AXEAN Festival returns to Bali this September with a bold new vision, expanded programming and continued mission to foster discovery, connection and collaboration.
To take place 13-14 September at Jimbaran Hub, the festival is rapidly becoming a must-attend destination for global music professionals eager to understand and engage with the fast-rising Asian music markets.
Now in its sixth year (and second edition in Bali), AXEAN Festival has grown into more than just a showcase event, it's a platform for cultural exchange, cross-border business and future-facing talent development.
The 2025 programme will feature 40-plus breakthrough artists from across Southeast Asia and beyond, offering attendees not only a window into the most exciting new music coming out of the region, but a hands-on opportunity to connect directly with the people powering its growth.
"Asia is no longer a market to watch, it's a market to engage," AXEAN Festival Co-Founder and Co-Director David Siow says. "With some of the fastest-growing streaming audiences in the world and a rapidly expanding infrastructure for touring, releases and collaboration, Asia is shaping the future of the music industry.
"AXEAN Festival exists as a gateway not just for discovering world-class talent, but for understanding how each market operates and meeting the managers, agents, promoters, and innovators who are making things happen on the ground."
Adds co-founder and team leader Piyapong Muenprasertdee: "Whether you're an artist manager in Sydney, an indie label in London or a festival booker from Berlin, AXEAN Festival offers something you can't get elsewhere and that's real access to the dynamic Asian markets, an incredible pool of export-ready regional talent, authentic connections with local industry, and a chance to build sustainable pathways in one of the most exciting and culturally rich regions in the world."
The elevator pitch for AXEAN; for our readers, is it a mix of SXSW/ BIGSOUND in terms of programming and showcases?
David: Imagine a more casual BIGSOUND sprinkled with some sriricha or banana ketchup, and where the 150 curated delegates, 40-plus artists and festival/ conference activities are all located in one venue, all whilst enjoying the paradise that is Bali! Good times.
Py: I first attended SXSW in 2013, and that experience definitely inspired me to co-create AXEAN. Of course, we're working with a much smaller budget and in a very different cultural and industry context compared to the West, so we've had to build it in our own way – with whatever resources we had, and with a lot of support from friends. In fact, friendship is at the heart of AXEAN: it's how the festival began, how people came together, and ultimately how the music and love continue to spread.
Launched during COVID and staged annually since (both virtually and IRL), what's the premise behind AXEAN Festival; what is the event's mantra, mission statement?
David: We're all about the artists! By creating the festival, conference and songwriting camp we are addressing their needs and are accelerating their career growth, particularly when it comes to exporting themselves and market penetration.
Py: Both David and I are artists (although in my case, that was in the past and much less successful than David) so AXEAN has always been built with an artist-centric approach. However, I've also worked as a consultant in sustainability and climate change, which gives me a policy and ecosystem-development perspective.
An artist can't thrive in isolation; they need fans, but also an industry structure that allows them to make a living. Our goal with AXEAN is to help connect those dots by linking people across the music ecosystem, within Southeast Asia and with the world beyond.
For music industry, who should contemplate attending AXEAN this year, and at future events?
David: If you're looking to find great Asian talent/ expand your delegate network/ deepen your localised knowledge in the ASEAN markets/ looking to showcase artists/ experience Bali as it used to be, then the festival is for you. If you're in sync, publishing, music production – the songwriting camp is for you.
Py: I think many people will be surprised by just how much Southeast Asia has to offer sonically. It's a region of 680 million people with one of the youngest and most digital-native populations in the world, and its music scenes are evolving at a remarkable pace.
What makes it even more interesting is that each market operates in its own unique way. Different from the West and even different from each other – which is why having the right 'friends' to guide you through the local scenes can make all the difference.
Further to that, who are some of the conference speaker highlights this year?
David: For our first panel Beyond the Upload: Strategies for Long-Term Growth for Southeast Asian Artists, we have artist and YouTube star Ysabelle Cuevas and Max Thomas from Secretly Group who's behind campaigns for Mitski and Bon Iver.
Our second panel Rethinking Music's Footprint: Practical Pathways for Southeast Asia's Music Scenes is also tackling some real sustainability issues in our industry, with speakers from the Indonesia chapter of Music Declares Emergency and leading green movement people from (France Gwendolenn Sharp) and Australia (Tim Shiel).
The music conference side of the event; what kind of topics, areas of interest does AXEAN navigate/ lead discussions? Networking must also be a major part of the festival, right?
David: This year we have four panel discussions – a New Zealand focus panel, a green sustainability panel, an ASEAN artist release strategy panel, as well as a panel on grassroots dance music.
Of course we also have speed-meeting sessions, business-pitching sessions, as well as a welcome party and an after party. Networking is key in our festival; in Asia, the face-to-face connection is still very important so we put an emphasis on making the right conducive environment for delegates and artists to mingle and befriend each other (best be prepared, much drinking is involved).
Py: As David has already outlined, I'd just add that our conference, business meetings, and networking events aren't the very 'structured' kind you might see at larger international festivals.
In the past, with limited resources and manpower, things could even feel a bit improvised; but that's actually part of the charm. We put the emphasis on good vibes and positivity, which I believe is the best chemistry for networking. People tend to connect more genuinely in that environment.
The 2025 artist line-up; who are some of the artists you're excited to see live on stage?
David: I'm looking forward to the Club SEA showcase on 13 September night in our indoor stage, where five ASEAN artists will bring local flavour into their grassroots electronic music. We typically curate bands that are exceptional live, so no matter the stage or timing, there will be an exciting act to watch.
Py: For me, I'm more excited to see how the audience reacts to the artists they discover regardless of language, genre or level of fame. That moment of genuine discovery, when someone finds their new favourite artist, is what makes AXEAN so special.
How important is the Asian music scene to the Australian market, both for industry and creatives/ musicians alike?
David: Asia is such a large market, yet such a tough nut to crack! I believe it's worth the effort to understand each market, the delegates and players within each market, and find the ways to collaborate – be it from an artist's perspective or industry.
Py: Well, isn't it weird to not hangout and jam some tunes with your next door neighbour only to travel out of town to see your old mates? Metaphors aside, Asia and Australia are right in each other's backyard, yet Australia often leaps straight to the UK, US, and Europe. I'd love to see us exchange more music and musicians and it feels like such a natural connection waiting to happen.
International touring is always the (long-term) goal of most bands-artists as they first start out; however, with the rising costs of travel (and everything else), America and UK-Europe aren't as feasible for most independent budgets; what touring opportunities are available if an Australian band-artist looks at Asia as a viable destination?
David: For Asia, sometimes I prefer to initiate some song collaborations first as a first point of market entry, so that they're not going in blind and can develop some fans/ listeners prior to touring.
The good news is that in Asia the smaller shows (under 150 people) are popping off, with many promoters that specialise in different genres. However, the costs for doing tours above board (proper performance visas and ATA Carnet) do stack up as well, so my personal opinion is to still focus on the trigger cities in Asia and hit those that respond well from the data.
Py: There's no single formula for success, but a good first step is to connect with local artists who share a similar vibe. Drop them a message, trade compliments, share your music – friendships like that often open doors.
Finding a local PR agent or publicist who really understands the scene can also make a big difference. And of course, always check your streaming and social stats to see where your music is already resonating as it's the best clue for where to start building an audience.
Given English is not the first language choice, (or even second or third in many territories), does that pose a hindrance for Australian talent looking to expand into the region?
David: I'd say if their lyrics are their only USP then it might rule out certain markets, but each capital city in ASEAN is up for grabs as they are all metropolitan, English speaking and tech-savvy. Indonesia alone has multiple trigger cities like Jakarta, Bali, Bandung, which prop up an artist and launches them digitally into international markets.
Py: Language is less of a barrier these days. Most metropolitan audiences are already accustomed to English, but what really wins people over is when artists make the effort to connect beyond the music; whether that's learning a few words in the local language, trying the food, or immersing themselves in the culture. Do that, and you'll not only gain fans, you'll build deeper, more lasting connections.
The stereotype from a Western mindset of Asian music would be K-pop and similar girl-boy band concepts; but in reality, what is the makeup of Asian original music?
David: Diverse! Whatever kind of act you can think of, they exist in Asia. Whatever kind of act you can't imagine, they also exist in Asia!
One interesting observation is the Cambodia/ Laos/ Myanmar/ Vietnam markets, where hip hop infused with local ethnic instruments seems to be dominating, as their message seems to resonate with the labour force.
The virality of grassroots ASEAN electronic music also is another interesting development. That being said, the K-pop groups have started infiltrating every country too, the P-pop groups like SB19 are really strong.
Py: I don't want to sound negative, but that's a bit like saying America only has country music, or the UK only has The Beatles (LOL!). Southeast Asia alone has 11 countries, most separated by sea, each with its own languages, cultures, and traditions, so naturally their music is very diverse.
Asia is the largest continent in the world, so by sheer scale the variety is immense. Of course, Western music has been a big influence, but what's exciting now is that more and more artists are weaving their cultural roots and heritage into their sound, creating something truly unique.
Tell us about the local music scene across Asia; how vibrant is the independent, DIY market, and which bands/ artists are making significant inroads into gaining a wider following outside of Asia?
David: From Singapore we have Blush, Curb, Subsonic Eye and Sobs doing US tours very often due to their ties with booking agents as well as Topshelf Records; plenty of ASEAN labels also doing shows for each other as exchange programmes.
From the AXEAN side we average 30 to 40 opportunities secured for our artists showcased – platforms like Fuji Rock Festival (Japan), Incheon Pentaport Rock Festival (South Korea), Les Escales (France), Wonderfruit, Big Mountain Festival, Maho Rasop (Thailand), Wanderland (Philippines) and more.
Py: Thanks to the accessibility of the internet and social media, music fans today are discovering independent artists from neighbouring countries and not just the global mainstream acts pushed by mass media.
At the same time, festival bookers in the West are increasingly looking outward, searching for fresh and innovative sounds through social platforms and newer showcase festivals in Asia. All of these factors together are fuelling the growth of the DIY scenes, expanding the reach of Asian artists, and creating more opportunities for them to break into international markets.
Five to ten years time; what is a realistic goal of where AXEAN will be positioned in the music industry both within the region as well as globally?
David: AXEAN has a new type of model of a showcase festival, where we are nine people from eight countries sharing resources and networks, hence we have been the one-stop-shop for ASEAN delegates and artists, but we have been expanding our impact and network to Asia and Europe, so in five years if me and Py are still alive we would have more partners to export to, being a true funnel for artists to find opportunities outside of their own country.
Py: In five to ten years, I hope AXEAN is sustainable enough that we can actually hire a full team and David and I can just hang out and focus on helping people connect, LOL!
On a serious note, my real hope is that Southeast Asia will be recognised not only for our beautiful beaches and delicious spicy food, but also for our rich musical culture. I'd love to see more of our artists travelling the world as ambassadors of music, culture, and peace.
