But behind all that excitement also raises a question: How can the concert race not only focus on scale but also create truly high-quality shows that maintain audience trust?
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| Sao Concert - a program bringing together many young artists, will be held in October 2026 in Ho Chi Minh City. Photo: Provided by the organizers. |
The market is heating up day by day.
There was a time when a Vietnamese singer holding a solo concert was considered a major event, even a milestone in their career. Now, it's gradually becoming a more regular activity. Audiences can encounter many different performance models: from individual concerts and band tours to large music festivals bringing together dozens of artists.
Names that have made their mark recently, such as Sao Concert, Tram Yeu, Tinh Ha Say Hi, Anh Trai Vuot Ngan Chong Gai… show that the market has formed program brands capable of attracting their own audience communities. Notably, the “game” is not just about the number of artists appearing on stage. Organizers are increasingly focusing on building stories and experiences for viewers. For example, Sao Concert is developed as a multi-tiered music festival model, bringing together many artists and multiple stages. Tram Yeu aims for an emotional connection between artists and the audience…
In late October 2026, public attention will be focused on Big Bang's two concerts at My Dinh National Stadium on October 24th and 25th, as part of the group's 20th anniversary celebrations. The appearance of an international name with a large fan base in Vietnam also demonstrates the growing appeal of the domestic performance market. When Vietnam is capable of hosting large-scale tours, it's not just about one artist or one concert. It's also about organizational capacity, infrastructure, audience, and market purchasing power.
Meanwhile, Vietnamese artists are also boldly stepping into larger venues. Tung Duong announced his 15th live concert, themed "Flying Towards the Sun," at My Dinh National Stadium. HIEUTHUHAI, Phung Khanh Linh, Phuong My Chi, Quoc Thien, and others have been organizing their own concerts at the end of the year to offer audiences diverse musical experiences.
From a lack of concerts, the market is shifting to a new state: audiences have many concerts to choose from. This is both a joy and a challenge.
When audiences start to "select" concerts
In Ho Chi Minh City, October is considered one of the most vibrant months for the performing arts market. The HCMC Youth Concert 2026 will take place over two days, October 17th and 18th, in the Nguyen Hue pedestrian street area, combining a concert with various interactive, creative, and experiential activities for the audience and young people. According to the organizers, the concert area, themed "The Sound on the Road," can accommodate over 10,000 spectators and will feature many well-known artists. This is a program with many promising elements. However, at a recent press conference, Mr. Tran Thanh Trung, Director of T Production – the organizing unit – frankly expressed his concern about the abundance of music events for young people in Ho Chi Minh City. The biggest worry is that the audience might be fragmented by too many choices, even for a free-entry event.
This is perhaps one of the most noteworthy issues in today's concert market, as audiences cannot be present at all venues simultaneously. A young person may love many artists, but their entertainment budget is limited. They will have to consider whether to buy tickets for a concert by their favorite artist, choose a large-scale music festival with many artists, or spend money on a show with a special scale and experience. When the choice is in the audience's hands, organizers must also change their approach to attract audiences.
The boom in concerts also marks a natural selection process in the market. Well-executed shows will be talked about, shared, and returned to by audiences. Shows that fail to meet expectations will inevitably face direct public feedback, especially in today's age of booming social media. Sound issues, poor organization, long queues, poor visibility, ticket prices not commensurate with the experience… can all quickly become widely discussed topics. Once audience trust is damaged, persuading them to buy tickets for the next show will no longer be easy.
By the end of 2026, figures regarding the number of concerts, stage size, and audience numbers will certainly continue to be discussed. But perhaps what's more worth anticipating is how many quality shows, how many enduring performance brands, and how many audiences will still want to return after a vibrant concert season.
Quality is what lasts the long haul.
The rapid growth of the concert market is a positive sign for Vietnam's performing arts industry, showing that Vietnamese people, especially young people, are increasingly willing to spend money on live cultural and entertainment products. They not only listen to music through digital platforms but also want to meet artists, immerse themselves in the atmosphere of a live performance, and share that experience with the community. This is a crucial foundation for the development of the performing arts industry.
However, the larger the market, the higher the demand for professionalism. Organizers need to carefully plan everything from artist selection, content creation, stage design, sound, and lighting to ticket sales, security, traffic management, audience flow control, and venue services. In particular, they should avoid the mentality of chasing after "who's bigger."
A show with tens of thousands of attendees isn't necessarily more successful than a concert with a few thousand. A grand stage doesn't necessarily create more emotion than a show with carefully crafted music. The most important thing is that the show has its own identity and meets the needs of its target audience. It is this difference that creates the diversity of the market.
Therefore, instead of trying to win over all audiences, organizers need to create products with their own unique personality. When each concert has a compelling reason for audiences to choose it, market competition will become a driving force for improving the quality of each concert. A good concert cannot simply be a place where artists sing familiar songs again. Viewers increasingly expect new versions, new staging, and new stories. Concerts need to become a place where artists best showcase their personality and unique mark.
The same applies to organizers. Audiences shouldn't be seen merely as ticket buyers, but as partners contributing to the show's success. Retaining the audience is therefore just as important as selling out tickets. A sustainable performing arts market must build trust: audiences believe their money is well spent; artists believe there's a market good enough to invest in long-term projects; and organizers believe that well-produced shows will create lasting value.
Minh Ngoc
Source: https://baodongnai.com.vn/dong-nai-cuoi-tuan/202610/vao-mua-concert-ca-nhac-cuoi-nam-9d62714/
