Four Days in Taipei: Inside TAIPEI MUSIC EXPO and JAM JAM ASIA 2026
From conversations on music production and cross-border collaboration to live performances spanning genres and countries, the four-day event brought together industry insights and musical discovery at the Taipei Music Center.
ATARASHII GAKKO! Photo courtesy of TAIPEI MUSIC EXPO (TMEX).
ATARASHII GAKKO! Photo courtesy of TAIPEI MUSIC EXPO (TMEX).
For four days, many key music industry professionals and artists from Asia and around the world converged on Taipei, Taiwan, for the third annual TAIPEI MUSIC EXPO (TMEX) and JAM JAM ASIA (JJA) music festivalMusic FestivalA multi-act live event, held over one or several days, featuring many performers across genres and stages. Festivals create community around music and attract tourism, and the Philippines hosts aGo to Music Festival Glossary.
From August 27 to 30, the halls and spaces of the Taipei Music Center — the island country’s equivalent of Singapore’s Esplanade — buzzed with informative talks, forums, social and networking chatter, and of course, live music from over 80 acts with primarily Asian roots, ranging from the promising to the already established.
In broad strokes, the four-day, two-part affair aimed to make the world “tune in to Taiwan” and “sync with Asia,” as this year’s theme suggested. Granted, the combined TMEX and JJA is hardly the first event of its kind that mixed industry with performance — America’s decades-old SXSW is among the pioneers, while Japan’s Kansai Music Conference and Singapore’s Music Matters are examples that occur closer to our shores. Locally, SONIK Philippines has been achieving similar results — albeit on a more modest scale — since 2019.
The TAIPEI MUSIC EXPO opened strongly on its first day with a keynote discussion featuring three distinguished personalities behind the record-breaking 2025 Netflix animated film Kpop Demon Hunters — director Maggie Kang, producerProducerThe person who guides the creative and technical process of making a recording, shaping its sound, arrangement, and overall quality. Producers can write, compose, engineer, and direct performances, and aGo to Producer Glossary Michelle Wong, and THEBLACKLABEL A&R director and songwriter Danny Chung. As there was a supertyphoon scare that week, the three were unable to fly to Taipei and appear in person, so the discussion was conducted via Zoom and moderated by Cathleen Cher Chen of Jaded, an LA-based Asian independent music platform.
Kpop Demon Hunters forum. Photo courtesy of TAIPEI MUSIC EXPO (TMEX)
Despite the guests’ physical absence, they provided many insights and revelations about the production of what would become Netflix’s most-streamed animated film of all time, from the care taken in incorporating authentic Korean culture into the story to the pivotal role that cross-border collaboration had in the movie’s success. In the end, Wong said, “Kpop Demon Hunters proved that as long as the story is good, the characters are real, and the music is moving, even if the audience comes from different cultural and linguistic backgrounds, they can still find resonance in it and see more specific and unique cultural stories from different regions.”
The second major forum of the day featured Howie Weinberg, a name that may not immediately ring a bell for most music fans, but has been listed on thousands of record sleeves since the 1980s. Weinberg has been credited with mastering over 2,000 albums, including Nirvana’s Nevermind, The Smashing Pumpkins’ Mellon Collie and the Infinite Sadness, Jeff Buckley’s Grace, and Deftones’ White Pony, just to name a few. Here, Weinberg shed light on what mastering is and what it does to a record, as well as his experiences dealing with certain artists — particularly Kurt Cobain, who called him to ask why Nevermind’s hidden track was absent from the first pass. “The band didn’t tell the record company, and the record company didn’t tell me either,” he explained.
Howie Weinberg. Photo courtesy of TAIPEI MUSIC EXPO (TMEX).
Photo courtesy of TAIPEI MUSIC EXPO (TMEX).
On AI potentially replacing human mastering engineers, Weinberg remarked that he hasn’t heard a work mastered by AI that he found appealing. “A crucial part of mastering is the back-and-forth communication between engineers, artists, and producers to understand the true direction the work is meant to take,” he continued. “AI can be a great tool, but it cannot currently replace human judgment and communication.”
Throughout day one, TMEX delegates also got to attend forums on sustainability in live events, AI in the creative space, global festival curation, and other topics, each with panelists that included seasoned industry professionals, promoters, producers, and artists from all over Asia.
Photo courtesy of TAIPEI MUSIC EXPO (TMEX).
Photo courtesy of TAIPEI MUSIC EXPO (TMEX).
Photo courtesy of TAIPEI MUSIC EXPO (TMEX).
Day two was dedicated to biz-matching, during which delegates were assigned a table and given 15 minutes to meet and network with a fellow delegate that matched their preferences and purposes for coming to TMEX. It was like speed dating for music industry people, with the goal of establishing a continuous and mutually beneficial relationship with the other. Another effect of this activity was that many delegates had already become friends and acquaintances by the time the Welcome Party was held later that evening, as well as the JAM JAM ASIA festival that followed in the next two days.
By Saturday, the same area was teeming with music fans lining up for JJA’s multiple stages. I arrived at around 3PM to catch Asian Dub Foundation at the Big Wave Stage, the weekend’s main venue located at the Taipei Music Center’s Concert Hall. As an interesting tidbit, I would learn later that evening that their current bassist, Jamil Ahmed, is half Filipino.
Asian Dub Foundation. Photo courtesy of TAIPEI MUSIC EXPO (TMEX).
After Asian Dub Foundation’s energetic set of dancehall-laced electro rock, I headed to the Groove Stage to watch ((( O ))), the only Filipino artist on the bill, whose evolution from Manila-based pop-punk singer to global avant-garde neo soul solo act (and married to renowned French multi-instrumentalist and producerProducerThe person who guides the creative and technical process of making a recording, shaping its sound, arrangement, and overall quality. Producers can write, compose, engineer, and direct performances, and aGo to Producer Glossary FKJ) was followed by many millennial scenesters back home. It would be my first time seeing her live in her current musical persona, and her set did not disappoint.
((( O ))). Photo courtesy of TAIPEI MUSIC EXPO (TMEX).
Armed with only a sampler and a pair of backup dancers, ((( O )))’s ethereal R&B tunes were enhanced by hypnotic visuals projected behind her, but she made sure to engage with the audience in between songs to keep her performance grounded. In an ultimate act of connection, she crowd-surfed for the entirety of her last song, her lithe frame bobbing up and down a sea of arms as if to come up for air.
((( O ))). Photo courtesy of TAIPEI MUSIC EXPO (TMEX).
A brief heavy downpour did not stop fans from watching Taiwan’s most popular fusion/math-rock trio Elephant Gym at the outdoor Echo Stage, nor did it discourage the band from playing an excellent and well-received set. Afterwards, the J-pop girl group ATARASHII GAKKO! — despite missing member Kanon — gave a riotous performance at the Big Wave Stage. Having already performed at international festivals like Coachella and Lollapalooza, the 88rising artists dominated the main hall, with leader Suzuka jumping into the crowd to incite a mosh during “One Heart,” their closing song.
Elephant Gym. Photo courtesy of TAIPEI MUSIC EXPO (TMEX).
ATARASHII GAKKO! Photo courtesy of TAIPEI MUSIC EXPO (TMEX).
These aforementioned acts were just a fraction of JJA’s Saturday lineup, which also included Korean dream pop band ADOY, Taiwanese post-rock outfit Bugs of Phonon, Vietnamese singer-songwriterSinger-SongwriterA musician who writes and performs their own songs, typically accompanied by guitar or piano. Valued for personal storytelling and authenticity, singer-songwriters form a major part of the Filipino musicGo to Singer-Songwriter Glossary Chivan, Japanese rock quartet TV TAIRIKU ONDO, Indonesian psych-rockers The Melting Minds, and multi-awarded Taiwanese group Accusefive (who were joined by Mayday bassist Masa to close the Big Wave Stage), among dozens of others from a wide range of genres and nationalities.
Bugs of Phonon. Photo courtesy of TAIPEI MUSIC EXPO (TMEX).
Sunday’s biggest draw was undoubtedly Japanese city pop legend Taeko Onuki, although a large crowd also showed up for the globally popular Korean alternative rock band HYUKOH, who were joined by Sunset Rollercoaster singer Kuo Kuo on the Big Wave Stage. I spent much of the day checking out bands from Taiwan’s local scene, most notably disco-pop sextet BRBP, melodic punks BUTTER RIOT, and stadium rockers Amazing Show, who lived up to their name on the main stage.
Taeko Onuki. Photo courtesy of TAIPEI MUSIC EXPO (TMEX).
BUTTER RIOT. Photo courtesy of TAIPEI MUSIC EXPO (TMEX).
Amazing Show. Photo courtesy of TAIPEI MUSIC EXPO (TMEX).
An act I didn’t want to miss was the Indonesian metal trio Voice of Baceprot, who’ve come a long way from being three young girls in hijabs covering Rage Against The Machine on YouTube over a decade ago to being the first Indonesian act to ever perform at UK’s Glastonbury Festival in 2024. Their protest thrash anthems were delivered flawlessly, and it was a slight pity that a circle pit wasn’t formed by the polite and attentive audience at the Groove Stage.
Voice of Baceprot. Photo courtesy of TAIPEI MUSIC EXPO (TMEX).
Other key acts that performed on JJA’s final day included Taiwanese alternative group Mavis Fan & 100%, funk/jazz outfit Robot Swing, genre-hopping Kazakhstani artist dudeontheguitar, Singaporean singer-songwriterSinger-SongwriterA musician who writes and performs their own songs, typically accompanied by guitar or piano. Valued for personal storytelling and authenticity, singer-songwriters form a major part of the Filipino musicGo to Singer-Songwriter Glossary Charlie Lim, and many more.
Before the day ended, I took a chance on lining up to see Japanese indie rock band banshimoku at the Flow Stage, which was already packed when I arrived. The gamble was worth it, as the trio’s scratchy guitar riffs and dance-punk rhythms were totally up my alley, and I was happy to cap my first Taiwanese music festivalMusic FestivalA multi-act live event, held over one or several days, featuring many performers across genres and stages. Festivals create community around music and attract tourism, and the Philippines hosts aGo to Music Festival Glossary experience off on a high note.
banshimoku. Photo courtesy of TAIPEI MUSIC EXPO (TMEX).
By the time JAM JAM ASIA wrapped on August 30, the four-day gathering had made a compelling case for Taiwan as a global hub for music. TMEX provided a space for industry professionals to exchange ideas, explore collaborations, and build relationships across borders, while JJA brought those conversations to life through performances from artists representing a wide range of scenes, sounds, and cultures.
The combination felt essential to the event’s larger ambition to connect Taiwan with the world and bring Asia’s music communities closer together. With the talent to fill its stages, an audience eager to discover artists from across the region, and the infrastructure to support both industry exchange and large-scale live performances, Taiwan demonstrated its capacity to attract artists and music professionals from Asia and beyond. For four days, TAIPEI MUSIC EXPO and JAM JAM ASIA offered a fruitful, entertaining, and enriching experience — and a strong indication of what Taiwan can contribute to the future of the global music ecosystem.
Frequently Asked Questions
TAIPEI MUSIC EXPO (TMEX) is the industry component of a two-part event held at Taipei Music Center, featuring forums, networking, and biz-matching. JAM JAM ASIA (JJA) is the accompanying music festival. The 2026 edition, the third annual, ran August 27 to 30.
The 2026 edition ran August 27 to 30 at the Taipei Music Center, Taiwan’s equivalent of Singapore’s Esplanade. The first two days covered industry forums and biz-matching, while JAM JAM ASIA festival performances took place on Saturday and Sunday, featuring over 80 acts.
((( O ))) was the only Filipino artist on the bill, performing at the Groove Stage on Saturday. A former singer of a Manila-based pop-punk band turned avant-garde neo soul solo act, she is married to French multi-instrumentalist and producer FKJ. She crowd-surfed through her final song.
The opening-day keynote featured director Maggie Kang, producer Michelle Wong, and THEBLACKLABEL’s Danny Chung, who joined by Zoom due to a supertyphoon scare. They discussed incorporating authentic Korean culture and cross-border collaboration in the 2025 Netflix film, the platform’s most-streamed animated title.
Howie Weinberg, who has mastered over 2,000 albums including Nirvana’s Nevermind, said he has not heard an AI-mastered work he found appealing. He argued mastering depends on back-and-forth communication among engineers, artists, and producers, and that AI cannot currently replace human judgment and communication.
