FESTIVAL FRENZY: WHY SOUTHEAST ASIA HAS BECOME THE WORLD’S FERTILE FRONTIER FOR FESTIVALS
While Southeast Asian music festivals have become more internationalized than ever, their core remains grounded in regional identity, fusing local acts, culture, and artistry with international influences
A new generation of festivals
It was a dark and drizzly October evening when we arrived in Mai Chau, a rural village in northwestern Vietnam. Our three-hour drive from Hanoi had taken us into winding mountain roads, passing citrus farms, rice paddies, and stilted wooden houses. By the time we reach the stairway to Mo Luong Cave, it feels like we’ve entered into another realm entirely.
We’re here for the Retreat Festival, the newest of Vietnam’s so-called cave raves. As we enter the stalactite-filled chamber, we’re greeted by a drag rendition of the Seven Deadly Sins—complete with glittering costumes and acrobatics. Soon after, the cave transforms into an immersive stage for sets by the likes of Japanese DJ-musician Gonno and Hanoi staple Di Linh, who blends techno with haunting Vietnamese melodies. We danced the night away, unaware that the sun had risen outside.
Retreat and its larger sister event in April, Equation, are part of a burgeoning generation of new festivals in Southeast Asia. They follow the footsteps of larger, more established events like the Philippines’ Wanderland, Bali’s Suara, Singapore’s Sunda, and Thailand’s Wonderfruit—festivals that have been redefining Southeast Asia as a global destination for festivals in the past decade.
Ouissam Mokretar, the French founder of Equation and Retreat, and music director of Wonderfruit, notes that festivals in Southeast Asia benefit from an environment unlike any other in the world. “[Retreat] isn’t just a festival; it’s an experience in Mai Chau itself,” he says. “You’re surrounded by rice fields, mountains, and caves: it’s as much about the setting as it is about the music. The environment becomes part of your journey.”
Bali’s Suara Festival, meanwhile, takes over Nuanu—a lush, 44-hectare beachside “creative city” in Tabanan. Last year’s inaugural international event drew over 9,000 attendees to see 100 artists across nine stages, including a stone amphitheater and 360-degree multisensory dome.
“This site offers an unparalleled backdrop—jungle, beach, bamboo architecture—all integrated with cutting-edge art and music,” says Suara co-founder Jason Swamy, a Hong Kong native and one of the original founders of Wonderfruit. “It’s a playground for adults. There’s so much to see and discover. It brings people back to a sense of childlike wonder. Seeing people run around and enjoy themselves is the best part of what we do.”
At Suara, the connection to nature extends to a sense of giving back. According to Ida Ayu Astari Prada, Bali-born communications director for Nuanu, this ethos is rooted in the Balinese “tri hita karana” philosophy, which emphasizes harmony among humans, nature, and the spiritual realm.
“Within our Department of Nature’s team, we had an educational space about the insects, specifically butterflies,” Ida explains. “We had people coming in to understand these little things that are important for our ecosystem.” This initiative culminated in a symbolic butterfly release, which Ida describes as a demonstration of Suara’s ethos. “We want to show that we can have fun and amazing experiences while also nurturing our space. Everything is possible.”
“Southeast Asia’s festival culture feels distinctly intimate,” [Ida] explains. “Our crowds are incredibly mixed—you can have a queer stage with a drag show and straight techno guys sitting right next to it, completely at ease. That openness and warmth are what people from the West often comment on.”
At Suara, which took place in the summer, organizers intentionally sought out an eclectic mix of international headliners, regional dance music acts, as well as traditional and indigenous artisans. This meant seeing acts like Jakarta-born RAMENGVRL shredding the main stage as well as Balinese kecak dance and gamelan music on more intimate stages.
“Suara’s music is heavy on the electronic side, but we make sure to feature cultural music and live acts as well,” Swamy says. “It’s somewhat difficult to book for festivals in Asia because you’re often competing with Europe and America during peak seasons. But the payoff is that we get to introduce audiences to a mix of well-known acts and hidden gems, creating something unique and exciting.”
The Philippines’ Wanderland, known for its indie and alternative rock roots, has likewise hosted major names like Thundercat and Parcels, alongside emerging Southeast Asian acts. And in Singapore, Sunda, which this year will take place on Easter weekend, headlining DJs include Amsterdam-based Antal, Japanese composer Soichi Terada, and Kaifeng- born Yu Su alongside Saigonese club staple Bongbongquayquay and the legendary local Singaporean radio host Dean Chew.
From Southeast Asia to the world and back
Now, even as Southeast Asian festivals have become more internationalized than ever, their core remains grounded in regional identity. Wonderfruit 2024 touted an eclectic mix of acts, from Bangkok’s experimental band Khun Narin Electric Phin to Japan’s downtempo maestro DJ Nobu. “At Wonderfruit, we really emphasize local acts,” Mokretar shares. “It’s not about booking the same lineup you’d see in Europe. Asia has incredible talent that deserves recognition.”
Myro Bytz, founder of Secret Guests—an agency and DJ collective that has relocated from New York City to Da Nang—notes the rise of grassroots festivals in Vietnam like Bloom and Secret Weekend, which likewise integrate local instruments with contemporary influences.
“These festivals respect the local culture while incorporating global sounds,” Myro says. “It’s about blending rather than imposing. The best festivals create alchemy by bringing different elements together in ways that wouldn’t naturally connect.”
Looking to the future, Mokretar emphasizes that the lack of constraints and pressures makes Southeast Asia a dynamic “Wild West” market to watch.
“Everything is quite new. All these festivals have less than five years of history compared to Europe or America. People in the region [are] willing to take risks [and] develop something new.”
Swamy offers a practical perspective on why Southeast Asia has become the world’s fertile frontier for festivals. “Your dollar just goes farther here,” he says. “Whether it’s creating incredible stage designs, booking unique acts, or providing a once-in-a-lifetime location, you can do so much more with the resources available in Asia compared to Western markets.”
“This is the Asia century,” he declares. “The exotic locations, the hospitality, and the creative freedom make it unparalleled. People aren’t just coming for the music—they’re coming for the experience, the discovery, and the connection.”
