Are Malaysia’s big concert dreams stuck in yellow?

[KUALA LUMPUR] The roar was deafening. At Bukit Jalil Stadium, more than 80,000 fans sang along as Coldplay’s Chris Martin belted out Yellow. For one night in November 2023, Malaysia was the centre of the musical universe – and proof of how powerful concerts can be for both culture and commerce.

Youth and Sports Minister Hannah Yeoh said that the Coldplay concert contributed about RM130 million (S$39.7 million) to the economy. Together with Blackpink’s Mar 4 show, also in 2023, the total economic benefit reached around RM200 million.

The government is now betting that dozens more of such spine-tingling spectacles could push concert-related receipts to nearly RM1.7 billion this year.

The Communications Ministry said that Malaysia is set to stage around 450 concerts in 2025, up sharply from 104 in 2022, 335 in 2023, and 408 in 2024.

But behind the stadium spotlights and screaming fans, a harsher reality emerges. While officials see concerts as golden tickets to tourism riches, promoters warn that Malaysia’s concert ambitions might be more pipe dreams than chart-toppers.

Government optimism

To policymakers, concerts are not just entertainment – they are economic rocket fuel.

Nik Kamaruzaman Nik Husin, the Ministry of Communications’ deputy secretary-general (strategic communications and creative industry), has said that concerts are expected to inject nearly RM1.7 billion into Malaysia’s economy this year through direct and indirect spending, including ticket sales, accommodation, food and beverages, and transportation.

The country’s concert scene is booming.

In late 2024, Bollywood singer Arijit Singh drew a massive crowd. In 2025, South Korean girl group Babymonster debuted, South Korean rapper and singer-songwriter G-Dragon played two sold-out shows, and Hong Kong artiste Jacky Cheung’s August run extended to six nights.

South Korea’s Winner and British artist Craig David have shows this November.

The new Puspal guidelines, introduced in May 2025 by the Ministry of Communications’ Central Agency for Application for Filming and Performance by Foreign Artistes, streamline approvals to as short as seven days for smaller events.

They also set rules for promoters, organisers and performers regarding attire, conduct and promotional activities, and include a “kill switch” that provides for shows to be halted if the guidelines are breached.

The Communications Ministry clarified on Monday (Sep 22) that the guidelines target industry players, not concert-goers. Officials say that this preserves national harmony while ensuring Malaysia remains competitive as a concert destination.

The Business Times reached out to Tourism Malaysia, the Ministry of Tourism, Arts & Culture and the Communications Ministry for comments, but did not receive a response.

Gaps in the bold ambition

Promoters welcome the reforms but say bottlenecks remain.

Rizal Kamal, chief executive officer of live events and performances company LOL Asia and adviser to live entertainment and events association Alife, pointed to TiketSelamat, a national initiative aimed at curbing scalping and giving locals a fairer chance at obtaining tickets. Yet, venue shortages are the biggest obstacle.

“Right now, the only world-class arena (with a capacity above 10,000) is Axiata Arena (in Kuala Lumpur), and it is heavily booked for sports. Malaysia needs more 10,000 to 25,000-seat venues to compete regionally,” he noted.

Comparable venues in the region include Singapore’s Indoor Stadium (12,000) and National Stadium (60,000), and Bangkok’s Impact Arena (12,000), giving those markets a head start.

Sid Somasundram, events and technical director of live events collective TuneUp Asia Group, said that most stadiums were built for sports, not concerts, creating challenges for both fans and organisers.

“Crowd flow, artist logistics and sight-lines are constant headaches,” he explained. “Promoters adapt with seating maps and sound towers to keep things fair, but without better venues, the fan experience inevitably suffers.”

Fan frustration

Among concert-goers, scepticism is mixed with frustration.

On iME Malaysia’s Facebook page for Mandopop star Luhan’s upcoming Kuala Lumpur show, fans complained about limited capacity and ticketing practices.

One noted that the “Malaysia show” was essentially sold through China channels despite the venue holding just 5,000 people; another questioned why prices were listed in renminbi and urged organisers to prioritise locals through identification checks.

Such gripes underscore the wider doubts around Malaysia’s readiness to attract and host major international acts.

Others blame the country’s entertainment duty – formerly 25 per cent – as a deterrent. In the 2024 Budget, that rate was cut to 10 per cent.

Promoters agree the tax cut helps, but caution that it eases the burden only partly.

“Promoters take on the highest level of risk because they commit to buying an act upfront, often before a single ticket is sold,” said Sid. “Any reduction in fees or taxes helps by easing financial risk, but productions, logistics and rider requirements remain variable costs that can still weigh heavily, depending on the artist.”

Ethel Da Costa, founder and CEO of Think Geek Media, which manages media and public relations for local and international artistes, said: “We must also look at the full ecosystem of costs that affect global touring acts choosing Malaysia as a stop.”

While duty reduction is “one piece of the puzzle”, she pointed out that improvements in venue infrastructure, production costs, manpower and regulatory processes would ensure Malaysia’s competitiveness.

The country has many things going for it – cultural diversity, passionate fan bases and a strategic location – making it an undeniable hot spot for touring artistes. “With the right policies, we can position ourselves as a must-play destination on the global concert map,” she added.

Queries sent to iME and Star Planet, two of Malaysia’s leading concert promoters, went unanswered.

Bold goals

Dr Geoffrey Williams, an economist and the founder of Williams Business Consultancy, argues that the RM1.7 billion projection is too ambitious. “It’s an accumulation of small concerts – tickets, flights, meals – but the value added is limited compared to the similar amount generated from Taylor Swift’s single concert run in Singapore,” he said.

He added that a few factors could set back Malaysia’s ambitions in the region’s race to host concerts. “Conservative attitudes, from the Matty Healy controversy – his onstage kiss at Good Vibes Festival led to the show’s shutdown in 2021 – to regulatory kill switches, plus ticket touting and frequent cancellations, are all barriers.”

He noted that Coldplay’s 80,000-strong show was the exception; “most venues here max out at 7,000 to 8,000 seats”, adding: “There may be a ‘Swiftonomics’ effect, but the idea of conservative Malaysia becoming a concert hub is optimistic. Smaller, second-tier acts or nostalgia tours are the more realistic growth path.”

Neighbouring countries have developed distinct advantages in the live events market.

Singapore has reinforced its reputation for efficiency, safety and big-ticket management, cemented by the Taylor Swift effect – her six sold-out shows in March 2024 brought in hundreds of millions in tourism dollars.

Thailand offers a more relaxed atmosphere and the added appeal of resort tourism, while Indonesia and the Philippines boast large domestic audiences, though their ability to pull large international visitors varies.

The Philippines also has a trump card in the Philippine Arena, the world’s largest indoor venue with a capacity of about 55,000.

Malaysia, on the other hand, offers affordability, safety and genuine cultural warmth. The Coldplay night proved the country can deliver magic when the stars align.

But until more world-class venues rise from the ground and cultural restrictions loosen their grip, Malaysia risks being the opening act rather than the headliner in South-east Asia’s concert circuit.

The dream of a RM1.7 billion concert economy is not impossible – but right now, it is playing to crowds smaller than anyone had expected.