Kaohsiung Concert Economy: Ke Chih-en Connects Hospitality and Dining for Win-Win

Kuomintang Kaohsiung mayoral candidate Ko Chih-en recently visited Kuan-Hung Arts in Kaohsiung to consult with Chairman Lin Chien-huan on the development direction of the "concert economy." During the meeting, Ko pointed out that concerts are not merely arts and cultural events, but rather an economic chain capable of driving diverse urban industries. She emphasized that if Kaohsiung is to secure a prominent place in the future concert market, it must proceed from the front-line demands of the industry, understanding the practical needs of event organizers, venues, and audiences in order to design policies and supporting measures that align with the market.

The concept of the concert economy has been regarded by many cities in recent years as a key driver for boosting tourism and local industries. Cities such as Taipei and Taichung have previously hosted large-scale international concerts, which simultaneously spurred growth in lodging, dining, transportation, and peripheral retail. As southern Taiwan’s major port city, Kaohsiung possesses abundant venue resources and transportation advantages, yet due to a past lack of systematic planning, it has failed to fully capture the business opportunities brought by concerts. Ko’s proposal to "turn industry demands into policies" aims to establish a government-level framework that mirrors the concert industry chain—such as streamlining performance permit procedures, providing venue rental subsidies, and assisting with the integration of marketing and ticketing platforms—to facilitate smoother cooperation between performers and local operators.

Regarding concrete implementation, Ko mentioned that the core strategy should be to "link accommodations and dining" to build a concert-centric urban business ecosystem. She cited as an example that when large concerts are held, audiences often check into hotels, sample local delicacies, and even extend their spending to night markets and shopping centers before and after the shows. If early coordination can be established with accommodation and food service providers to launch package deals or promotional offers, it would not only enhance the overall audience experience but also enable local businesses to achieve significant revenue growth in a short period. This cross-industry cooperation model has already proven successful in the concert markets of Japan and South Korea, becoming a key factor in elevating city image and economic benefits.

Furthermore, Ko also focused on the role of concerts in shaping the city's cultural atmosphere. She believes that if Kaohsiung can continuously host diverse types of music events—ranging from pop and rock to indigenous and Hakka music—it can attract audiences from various demographics, further enhancing the city's cultural diversity and international visibility. To this end, she advocates for establishing a "concert cultural fund" at the policy level to subsidize collaborative projects between local artists and international performers, while encouraging the participation of local creative industries such as stage design, lighting, and sound engineering to form a complete industrial ecosystem.

Finally, Ko’s recent statements also reveal the strategic layout of her Kaohsiung mayoral campaign. By approaching voters through the lens of the "economy" and combining culture with tourism, she is attempting to forge an image of a city that is both dynamic and creative. If her policy proposals can be implemented in the future, they will help enhance Kaohsiung's competitiveness in the national and international concert markets while creating more employment and revenue opportunities for local small and medium-sized enterprises. Regardless of the outcome, the concert economy has become an indispensable component of Kaohsiung's municipal agenda, worthy of ongoing attention and discussion from all sides.