When I joined Swim Deep thirteen years ago, my ambitions mirrored those of countless young musicians: to perform at Glastonbury, tour the United States, and hear our songs broadcast on the radio. Over time, we achieved all three goals. Yet nothing prepared me for discovering a thriving fanbase in China. Although we had never officially released our music there, Swim Deep has now completed four successful tours of the country in under a decade—an experience shared by other British indie groups.
China’s love affair with British and Irish pop is longstanding. Even before its music market, valued at ¥500 billion (£531 million), surpassed France in 2023 to become the world’s fifth largest, stars like Jessie J and Westlife had already found legions of fans. However, a quieter yet significant trend is emerging: a growing appetite for lesser-known UK indie acts. For these bands, the surge in demand—and the added bonus of high-quality pre-gig meals—offers both financial relief and emotional renewal, especially as opportunities at home dwindle.
Craig Dyer, frontman of The Underground Youth, formed in Blackpool in 2008, describes more than fifteen years of relentless touring across small UK and European clubs. By their twelfth album, the band found domestic shows no longer profitable, with accommodation and food expenses often exceeding performance fees.
In contrast, their Chinese tours are fully supported by promoters, who assume the financial risk of hiring large venues, arranging transport, booking hotels, and providing meals. This investment is driven by the strong enthusiasm of Chinese audiences for British music. “It’s some of the best treatment we’ve had,” Dyer says, recalling their fourteen shows in China since 2019. “We stay in great hotels, enjoy meals out, and feel genuinely cared for. The professionalism of the venues is unmatched.”
Kat Day, of Manchester’s darkwave duo The KVB, echoes his sentiments—particularly regarding production values. As an audiovisual group, they appreciate China’s cutting-edge venues, often featuring expansive LED screens. “I wish we could afford venues like that back home,” she admits. She also praises the unconventional placement of venues inside shopping centres, where noise complaints are rare—unlike in the UK, where beloved spots like Hackney’s Moth Club struggle to survive.
Swim Deep’s inaugural Chinese gig in 2014 was surreal: they performed in Hong Kong at an Italian restaurant, with furniture pushed aside to create space. On the mainland, however, they encountered sleek modern venues. Crowds, too, were astonishingly large—far exceeding typical attendance back home. While their biggest UK festival crowd numbered around 500 at Leicestershire’s 110 Above in 2019, months later they played to 10,000 people at sunset during Strawberry Festival in Guangzhou, standing alone as the sole UK act on the lineup.
Sea Power—originally British Sea Power—has enjoyed comparable success. Frontman Jan Scott Wilkinson recalls their disastrous first Beijing trip when a booked festival vanished without explanation; they ended up performing acoustically atop the Great Wall for bemused locals. Fast-forward to May 2025: four scheduled headline shows ballooned to six after tickets sold out instantly. Playing venues with capacities up to 3,000 felt “like doing London every night,” he says. Plans for 2026 include a festival appearance plus twelve additional concerts. “We’re older now,” Wilkinson reflects. “Breaking through isn’t our priority anymore, so being welcomed like royalty is a delightful surprise.”
Much of Sea Power’s popularity stems from scoring the soundtrack for Disco Elysium, which gained traction in China. Other bands puzzle over their Chinese appeal, especially given the absence of Spotify and Instagram. The KVB’s Kat Day heard fans saw them as reminiscent of characters from Chinese soap operas. Meanwhile, Galway’s NewDad sparked a viral trend on Rednote in 2024, inspiring makeup tutorials based on their Madraalbum artwork.
Levek Lee, originally from Guangdong, has traveled extensively to see British acts like Wolf Alice and Ride. Her journey began in the 2010s via Xiami Music’s recommendation algorithm, leading her to import records from UK shops such as Banquet Records in Kingston upon Thames—often waiting weeks for deliveries. Her postgraduate studies in Sheffield deepened her connection to the rebellious spirit she found in British music and fashion.
“Chinese music tends to be more mainstream and pop-oriented,” she explains. “British indie felt like a truer reflection of myself. I think many Chinese fans crave that uniqueness.” She also credits the diversity of the UK scene: “There’s such a wide range of bands, there’s bound to be something for everyone.”
Traveling across China by bullet train leaves a lasting impression on visiting musicians. Stories abound—jamming with punk fans in Wuhan, meeting Chinese indie icons Carsick Cars, glimpsing pandas in Chengdu, and exploring underground Shanghai clubs that feel “like The Matrix.” Post-show interactions with fans clutching merchandise and handmade gifts are equally treasured.
Yet challenges exist. In Nanjing, Dyer recalls two police officers arriving backstage to review their setlist and confirm legal compliance. Artists must submit lyrics ahead of time for approval, sometimes resulting in song bans. “It’s fine in principle,” Dyer says, “but checking everything fifteen minutes before going onstage kills the vibe.”
Despite such hurdles, UK musicians remain overwhelmingly positive about touring China. Independent promoters like So Ready Presents, Mentha Project, Haze Sounds, and Blank Joy play a pivotal role in facilitating these journeys. This year alone, acts including Shame, Matt Maltese, and Caroline will perform there, suggesting sustained momentum. Visa-free travel for UK passport holders could soon mean fuller planes heading east.
“I feel incredibly fortunate to visit these places and meet such passionate, generous people,” says Kat Day. “It’s truly special. Amidst the negativity surrounding China in public discourse, firsthand experience reveals a very different reality.”
