On September 20, Vuong Anh Tu organized his first fancon in his career named "Tinh Tu" at the Ho Chi Minh City Military Theater.
The event took place at a remarkable time when the male singer had just emerged from "Anh Trai Vuot Ngan Chong Gai 2026".
The case of Vuong Anh Tu shows a notable change in the way artists exploit the heat after reality TV shows.
When viewers of the program become ticket buyers
Soobin's case clearly shows the process of transitioning from television program viewers to a community of affordable fans.
After "Anh trai vượt ngàn chông gai", the male singer organized a fan meeting "PROMise to my KINGDOM" in Hanoi. Tickets were sold out in just about a minute. At the event, Soobin announced his personal live concert "All-Rounder".
The first two concert nights in Hanoi then attracted about 8,000 spectators each night. Soobin said that among the viewers were audiences from the Central, Southern and foreign regions.
By 2026, the life cycle of "All-Rounder" will continue to be extended when footage (image data recorded) from three nights of performances is set up into "Soobin live concert movie: All-Rounder" and released in theaters.
Thus, a fan community can create many layers of needs: following artists on TV shows, buying meeting tickets, buying concert tickets and then continuing to pay to watch the movie version.
Nha Xuong Rong including Bui Cong Nam, Thanh Duy, Duy Khanh and Thien Minh is also a noteworthy case. The group formed from "Anh Trai Vuot Ngan Chong Gai", but the connection between members and audiences does not end with the program.
In 2025, the four artists organized three music nights "Xương rồng - nở hoa", "Xương rồng - một nhà" and "Xương rồng - nở hoa: In The Safe Zone". All three events sold out tickets after opening for sale. The group then continued to bring the fan meeting to Seoul, South Korea.
Another group, B.O. F with Jun Pham, BB Tran, S.T Son Thach, Bui Cong Nam and Kay Tran, was also established after the program. Instead of just reuniting in short-term stages, the artists developed into a group with their own operating orientation.
These cases show that the heat of a television program can become the starting point for a longer commercial life cycle if artists retain the audience community after the program ends.
Fandom becomes part of a business problem
The common point of the above cases is that reality shows create something difficult to build in a short time just by ordinary music activities: the bond between the audience and the personality and journey of the artist.
In the reality show, viewers not only listen to one song. They follow the training process, behind-the-scenes stories, relationships between members and the journey through each round of competition.
When the preference shifts from "liking a song" to "following an artist", the ability to pay for experiences related to the artist also changes.
Fans meeting or fancon tickets are therefore sold a different product from ordinary concerts. Audiences not only come to listen to music but also want to interact, play games, receive items, take photos or participate in activities designed specifically for the fandom (fan community).
Merchandise (souvenir products for fans) also became part of this model. As soon as announcing the "Tinh Tu" fancon, Vuong Anh Tu introduced plans to release products specifically for fans.
From a business perspective, it is noteworthy that an artist can now build many products revolving around the same community: music, meeting events, concerts, movie concerts and souvenirs. The value of the fandom is therefore not only in views or interactions on social networks, but also in the ability to maintain demand through many different products.
However, the heat from television programs does not mean that every artist can quickly build their own market.
The number of interactions on social networks is not completely equivalent to the number of people willing to buy tickets. A fan meeting of a few hundred or a few thousand people is also significantly different from the problem of concerts with tens of thousands of spectators. As the scale increases, the cost of venue, stage, personnel, operation and communication also increases accordingly.
