“As Taiwan’s indie music scene gains international recognition, artists rely on local festivals and independent labels to bridge the gap between domestic success and global reach. This study explores how music festivals, showcase events, and label-backed initiatives facilitate cross-border exchanges, positioning Taiwanese artists within the global music industry.

Key festivals such as the GMA International Festival Showcase, LUCfest, and Megaport Festival serve as gateways, connecting Taiwanese artists to international audiences through curated lineups and networking opportunities with global industry professionals. Meanwhile, local independent labels play a vital role in sustaining these connections by organizing collaborative events with foreign indie acts and securing overseas performance opportunities for Taiwanese musicians. Efforts such as Taiwanese Waves, founded by Mia Min Yen, further amplify this visibility by curating Taiwanese acts in major international markets. While these physical events are crucial for exposure, streaming platforms like Spotify reinforce their impact by providing continued visibility in global markets, despite the challenges posed by algorithmic biases.

This study employs literature review and in-depth interviews with festival organizers, label representatives, and artists to examine how local industry infrastructure influences Taiwanese musicians’ international reach. Through case studies of Sauljaljui, Sunset Rollercoaster, Outlet Drift, and others, it investigates the intersections of festival programming, label strategies, and digital music ecosystems. By focusing on the mechanisms that facilitate or hinder global expansion, this research contributes to discussions on music commodification and globalization, offering insights into how local industries shape Taiwan’s position in the international music landscape.”

“Music piracy is a complex phenomenon within the Bandung indie music ecosystem during the 1990s to the early 2000s. While major labels viewed piracy as a financial threat, the independent music community experienced it in a more ambiguous manner. Based on research involving 17 key figures from the industry during that era, this study reveals that piracy was not only perceived from the perspectives of legality and economics but also as an alternative distribution tool that supported the dissemination of music amidst limited infrastructure and access to recording labels. Before the digitalisation of the music industry, financial constraints and the lack of formal distribution channels forced indie musicians to adopt non-traditional methods to circulate their work. Pirated CDs and cassettes were sold in local markets alongside other bootleg merchandise. Some artists even regarded the presence of their albums in piracy markets as validation of their relevance within the music scene. However, on the other hand, piracy also created dilemmas, particularly for independent labels struggling to sustain themselves financially, which ultimately led to demands for new strategies.

Keywords: piracy; Bandung indie scene; alternative distribution”

“Amidst the increasing homogenization of globalized music production, contemporary popular music is undergoing a process of sonic reconfiguration, seeking a balance between local identity and global appeal within the tides of digital platforms continue to reshape the production, consumption, and dissemination of music. This study aims to explore how musicians negotiate and construct collective cultural identity through the local sonic markers—such as ethnic instruments, dialectal lyrics, traditional melodic structures, and localized production aesthetics. At the same time, it examines how media platforms reshape the soundscape of Taiwanese popular music, influencing creative practices and audience perception.
By situating this study within broader discussions on digital media ecologies and cultural identity, this paper argues that localized sonic design functions both as resistance against Western-dominated pop hegemony and as an adaptive branding strategy. Particular attention is given to the tension between “authenticity” and “commodification”—are these local elements organically embedded within artistic expression, or are they strategically curated to align with market-driven demands? Additionally, how do Taiwanese musicians navigate the social media landscape to construct a distinct sonic identity and enhance the global visibility?

This study employs a multimodal analytical approach, incorporating audio analysis, music videos, social media engagement metrics, and industry interviews. Through case studies of emerging and established Taiwanese artists, it examines how local sonic markers serve both as commercial differentiation strategies and as expressions of cultural belonging in digital circulation. By uncovering the power dynamics between global dissemination and local sonic preservation, this research offers a critical perspective on the reconfiguration and transmission of sonic identity in the platform era. It contributes new insights into the intersections of music, identity construction, cultural sustainability, and transnational influence in the digital age.

Keywords: Taiwanese pop music, digital platforms, sonic identity, glocalization, social media, music production, cultural sustainability”