Over the past year, the Music Exchange project by CEA, in collaboration with the Subcommittee for Driving the Music Industry under THACCA, successfully sent 48 Thai artists and bands to perform on international stages, resulting in 67 shows worldwide. The project also generated over 34.9 million eyeballs globally and attracted 78 international delegates to music festivals in Thailand. This momentum helped spark the Thai Music Wave, drawing serious global attention to Thailandâs music scene. Behind this intense effort stands a dedicated team working not just on live performances, but also on strengthening infrastructure, economic frameworks, and national strategies.
Today at COSMOS Creature, we sit down with NickâSupatra Tanngern, an expert in creative industry development strategies and a representative from CEA (Creative Economy Agency, Public Organization). She shares the behind-the-scenes story of Music Exchangeâs first-year success, a project thatâs not only sending Thai artists abroad but also reshaping the entire music industryâs mindset to aim for the global stage.
This conversation isnât just about dreams. itâs packed with strategic plans already in motion, offering a clear vision for how Thailandâs musical Soft Power should move forward, and practical insights for Thai artists who aspire to make their mark on the world.
Over the past year, the Music Exchange project has achieved some impressive milestones, both economically and within the music industry.
For 2024, while the first cycle of the project isnât fully closed yet, meaning weâre still collecting final travel reports and activity documents from the artists we supported, the data we have is already painting a clear picture. Itâs not just about Thai artists performing at festivals abroad; many of them also engaged with media, met key industry figures, and built valuable connections that could open up business opportunities. These insights will help us plan the next budget cycle more effectively, possibly expanding our support beyond just festivals to areas like PR, communications, and enhancing Thailandâs image internationally, because every artist has a unique way of representing Thailand to the world.
In terms of achievements, aside from supporting artists through grants, we also worked on a government-to-government (G2G) track. We sent Thai artists to perform at events like the Thai Festival and collaborated with organizations like Koreaâs KOCCA to bring Thai talent to MU:CON and the Gyeonggi Indie Music Festival. These initiatives are part of building stronger ties with international partners.
Overall, we received applications from 126 bands and artists. Out of those, 48 were selected to perform at 44 music festivals across 12 international markets, including Japan, South Korea, Taiwan, China, Russia, Hong Kong, Vietnam, Singapore, the Philippines, Indonesia, Australia, and the UK. Each artist was allowed to perform at up to three festivals, leading to a total of 67 performances and generating more than 34.9 million eyeballs from audiences around the world.
Additionally, we invited 78 international delegates to experience music festivals in Thailand firsthand, hoping to showcase the unique live energy of Thai artists. This resulted in 395 business matching sessions, aiming to secure future international festival slots for our artists. In short, weâve planted the first flag, letting the world know that Thailand has a vibrant, diverse music scene. We didnât limit ourselves to a single genre either; our goal was to lay the foundation for growing a wider global fanbase.
As for the broader economic impact, weâre still in the process of calculating it. Ideally, weâd like to track things like increased tourism, merchandise sales, and other spillover effects, similar to how South Korea documented the economic ripple effects of its booming music industry. Thatâs something we aim to establish more clearly in the next phase.
At the very least, what weâve achieved so far is supporting Thai artists and putting Thailand more firmly on the global music map. We call this first wave the âThai Music Waveâ, the beginning of a momentum we plan to build on in the years ahead.
KOCCA had been trying to collaborate with us for several years, but in the past, we didnât really have a designated agency to properly engage with them. So, does CEA have the authority to represent Thailand in this matter?
With CEAâs mission, which is to promote and develop the creative economy, our work isnât limited to music, it also includes content like films, series, and various design sectors. So, what weâre doing with the music industry right now is considered one of our flagship projects because we see music as a high-value industry with strong potential for growth, comparable to the film and content sector.
In terms of our operations, CEA already has ongoing collaborations with other countries, such as signing MOUs and working through G2G (government-to-government) partnerships, which we do regularly. Now, when it comes to opportunities like Koreaâs MU:CON, the question is whether thereâs space for Thai artists to participate, we definitely see it as a very interesting channel to strengthen collaboration.
Weâre also talking about capacity building, how we can adapt Koreaâs successful models to fit Thailandâs context, both in music and other creative sectors. Iâm mentioning this as a glimpse into our future plans, because we believe thereâs real potential here and that itâs something worth adapting thoughtfully to suit our own system.
In the future, CEA might even have our own state-run events.
Thatâs right, although what form theyâll take is still uncertain because there are many factors involved. We might first need to focus on incubation, nurturing and preparing talents within the industry. For example, some artists might still wonder how to start entering international markets or how to tailor their work to fit different audiences.
Thatâs why weâre carefully looking into the specific needs of the artists, so we can provide targeted support. Itâs not just about creating opportunities, but also about strengthening the readiness and capabilities of our artists to ensure the whole industry grows stronger.
Does that mean there are already plans for music workshops?
CEA has actually been thinking about this too. When I had the chance to visit Korea, I got to go to SM Entertainment and saw that they hosted songwriting camps, inviting people from all over the world to come together and create music. It was really inspiring. I thought, âHey, if Thailand had something like this, it could really help encourage more music production and build stronger networks.â
Even during our first year working on the project, once we started selecting artists, we began to realize, âOh, maybe we need to add this or that.â We kept comparing our experience with models from other countries.
Actually, even before Music Exchange officially launched, CEA had already been studying this space since 2020. We created a strategic development plan for the music sector of the creative industries and researched the key factors needed to support Thai artists in reaching international audiences. That research became the foundation for designing this project, understanding what artists and the music business really need and where they need support.
Once we actually started working on the project, it became even clearer which areas needed further development. But one big challenge weâre still facing is figuring out how to stretch our budget to reach and support even more artists.
Over the past year, have there been any interesting pieces of feedback from Thai artists that you can share?
Overall, what we heard from a lot of artists was that theyâre really grateful for the program. They saw it as a genuine opportunity to explore and experience new things abroad. For some artists, if it werenât for the support from this project, they might not have been able to go at all because the costs are quite high. In several cases, if they couldnât cover the expenses themselves, they would have had to cancel their trips to the festivals altogether.
Thatâs exactly where our project came in, we helped subsidize some of the major expenses in three key areas: international travel costs, travel-related documents like visas, and accommodation. We saw these as essential supports to make it possible for artists who otherwise might not be able to go, and for those who had already gone before, it allowed them to attend more events or travel more frequently.
There were also cases where artists felt that getting to go abroad opened up new opportunities for them to build fresh connections and tap into markets they hadnât been able to reach before. So overall, the feedback was really positive.
Right now, CEA is in the process of gathering all this feedback, including any suggestions the artists might have, so we can improve and develop the program even further. Our team is still working actively behind the scenes to make that happen.
Will there be any changes to the selection criteria or budget in the second year?
First, itâs important to mention that Music Exchange is a project where CEA receives government funding to manage the operations, but we work closely with the Subcommittee for Driving the Music Industry under the National Soft Power Strategy Committee, which is part of the governmentâs policies.
When it comes to actual implementation, we need clear criteria, and we also consult with experts from the music industry throughout. Now that weâre moving into the second year, I believe some of the criteria will definitely be adjusted, to make the program even more effective and to help us better strategize for specific target countries.
In the first year, we didnât have much of a data foundation because it was just getting started. But now, after running the program for a while, things have become clearer. We know better where we should focus, which zones and markets have higher demand. Weâve been conducting ongoing research, collecting data, and talking with people from the industry, which helped us pinpoint markets like Japan, China, and Indonesia, as well as nearby countries that are becoming more open to Thai artists. These will be our top priorities this year.
As for the budget, to be frank, it might not be as high as it was last year. So weâll need to carefully plan and allocate it to ensure it still reaches artists effectively and maintains the programâs impact.
Regarding the selection criteria for artists, itâs probably going to be a bit tougher, Iâll say it outright. We want to focus more on targeted festivals. In the first year, some events might not have been widely known, and the committee needed more details about the festivals for evaluation.
So this year, not only will the artistâs qualifications matter, but the festival itself will also need to meet certain standards, like being well-established, having a certain audience size, or being able to show credible proof that itâs a recognized, high-quality event.
Will there be something like KPIs for the project?
Yes, we already have KPIs in place. The main one is the number of artists weâre able to support in reaching international markets, thatâs the core goal. But beyond that, behind the scenes, we also look at broader outcomes, like economic impact. Plus, we consider other dimensions too, such as whether the artists show further development after participating, or whether there are signs that a real âThai Music Waveâ is starting to take shape.
That said, we have to admit that some outcomes will take time to measure or will need more detailed tracking, especially since theyâre qualitative results that are harder to quantify. For example, we might look at whether an artistâs streaming numbers increased after performing abroad, or how much local media coverage they received. These might not immediately turn into concrete numbers, but simply getting the chance to perform and open new doors is already a positive signal.
Take the case of artists performing at SXSW, some of them reached out to us asking for official endorsement letters to help with visa applications or other logistical support, and we did our best to assist.
CEA also has good connections with embassies because we collaborate with the Department of Information to support creative entrepreneurs and artists, especially those attending events like Thai Festivals abroad. So we have ongoing exchanges of information about artists and creative activities in different countries. Thatâs another way weâre able to support artists beyond just funding.
Media exposure is crucial too. For instance, when artists like Krist Perawat and 4EVE participated in the Thai Festival in Beijing, the embassy helped link them up with Chinese media outlets, another channel that really helped boost awareness and access to new markets.
Right now, the Subcommittee for the Music Industry and other government agencies are also working on ways to expand support for artists even further, whether thatâs strengthening artist development programs, enhancing skills, pushing for better copyright protections, or creating more benefits for people in the Thai music industry.
As for CEAâs position, weâre definitely committed to continuing and growing this project.
Music Exchange is about to enter its second year. Are we starting to have a clearer picture of a five-year or ten-year goal for the project?
It is actually quite hard to predict the future in clear economic terms because some impacts cannot be measured directly with numbers. That is exactly why we need to keep studying it continuously, to see how the results unfold and how they connect to broader spillover effects into other industries.
Personally, I believe the Thai music industry is definitely not going to stay only within the country. It is gradually moving toward an international stage and gaining more recognition. In the future, we might see even more Thai artists performing on major global stages like Coachella, Burning Man, or Glastonbury. Actually, we have already made some steps toward this. For example, at Big Mountain Festival, we invited international delegates to watch the performances. Even an executive from Glastonbury came and said, âThai artists are really talented,â because the performances genuinely impressed him.
Another great example is MILLIâs performance at Coachella. Everyone who watched her said the same thing, that even if they could not understand Thai, the energy she brought to the stage was so powerful that it captured the audience and made them want to spread the word. Hearing that made us feel like, wow, this is the kind of achievement we hope for. If moments like these keep happening, it will open the door for more deals and collaborations in the future.
We might eventually see Thai artists collaborating with international artists, or not just playing at festivals but actually going on world tours of their own. I feel that what we are doing right now is still just the beginning. There are so many talented Thai artists, but they have not yet fully reached their potential internationally. So we thought, if we cannot send all the artists out just yet, why not bring the international industry people here instead?
That is why we created the Music Exchange project. We invited international delegates to come here and set up spaces for business matching and networking between Thai music labels and industry professionals from overseas. Artists could walk right up, introduce themselves, and showcase their work in person. At the very least, it is a good starting point to build connections for future collaborations and business opportunities.
Are there any Thai artists that delegates often talk about?
Among the artists who either performed or caught the attention of international delegates, there are quite a few names. On the more widely recognized side, there are artists like MILLI, Palmy, Slot Machine, Jeff Satur, and Rabiab Watasin. On the more indie side, you have names like Television Off, Dept, and KIKI. It really depends on the perspective of each delegate and the market focus of their particular region.
This year, when we hosted Music Exchange and invited delegates, we originally aimed for 75 guests. In the end, we managed to bring in about 78 delegates from all around the world, including the United States, Canada, Europe, ASEAN countries, Asia, Japan, and Korea. It was very diverse.
Each festival or event they attended had its own flavor. For example, Cat Expo attracted a different crowd compared to T-POP Concert Fest or Monster Festival. So the lineup featured a mix of familiar names, artists who had already performed internationally, and newer names who are just starting to get more recognition.
One really interesting highlight recently was at Big Mountain. One of the bands that became a major âtalk of the townâ among the delegates was Rabiab Watasin. They got a lot of attention. I even had a chance to take some of the delegates backstage to see them. It was so much fun. The band had incredible energy on stage, and the international delegates found them really exciting and full of potential.
This kind of feedback gives us a clear view of how diverse and powerful the Thai music scene is, and it shows that there is real potential for our artists to expand further into international markets.
When CEA push Thai artists to international stages, how does that benefit the country in return? Could you explain it simply for the general public?
If you compare it with Korea, what they did was create the K-POP wave, which became a major new economic engine that drives the country on a global level.
For Thailand, the government is working on something very similar. We call it Soft Power, which is about finding new tools to drive the economy and promote the countryâs image internationally.
What CEA is doing in the music sector right now is building an export base. We are working on creating awareness around a âThai Music Waveâ so people around the world can see that Thailand also has global products. We have talent and creativity that can genuinely be exported.
At the very least, it is about stepping onto the global stage and showing the world that we have Thai artists who can truly represent the country.
CEAâs mission, along with the projects we are working on, already includes a plan to develop the music industry. Besides strengthening the ecosystem within Thailand, we are also focused on elevating and exporting talented Thai artists to compete on the global stage and represent Thailand with real quality.
In your view, how many years do you think it will take to grow Thailandâs music industry to a global level?
Oh wow (laughs). When you actually talk with people from Korea, you can really see how deeply they committed to this. They invested huge amounts of money and built support systems across every level, including infrastructure and a fully developed industry network. It was a long-term plan where every sector participated.
That is why this year we are focusing heavily on collecting detailed data. At the very least, we now know which festivals Thai artists have gone to and which markets each festival focuses on. When we look closely at the backend statistics, it is clear that Thai artists have a strong following. If we dig even deeper, we can see exactly which countries have significant fan bases for Thai artists. You can clearly separate which countries are the most reachable target markets.
And the size of these markets is no small matter. Some of them are large and have great potential. Looking ahead, if one day we reach a point where Thai artists start appearing at the top of global platform rankings or music charts, that would be a major success in itself.
And what about the ASEAN market? Have CEA been working together there as well?
In ASEAN, at the government-to-government level or through MOUs, there has been some activity. At the same time, we have also started building music industry connections on the private sector side, especially through inviting delegates from various countries. Recently, I had a chance to talk with people from the Philippines, and they showed clear interest, as did people from Indonesia. Conversations are definitely starting to pick up.
This is the beginning of building collaborations, and we believe it will become even more concrete in the coming years. After all, Music Exchange is still very new. This year is really just the starting point. We are focusing on building relationships, step by step, both on the government side and the private sector side.
Looking ahead, I really hope we will be able to create more opportunities for Thailand and ASEAN countries to meet, talk, work together, and grow from what we have started. This is a very important first step.
Right now, CEA is starting to attract a lot of attention too. Since we launched the Music Exchange project and started inviting delegates, we have been getting meetings almost every week. People from all over the world are reaching out, wanting to talk and pitch their projects.
They are coming to us with ideas, saying things like, âHey, you are doing Music Exchange, right? We have this idea. Would you be interested in collaborating?â Some of the proposals are really interesting, especially from artists or companies based in Asia but with operations abroad. They also want to collaborate with us.
If we can build on these connections and create more partnerships, we are definitely open to it. There will be a lot more conversations to come, for sure.
And what about the budget? Is it cheaper to send artists to nearby ASEAN countries compared to farther places like Korea or Taiwan?
Over the past year, a lot of Thai artists traveled to Taiwan. Taiwan has so many events and music festivals happening frequently, so we were able to send artists there several times in a relatively short period.
As for Indonesia, it is a very large market. We are also looking at Indonesia as a strong target for exporting Thai artists because it has great potential.
We have actually listed six countries as our main target markets. As I mentioned earlier, China is one of them too. However, entering China independently as a private company can be challenging because there are a lot of regulations and conditions to meet.
In the first year of the project, CEA decided to start by supporting participation in government-led events, like Thai Festivals, to open the market and establish partnerships with public sector organizations abroad.
Even during our Open Call, there was a group of Thai artists who performed at festivals in China. That was a really good starting point because it showed that the Chinese market is open to Thai artists. It is just about finding the right channels and timing.
The Chinese market seems very promising too, since Chinese fans are very supportive of Thai artists.
The Chinese market is huge, and Chinese fans are absolutely crazy about Thai artists. Thai artists are incredibly diverse, and Thailand itself is a very open society that does not restrict gender identity or self-expression. Because of that, Thailand naturally produces many LGBTQA+ artists, and this group of artists is highly recognized and well-accepted.
Right now, LGBTQA+ artists have actually become one of the main highlights in the eyes of international audiences, especially in markets like China, where Boyâs Love and Girlâs Love content is becoming more and more popular.
So when people talk about Thailand, they immediately think of these Thai artists. They represent Thailandâs image of openness, and that has become one of our unique strengths that many other countries do not have.
Thai BL (Boyâs Love) and GL (Girlâs Love) artists are getting incredibly popular across Asia, especially in China, and this whole movement is creating major economic value for the industry.
Another thing I noticed from the CEA team during the press conference last month was about media. Does CEA have any plans to help Thai artists access more media exposure, both locally and internationally?
If you mean supporting artists to reach the media, this is something we are currently discussing with the Subcommittee for the Music Industry. However, when it comes to buying media space or doing direct media placements overseas, that would likely fall under another agency that we are coordinating with, because CEA itself does not have branches abroad.
What we are working on now is finding partner organizations that already have international networks or offices and whose missions align with what we are trying to do. If we can partner with the right agencies, it would significantly help expand the export opportunities for Thai artists.
Right now, I would say things are moving along well, but I cannot confirm one hundred percent yet because some parts are beyond CEAâs direct scope. However, within the music sector, we are pushing ahead, especially in trying to find ways to give Thai artists as much visibility as possible in international media.
We have talked a lot about CEAâs role. Could you also share your perspective on what Thai artists themselves should prepare to successfully enter the global market?
When we launched the Music Exchange project, one of the clear requirements was that artists needed to have already been accepted by a festival in order to apply for support.
But one major piece of feedback I received was that a lot of artists did not know where to start. They were unsure how to apply or where to even find information about these opportunities. This has become one of the key issues I am thinking about, how we can make it easier for artists to access information and know the correct way to apply.
Another equally important point is communication. Even if an artist sings entirely in Thai, foreign audiences still enjoy it. They are open and can get into the music even if they do not understand the lyrics. But what truly helps audiences connect more deeply is how artists communicate on stage, speaking to the audience, greeting them, interacting during the show.
This is something I think is really crucial. It helps create a real connection with the audience, deeper than just the music itself. It leaves a stronger, clearer impression of Thai artists in the eyes of international audiences. These two things â understanding how to access opportunities and improving stage communication, are a very strong foundation for stepping into the global market.
Looking back at the first year of Music Exchange, what was the biggest challenge or obstacle when it came to sending Thai artists abroad?
This is a tricky question (laughs) because there are a lot of complex factors. From CEAâs role, we are here to support and facilitate. In the process of helping artists perform abroad, we are like the people who open the door. What happens after that â whether they secure deals or grow more opportunities, depends on many other factors.
Right now, CEA does not just support the artists individually. We also look at the bigger picture, including the show team. That is why we set up a tiered funding system based on different regions and budgets designed to allow artists to bring their team members, like a manager or sound engineer, because we believe these people are essential for putting on a complete show.
But the obstacle we encounter most often, and it is probably the biggest one, is related to documents and visas. Some artists have all the experience, the right passports, and professional-level skills, but in the end, they still cannot go because of visa issues or strict immigration requirements, sometimes at very short notice.
There was one case I remember well, this person was crucial to the show, like the heart of the team, but could not travel because of visa problems. It really shows that the government sector needs to step in more to help smooth out these issues. If we want to truly send high-quality Thai artists abroad, they need to go as full teams, not just the performers on the front lines.
The Music Industry Subcommittee and CEA have already discussed this. We think it would be really beneficial if we could create a system to assist with work visas for artists traveling internationally.
We have already started early conversations about this with the Ministry of Foreign Affairs. Of course, there are still many steps that need to be developed. For example, right now, Thailandâs music industry does not yet have an association like the film or business associations that can officially certify or endorse artists.
So it will take time and coordination across multiple sectors. But if we can make it happen, it would open up much easier pathways for Thai artists to step onto the world stage.
Would it be possible for CEA to create some kind of fast track system, helping artists under CEAâs support to have a recognized status, like âcultural ambassadorsâ officially endorsed by the country?
The music policy side has actually been trying to push for this too. Fast track visas would mainly fall under the authority of the Ministry of Foreign Affairs or would involve coordinating directly with the Consular Department, because it deals with cross-border movement of people and would require state-to-state negotiations between Thailand and the destination country. So we would have to look at the laws on both sides.
But what CEA can definitely do is facilitate, we can help submit documents, propose ideas, and issue letters of certification. For example, when the team went to SXSW, we issued a letter confirming that âthis group of artists is supported by the Music Exchange project under CEA,â which helped support their work visa applications.
One challenge we still cannot fully solve is verifying the artistsâ status in an official way, similar to how athletes are sent to compete as part of the Thai national team. Athletes have official sports associations that can issue formal letters of endorsement.
In music, we still do not have a national music association or a central body that can certify artists officially. So if we want to negotiate with international counterparts to have artists recognized as official country representatives, we would need a clear endorsement process first. This is something I think we really need to develop.
I have been getting feedback from several sides about this already. If we want a sustainable system in the long term, we might need to first create a framework for artist endorsement and later expand it to negotiate cross-border agreements, including fast track visas.
It may not happen immediately, but CEA is aware and has already started initial conversations with related agencies. For now, anything we can do, like issuing supporting documents or helping with initial coordination, my team and I are more than willing to assist.
Will CEA organize workshops or training programs to prepare Thai artists for the international market?
We have actually been thinking about this a lot. Right now, we are gathering information and starting to see certain gaps that we need to help fill for artists, for example, creating plans for breaking into international markets. I think this is extremely important.
If you look at big companies in the industry, like YG or SM from Korea, they have very clear yearly plans. They know exactly which markets they want to prioritize, and they study listener behaviors in each country in detail.
I believe that if we really want to go global, we need this kind of strategic planning too. Having a clear plan would allow us to be more targeted with our efforts, and it would help artists be much more prepared. Another important area is preparing artists culturally, knowing what to do and what not to do in each destination country, even small things like stage etiquette, how to interact with international audiences, and basic rules and expectations in different countries.
So yes, having a workshop that covers all of these aspects would be incredibly helpful. It would benefit both the project-level strategy and also the artists themselves who are facing international stages. We have already started sketching out plans for this, and your suggestion is really valuable. I will definitely keep it in mind as we develop this further.
What about communication with artists? Some artists might not even have access to information about Open Calls or how to apply for international music festivals.
From what I see, delegates and festival organizers usually have their own Open Call systems, and they regularly promote them through their own channels.
But if you are asking whether CEA could help coordinate or send reminders, like âHey, this international festival is open for applications. Let us help spread the word to Thai artists,â then yes, I think that is very doable. And it would actually be very helpful, because it would make it much easier for artists to access the information they need.
I completely understand that sometimes artists have to search for information on their own, and it can be quite challenging. Some festivals are not very clear in their communications, or they use channels that are not easily accessible for Thai artists. So if we can bridge that gap even a little, it would be another important role that CEA could step in to support.
I will definitely keep this idea in mind because it sounds interesting and very possible. It could eventually become a central communication channel for artists. Many emerging artists have great potential but simply do not know where to find the right opportunities.
Honestly, I am already thinking further ahead about a platform. Something like GIG Life Pro, where they create a space for artists to connect with event organizers and record labels. If we could build something like that on a larger scale, it would be fantastic.
Right now, CEA is doing what we can. For example, we invite buyers and delegates to come to Thailand and meet Thai artists directly. We are very open about it. We do not just select a few groups. We have invited a lot of record labels and set up real spaces for networking.
At the very least, it creates a platform where artists can start building their networks. Some even manage to close deals right on the spot. I think that is a really important first step. And in the future, if we can have a central platform that shares Open Call information and global opportunities, it would really help strengthen the whole ecosystem.
I think there is still a gap, especially for artists living outside of Bangkok. Some might not even know that âHey, there is a CEA office in Chiang Mai.â
That is true. Right now, we are working on phase two. We are trying to use the feedback and lessons from the first year to close as many gaps as possible, to make this year smoother, more manageable, and to fix the areas where we know there were still some challenges.
For example, with documents, processing procedures, or other workflows that took too long in the first year, we are now reviewing how we can make them faster and more convenient, so that both the artistsâ side and our government side can move together more efficiently.
As you know, government agencies have their own rules and regulations that must be followed. That is why we are trying our best to act as a bridge, making sure that artists can access opportunities without feeling blocked just because they live far away or lack information.
And yes, CEA has an office in Chiang Mai. We are working on building more networks so that we can reach artists across different regions more effectively. This second year is really a golden opportunity for us to develop this seriously.
Lastly, could you share a message for artists who are interested in the Music Exchange project and are waiting to apply for the second year?
The main goal of the Music Exchange project is to support talented Thai artists, helping them perform internationally while also building strong music business networks between Thailand and key international markets.
So for any artists who are determined to step onto the global stage, who want to expand their fanbase, or who are eager to open themselves up to new experiences, CEA is here, ready to fully support and push you forward.
What I would like to say is, please start preparing yourselves now, whether it is polishing your work, improving your communication skills, or getting familiar with the basic information about how international festivals operate. That way, when we officially announce the Open Call, you will be ready and will not miss the opportunity.
Last year was a great starting point. This year, we are working hard to improve and develop the project so it will be more accessible, clearer, and even more responsive to artistsâ needs.
At the end of the day, I want to say that everyone on our team is truly dedicated. We really hope to see more Thai artists making it onto the global stage and creating momentum that will continue to lift the Thai music industry even higher. Please stay tuned for Music Exchange Year Two! (smiles)
Music Exchange returns for its second year, ready to showcase Thai artists on the global stage as cultural products and Soft Power exports â with no genre limits.
Thanks to the collaboration between the Subcommittee for Driving the Music Industry and the Creative Economy Agency (CEA), this project is paving the way for Thai artists to gain more international recognition. Whether from the T-POP scene or the indie world, Thai artists have been making their mark abroad. Big names from the scene like Yonlapa, KIKI, Soft Pine, H3F, Death of Heather, FORD TRIO, Alec Orachi, mindfreakkkk, and Common People Like You have already taken the spotlight at international festivals around the world.
This year, the CEA team hints that, based on the insights gathered from last year, the selection process will be even more competitive. So artists, get ready. The application requirements are straightforward:
- You must perform a live set of at least 30 minutes, featuring entirely your own original music.
- You must have proof that you have been selected to perform at an overseas festival or showcase event.
- You must have a clear marketing or promotional plan for the international market.
This is a golden opportunity â do not miss your chance to represent Thailand and show the world the power of Thai music.
You can submit your application through Jotform from now until May 22, 2025:
https://dg.th/hficbemw27
Download the application guide:
https://shorturl.at/Js0YD
Find out more details:
https://www.cea.or.th/th/single-project/open-call-music-exchange-2025
āļāļāļāđāļāļāļāļāđāļŠāļīāļĢāđāļāđāļāļĢāļēāļ°āđāļāđāļāļāļīāļāļāļĢāļĢāļĄāļāļĩāđāļāļģāļāļāđāļāļĩāļĒāļ§āđāļāđ āđāļĨāļ°āļĒāļąāļāļāļāļāđāļāļ°āļāļģāļ§āļāļāļāļāļĢāļĩāđāļŦāļĄāđ āđ āļāđāļēāļāļāļąāļ§āļāļąāļāļĐāļĢāļāļĨāļāļāđāļ§āļĨāļē