I view the music industry and economy as a lens for understanding the cultural economy, human existence, knowledge systems, and music itself. Traditionally, the industry is divided into four main sectors: Live Performance, Publishing, Recording, and Artist Management. However, its scope extends far beyond these categories. The music industry encompasses politics, policy-making, philosophy, technology, sustainability, and critical thinking.

It is also deeply intertwined with the lives of musicians, particularly grassroots artists, exploring how technological advancements reshape cultural labor and how music influences politics and societal well-being. My perspective on the music industry positions it as a site of tension within neoliberalism, navigating the complex terrain between commercial and non-commercial spheres—an area ripe for exploration from diverse perspectives.

In terms of the music genres I focus on, I am particularly interested in how globalization and localization interact to create the hybridity of genres across different geographical contexts. I also examine how neoliberalism has shaped the global music industry, influencing the interplay between genres traditionally associated with distinct social classes, racial identities, political ideologies, and aesthetic values. Their dynamic interrelation is especially compelling to me.

My recent publications on the music industry include:

​​​

 Western Classical Music Industry in 21st century China, London: Routledge (in contract, forthcoming in the Spring 2025)

​

Anarchism and Wuhan Punk 1996-2010s: Subversive Harmonies in Cultural Expression (working title), in Made in China: Studies in Popular Music, London: Routledge (Accepted, forthcoming in 2025)

​

Standing in/out: The platformization of Tencent’s TME Live in post-pandemic China. Perfect Beat, 2021; 21(1), 56–62. https://doi.org/10.1558/prbt.19293

​

​