HONG KONG – Independent Cantopop artist Jace Chan, 31, is set to make her highly anticipated debut at the prestigious Hong Kong Coliseum next month, transforming a career shift from a major label to self-management into a high-stakes arena performance. Kicking off on February 18, the second day of the Lunar New Year, the “JACE World” concert series marks a significant triumph for the singer who now operates under her own banner, navigating the complex worlds of financing, production, and promotion as both lead performer and executive producer.
Chan recently revealed in an interview on Commercial Radio’s Starlight Behind the Scenes that the coveted Coliseum dates—a traditionally difficult booking—were secured unexpectedly after submitting an application merely on a whim. This rapid realization of a lifelong dream has presented unique pressures, particularly as she takes on the role of ‘producer’ for the first time, overseeing every creative and logistical element.
Producing Her Own World on Stage
Transitioning from being managed by Universal Music to becoming a fully independent artist three years ago, Chan has consistently prioritized artistic freedom over commercial viability. Despite being categorized as an alternative voice in the mainstream scene, she chose one of the year’s most traditional and prominent performance windows—the Lunar New Year holiday—to launch JACE World.
Chan acknowledged that performing during the festive season carries financial risk, comparing the endeavor to a gamble where the outcome remains unknown until the final day. However, she emphasized that clear decision-making is paramount when leading a team. “If I am not clear or decisive, the team will be lost,” she stated, highlighting that the primary stress arises during the promotional and ticketing phases, where public expectation for surprises and guest appearances looms large.
The singer’s latest album, REVOLVING, serves as the conceptual blueprint for the concert, drawing thematic inspiration from Tsui Hark’s film Green Snake. The album deliberately blends boundary-pushing tracks, such as “Big Car” and “Accident,” with more universally accessible songs like “Intermittent Hibernation” and “PTSD.”
Prioritizing Artistry Over Profit
Throughout her independent journey, Chan has faced repeated urging from industry peers to produce more conventional karaoke hits, often citing the potential for greater long-term royalty earnings. She staunchly rejects this advice, openly admitting that every song is funded personally.
“Everyone asks why I lean toward the niche. They offer me a more mainstream song, asking if I want it,” Chan explained. “I have never hesitated. Many advise me to prioritize royalties, saying I will thank myself in a few years if I have a hit. That’s true. I pay for every song myself, but I genuinely don’t care if people listen; expressing my own preferences is always more important than money.”
The artist concedes that her company currently barely maintains break-even status, a direct result of her no-expense-spared approach to creation. She recalled questioning her own spending habits, only to be reassured by her encouraging father that the only thing that mattered was successfully achieving the creative vision.
She reveals that the toughest part of being independent isn’t financial strain, but the isolated pressure of having no established authority to provide answers. She has often struggled with fatigue, questioning the necessity of such a demanding path. However, the unwavering support of her parents and friends, particularly her parents’ sincere affirmation of her talent, has been profoundly motivating.
Chan, an only child, believes transparency is the key to alleviating her parents’ worries. She confessed to recently breaking down in front of them due to overwhelming work pressure, emphasizing the importance of letting them see the reality of her struggle. Hiding the difficulty by saying “I can handle it” would only fuel greater parental anxiety, she concluded. Her Coliseum debut is not just a personal achievement but a testament to the resilience required when an artist chooses to build her world entirely on her own terms.
