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Chinese star power took the stage by storm at Coachella.
During the 88rising Futures segment of this year’s Coachella Valley Music and Arts Festival on April 14, Chinese artists Jackson Wang and Liu Yuxin captivated the audience with their unique music and style.
Jackson Wang, dressed in black, surprised everyone by joining South Korean singer and rapper BIBI to debut an unreleased track titled “Feeling Lucky.” He also performed with the Japanese hip-hop trio Number_i, consisting of Yuta Jinguji, Yuta Kishi and Sho Hirano, showcasing their hit single “Goat.”
Bibi and Jackson Wang perform during the 88rising Futures showcase at the Mojave Tent during the 2024 Coachella Valley Music and Arts Festival at Empire Polo Club on April 14, 2024 in Indio, Calif.
Frazer Harrison/Getty Images for Coachella
Adding to the lineup of 88rising Futures, Chinese singer Liu Yuxin, also known as Xin Liu, made her debut at this year’s Coachella festival. She delivered a 12-minute performance, including the live debut of her first all-English single “Reality.” Adorned in a glistening gold ensemble, Liu illuminated the Mojave stage with her dynamic vocals and passionate choreography. Her performance featured the enchanting Miao ethnic group style in “Hurricane,” combining Miao folk music with Chinese street dance, establishing her as the first Mandarin-speaking female singer to captivate the Coachella audience.
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Liu Yuxin
Courtesy of 88rising/Coachella
Jackson Wang’s performance at the 2024 Coachella festival solidified him as the first Chinese singer to perform three times at the prestigious event. In 2022, Wang made his debut at Coachella, as the first Chinese solo artist to take the stage at the festival. He also took a moment to remind the audience why it mattered that he was there: “This is the moment of history, this is Magic Man, this is Jackson Wang from China,” he said. During his set, the Chinese rapper sang “100 Ways” and “Blow” from his album Magic Man, as well as “Cruel.”
In 2023, Jackson Wang delivered an iconic 50-minute solo set at Coachella for the second consecutive year, showcasing songs from his album Magic Man. He awed music fans when he brought out Grammy-winning artist Ciara to perform their new single “Slow,” which was co-written by Wang himself. They also collaborated on a remix of XG’s “Left Right.”
Wang’s success extends to social media, with over 1 billion views on TikTok and 30 million Instagram followers. His album Magic Man in 2022 achieved significant success on the Billboard 200 chart, reaching an impressive No. 15. The same year, he embarked on his first world tour, performing in 24 cities across 12 countries, attracting fans and audiences worldwide and setting numerous records for Chinese singers performing internationally.
The Coachella festival is a prominent music event that takes place in the Coachella Valley of California. This festival annually features renowned singers and bands, setting trends in the global pop music scene. Being selected to perform at Coachella has emerged as a pivotal factor in assessing the power and impact of music idols. The growing presence of Chinese musicians on the Coachella stage offers music enthusiasts a taste of the rich and varied musical landscape from the Eastern part of the world.
04/15/2024
From YOASOBI and LE SSERAFIM’s sets to the combining of star power thanks to 88rising Futures, the promise of Asian pop music was on full display in Indio.
04/15/2024
When referencing the “Migration” tour that has endured for numerous years, in Chen Li’s memories, the prelude to each performance holds unforgettable moments. “I will stand behind two large screens awaiting the opening, and then I will witness red and green lights flashing before me. Despite the mere presence of cold iron frames surrounding the stage, for some inexplicable reason, being in that environment makes me feel remarkably familiar and secure.”
In ancient times, the entrances on both sides of the stage were known as the Tiger Gate. Once the performer steps through the Tiger Gate, regardless of what unfolds on or off the stage, The Show Must Go On. The flickering lights witnessed before the commencement of the concert evoke in Chen Li memories of “the first thing I saw when I was born.” Through the screen, she can even discern the cheers and encouragement from the front row audience, meters away. Every upcoming performance is like a newborn baby coming into the world, everything is like an unknown “migration.” Therefore, every time Chen Li steps through the Tiger Gate, the feeling is both nervous and brand new.
In relation to the “Migration” concert, Chen Li once expressed: “I hope those blue nights can provide enduring tenderness for us in the future.” She likes to use different colors to commemorate the emotions evoked in every moment, and the “Migration” associated with fish, naturally, is blue. As the various stages in the life cycle of fish progress, migration is the consequence of the fish’s adaptation to changes in the external environment. From 2019 to 2024, Chen Li has held 17 “Migration” tours. For her, “Migration” is not just a simple concert; it records the process of her growth as a singer.
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Unique Creation Styles to “Prevent Addiction”
One of Chen Li’s album was named “Fang Chen Mi,” which means “Prevent Addiction” in Chinese. In fact, this highly smooth conceptual record makes it very easy for listeners to become addicted to it. Rather than fostering an addiction to the online realm, the album aims to immerse its audience in the offline world. To promote this vision, Chen Li’s team organized a physical album photo event, encouraging recipients of the CD to unleash their creativity and share imaginative photos with one another.
The absence of an official introduction for “Fang Chen Mi” stands out in the Chinese music industry, where extensive album introductions are the norm. This departure may carry a deeper, more creative significance. Despite receiving over ten versions of album introductions, Chen Li still believes that the most fitting introduction for “Fang Chen Mi” is no introduction at all. “Just listen to the songs, there’s no need for anything fancy. If you like it, sing along a few lines. If everyone has similar experiences as those in the songs, feel free to interpret them.”
The promotion methods for “Fang Chen Mi” are also unconventional. In the current era of digital music, “Fang Chen Mi” instead chose to release the physical CD version first, with the online platform release following after a period of time (partly due to copyright reasons). If listeners want to hear the entire album as soon as possible, they must purchase the physical album, evoking a nostalgic sensation reminiscent of using a Discman to listen to music in the 1990s, and thus achieving a substantial physical sales volume.
This year, Chen Li will unveil her ninth album. The new project has already recorded three songs, with all lyrics penned by a good friend with whom she has never previously collaborated in music. Chen Li describes the lyrical style as “a bit more serious,” while the melodies continue to reflect her personal taste.
Chen Li on Billboard China
Yaxin Liu
Finding the Balance in Leisure
Currently, Chen Li lives in Hangzhou for the majority of time, occasionally returning to Beijing for brief stays. Unlike the bustling work environment in Beijing, in Hangzhou, Chen Li wholly embraces a “slowed down” way of life: “It is merely because the strolling environment in Hangzhou is somewhat superior. In Beijing, I have a group of old friends who care for each other like family. I simply desire to venture out independently, to a place with fewer friends, and seek tranquility, to ascertain if I can acclimate.”
On Chen Li’s Weibo account, her life in Hangzhou is vivid: the coffee shops she adores, the handicrafts she enjoys creating, the line drawings she loves to produce… Chen Li genuinely relishes this leisurely and refined lifestyle. “Many of my small hobbies can be fully realized in Hangzhou. The pace of life here is slower, and I have ample time and space to engage in numerous ‘unproductive’ activities, thus I live quite comfortably. You cannot contrive a specific life for the purpose of creation; life itself is the purpose.”
The simple sketches that appear in the physical album of “Prevent Addiction” are an authentic reflection of Chen Li’s life in Hangzhou: “Drawing is a ‘little corner’ that I particularly cherish. Drawing makes me lost in time, continuously observe and contemplate, including the precious lines and colors conjured from blank.”
“Every day, people have different desires, and I think the key is finding a balance. Sometimes you like this, sometimes like that, eat when hungry, take a nap when sleepy, get up and play when awake, these are all very simple truths.” Everything should just go with the flow. As long as one approaches life with a “playful” attitude, one can find their own balance.
–This article was written by Jifan Wang for Billboard China
Chen Li on Billboard China
Yaxin Liu
China‘s Tencent Music Entertainment Group saw its profit jump 36% to 5.22 billion yuan ($735 million) in 2023 as growth in paid subscriptions helped offset mixed results in its social media business, according to an earnings filing on Tuesday (Mar. 19). The leading music streaming company in China — Tencent Music operates QQ Music, Kugou […]
The House on Wednesday passed a bill that would lead to a nationwide ban of the popular video app TikTok if its China-based owner doesn’t sell, as lawmakers acted on concerns that the company’s current ownership structure is a national security threat.
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The bill, passed by a vote of 352-65, now goes to the Senate, where its prospects are unclear.
TikTok, which has more than 150 million American users, is a wholly owned subsidiary of Chinese technology firm ByteDance Ltd.
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The lawmakers contend that ByteDance is beholden to the Chinese government, which could demand access to the data of TikTok’s consumers in the U.S. any time it wants. The worry stems from a set of Chinese national security laws that compel organizations to assist with intelligence gathering.
“We have given TikTok a clear choice,” said Rep. Cathy McMorris Rodgers, R-Wash. “Separate from your parent company ByteDance, which is beholden to the CCP (the Chinese Communist Party), and remain operational in the United States, or side with the CCP and face the consequences. The choice is TikTok’s.
House passage of the bill is only the first step. The Senate would also need to pass the measure for it to become law, and lawmakers in that chamber indicated it would undergo a thorough review. Senate Majority Leader Chuck Schumer, D-N.Y., said he’ll have to consult with relevant committee chairs to determine the bill’s path.
President Joe Biden has said if Congress passes the measure, he will sign it.
The House vote is poised to open a new front in the long-running feud between lawmakers and the tech industry. Members of Congress have long been critical of tech platforms and their expansive influence, often clashing with executives over industry practices. But by targeting TikTok, lawmakers are singling out a platform popular with millions of people, many of whom skew younger, just months before an election.
Opposition to the bill was also bipartisan. Some Republicans said the U.S. should warn consumers if there are data privacy and propaganda concerns, while some Democrats voiced concerns about the impact a ban would have on its millions of users in the U.S., many of which are entrepreneurs and business owners.
“The answer to authoritarianism is not more authoritarianism,” said Rep. Tom McClintock, R-Calif. “The answer to CCP-style propaganda is not CCP-style oppression. Let us slow down before we blunder down this very steep and slippery slope.”
Ahead of the House vote, a top national security official in the Biden administration held a closed-door briefing Tuesday with lawmakers to discuss TikTok and the national security implications. Lawmakers are balancing those security concerns against a desire not to limit free speech online.
“What we’ve tried to do here is be very thoughtful and deliberate about the need to force a divestiture of TikTok without granting any authority to the executive branch to regulate content or go after any American company,” said Rep. Mike Gallagher, the bill’s author, as he emerged from the briefing.
TikTok has long denied that it could be used as a tool of the Chinese government. The company has said it has never shared U.S. user data with Chinese authorities and won’t do so if it is asked. To date, the U.S. government also has not provided any evidence that shows TikTok shared such information with Chinese authorities. The platform has about 170 million users in the U.S.
The security briefing seemed to change few minds, instead solidifying the views of both sides.
“We have a national security obligation to prevent America’s most strategic adversary from being so involved in our lives,” said Rep. Nick LaLota, R-N.Y.
But Rep. Robert Garcia, D-Calif., said no information has been shared with him that convinces him TikTok is a national security threat. “My opinion, leaving that briefing, has not changed at all,” he said.
“This idea that we’re going to ban, essentially, entrepreneurs, small business owners, the main way how young people actually communicate with each other is to me insane,” Garcia said.
“Not a single thing that we heard in today’s classified briefing was unique to TikTok. It was things that happen on every single social media platform,” said Rep. Sara Jacobs, D-Calif.
Republican leaders have moved quickly to bring up the bill after its introduction last week. A House committee approved the legislation unanimously, on a 50-vote, even after their offices were inundated with calls from TikTok users demanding they drop the effort. Some offices even shut off their phones because of the onslaught.
Lawmakers in both parties are anxious to confront China on a range of issues. The House formed a special committee to focus on China-related issues. And Schumer directed committee chairs to begin working with Republicans on a bipartisan China competition bill.
Senators are expressing an openness to the bill but suggested they don’t want to rush ahead.
“It is not for me a redeeming quality that you’re moving very fast in technology because the history shows you make a lot of mistakes,” said Sen. Ron Wyden, D-Ore.
In pushing ahead with the legislation, House Republicans are also creating rare daylight between themselves and former President Donald Trump as he seeks another term in the White House.
Trump has voiced opposition to the effort. He said Monday that he still believes TikTok poses a national security risk but is opposed to banning the hugely popular app because doing so would help its rival, Facebook, which he continues to lambast over his 2020 election loss.
As president, Trump attempted to ban TikTok through an executive order that called “the spread in the United States of mobile applications developed and owned by companies in the People’s Republic of China (China)” a threat to “the national security, foreign policy and economy of the United States.” The courts, however, blocked the action after TikTok sued, arguing such actions would violate free speech and due process rights.
Liu Lian’s debut solo EP, Don’t Speak, Just Kiss, unveils her exploration of love through three self-penned and composed songs. Departing momentarily from the familiar jazz stylings of the band Mr. Miss, Liu Lian ventures into the realm of self-expression as a solo artist, unveiling a profound understanding of self-love through forays into new musical genres like dream pop.
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As a maiden voyage into solo artistry, Don’t Speak, Just Kiss encapsulates Liu Lian’s current authentic essence. Having become accustomed to the vocal intricacies and creative trajectory as the frontwoman of Mr. Miss, Liu Lian’s transition from the security of the band into the uncharted waters of her solo career has been a transformative journey of self-discovery and self-acceptance.
Symbolized by the “Love Airline” motif in Don’t Speak, Just Kiss, she encourages listeners to embark on a proactive journey toward self-discovery and fulfillment. The EP cover’s re-creation of the iconic “victory kiss” scene within an airplane cabin symbolizes the transformative power of decisive action over passive waiting.
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In Liu Lian’s vision, each seat within the cabin represents a microcosm of life’s diverse experiences. From solitary travelers finding solace to lovers entwined in intimate whispers, each vignette reflects facets of human existence. Notably, the blurred figure embraced by Liu Lian on the EP cover hints at a symbolic embrace of her own multifaceted identity within this tableau.
Lian Liu for Billboard China
Yaxin Liu
Love Others, Speak Less, Kiss More
In the EP’s standout title track, Liu Lian beautifully captures the essence of love and longing: using our bodies to embrace, kiss and love passionately. Embracing the idea that love may not last forever, why not enjoy the present, live fully, speak less, and kiss deeply – this is what life is about. In Liu Lian’s touching lyrics: “The most profound expression of humanity is found in kissing.”
In China, talking about desires can be uncomfortable. Some fans hesitated to share a song titled “Don’t Speak, Just Kiss” on social media. The reactions not only surprised Liu Lian, but also highlighted the EP’s importance. It helps people overcome their inhibitions from a new perspective. Liu Lian said, “It’s a great achievement. There’s no shame in desires; love is what matters most.”
In Chinese, the word “we” sounds the best. Love is about moving from “I” to “we,” from being alone to being together. Liu Lian believes that to love others, you must first love yourself. Courage isn’t always needed to love. When you truly care for someone, courage comes naturally when showing that love. If you struggle with courage, it might be because you don’t love yourself enough or feel unworthy, which can make it hard to give or accept the love you deserve.
The upcoming romantic movie You Whom I Lost, set to premiere in March, will feature Liu Lian in her big-screen debut as the female lead’s best friend. Having released an EP centered around love and starring in a romantic film, Liu Lian, acclaimed as an intellectual in love relationships, reflects on the word “love” feeling somewhat distant from her: ” It feels like it’s been a while since I’ve thought about love. I admire people who do crazy things for love; they seem really happy. Love can make you feel obsessed and act impulsively, unlike how you normally would. But it seems like I can’t act like that anymore.”
Lian Liu for Billboard China
Yaxin Liu
Loving Music Takes Action
Since 2017, on each anniversary of her birth, Liu Lian has unveiled a solitary opus that leans more toward personal introspection. Don’t Speak, Just Kiss signifies Liu Lian’s inaugural venture into complete artistic autonomy as a soloist.
“When I start creating music on my own, some traces of the group’s style may still be present,” Liu Lian says of her time in Mr. Miss. “While working alone, I focus on crafting melodies with precision, similar to performing surgery. My creative process is not just about reflecting on myself; it also involves exploring imagination and fiction to express my thoughts and observations from that time.”
Transitioning from nostalgic ’90s vibes to contemporary atmospheres prevalent in today’s musical landscape, when discussing the trajectory of her forthcoming debut full-length album, Liu Lian candidly concedes that she is still in the process of exploration: “Truthfully, I am most intrigued to discern the musical path preferred by my audience after this EP. I aspire for the album’s thematic essence to be more defined than that of the EP. This year, my aim is to compose and release additional compositions to delineate a distinctive musical signature for ‘Liu Lian.’”
To promote this EP, Liu Lian orchestrated an online collaborative initiative titled ” Don’t Speak, Embrace Creation,” where enthusiasts collectively contributed to a single document that has garnered thousands of submissions thus far. “Numerous young individuals expound upon facets intimately entwined with their existence—be it parental wake-up calls at dawn or anecdotes pertaining to exam preparations—rendering their narratives relatable and vivacious in both prose style and lyrical cadence.”
Liu Lian had perennially navigated the musical landscape under the guise of an autonomous ensemble, seldom venturing into other facets of the recording industry. This occasion marked her deep-seated partnership with Tencent Music Entertainment Group, embracing a more industrialized production approach to unveil a personal EP, affording Liu Lian an immersive involvement in every facet of the album: from inception to production to dissemination… Truly an invigorating firsthand encounter for Liu Lian.
“I tried to handle everything on my own, from making music to working with producers. This helped me learn a lot about making albums, the Chinese music industry, and solve many mysteries. Working with TME has been great; they help me choose songs and remind me of what to do next in the production process. Brainstorming about music with someone who thinks like me is really valuable.”
–Written by Jifan Wang for Billboard China
Lian Liu for Billboard China
Yaxin Liu
As twilight adorns the sky with its ethereal canvas, the horizon’s resplendent clouds mirror the trilogy of Xiao Xia albums reflecting upon Huang Qishan’s midlife journey. Literary aficionados have long employed the expression “the sunset’s lingering glow weaves a tapestry of magnificence” to metaphorically depict the enduring allure that graces the conclusion of a literary masterpiece. In the wake of experiencing Xiao Xia 3.0, listeners are left in awe, echoing a sentiment of profound appreciation akin to that sublime celestial phenomenon: The Sunset Radiance Transformed Into Exquisite Grandeur.
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Spanning the better part of a decade, Qishan Huang, born as Huang Xiaoxia, has serenely completed her Xiao Xia musical saga. As if charting the cartography of her soul from her vivacious 20s through the profound 30s to the contemplative 40s, each iteration of Xiao Xia encapsulates the multifaceted essence of a woman’s pilgrimage through life.
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The limited-edition vinyl version of Xiao Xia 3.0 swiftly sold out after its online release. The vinyl format, with its rich warmth and pristine clarity, seems destined to align seamlessly with the very essence of Xiao Xia, fully embodying its serene beauty and introspective tranquility.
Unlike CDs, vinyl records were once a less popular medium for music consumption, much like the initially underestimated Xiao Xia album. With the resurgence of vinyl records in recent years, Xiao Xia, like vinyl, has once again emerged as a coveted trend, a development that seems utterly unexpected to Qishan a decade ago.
Upon closer examination of the album cover of Xiao Xia 3.0, one discerns a tearful Xiao Xia bidding farewell to her youth. Intriguingly, at the very moment when tears fall, Qishan also smiles and playfully sticks out her tongue, serendipitously catching the tear that glides down from her eye. This subtle yet powerful touch silently and eloquently conveys the album’s central theme.
Commencing with 1.0, each cover of Xiao Xia has consistently incorporated the image of a headscarf. “I have experienced marriage before, but I have never had a formal wedding ceremony. The headscarf worn by Xiao Xia means that even if women choose not to pursue marriage, it does not necessarily imply a disinterest in wedding dresses. Ultimately, women retain their belief in love, but is marriage an indispensable requirement? Not necessarily. This represents a form of acceptance; each individual possesses the autonomy to determine how they wish to navigate their life.”
In Time, We Laugh With Tears
From the Xiao Xia 3.0 album, the song that most profoundly moved listeners to tears is undoubtedly the title track “Xiao Xia.” Huang Qishan candidly admits that when it comes to shedding tears, she possesses no semblance of personal boundaries: “I am completely uninhibited when it comes to crying; I readily share my entire spectrum of emotions with others, whether they be joyous or sorrowful. This is because the song ‘Xiao Xia’ is profoundly worthy of our tears. It transcends the realm of a mere musical composition; it embodies something that appears simultaneously simple and insignificant, yet also grand and magnificent.”
Spanning the journey from the southbound train in the 1990s to the transoceanic taxi ride, the intricate interweaving of time and space in “Xiao Xia” possesses an enchanting quality. A substantial segment of a woman’s life is encapsulated within the song’s stream-of-consciousness lyrics. Life follows a predictable trajectory—beginning with unwavering certainty, it gradually transitions into uncertainty. Xiao Xia’s perception of herself and the world around her underwent profound and transformative changes. Having reached the age of self-awareness, Qishan can finally affirm with unwavering conviction: “This version of you is valiant.”
The lyrics of “Xiao Xia” include the line: “Swiping through social media, everyone is discussing my appearance.” From her vibrant pink hair and provocative miniskirts to her energetic dance moves, Qishan’s fearlessly transformative appearances in recent years have undoubtedly subverted everyone’s preconception of her “After joining the dance troupe at the age of fifteen, I never danced again. Rediscovering the joy of dance at the age of 50 feels simply marvelous. Life should be an engaging experience; continuously learning new skills is essential. Maintaining a zest for life enables you to grasp the fleeting essence of youth”
Qishan Huang for Billboard China
Yaxin Liu
Let Us Move On Together
Another emotionally resonant moment in “Xiao Xia” occurs towards the end of the song, when a chorus of backing vocals gradually joins in, transforming the initial soft solo into a powerful collective voice. This transition amplifies the emotional impact of the line, “Oh, so many people love me.” These backing vocals symbolically represent the music colleagues and loyal audiences who have steadfastly accompanied Qishan throughout her career. It is because of the unwavering love and support from countless individuals that Qishan has garnered the strength and courage to declare, “Let’s move on together.”
While many yearn for another album of Xiao Xia, Huang Qishan asserted during this interview that 3.0 will serve as the definitive conclusion. Although a prequel, Xiao Xia -1.0, may emerge in the future, recounting her childhood experiences from before the age of 20 to her teenage years, there will not be a Xiao Xia 4.0. “There won’t be a 4.0; in life, it is sometimes necessary to conclude at an appropriate juncture. I am uncertain when this childhood Xiao Xia album will materialize; perhaps I will create it when inspiration strikes.”
Nevertheless, the Xiao Xia that Huang Qishan has bestowed upon the world and herself is already deeply embedded in the hearts of every attentive listener. As a heartfelt gesture, the behind-the-scenes team of Xiao Xia prepared a unique surprise for her — each member inscribed their signatures on the covers of the three Xiao Xia albums. Qishan was overwhelmed with emotions, “there has been an empty wall in my house for several years, and now suddenly there is something to adorn it. It feels as though this wall has been eagerly awaiting the arrival of these precious gifts.”
–Written by Jifan Wang for Billboard China
Qishan Huang for Billboard China
Yaxin Liu
On Dec. 22-23, Shan Yichun hosted her inaugural solo concert “Please Me” at the Hangzhou Olympic Sports Center. The tickets for the Dec. 23 performance were sold out within seconds, leading the organizers to announce an additional show on the 22nd. The fact that her debut concert was a sold-out success attests to Shan Yichun’s considerable popularity.
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Over the past three years, Yichun has amassed numerous impressive works and garnered a large following. From achieving the title of national singing competition champion to finally holding her own solo concert, this moment in time is opportune for Yichun. “Now is the perfect time for a concert. Compared to when I first debuted, my current state, including my abilities in various aspects, is more mature.”
Compared to other emerging singers who debuted around the same time, Shan Yichun is undoubtedly fortunate. She first gained acclaim on a national platform and subsequently released the critically acclaimed album Courage. In addition to appearing on various music variety shows, she has also performed theme songs for many popular TV dramas. Now, she has her own solo concert… Opportunities are always given to those who are prepared. Yichun worked hard and ultimately amazed everyone.
To reach this point today, the 22-year-old Shan Yichun has been preparing silently for a long time. From courageously stepping onto the stage of a singing competition to creating her own representative works, Yichun has gradually gained enough confidence to hold a concert that is entirely her own. In Shan Yichun’s eyes, the theme of the “Please Me” concert reflects her current true feelings — instead of pleasing the world, Shan Yichun now wants to please herself more.
“I hope that my state can be as self-consistent as possible and please myself first. This is the most important thing I want to accomplish at this stage. Because I know that my fans, family and colleagues at the record company, everyone has their own different expectations of me.”
The First Love & Attempts Are Unbreakable
In 2023, Shan Yichun encountered numerous unforgettable “firsts.” In addition to headlining her inaugural solo concert in December, she also made her debut as a special guest at Eric Chou’s concert in Shanghai in October. It marked the first instance in Shan Yichun’s life that she was featured as a guest for another vocalist. “I am genuinely honored. Eric Chou is a seasoned luminary in the realm of music, and performing with him on stage was an exceptionally memorable experience. Being a guest at his concert has provided me with a fresh perspective for my own performances.”
Singing Eric Chou’s “Unbreakable Love” in a singing competition was where many audiences first encountered Shan Yichun. From singing the song on a TV show to performing it alongside the original singer several years later, Yichun finds the “miracle of fate” quite remarkable. “‘Unbreakable Love’ is an emotional connection between me and my fans, and many of them got to know me through this song. I am grateful and cherish both my fans’ support and Eric Chou’s assistance.”
Her debut album Courage earned Shan Yichun the best new artist award at the first TME “Wave Music Awards”; this was also a unanimous affirmation from over a hundred music industry judges. “This award is a great encouragement for me because there is only one chance for a new artist award in a lifetime. I hope to make better quality music in the future and continue to uphold good music standards.”
Courage is an album in which Yichun strives to “please herself.” Singing theme songs for movies and TV shows pleases the audience of those productions, while participating in music variety shows pleases the audience of those online platforms, but only a complete concept album is what truly pleases the singer herself.
Courage has allowed Shan Yichun to understand more about the musical direction she excels in. When it comes to the style of her next album, Shan Yichun hopes to explore more diverse musical possibilities in terms of content expression.
Growing Freely, Moving Forward Together With the Audience
When participating in the competition, many viewers praised Shan Yichun’s singing voice, as if it were born with a soul. Everyone said, “Shan Yichun sings so well,” and the ethereal voice that strikes the soul is why so many fans wholeheartedly fell in love with Yichun. But in Yichun’s view, she doesn’t rely purely on her innate talent for singing. Even for the most acclaimed ballads, Yichun has undergone long periods of practice and learning to sing as well as she does now.
On Yichun’s personal Weibo, there is a tag called “#Shan Yichun’s Life Sketch#.” She will update her life segments from time to time and record some interesting life fragments. “I want to share some very beautiful moments in my life with my fans in the form of a life sketchbook. I am not someone who is particularly good at expressing love, but I just hope that I can establish some emotional connections with my fans through this method.”
Finding one’s own pace of life is important, just as Shan Yichun said to her fans in the comments section of her new single “Wonder”: “Everyone has their own rhythm; we are not in a hurry, take it slow.”
Shan Yichun once wrote a very touching message to her fans on Weibo: “Thank you for your love, which allows me to grow freely. I hope that we can always accompany each other in the future and bravely move forward together.” It is the unwavering love from the fans that supports Yichun to where she is today, allowing her to continue being herself completely. Don’t forget, the premise of “pleasing oneself” is first learning to “mutually please.”
The two-way love allows Yichun to never lose touch with her audience.
Shan Yichun
Tianyao Wang/Billboard China
–Written by Wang Jifan
The number 21 holds a special significance for Nicholas Teo, who has been in the industry for more than two decades. It’s akin to a “coming-of-age ceremony” for his career. Nicholas named his tour “The 21st Story,” a simple yet direct idea. Having spent over two decades in the limelight, Nicholas has gained a profound understanding of life and no longer fixates on the gains and losses.
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While Nicholas still appreciates his early works, he feels that some songs from his first and second albums no longer resonate with him. In this concert, he aims to express himself more sincerely and chooses every song that resonates with him at this moment.
Even for national hits like “Love Is the Answer” and “Tears From Polaris,” Nicholas wants to present them in a different and interesting way. He collaborates with the music director and band teachers to discuss their feelings and understanding of each song. They may adjust the arrangement direction, such as incorporating a jazz flavor, to give these classic songs a new musical appearance and make them more interesting.
“The 21st Story” is Nicholas’s first official concert tour in mainland China. With his life story full of flesh and blood 21 years since his debut, Nicholas hopes to bring this concert to more cities he has never been to, meet fans whom he hasn’t seen for a long time, and create a new chapter of deep empathy through music. Tickets for the first stop in Shenzhen (Nov. 25) sold out shortly after they were released, and tickets for the second stop in Chengdu (Dec. 9) also sold quickly. More new shows will be unlocked in the future.
“White Night”: A Warm and Reserved Self-Dialogue
After a hiatus of five years from the Chinese music scene, Nicholas finally unveiled his latest EP, White Night, earlier this year. Although he may have slowed down his pace of music releases in recent years, it does not imply a deviation from his musical path. On the contrary, Nicholas has dedicated his heart and soul to each song and album, rendering his music distinct and exceptional. From “To Be…Nicholas” in 2015 to “The Best Is Yet to Come” in 2018, and now White Night in 2023, Nicholas’ musical odyssey has propelled him further and further.
The innovative design of the album’s packaging, featuring a fragmented mirror effect, invites listeners to introspect upon their own emotions and thoughts while engaging with the songs in White Night. The popular track “Innocuous” best embodies Nicholas’s present state of life: “I create music that I adore and present my authentic self through these songs. ‘No Harm Done’ closely aligns with my current state of existence. I increasingly recognize that no one is flawless, and no creation is flawless.”
The love songs in White Night depart from Nicholas’s previous repertoire. They emanate a mature perspective on love. For instance, “Unrequited Love” conveys profound anguish without resorting to heart-wrenching cries, while “Symptomless” showcases an insightful comprehension of life after years of experience. Evolving over time, Nicholas has acquired the ability to introspectively articulate his emotions through his music.
In his forthcoming concert tour, “The 21st Story,” Nicholas aspires to perform an array of works from the past decade, enabling the audience to perceive his personal growth through his music. He has realigned his musical direction to remain true to himself. He desires those who have recently discovered him through a variety of shows to witness his authenticity on stage.
After “Call Me by Fire”: A More Open-minded Nicholas
In “Call Me by Fire,” Nicholas expands the audience’s boundless imagination of him: He possesses capabilities beyond standing silently at the center of the stage and crooning love songs. Nicholas relishes every transformation that each stage brings: “The most remarkable aspect is when it occurs at the opportune moment. I aspire to maintain sincerity in sharing my music. I will give my utmost, not necessarily achieving perfection, but exerting my utmost effort.”
On the debut stage of “Call Me by Fire,” Nicholas’ simple Weibo post stating “I’m fine, I’m back” instantaneously moved fans who had followed him for countless years. Over the past 21 years, Nicholas may not have been as active as he is this year, but these dormant periods have ultimately fostered the unwavering confidence he possesses now that he has “returned.” From Nicholas’s perspective, an artist’s duty is to continually produce output. “If you fail to learn to rest and expose yourself to more input, you will easily become depleted. I hope to grant myself a moment of tranquility so that I may generate fresh creations.”
One method by which Nicholas reinvigorates himself is by aimlessly exploring cities during his travels. “I am not the type of individual who meticulously plans their itinerary in advance. It feels excessively laborious. Just like when I spontaneously decided to take classes in New York, it was an impromptu decision. After registering online and booking my flight and hotel, I promptly embarked on my journey. During one year in Tokyo, I had already boarded the bus to Disney, but then I pondered: why should I visit Disney alone? So, I disembarked from the bus. I do not necessarily visit tourist attractions and capture photographs. Instead, I might relish a cup of coffee, engage in shopping, and abstain from setting lofty expectations for myself.”
Participating in diverse music variety shows has taught Nicholas to be more carefree and at ease with his true self: “When recording variety shows, certain aspects can be challenging. I also wish to express gratitude to myself for persevering until the end and gradually revealing a more endearing and authentic side of Nicholas to everyone. This is likely the most favorable arrangement along the journey. I desire to pat myself on the back and say, ‘Nicholas, you have exerted tremendous effort.’”
Nicholas Teo
Tianyao Wang/Billboard China
Once upon a time, Rene Liu was accustomed to being an “aviator” who was constantly on the move. She used to embark on numerous flights annually, accumulating countless miles, traversing the globe to record music, film movies, attend film festivals, promote albums, and embark on concert expeditions. However, after experiencing several years of grounded days and profound moments of “off-duty,” Rene Liu finally realized that many things are not inevitable.
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The theme of Rene Liu’s “Final Call” concert tour was actually determined as early as 2019. However, due to various circumstances, it wasn’t until 2023 that the concert finally had the opportunity to meet the audience in mainland China. As the “Captain of Ying Airlines,” Rene Liu cherishes the reunion with fans she hasn’t seen in a long time or met for the first time: “Each concert bestows upon me the sensation of reuniting with old acquaintances, and anticipation is abundant in the interim.”
Flight days, akin to life itself, are replete with uncertainties. Perhaps it is these “uncertainties” that render the journey intriguing. Rene Liu has learned to embrace change: “Every time, I peruse the weather forecast several days in advance. Be it rain or shine, there are peaks and valleys. Once, there was torrential rain, and even the staff couldn’t take off, so I lodged overnight at the airport hotel. I pondered what I should do. However, on the second day, amidst the midnight hour, the staff arrived to pick me up at 5:50 am, and I embarked on an early morning flight, advancing a day ahead through a transfer.”
Hence, even when encountering extreme weather conditions such as hailstones at Nanjing Station, she opts to remain composed: “Nowadays, I exhibit greater composure in the face of uncertainties. It appears that I am not as apprehensive as before. My mood has transformed, and I seem to be more leisurely, enabling me to confront matters with equanimity.” This confidence stems from Rene Liu’s boundless trust in her longstanding team. Regardless of any unforeseen circumstances that arise on the journey, everyone collaborates to devise solutions and ensure seamless performances.
Throughout the way to present “Final Call” in various locales, Rene Liu has even experienced dashing frantically at airports with her team to catch connecting flights. “Every cog in our team is tightly fastened. The entire team operates at a velocity akin to flight when it comes to changing dozens of plane tickets overnight, makeup artists preparing in advance, and musicians readying themselves ahead of time. They will find every possible avenue for me, be it driving, sailing, or taking a high-speed train, ensuring my safe arrival at the concert venue.”
Rene Liu describes that to be part of the “Final Call” team, one must possess robust adaptability and a strong heart. On the morning of the Kaohsiung concert, Rene Liu made a spontaneous decision to include the song “Epitome” (the theme song of the TV drama “Women in Taipei”). After deliberating with colleagues from Bin-music, everything promptly sprang into action: arrangement, performance, lighting, stage design… The entire “Final Call” team operated at a velocity akin to flight.
To ensure that each “Final Call” takes off as scheduled, Rene Liu has persisted in exercising and enhancing her physical fitness. She even studies methods for skin whitening with netizens. All these unwavering efforts are undertaken to deliver an enhanced concert experience. Naturally, embarking on a world tour is an arduous undertaking: “Four-sided stages necessitate greater physical stamina since walking on stage entails more steps than three-sided stages. I must jog offstage after changing costumes.”
“An individual’s energy and focus are intertwined with their physical fitness. After all, my age has changed; one can no longer rely solely on resilience. Now, occasionally after singing ‘Love You So Much,’ I feel a slight dizziness. Perhaps it is because I haven’t eaten enough and have become suitably hungry in order to ensure a better fit for the costumes. I aspire for an improvement in my condition. This constitutes a professional performer’s duty; I must honor my work and give my utmost.”
In addition to adjusting her schedule to ensure she retires before 9:00 pm, Rene Liu also prepares her luggage in advance to swiftly transition into work mode. Apart from the “Final Call” concert tour, Rene Liu has numerous other work engagements as a singer, actress, and director. Various new projects are primed for action. Rene Liu also yearns for more opportunities for audiences to witness her diverse works.
Rene Liu
Mingsheng Chen/Billboard China
Fly to Somewhere Further Away and Meet Old Friends
“Final Call,” this year’s mainland tour, has taken flight to cities where Rene Liu rarely has the opportunity to perform. In fact, many years ago, Rene Liu personally arrived at these places. “During that time, as long as I could reach a place, no matter how far, I was willing to grace everyone with a performance. I often spent over ten hours in a car, from daytime until midnight, journeying from one province to another, witnessing even the abbreviations of the province on the license plate change to different characters…”
In the bygone era when there was no mobile network or power bank, the high-speed rail network was yet incomplete, and flight schedules were not as frequent as they are now, Rene Liu embarked on car journeys across provinces just to meet local fans: “To be honest, I often ponder… as long as I can still work and sing, I will treasure the opportunity to meet everyone in this manner. Regardless of where I go, I am filled with immense joy.”
“Some concert organizers would inform me that the equipment in smaller cities is not as impeccable, but I believe it doesn’t matter. It is not easy for fans to travel to larger cities, so I prefer to visit their cities and sing for them. I believe this also lays the groundwork for the connections I speak about on the ‘Final Call’ stage. Many small cities from the past have now blossomed into major metropolises. It seems that wherever I go, I am reuniting with old friends, and the sensation is unparalleled.”
In addition to long-awaited fans, Rene Liu’s old friends also include acquaintances who occasionally make surprise appearances at different stops and become guests of “Final Call”: “My guests and I are not the type of people who need frequent contact or appointments with each other. However, when the need arises, we will all be present. The same goes for my relationship with my fans. From guests to staff to audience members, as long as you attend our show, we will shower you with boundless love.”
When performing for old friends, it is only fitting to sing some long-forgotten songs. The B-side track “Her Gentleness” from 2002 has now become a highly sought-after staple in “Final Call.” “Life is about reaching a stage where we look back and realize that there was a song dedicated to our future friends. I express my gratitude to Jonathan Lee for preserving a song like ‘Her Gentleness’ for future Rene Liu.”
“‘Her gentleness’ is a fire that cannot be casually acquired by any young girl…” Rene Liu shared that when she was young and recording in the studio, she had only a vague understanding. It is only now, singing “Her Gentleness” once again at this moment, that Rene Liu truly comprehends: it was a letter from Jonathan Lee to her. “In this era of fast food consumption, I still hold firm in my belief that there are certain things that withstand the test of time. I am also immensely grateful to the audience at the venue for granting me five minutes to listen to this song.”
Similar success has been achieved with “Heard?” from 2004: “After the release of ‘Heard?,’ it was included in the official setlist of a concert. However, when performed live, the audience response was lukewarm. Consequently, in subsequent concerts, this song was largely excluded from the setlist. Perhaps live performances cannot capture the same atmosphere and effect as recordings, and I am uncertain where this song fits within a concert. My concerts are more fluid in nature, not confined to a single song but rather stories intertwined.”
Perhaps every song has its own destiny. Nearly twenty years later, “Heard?” finally encountered its springtime. After the audience in Shenzhen sang it together, Rene Liu ultimately transformed it into a surprise inclusion at the Hangzhou stop: “I always believed ‘Heard?’ wasn’t popular, but since Wuzhen, why have more and more audience members been shouting ‘Heard?’ at my shows? Some songs are truly shouted out by everyone; even less popular songs like ‘Immortal’ have received their share of shouts.”
Behind every less popular song lies a group of individuals who deeply cherish it. The phrase “I deeply love you” in Guangzhou became the limited edition “Light up Orange Trees” at the Chongqing stop. Rene Liu genuinely felt an overwhelming sense of being loved by everyone while singing: “Some less popular songs are not sung as frequently, so when performing them, I am unsure of where my focal point lies. I never expected everyone to sing so loudly, and it moved me deeply.”
Time Flies, but Live Performance is Improvisational
On the poster of the “Final Call” concert, there is a phrase that reads, “Time flies, are you still waiting?” After experiencing stagnant days, we realize the value of opportunities that enable us to fly. It is because of this that Rene Liu has decided to seize the moment and not wait any longer. She hopes to do everything she hasn’t had the chance to do and perform in cities she hasn’t yet visited, using “flight” as a way to race against time.
Rene Liu mentioned that she has gradually adapted to the rhythm of touring: “I actually quite like the current pace. From Monday to Friday, I take care of my family, which seems more tiring than holidays. The concert, for me, is like a comfortable respite. The moment I’m picked up by a car to go to the airport, I automatically switch to the ‘female star’ status taken care of by many staff members. I also bask in the love from fans, and then I return to my daily life.”
“Final Call,” ultimately, is about not being content with no change. “When we were young, we were often taught to be content. But as human beings, we still need a bit of restlessness. Can’t we be less reality? A concert is a small act that allows you to indulge in your emotions, bringing everyone together, reaching different atmospheres and spaces through music: we go back to the past together, imagine the future together, and sing together in the present…”
In the “Final Call” tour, the most daring thing Rene Liu did was to challenge the four-sided stage for the first time in her concert career. A four-sided stage requires considering the audience sitting in different directions and involves handling many performance details with different considerations than before. “In the past, the record company asked me to do a four-sided stage, but I never agreed because I felt insecure with an audience looking at my back.”
“But later on, I slowly realized that I have toured many times, and the three-sided stage has already showcased all possible angles to the fullest. I’m not a singer-dancer, I don’t have dance music, fancy costumes, or too many sensory stimulations.” Finally, it was CEO Zhou Youyang from B’IN Live Co., Ltd. who convinced Rene Liu to try the four-sided stage. “He said that a four-sided stage would bring more audience members closer to me, from only the first ten rows being able to see clearly to more rows being able to see.”
With multiple instances of tacit cooperation, this “Final Call” tour, under the collective wisdom of B’IN Live, has also given rise to many concert elements that have amazed the audience. “My legs are not good, so B’IN Live designed a 360-degree rotating accessible stage for me. Because this stage is rich enough, I can boldly talk about some cold things on stage without fear, even without backup dancers. I’m very grateful to B’IN Live for allowing me to make the concert exactly how I want it.”
Singers may unfortunately catch a cold before a performance, and computers may suddenly crash for no reason. Live performances, like taking a flight, can encounter various unexpected situations. Learning to face and accept them is also part of Rene Liu’s daily routine. During the “Final Call” performance process, Rene Liu is also practicing how to coexist with these anxieties in peace: “The most interesting thing about live performances is that every minute is different, very present. Some things may only happen in this particular show.”
“During each concert, I aim to connect with my audience on a deeper level and resonate with them. The process of touring can easily become monotonous; therefore, I strive to provide a unique experience for fans who attend shows many times. How can we transform the same raw materials into distinct ‘dishes’ for each performance? The live experience is never the same and every city inspires a new mood that I aim to convey through my music. Each city evokes a different set of emotions and stimulates diverse imaginations.”
Regarding the overseas performances of “Final Call,” Rene Liu expressed her intention to present more renowned songs for the overseas Chinese audience: “Some spectators may have been away from their hometowns for an extended period. On the stage, I noticed that they sang even more passionately than me, including my driver. When I step onto the stage, I want to convey to them that I know everyone is well. I am gonna take the place of your families and like to greet you.”
Each destination unveils a distinct panorama. Next on the itinerary, in 2023, “Final Call” will fly to Xi’an, and in the future, it will venture to more locations. Once “Final Call” commences, it will not stop easily. During the interview, Rene Liu disclosed: This tour will undoubtedly extend into the following year, unveiling new cities. Moreover, the “Final Call” setlist will feature additional surprises with never-before-performed songs.
Fly to The Bravest Self, Fly to Seek a Better Self
The live VCR for the concert tour was meticulously directed by Kevin Ko, the talented director who helmed the film “Incantation.” Shing-Ming Ho, the screenwriter who has collaborated closely with Rene Liu for an extended period, also contributed to the creative concept of the story. This short film, which portrays the theme of “the bravest appearance in love,” became an emotional highlight for the audience. During an interview, Rene Liu acknowledged that she is always moved when she hears these courageous lines in the short film while waiting backstage for a costume change, even if she has heard them before.
“Recently, I read some articles stating that constantly looking back implies aging. However, I realized it was not true. After I stopped being a child, I often reminisce. Therefore, I believe that by looking back at the past, we can only move forward to the future. Without those experiences, how could I have become who I am today? Our audience comprises individuals at various stages of life, and I hope they can see themselves at different points in the VCR.”
In my perspective, singers like Rene Liu not only perform popular love songs but also endeavor to sing more songs about life, which exemplifies true bravery. In Rene Liu’s recent new songs, “Each Well” is a song about entering the next stage of life and learning to let go, while “Golden Age” endeavors to explore the topic of life and death. These songs, included in the “Final Call” concert playlist, imbue the entire concert with a profound depth of life.
Rene Liu’s national hits like “Later” and “Step Aside” are songs that always lead to a collective sing-along in the audience. These songs have resonated with many people’s emotional experiences. Even after singing these songs for an extended period, Rene Liu finds it remarkable that she never tires of them. This time, after accumulating countless moments in the past, it seems that everyone wants to sing along with her even more.
Regarding “Later,” a song that cannot be overlooked, as well as those songs that belong to Milk Tea and everyone together, and the love movie “Us and Them” that moved the entire nation to tears, Rene Liu couldn’t help but feel deeply touched. “Our ‘later,’ my ‘later,’ and my ‘later’ with the present are all collective memories formed by each individual. Many scenes from the past often come to my mind, and these are given to me by the audience and fans.”
The song “We Are Not Together” from 2010 is also a great song that touched many listeners during the “Final Call” concert. The slow-burning hit from back then has become a highlight of the current “Breakup Quintet.” Rene Liu jokingly calls it the “power of heartbreak.” “A friend brought her daughter to listen to my concert. Although her daughter’s idol is not me, she still listens to my songs when she’s heartbroken. Perhaps you need some experience to understand my songs, but I don’t want everyone to always be heartbroken.”
During the Quanzhou stop of the “Final Call” tour on May 20th, Rene Liu sang the theme song “Let’s Fall in Love” from the TV series “Pink Ladies.” It was the first time in over 20 years that she performed a live version of this song and it was one of the classic moments of the concert tour. In fact, Rene Liu’s role as a “marriage maniac” in “Pink Ladies,” including the single hit “A Lifetime of Loneliness,” has brought immense comfort to many people through these works.
“What are we constantly searching for?” Rene Liu endeavors to find the answer to this question together with the audience through the “Final Call” tour. Since her debut, Rene Liu has always been in sync with her fans, and in her concert, she expresses the concept of “growing up for the third time,” which means truly fearless and brave growth. On our “Final Call” in life, let’s embark on a journey with Rene Liu to find a better version of ourselves.
–This story was written by Jifan Wang for Billboard China
Rene Liu
Mingsheng Chen/Billboard China