On February 8, 2026, during the final stop of his Mars Concert tour in Shenzhen, Hua Chenyu made an announcement that quickly drew public attention. He revealed that he had purchased three plots of permanent land in a region with a spring-like climate, with plans to build a long-term space for his fans—one that includes venues for performances, leisure, and accommodation.
The idea traces back several years. As early as 2018, Hua Chenyu expressed on stage his wish to meet fans annually in a fixed location. What was once perceived as a spontaneous remark has since evolved into a concrete project. According to details shared during the concert, the chosen site is near Fuxian Lake in Chengjiang, Yunnan, an area known for its stable climate and natural surroundings.
The three plots are planned with distinct functions. One is designated for a professional performance venue designed to host extended concerts, potentially lasting from sunset to sunrise. Another will be developed into a themed market space featuring food, merchandise, and recreational activities. The third plot is intended to provide on-site accommodation for fans traveling from other regions, aiming to create a sense of comfort and continuity beyond the concert itself.
This approach diverges from the dominant touring model in the music industry, which relies on renting venues and rapidly moving between cities. Permanent infrastructure requires substantial upfront investment and long-term operational commitments. Market estimates suggest that the land acquisition alone represents a multi-billion-yuan valuation, with additional costs expected for construction, maintenance, and staffing.
The risks are also clear. The project’s value is closely tied to Hua Chenyu’s personal brand and continued popularity. From an investment perspective, concentrating significant assets around a single artist is often viewed as a high-risk strategy with limited flexibility.
However, the broader market context offers another perspective. As large-scale live performances continue to grow, audiences increasingly seek experiences that combine music with travel and emotional connection. In this sense, the project can be seen as an attempt to respond to evolving consumption patterns, transforming concerts into a recurring destination rather than a one-time event.
Beyond economics, Hua Chenyu has frequently spoken about themes of belonging and companionship, both in his music and public statements. His concerts have gradually formed a community-like identity among fans, and the planned development has been interpreted as an effort to materialize that emotional bond into a physical space.
Debate surrounding the project continues. Supporters view it as a rare example of long-term commitment to fans, while critics question whether such initiatives further blur the boundaries between admiration and dependence. Regardless of stance, the move marks a notable moment in the evolution of fan culture, where symbolic expressions of connection are increasingly translated into tangible, lasting structures.
