[Big read] Shanghai to Bangkok: The rise of Chinese clubs in Southeast Asia

At 3am, Kuala Lumpur’s Boomshake nightclub goes into a frenzy. As the DJ dropped the viral Chinese TikTok hit Tiao Lou Ji (跳楼机, Jumping Machine), the crowd erupted. Alcohol flowed, music throbbed, and bodies swayed in the intimate space.

The micro-club, a concept by the Chinese nightclub brand Boomshake, is less than 500 square meters — its main floor about the size of a small apartment. By Saturday midnight, navigating the packed club was a contact sport. Yet, this close proximity fueled the excitement of the trendy crowd, who danced and revelled to a mix of Chinese, English, and Korean hits until 5 am.

Micro-clubs are a rising trend in China’s nightlife scene. Compared to traditional large-scale party venues, they leverage smaller spaces with lower operating costs and cater to more niche demographics.

Similar to the trajectory of many industries in China, the market became saturated and competition intensified following the mushrooming of micro-clubs across China. Coupled with the slowing economy impacting leisure spending, more operators are looking overseas, with Southeast Asia being a key test market. 

Boomshake is one of these micro-clubs venturing overseas. It belongs to Hangzhou-based entertainment management company Meiyamei (International) Group (美娅美（国际）集团), and operates over 40 branches in China. Branches in Bangkok and Kuala Lumpur were opened last June and December respectively. In an interview with Lianhe Zaobao, Qian Jun, the group’s senior vice president, estimated that there are currently four Chinese nightclub brands operating in both Bangkok and Kuala Lumpur.

Why Southeast Asia? Qian, responsible for Kuala Lumpur operations, highlighted the geographical proximity facilitating product export and, crucially, the interconnected social media landscape.

He explained that young Chinese Malaysians’ widespread use of Douyin and RedNote (Xiaohongshu) allows Chinese pop culture, from music and fashion to nightclubs, to rapidly permeate the local scene. The entertainment model resonates, readily embraced, with some patrons describing the experience as “Douyin come to life.”

The large Chinese diaspora in Southeast Asia is another key factor attracting Chinese investment. Qian pointed out that large numbers of Chinese tourists visit Southeast Asia and are keen to experience the nightlife. However, in countries like Thailand, where security can be a concern, safety considerations often deter them from visiting local nightclubs. In comparison, nightclub brands from China offer them a greater sense of familiarity and security. 

China’s nightlife landscape has flourished in recent years. Apart from micro-clubs expanding overseas, larger, higher-cost livehouses have also emerged in Southeast Asia.

Red Live House (红伶), located in Singapore’s Suntec City, opened late last year, and features live performances paired with food and drinks. Compared to smaller music restaurants or folk song restaurants, the experience here is more like a concert.

At 9.30pm when the live performances start, two singers, accompanied by a live band, take their positions — one on the main stage and one on the steps among the audience area — and belt out a duet. Rotating lights descend slowly from the ceiling, and subwoofers hidden beneath the sofas vibrate to the rhythm of the music.

Such eye-catching features naturally come with a premium price tag. Red Live House co-founder Zhu Weigang said in an interview that the company spent S$700,000 (roughly US$519,000) on the stage design and sound system.

Zhu, with experience in China’s cultural entertainment industry, partnered with a Singaporean businessman last year to bring the large-scale livehouse concept, common in Chinese cities, to Singapore.

He thinks that typical music restaurants in Singapore may focus more on the music itself, while Chinese livehouses emphasise the spatial, visual, and stage design experience. “There is still room for optimisation in the Singapore market as high-quality livehouses are a relatively new concept here,” he said.

Singaporean patron Zhuo Yuemei has this to say about her livehouse experience, “I used to visit folk song restaurants in the past. Now that they’re gone, I’ve come here. The lighting effects are not bad, and the seats vibrate as well. I feel as if I’m at Universal Studios.”

HaveFun Live Show, located in Singapore’s Bugis, opened early last year and similarly focuses on immersive entertainment performances. Through a partnership with Chinese entertainment group Hezong Culture, it brings a concert-like experience to Singapore.

This process required considerable manpower and financial resources. Lu Mang, the person in charge of HaveFun and founder of Goodwill Entertainment (嘉德娱乐), said in an interview that the performance venue had to be built from scratch, and required the collaboration of an art director, music director, choreographer, musicians, singers, and other professionals. “I had this idea for a few years, and it was only until we found a suitable venue that we started planning, presenting this entertainment format to Singapore,” he shared.

Chinese businesses are investing heavily to gain a foothold in the market. However, the nightlife industries in places like Singapore, Bangkok, and Kuala Lumpur are already relatively mature, each with its own barriers and challenges. Entering these markets carries certain risks and uncertainties.

While the cost of operating nightclubs in Kuala Lumpur and Bangkok is relatively lower, locals also have a lower spending power, and the regulatory environment can be somewhat grey. On the other hand, Singapore’s nightlife market faces high operating costs and stricter entertainment regulations, with a much smaller market size than China.

An industry insider revealed that many Chinese nightlife brands have attempted to expand overseas, but few have successfully established themselves. Many find themselves “stuck in the middle” due to challenges such as local laws and licensing issues. 

However, compared to the highly competitive Chinese market, some industry players see greater prospects for growth in Southeast Asia.

Flex Singapore, a dance club located at Suntec City in Singapore, is another small-scale nightclub that has expanded from Guangdong. According to executive manager Lu Fei, Singapore’s nightlife is actually quite diverse with a clearly segmented market, which is advantageous for Chinese nightclubs looking to venture abroad. He added “as a dance club, we want customers to make a clearer choice. If customers don’t have distinct preferences, we would face even greater competition”. 

Boomshake’s Qian expressed confidence in the top-notch hardware equipment of Chinese nightclubs. He pointed out that the sound and lighting systems in their venue were imported from China, and differed from those used by local operators. Chinese industry players could also leverage their supply chain advantages to design these systems at lower costs.

Some local operators believed that while the entry of Chinese brands introduces competition, it would also revitalise the nightlife scene.

Dennis Foo, an advisor to the Singapore Nightlife Business Association (SNBA), mentioned when interviewed that since the pandemic, Singapore’s nightlife industry operators which focused on Chinese music have been severely impacted, weakening their overall strength. Thus, the entry of Chinese brands at this point in time could revitalise the market. From this perspective, competition might not necessarily be a bad thing.

He believed that as a global city, Singapore’s nightlife image should not be too “sinicised”; instead, offering a diverse range of entertainment options is crucial to maintaining Singapore’s appeal.

On entering a minimally decorated bar by the Singapore River, one is greeted by a striking sign with the words “someone jumped into the sea”. This left many first-time visitors puzzled, and immediately one gets the sense that this is no regular bar.

The bar, named Drunk N’ Jump Singapore (DNJS), is a well-known chain brand from China that opened its first overseas location in Singapore this March. The name came about as a result of an incident where the founder — on the first day of signing a property lease in China — impulsively jumped into Beijing’s Houhai after drinks with friends.

In China’s highly competitive nightlife scene, it would be difficult to gain any advantage simply by selling alcohol. Operators need to offer diverse experiences beyond just beverages to stand out.

Du Lei, manager of DNJS, stated candidly when interviewed that “here, drinking alcohol is the least important thing”.

He explained that in truth, DNJS sought to position itself as part of the youth culture community, hoping to connect young people from all over and allow more people outside of China to see what young Chinese are doing and thinking about.

The space beyond the bar counter bears more of a resemblance of an integrated exhibition area, displaying poetry by female employees from Shenzhen at the entrance. At another spot, photos collected earlier from the public representing their most treasured moments for 2024 were displayed. Customers can also organise events at DNJS themselves, such as when Taiwanese singer An Pu held a gathering for fans after his concert in Singapore earlier this year. Activities in the works also include post-drinking debates, among others.

DNJS aspires to become a “community tavern” showcasing Chinese youth culture and encouraging cultural exchange, but whether this resonates with the local market is something the team is still exploring. This is especially challenging when it comes to attracting non-Chinese-speaking customers or those not proficient in Chinese to engage with stories beyond the alcohol.

Equally crucial is the question of whether a bar that emphasises culture can survive in the market. Another DNJS manager, Cui Xi, admitted that achieving profitability in Singapore is undoubtedly more challenging than in China — particularly given Singapore’s high costs and complex policies. These challenges are compounded by the fact that as the first overseas venture, “we are trailblazing in all we do”.

However, she believes that success in Singapore would pave the way for smoother expansion to other Southeast Asian countries such as Malaysia and Thailand in the future.

From Foo’s viewpoint as an industry operator in Singapore, Chinese nightlife brands venturing into Southeast Asia are diverse. In comparison to lavish nightclubs built with significant investment, DNJS sits at the other end of the spectrum by following a cost-effective approach.

He explained that the bar’s setup is relatively simple, essentially requiring just a bar, while event content is organised with other partners or by encouraging customer participation. This fosters a sense of community while maintaining lower operating costs, making the business model more sustainable — a fresh approach in Singapore’s nightlife market.

Part of the reason Chinese nightlife venues are expanding into Southeast Asia is the large Chinese population in the region, which means that the Chinese make up the bulk of their customer base. However, operators understand that while Chinese patrons may form the core audience, tapping into the local market is essential for long-term success.

For example, DNJS’ events, such as stand-up comedy shows and post-concert gatherings, primarily attract Chinese nationals living in Singapore.

Zhang Xiaoming, a customer from China, explained DNJS’ appeal to the Chinese community: “There are many new immigrants and students here, making it easy to socialise… everyone mainly speaks Mandarin, creating a casual and relaxed atmosphere for interaction.”

Du Lei, founder of DNJS, believes that many Chinese customers have a natural affinity for the brand, forming a solid base audience. However, the next goal is to reach Chinese Singaporeans who are familiar with the Chinese language and culture and eventually expand to a broader international audience. “We want to solidify our base first, then have them bring their local friends over,” he said.

At another Chinese-owned boutique nightclub 404 Bar in Kuala Lumpur, the clientele is evenly split between Chinese and Malaysians. The club employs staff who focus on Chinese market strategies, using social media platforms like RedNote to attract Chinese customers.

Li Jinglei, who heads the Chinese strategy team, explained that their Chinese clientele mainly consists of international students and tourists. “The DJ playlists here better suit the tastes of Chinese students, while Chinese tourists are curious about what the experience is like at an overseas outlet of a Chinese brand.”

Striking the right balance between catering to Chinese customers and expanding into local markets through appropriate localisation is a crucial skill that Chinese overseas operators have to master.

Red Live House’s Zhu said: “Figuring out how to respect the local market and integrate local resources is a big challenge for us, but it’s something we must do.”

For example, when curating the music playlist, they consciously play more oldies, as well as Hokkien and Cantonese songs, to better align with the preferences of the local audience.

Boomshake’s Qian believes that localisation must be finely calibrated. For example, Boomshake currently employs an equal mix of Chinese and Malaysian DJs. “If all the DJs were Chinese, customers might feel a sense of cultural invasion and be scared off. On the other hand, if it’s entirely localised, as a Chinese overseas brand, it might end up feeling like false advertising.”

Ultimately, China’s nightlife scene has evolved over the years from the stereotypical image of lounges and KTVs into a more diverse cultural and entertainment experience. This transformation aligns with the shifting desires of some Southeast Asian consumers, who are increasingly looking for entertainment that offers cultural identity and spiritual enrichment.

Singapore nightclub operator Fu Yonglong said Chinese players in the entertainment industry are relatively free to exercise creativity. In the nightlife space, “Chinese characteristics” — once considered a negative label — may now be turning into a competitive advantage.

This article was first published in Lianhe Zaobao as “中国夜店蹦迪东南亚 文化碰撞抢占夜生活”.

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