Taiwan’s Culture Ministry has initiated a two-year program called the “Pop Music Expansion to Southeast Asia Market Plan.” This initiative focuses on reviving Taiwanese pop music in non-Chinese speaking markets, specifically targeting Thailand, Vietnam, Indonesia, and the Philippines. The program's visit to Thailand represents a shift from isolated efforts to collaborative industry outreach, prompting discussions about the need to rethink business strategies for success abroad.

The Taiwanese business delegation included music festival organizers, curators, executives, visual designers, and VR specialists who engage directly with local music scenes. Li Bai-gang (李百罡), the A&R Associate Music Director at Sony Music Taiwan, was inspired by the creative energy in Chiang Mai. He noted that despite limited resources, the dedication of local musicians could reignite a passion for artistry among Taiwanese artists. Liu Chao-hong (劉兆宏)from Erkang Culture Music Workshop reported establishing several performance deals with Thai partners, while Joshua Huang from Funique VR plans to conduct online follow-ups to foster these collaborations. Digital creator Vienna Tao (陶婉玲) identified opportunities in Bangkok’s live venues, suggesting technical and equipment exchanges, despite the stagnant development of some venues.

Hsiao Ta-chien (蕭達謙), organizer of the Vagabond Festival, described Bangkok as a promising resource hub, highlighting the Lido Connect space as a great venue for mid-sized events. Meanwhile, Chiang Mai's guerrilla performances in cafes have inspired pop-up festivals in December, which offer low ticket prices and strong community involvement. Hsiao emphasized the need to adapt to local conditions rather than simply applying Taiwan's model. He believes music-driven acts like I'mdifficult and Andr can effectively cross language barriers in non-Chinese markets.

Nuno Chen (老諾) from Emerge Fest, which is now opening a branch in Thailand, criticized Taiwan’s indie sector for relying too heavily on subsidies rather than fostering self-growth. He noted that in the 1990s and 2000s, Taiwanese label expansions into Southeast Asia faltered due to a shift towards China. Phil Tang (湯昇榮), head of the GrX Studio delegation, called for long-term strategies like those of South Korea, emphasizing an integrated approach among film, television, and music, questioning “Taiwan needs Thailand, but why does Thailand need Taiwan?” He advocated for increased collaboration, funding for awards, and talent exchanges to enhance market penetration.