Press Room

JULY 2007

The Concert Connection for the U.S. and Asia
John Nghiem

YELLOW MAGAZINE - Anni Sarah Lam operates Parc Landon, an agency that facilitates concert deals between promoters and artists. They book U.S. artists in Asia and Asian artists in the U.S., and also represent artists' legal and career interests. Additionally, they work with artists, their managers and record companies to include live performances into the artists' career developments.

How did you get started?
When I was 16, my dad decided to get into show business for fun. Since he was busy with another business, he delegated most of the concert operations to me. During 9th and 10th grade, instead of doing homework, I took a bus to Manhattan to work. I loved the business, but my pursuit was interrupted by college until years later when I goggled "how to start a radio station". Within hours, HKVP Radio was on the air. George Chung, a boxing agent who booked matches in California, heard me on HKVP and asked if I could help him book a Canton pop tour. His passion inspired me to start my own business. After a year of pounding the pavement, I met some overseas promoters who wanted to book U.S. artists. That was the break I needed.

Is any particular type of artist more suited for live performances?
The music business is not just about recording music and selling CDs. An artist's connection with the audience is formed at live shows and that's what it's all about. There are so many "studio singers" who hide out in studios and basically auto-tune all of their tracks. They'll sing a song and adjust every note. When they finally do a live show, their fans are disappointed. Your CD can be great, but if you can't perform live, you career is shot.

How do you determine how successful a developing artist will be?
I look at the type of songs that they write or sing because people remember the artists who produce hit songs. We prefer working with artists who write their own material, especially in the U.S., because that's where you have the greatest success. Pop singers like Justin Timberlake who crossover to become full-fledged musical artists by writing songs and playing instruments are the ones we seek. Music is not just about music anymore. It's about entertainment and image.

How does the cultural difference between the countries affect your work?
The most important thing is to be self-aware so that you can adjust your behavior, attitude and approach to fit the local style. We shake hands in China and bow in Japan. Foreigners run into trouble working in Asian countries because they don't take the time to understand local customs. I hand out my business card in Hollywood with both hands, Chinese-style, and this tiny gesture is understood and appreciated.

Is there a big difference between the Asian entertainment industry and Hollywood?
Aside from some financial and cultural differences, they are pretty much the same. Everyone is looking for fame or money. Some serious actors and actresses want to prove a point through their work, while others are trying to find a world - to fill a void - that is an extension of their crazy selves.

What do you think is the most important element of your business?
It may sound cliché, but knowing the right people and the understanding the companies and markets you represent. Also, I will take an 18-hour flight just to visit a promoter. Today, many people operate via the Internet, but emailing does not build trust or create close bonds. Our operations require large sums of money and clients must trust you. We spend a lot of time cultivating that trust.

How do you verify that a promoter is credible?
I typically ask for a list of shows they've done in the past and a list of industry references. I'm looking for experience and credibility and I will ask a hundred questions. We make our clients jump through hoops to prove their credibility, and the artists' representatives make us jump through hoops to protect their clients. In Asia, you don't always know what you're getting yourself into. Signing on with a bad client can ruin a company's credibility and reputation in Hollywood. I've seen it happen twice this year with highly reputable agents. We also like to have the deposit and balance paid before the artist boards the plane. That's how we also protect the artists.

Do you find that most Asian artists who come to the U.S. target the domestic Asian market?
Most of the artists perform at casinos because it's less expensive [for the promoter]. They once tried to do shows at the Shrine in LA without success. Vietnamese markets have a lot of potential because the Vietnamese community tends to be united and passionate about their entertainers. They will come out in droves to support an artist and a show. We are looking at the Vietnamese and Korean markets a lot, especially in Southern California.

Is there a 500-pound gorilla in the concert promoter world?
Clear Channel, now called Live Nation, has bought many of the independent [promoters] and definitely controls the market. In Asia, they already control Hong Kong and Singapore and in the process have stifled competition. But I think there is money to be made by everybody, including AEG Live, with whom I'm closely aligned.

What is your long-term goal for the company?
We'll continue to break into the industry one deal at a time. We hope to open offices in LA and Shanghai and to launch a market research web application to service business-to-business clients. In three to five years, after we start representing all of our promoters, we can tell artists that we have exclusivity with those promoters and ask them to sign on. Parc Landon could be the agency where artists go to reach the Asian markets. I'm trying to build up places like China to achieve a similar worldwide status as Tokyo and London.

It all sounds exhausting
The concert business is great but you can get old really fast. It's really draining, especially because I have to work in two different time zones. But I love it. To me it's not work, it's just a lot of fun.