
The event effectively stimulated the economy in
Bangkok and is well-positioned to grow and
accommodate more participants from other provinces
and abroad.
92% of respondents were from Bangkok and its
surrounding areas, indicating the need to attract more
visitors from outside the region.
Doing so would increase spending and amplify the
event’s overall economic impact.
•MICE expenditure 28,730,587.38THB
•GDP 16,062,791.27 THB
•TAX REVENUE 2,951,801.70 THB
•JOB creation 24 position
•Return on Investment (ROI) 86.34%
•Multiplier 1.56 times
Personal Impact
Cultural Impact
Residential
Community Impact
4.45| 86%
4.6 | 92%
4.54 | 91%
4.56 | 90%
spark Inspiration and Creativity, Participants felt energized and
empowered to return to daily life, Emotional release
Increased Visibility of the venue as a creative hub, Paved the way
for future events in the area, Creative Economy Boost, Enhanced
the area’s reputation as a host for international events
Artists gained valuable experience and insights from performing,
Greater exposure led to potential business and employment
prospects, Opened doors for Thai musicians to access wider markets
Global Stage for Thai Music, Showcased Thai Event Expertise, cross-
Cultural Exchange, Served as a stage to present Thai culture.
Domestic Economic Impact Generation
Increased Music Export Potential
Report Sponsored by

95. Fact - Creativity fuels Innovation
85
INNOVATION
CREATIVITY
Source: Creativity: The Fuel of Innovation, M J Gilmartin, School of Nursing, University of Virginia, Charlottesville, USA.

96. Source: The Mastering of a Music City - Presented by IFPI, Music Canada in association with Midem pages 27, 28, 72.
https://workplaceinsight.net/creativity-is-the-new-productivity-in-the-new-era-of-work-and-workplaces/
•“A thriving music scene attracts talented young
people to cities.”
•‘The Rise of the Creative Class’ by Richard Florida
•“Millennials are attracted to companies that allow
and encourage creativity”
•2011 PwC Millennials at Work
•“[Gothenburg’s] huge industrial companies want
culture and music to flourish because they see the
link to attracting young workers to their companies.”
•Fredrik Sandsten - Event Manager Music at the
public tourism agency of Gothenburg, Sweden
Fact - Creative Cities/Companies attract Creative Talent
86

97. Creative Talent is the Main Resource for Economic Prosperity
87
CREATIVITY
CREATIVITY
PRODUCTIVITYINNOVATION
ECONOMIC
PROSPERITY

98. Lastly, each person’s “Creative Juice” may be different—
just like the music we listen to.
So, it’s better to support a variety of music instead of just one kind.
88

99. Homogenous Forest or Biodiverse Rainforest?
Images generated by ChatGPT

100. Thank you very much
90
Bangkok Music City
[email protected]
AXEAN Festival
Co-founder & Co-organizer
[email protected]
Fungjai Co., Ltd.
[email protected]
Chulalongkorn School of Integrated
Innovation (CSII)
[email protected]