For almost 20 years, Split Works, China's largest independent music company, has sought to topple geographical, cultural and linguistic barriers to bring Asia's brightest artists to western audiences and vice versa.
This year, making their BIGSOUND debut, Split Works and its festival arm Concrete & Grass are showcasing the region's finest with diverse musicians handpicked from China, Malaysia, Korea and Taiwan.Speaking from his base in Taipei, the company's touring director Ross Miles elaborates. "We're trying to be a bridge and bring Australian talent into Asia and back the other way. We've got a really great mix of artists performing at BIGSOUND."
Some of the showcased acts might not be complete strangers to Australian crowds. The deceptively sweet Malaysian singer-songwriter Lunadira wowed SXSW Sydney last year with relatable ditties such as 'Ur Cute But Boring'. "She's really amazing. She's a star," enthuses Ross.
Then there's 1300 (be cool and pronounce it properly: 'one three hundred'), a Korean–Australian rap crew established in 2020 in the Harbour City who meld dubstep, drum & bass and sub-terrestrial EDM in addition to cultures.
For audiences who like their music more twangy, see the showcase's headliner, Memi, a South Korean "rock goddess" according to Ross. She's captured an army of domestic fans though her viral social media presence and comparisons to Jack White and St Vincent.
Representing China are two "really solid live bands". Post-punk pedlars Lur from Xi'an, who take their name from a type of Bronze Age trumpet; and indie outfit Loft Beach, sounding like The Beach Boys met Oasis in contemporary Shanghai.
Rounding out the Split Works line-up is B e n n (pronounced 'Ben'), the doyen of Taiwan's electronic music scene. The DJ and producer is a regular on the Asian festival circuit and is known for blending deep house, techno and traditional Asian sounds.
Previously, Split Works have collaborated with local heroes Mallrat and Lime Cordiale as well as American and British acts, including Thirty Seconds To Mars, Ludacris and The 1975, on festival performances and tours across Asia.
Ross says that Western artists – who cannot reach audiences via Spotify, Instagram or any of their usual media channels in China – are nonetheless well received. "Often, because of Australia's relative proximity to Asia and obviously China, Australian acts are a bit more willing to get stuck in and do the work that maybe an American artist wouldn't be.
"They appreciate there's a lot of potential there. For example, Last Dinosaurs are an Australian band who've built a pretty big presence in the region via touring and streaming."
Ross believes there exists a burgeoning embrace of musical globalisation. "Ten years ago, you didn't feel that connection or that kind of willingness or engagement or enthusiasm for Asia from Australian bands and the artistic community.
"But in the last five years and in an even more profound way over the last year or two, you can feel more support on offer for these kinds of artistic collaborations. We've been having a lot more conversations with Australia-based musicians."
With appetites for new sounds growing, Split Works are poised to forge bonds between East and West.
At BIGSOUND 2024 (Brisbane) Split Works presents An Asian Music Takeover at Marquee on 5 September as well as Concrete & Grass at The Tivoli (Brisbane) on 6 September.
