SBS sets sights on Asia's version of Eurovision
Titled 'Veiled Musician,' the pan-Asian vocal contest to highlight regional talent and cross-cultural artistry
Asia is getting its own take on the Eurovision Song Contest.
Apparently, 'Veiled Musician,' an upcoming global audition show from leading South Korean broadcaster Seoul Broadcasting System, was made with the world's longest-running television music competition in mind.
Featuring participants from 13 countries — Korea, Japan, China, the Philippines, Indonesia, Thailand, Vietnam, Mongolia, Cambodia, Singapore, Malaysia, Myanmar and Laos — the show, slated to premiere later this year, will kick off with local competitions in each participating nation.
The top three finalists from each territory will then advance to the grand finale, which will be staged in Korea. The show will be broadcast across major local networks in the participating countries and on SBS.
Adding a layer of meritocracy, 'Veiled Musician' will strip away personal identifiers, such as contestants' faces and nationalities, focusing solely on vocal talent.
The show stands out not only for its scale but also for its production setup. Unlike previous cross-border projects where broadcasting formats were simply licensed, 'Veiled Musician' is a co-produced venture spearheaded by the participating nations, alongside South Korea.
'In fact, there aren't really any broadcasters in other countries that actually do co-productions," claimed Kim Yong-jae, chief revenue officer at SBS' Prism Studios, the entertainment production division of the broadcaster, during an interview with The Korea Herald. "They've only ever bought the format. ... Co-producing like this is probably something that has never happened before,' Kim said.
Kim, a veteran of the Korean entertainment industry, whose career includes stints as a producer and deputy head of SBS' entertainment division and who is widely credited with exporting the popular Korean variety show "Running Man" to China, where it became a megahit, is helming the production of "Veiled Musician."
According to Kim, 'Veiled Musician' will serve as a powerful platform for cultural diplomacy and create music industry connections across Asia.
'If we do well together with this kind of content, it's an amazing opportunity to really elevate our national image. Also, the show's judges and contestants may even collaborate on producing an album. Our music market could expand as a result as well. For example, a song like 'The Way Back' (translated) could be produced in 12 different versions and exported, creating a powerful ripple effect,' said Kim.
Kim emphasized that for him, a win-win structure was key from the outset. For Season 1, he said SBS is waiving format fees and offering financial aid to select nations.
'For the first season, we're essentially offering support. In fact, we're planning to provide 100 million won ($73,000) each to countries like Indonesia, Malaysia and the Philippines, since they (the broadcasting companies) are struggling financially.'
Going forward, as SBS' head of globalizing K-content, Kim said he has identified Indonesia, Vietnam and Thailand as key growth markets.
'Among them, Indonesia is the best — it all comes down to population size. For example, the Korean film 'Miracle in Cell No. 7' made 20 billion won in Indonesia."
Kim is also strategically focusing on Myanmar, where Korean content previously held strong cultural sway.
'Before the coup, Hallyu was really strong in Myanmar. Why? Because they aired Korean dramas from Monday to Thursday right before the 9 o'clock news. As a result, a lot of young people there can speak Korean. And the country is quite large geographically, too."
He added: 'Anyway, we need to move quickly and localize ourselves in these Asian countries — be on the ground with them. We need to support them, not just for 'Veiled Musician,' but also by helping develop their music industries while promoting ours. That's how they come to think positively of Korean content and Korea as a whole."
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Korea Herald
5 hours ago
- Korea Herald
A drama that made President Lee Jae Myung cry — and why it matters for Korea's cultural policy
In his meeting with cultural figures, President Lee stresses the country's cultural potential President Lee Jae-myung on Monday underscored the power of culture in enhancing Korea's global standing, sharing how a hit drama series moved him to tears and convinced him of the nation's untapped cultural potential. Speaking at a meeting with cultural figures at the Presidential Office in Yongsan, Lee said watching the Netflix hit "When Life Gives You Tangerines" was a turning point in his perception of Korea's cultural strengths. 'It made me realize that Korea's cultural capabilities go beyond just music, and that we have new strengths to offer,' Lee said, adding that the drama's universal resonance, despite its deeply Korean themes, was proof of culture's ability to connect across borders. 'Now, I find myself thinking deeply about how we can nurture this potential, provide our people with access to high-quality culture, create jobs, and strengthen our national power through culture,' he said. Monday's event gathered some of Korea's leading cultural figures who have recently gained international recognition. Attendees included Kim Won-seok, director of "When Life Gives You Tangerines," which topped Netflix's Global Non-English TV chart; Park Chun-hue, who won multiple Tony Awards for the musical "Maybe Happy Ending"; and soprano Sumi Jo, who received France's prestigious Commandeur of the Order of Arts and Letters in May for her contributions to music and the arts. Emerging artists were also present, including Huh Ga-young, winner of first prize in the La Cinef section at this year's Cannes Film Festival with her short film "First Summer," and Park Youn-jae, a 16-year-old who became the first Korean male dancer to win the Prix de Lausanne in its 53-year history. Kim, who has yet to receive a formal award, made light of the moment. 'I'm the only one among the five of us here who didn't receive an award, yet I'm still here. It seems the tears of the president and first lady were the award,' Kim joked, adding that he intended to make viewers laugh, not cry. 'I never expected the entire nation to resonate and shed tears with us, but people liked it much more and for much longer than I had imagined.' The president shared that his vision aligns with that of independence leader Kim Gu, who once said that military power should be just enough to protect ourselves, economic power just enough for us to live well, but that culture is different because it only does good in the world and spreads positive influence. He hoped for Korea to become a nation with truly strong cultural power. "I feel that we are now standing at the entrance of becoming the kind of cultural powerhouse Kim Gu envisioned," Lee added. "We might be at the enterance of a nation I believe that if we, as a nation, significantly increase investment and support for the cultural sector, provide opportunities for the next generation, grow this into an industry and expand Korea's cultural influence globally, we can become a leading nation — a true global powerhouse. I think this could become our greatest strength. These days, just thinking about it makes me feel proud," he noted. He also acknowledged the challenge of appointing a culture minister capable of realizing this vision. 'That's why I still haven't been able to appoint a Minister of Culture yet,' Lee said with a laugh. 'It's such a complex task that it needs to be someone who can handle all of this. I hope all of you will think about it too.' As of Monday, Lee has appointed 17 out of 19 ministers, with the Ministry of Culture, Sports and Tourism and the Ministry of Land, Infrastructure and Transport still led by ministers retained from the previous administration.
Korea Herald
6 hours ago
- Korea Herald
Lee Hee-moon's glam journey through folk songs -- in heels and hanbok
Clad in sparkling high heels, short tights and a shock of brightly colored wigs, Lee Hee-moon stepped onto the stage in full glam and earned many nicknames like 'The Gugak Rebel' or 'The Joseon Hedwig.' But to focus on his flamboyant costuming alone is to miss the larger picture. Onstage, Lee moves with the magnetism of a pop star and the ritualistic presence of a folk priest. Collaborating across genres, from jazz and hip-hop to techno, disco and trot, he bends and reshapes Korean folk music into something utterly his own. What unfolds in his performances is neither fully traditional nor fully modern; neither strictly male nor female; neither a rock concert nor a ritual. It is something entirely new. His creativity with tradition and genre is what brought him to July's Yeowoorak Festival as artistic director. Now 45, Lee is one of the few male vocalists formally trained in Gyeonggi minyo, a traditional style of Korean folk music native to Seoul and its surrounding province. The genre, traditionally performed by women, is rarely pursued by male singers. But to him, tradition is not a dusty relic. It's a living, breathing, ever-evolving form — playful, dynamic and at times, subversive. 'I'm just trying different outfits for minyo,' he said in a recent interview with The Korea Herald. 'Different costumes, different sounds, different visuals. It's like I'm making sample after sample, seeing what clicks with the audience.' He came to gugak late — in his late 20s — partly because the idea of a male Gyeonggi minyo singer did not occur to him. Even so, Lee's roots in minyo run deep. His mother, Go Ju-rang, is a renowned Gyeonggi minyo master, and he trained under her close friend Lee Chun-hee. A 2007 collaboration with renowned choreographer Ahn Eun-mi on 'Princess Bari' marked the breakthrough that defined his artistic vision. He went on to form the glam-folk band SsingSsing in 2014 and gained global attention with a viral NPR Tiny Desk Concert in 2017. Looking back, pushing against the boundaries of a conservative music scene was daunting. 'It felt like I was going through a kind of measles,' he said with a laugh. 'But once I got through it, I realized it wasn't such a big deal after all.' 'When I dress up, I feel like I become someone else — more confident, more alive. That transformation helps me onstage,' he added. This year alone, Lee has presented several projects/repertoires and has more lined up, blending new and ongoing works such as band Obangsin (2020), the documentary-style lecture "Deep Love Trilogy" (2020), his most traditional work 'Yo' (2024) and the male minyo group Goman Goman (2024). Unlike his usual glittery performances, the recent projects take a stripped-down approach. Wearing traditional hanbok, without sequins or heels, Lee puts the music itself front and center. During the Japanese colonial period, male minyo singers nearly disappeared, Lee explained, but recently, he has noticed more young men stepping onto the scene. Gathering these young singers for study sessions and stage performances has reignited his desire to return to tradition. '(I think) I have always embraced tradition, but I now hope to sing in a more classical style — faithful to the traditional methods as well,' he said. 'I've grown increasingly passionate about this goal.' His work with Gyeonggi minyo continues to evolve alongside him. 'I always say that the melodies of Gyeonggi minyo are bright, elaborate and lively,' he said. 'But if you look closely at the lyrics, they contain the full range of human emotions: joy, sorrow, love and anger. It's like telling sad stories with a smile. Sometimes, it even feels like black comedy. That's why I think this genre fits our times so well.' 'It's a truly unique kind of music, and when I create performances, I want to match that uniqueness with equally distinctive shows.' The 2025 Yeowookrak Festival runs from July 4-26. hwangdh@
Korea Herald
6 hours ago
- Korea Herald
An invitation to 'Weird and Wonderful Land' of folk songs
Lee Hee-moon leads genre-bending summer festival at National Theater of Korea This July, the National Theater of Korea extends an unusual invitation: a summer journey to a 'Weird Land of Folk Songs.' The 2025 edition of the annual monthlong Yeowoorak Festival (short for 'Here is Our Music' in Korean) is the National Theater's signature summer series, known for dismantling genre boundaries while celebrating the rich textures of Korean traditional music. Since its debut in 2010, Yeowoorak has drawn more than 82,000 attendees. Running from Friday to July 26, this year's festival unfolds under the theme 'Weird Land of Folk Songs.' The artistic director is Lee Hee-moon, known for his flamboyant performances that reinterpret Gyeonggi minyo, a style of folk song passed down in the Seoul and Gyeonggi region. 'Folk songs were once the pop songs of their time,' Lee said at a recent press conference. 'Today, they've become part of the fringe minority, but I hope we can revive them and bring them back into the mainstream through great musicians and new interpretations.' That sense of rediscovery forms the core of this year's festival, which features 16 performances reimagining minyo, or Korean folk songs, through a prism of styles, sounds and generations. Over 200 artists will participate, including veteran pop singer Insooni, singer-songwriter Choi Baek-ho, jazz vocalist Woongsan and indie band Cadejo. Genres range from classical and jazz to indie rock, musical theater and contemporary dance. Artists have been assigned mythical roles to reflect their creative approaches: Legendary folk masters are called guardians, while boundary-pushing artists are dubbed alchemists and wizards, conjuring sonic transformations from tradition. The festival opens on Friday with 'Heemoony in Wonderland,' a genre-bending performance led by Lee himself. Joined by a colorful cast, including veteran pop diva Min Hae-kyung, musical star Ivy and hip-hop duo Mighty Mouth, the show aims for a high-voltage voyage through Korean folk tradition. 'The musicians working in traditional music today are truly excellent. They're experimenting, they're innovating,' Lee noted. 'But we still haven't had a breakout hit. I'd like to see one this year.'
