NANJING — On a crisp, breezy evening in Tianjin, a young couple strolled back to their hotel, their steps light, and their hearts brimming with joy. Softly, they hummed infectious tunes from the electrifying concert they had just attended by G.E.M. They had traveled from Beijing to attend their favorite pop star's show.

"It wasn't a cheap outing," says Zhou Yi, who detailed how, in addition to the concert tickets, which totaled 2,760 yuan ($384), their three-night hotel stay, train tickets, shopping, and other costs added a further 2,800 yuan. "But it was worth every penny."

Zhou describes the atmosphere as exhilarating, saying that they had both felt enveloped by the sea of 30,000 enthusiastic fans, united in singing and cheering. "The joy of being amid so many like-minded souls, all sharing the same passion, was nothing short of bliss," she says.

"Investing in experiences that resonate on a deeper level holds far greater value than acquiring material possessions. I cherish the idea of creating lasting memories over fleeting luxury," Zhou adds.

People like Zhou, who travel to attend live shows, are increasingly forming the core of China's vibrant performance market.

In 2023, a significant 68 percent of the audience at major concerts had journeyed from other cities, highlighting the growing trend of concert tourism, according to a report by the China Association of Performing Arts and box office analytics firm Dengta Data. The report revealed that over a quarter of enthusiasts opted to extend their trip into a brief vacation in a convergence of live entertainment and travel.

This growing trend is adding considerable momentum to domestic tourism. For instance, fans flocking to pop star Jay Chou's four Tianjin concerts in September 2023 generated an impressive 3.3 billion yuan for the local economy, spending on things like accommodation, transport and food.

Meanwhile, the dance drama version of A Dream of Red Mansions drew tens of thousands from across China to Nanjing in Jiangsu province, with dedicated fans following the tour to multiple cities to see every version of the cast.

Zhao Chenlin, vice-president of the Shanghai Media Group, says that when the annual per capita GDP of a region passes $10,000, demand for cultural and entertainment activities soars.

"With an increasing number of regions reaching this milestone, there's a significant upsurge in demand," she says, adding that convenient transportation has facilitated intercity travel, making performances a compelling incentive for a trip. The ease of getting from one city to another has turned attending live shows into not just an entertainment option, but also a travel option, further fueling the cultural and economic vibrancy of the performance industry.

Seizing on new market trends, cultural and tourism agencies are working to bring some of the world's most iconic productions to the Chinese market.

At the Suzhou Shishan Grand Theater, audiences eager to watch The Phantom of the Opera lined up for photos in front of a sculpture of the show's famous mask.

"I learned about the show during music class in middle school and always dreamed of watching it live," said one young theatergoer, who was wearing a white dress in tribute to the musical's heroine, Christine.

Andrew Ahern, resident director of the musical, spoke highly of the enthusiasm of Chinese audiences. "They know the story very well and are incredibly supportive. The response to our last tour was so overwhelming that we decided to expand to more cities, and we've had some impressive sellouts."

According to the SMG's preliminary estimates, the cumulative receipts for the show's first three stops this year in China has already exceeded 135 million yuan.

Ahern adds that the introduction of international productions is now a hallmark of China's flourishing performance market. Beyond traditional West End and Broadway hits, and German and French musicals, stylish new productions are also gaining popularity, including the feminist-themed musical Six, which is slated for a domestic tour in 2025.

"Our collaboration with Chinese partners is excellent, and their technical teams are very professional and efficient," Ahern says.

Zhao believes that the aesthetic sensibilities of Chinese audiences will continue to improve as they gain more exposure to performances.

Reviews of The Phantom of the Opera abound on lifestyle-sharing platform Xiaohongshu, with many fans comparing the show's domestic tour to the original London production. Such discussions not only generate online buzz but also provide theaters with valuable insight into audience preferences.

This December, the Suzhou Shishan Grand Theater will host another Andrew Lloyd Webber classic, Cats. The move to feature famous musicals as part of its opening season reflects the growing local appetite for high-quality international performances.

The theater's partnership with the Shanghai Grand Theater also ensures a steady influx of international performing arts projects, spurring cultural consumption.

According to estimates by the China Association of Performing Arts, revenue from commercial performances in the third quarter of 2024 is expected to hit 20.81 billion yuan, a 41 percent increase year-on-year.

"If Shanghai is becoming China's 'Broadway', we aspire to be its 'off-Broadway'," says Hua Shuyun, general manager of the Shishan Grand Theater. "Our vision is to bolster regional collaboration, drawing the finest domestic productions to grace our stages and fostering an environment conducive to their creation. We are committed to not only presenting these masterpieces across the country, but also to propelling them to the international arena."

Xinhua