As soon as Typhoon Baihaitun arrived, the performance industry was laid flat in a single day: Jay Chou? (Actually: Xue Zhiqian) — his two Hangzhou shows on August 8th and 9th were canceled; Ten Ordinary Days’ two Hangzhou shows were canceled; 83 Youth’s Hangzhou stop was canceled; Yu Kewei’s Wuxi stop was canceled; in Wenzhou, the “Chasing the Light Platform” event was postponed—because that stage had already been built, the entire team was all in place, yet the organizer just said, “This is force majeure due to the typhoon; we can’t take the risk.”
There’s no arguing about the cancellations themselves—when it’s a matter of human lives, this is the only correct answer.
What’s really not been resolved is what comes after: tickets can be fully refunded, but what about the flights and hotels, and that day off you took across provinces for it—who owns that? Several companies said, “Compensation details will be released later,” but based on experience, those details often end up going nowhere.
In the face of force majeure, organizers are also victims—sure, that’s true. But it’s not right that, every time, fans are assumed to unilaterally absorb the travel and related losses.
Have you ever been left hanging—had a concert canceled? Did you actually get the compensation in full?
There’s no arguing about the cancellations themselves—when it’s a matter of human lives, this is the only correct answer.
What’s really not been resolved is what comes after: tickets can be fully refunded, but what about the flights and hotels, and that day off you took across provinces for it—who owns that? Several companies said, “Compensation details will be released later,” but based on experience, those details often end up going nowhere.
In the face of force majeure, organizers are also victims—sure, that’s true. But it’s not right that, every time, fans are assumed to unilaterally absorb the travel and related losses.
Have you ever been left hanging—had a concert canceled? Did you actually get the compensation in full?