Sun Choi previously served as the Lead of HYBE’s Global Strategy Team and currently leads the Chairman Creative Staff Office at HYBE.

Focusing on IP and fandom as key drivers of innovation in K-POP and the music industry, she leads the development and execution of HYBE’s strategies to drive the growth of the global music industry through the establishment and expansion of fandom culture and business.

In particular, she has recently been supporting innovation and growth in major global music markets, including Japan, the United States, Latin America, and India, in line with HYBE’s multi-home, multi-genre strategy.

I am an entertainment business professional who has been involved in Tencent’s digital music business since its early stages, prior to the launch of Tencent Music Entertainment Group. In the early stages, I participated in Tencent Music’s digital music copyright normalization project. In 2018, I witnessed the historic turning point when the legitimate use of music in China reached 96%, through which I developed a deep understanding of and respect for copyright assets.

Afterward, through the localization and operation of overseas music in China, I led local fan communication and innovative promotional projects for top global artists, gaining unique hands-on experience in bringing overseas content into the Chinese market.

Since 2021, I have been overseeing the commercialization of the fan economy under Tencent Music’s core vision and “One Body, Two Wings (一体两翼)” strategy.

I have successfully established and steadily expanded various business models in the Chinese market, including Digital Album Plus, Star Cards, 1:1 paid communication services, fan club memberships, and 360 solutions for the concert business. Based on insights into the Chinese market and the characteristics of local fandom, as well as successful experience in the global entertainment business, I am leading various content and business projects that connect global entertainment IP with the Chinese market.

Tony Li is Co-Founder of ACRCloud, a global audio recognition technology company serving the music and media industries. His work focuses on audio fingerprinting, music recognition, content identification, and music data technologies.

ACRCloud was founded in 2015. ACRCloud works closely with music streaming platforms, phone makers, car makers, CMO, music distributors, rights holders, broadcasters, UGC platforms, AI music-gen platforms and technology partners worldwide, helping them apply recognition technologies to music discovery, content monitoring, copyright management, and emerging AI-generated music use cases.

Tony is particularly interested in how AI and data technologies are reshaping music creation, distribution, and rights management.

Cultural Sociologist / Music Industry Researcher
Her research focuses on transformations in music and the cultural industries, with particular attention to generative AI, platforms, and the relationship between creativity and technology. After gaining professional experience in the music industry, including content production and planning for the music platform Bugs at Neowiz, she pursued a career as a cultural sociologist. Her research explores how technological change reshapes the production, distribution, and consumption of music, the roles of creators, and, more broadly, the structure of the cultural industries.

She studied Composition (Music Theory) at Seoul National University and received her Ph.D. in Sociology from Yonsei University. She previously served as a Special Professor at Soongsil Cyber University and an Adjunct Professor at the Graduate School of Kyung Hee University. She is currently a Fellowship Researcher at the Academy of Korean Studies, where she conducts independent research on the structure and transformation of the Korean cultural industries with fellowship support. She also serves as a Co-Research Fellow at the Center for Hallyu Studies, Asia Center, Seoul National University. She has participated as an expert reviewer and advisor for cultural policy institutions including the Korea Creative Content Agency (KOCCA), Arts Council Korea (ARKO), the Korea Arts &Culture Education Service (KACES), and the Gyeonggi Research Institute.

Her books include AI and K-pop (2026), AI and the Music Industry (2025), K-Culture Trends 2026 (2025, co-authored), and Arts Management and Arts Administration (2020, co-authored). She has published numerous academic articles on the relationship between K-pop and indie music, authorship and creativity in music production, structural changes in the music industry brought about by generative AI, and the relationship between digital technologies—including Web Audio, blockchain, and digital twins—and cultural production. She continues to pursue research and give lectures on these topics.

She also serves as Managing Director of Artist First Alliance at the Silicon Valley–based Korea Culture Technology Convergence Forum, connecting academia with the music industry and working with creators, companies, and technology experts to develop and lead interdisciplinary projects spanning the music industry and cultural technology.

Steve Lee (Seung Joon Lee) co-founded AMAZE in the United States in 2015 and serves as its CEO. AMAZE captures artists' performances in VR and distributes them to movie theaters worldwide and to XR headsets. Built on AI and Unreal Engine, its proprietary production tools composite green-screen footage with CG and automate the VFX work that follows. A separate in-house system converts an ordinary cinema into a VR screening venue, so the company handles everything from production to exhibition.

In 2022 AMAZE staged the world's first commercial VR concert theatrical tour with Megan Thee Stallion, then widened its range across pop, R&B and rock with Zara Larsson, T-Pain and Avenged Sevenfold. It entered K-pop in 2023 with aespa, followed by KAI, TOMORROW X TOGETHER, Cha Eun-woo, ENHYPEN, ATEEZ, TWS, LE SSERAFIM and &TEAM, and has released a new title every two months since June 2025.

To date AMAZE has screened in more than 70 cities across 18 countries and sold over one million tickets, with roughly 90% of revenue earned outside Korea. It now supplies more than 3,300 VR headsets to partner theaters and has raised $50.8 million in total funding. Apple named AMAZE in the official newsroom announcement for the Apple Vision Pro launch, and its app currently ranks #5 among entertainment apps on the platform.