Introduction
In Asia, small live venues have been given a trendy name, called “Live Houses.” These spaces are
vital in providing information about a city’s current live music industry and music scene sub-
culture. They demonstrate a distinctive relationship with urban musical activities in regards to
its historical and geographical context. The intimate feeling of being a member of a subculture
within local live venues also shows that the music scenes are united with the global rock trend,
presenting a more universal and fluid metropolitan music style. The creativity, innovation, and
critical power that have evolved from this subcultural commitment, also expresses the venues’
values and style. Their repellence and critical response towards popular culture has even helped
advance cultural transformations in the area (Straw 1991; Shank 1994; Hesmondhalgh 2013).
Moreover, observing the complicated political, social, and economic relationship of the live
music industry within its social setting elucidates its influence on cultural change (Frith 2013).
Music venues have been closely linked to government policy from their very inception. In order
to even begin operations, music venues must contend with government policies, including
obtaining a business and liquor license, and conforming to noise and safety regulations. Also of
importance is the ability to negotiate with the government when acquiring subsidies, as well
as taking the necessary steps to avoid undesirable interference. As spaces where performances
take place, they also have to manage local musicians, audiences, and handle foreign musicians
on tour. The marketing and promotions of a venue have an affect on its ability to turn a profit.
Besides, with the rise of global consumerism and visualized urban life, the underground music
scenes have to confront the logic of gentrification. Many cultural processes and available spaces
that we once associated with music are now taken over by food, drink, cafés, and restaurants
(Straw, 2015). In other words, small urban music venues reflect an ongoing relationship of politi-
cal, social, and economic relationships on a broader scale.
This chapter focuses on two representative cities in the Chinese music scene—Taipei and
Beijing—and two legendary music venues established within the past ten years: Underworld
(Taipei, 1996–2013) and D22 (Beijing, 2006–2012). They were similar in a number of ways,
including having a capacity of 50–200 people and housing low-grade, modest equipment.