Between Intuition and Ambiguity: Unlocking New International Horizons for Taiwanese Music — An Interview with LINION

For LINION, international collaborations are full of unexpected encounters. Yet behind each one lies a moment of courage, as well as another chance to re-examine his own musical instincts and tastes.

His first official overseas collaboration dates back to watching the Netflix reality show “Terrace House”. Shohei, the vocalist of Japanese band THREE1989, made a strong impression on him. "Later, they came to Taiwan for a show, and I found a chance to slip him a cassette tape." To his surprise, Shohei not only listened to LINION's music but also invited him to their studio in Shibuya to write together, resulting in the song "Horoyoi Karasu."

▴ Photo Source: LINION

“I think good songs often happen this way—they don’t take that much time. Most of the songwriting process is really about catching that moment. The rest is about spending time with people.” For him, international collaborations have never been about a cold project proposal; instead, the spark is a spontaneous decision, a trip taken on a whim.

From a financial standpoint, most musicians would not normally travel to another country at their own expense just to write in someone else’s studio. But once he actually met them in person—seeing their computers and DJ decks, grabbing a cold beer from the fridge, and heading up to the rooftop to watch flocks of karasu, Japanese for crows—the experience naturally led to a conversation about horoyoi, a Japanese word that evokes a pleasantly tipsy, easygoing state of mind.

His sharp senses allowed him to catch both the opening for collaboration and the spark of inspiration, marking a crucial first step into overseas collaboration.

▴ LINION (Photo Source: Neko Production / YSOLIFE)

Rather Than Introducing Yourself, Let Them Hear Your Music First

“When deciding early on if someone is right to collaborate with, I sometimes rely on intuition. For example, I’ll listen to their music, browse their social media, see what they say, look at their performance style and body language.” He talks about his evaluation process as a singer-songwriter who studied abroad and is eager to make friends and step out of his comfort zone. After several international projects, he has realized that listening to the other party’s work first is the most direct and essential step.

Take LINION’s collaboration with Japanese band chilldspot for example, they worked on the track “music” in 2021. It all started when their drummer, Justin, came to Taiwan on a graduation trip. By chance, Justin heard LINION’s music and asked his agency to reach out. “It was so unconventional! It actually happened because of a graduation trip!” LINION laughs, though he admits that the collaboration usually happened because they heard his music first.

*As of July 28, 2026, “music” has reached 3.34 million streams on Spotify.

When it comes to cross-border songwriting, however, he also thinks carefully about what makes sense for both sides.

He recalls receiving a demo from chilldspot first. “To be honest, I didn’t feel much at first because they are a full band. I wondered, ‘Are they a good fit for me?’” He weighed all the pros and cons. Just when the doubts seemed insurmountable, a defining question popped into his mind: “If I join in, can I bring something different to this song?” If the answer is yes, then give it a shot.

Looking back at his co-writing experiences, he has actually discovered his own vocal identity. "When choosing a featured artist, people usually seek voices with distinct characteristics." LINION recognizes his vocals aren't flashy or dramatic, but he believes he can take the music somewhere fresher and more unexpected.

Drawing on years of international experience, LINION advises Taiwanese creators who want to make cross-border music that, instead of polishing a self-introduction, they should prepare at least three demos. “The fastest and easiest way to make that connection is to let them hear your music, rather than trying to explain yourself.” When asked whether Taiwanese musicians need to have already gained some recognition at home, or to have a signature work in hand, before collaborating with overseas artists, LINION replies:

“I actually don’t think Taiwanese creators need to,” LINION replies. “Because of the difference in market sizes, there are many incredibly talented but relatively unknown musicians abroad. Because their markets are huge, they get filtered out—which is a harsh reality, but it’s an advantage for us. Our scene is smaller, so we can actively try to collaborate with them.”

International collaborations might seem to rely on fate, but they ultimately belong to those who are prepared.

▴ Photo Source: Neko Production / YSOLIFE

“Why Me?” Clarifying Doubts While Keeping “Ambiguity” as a Secret Weapon

Over the past few years, LINION has categorized his collaborations with foreign artists into two types. One is active and highly cooperative. The other is when he finds the partner is still uncertain about their direction.

Regarding the former, he notes their enthusiasm is palpable in conversation, enabling their styles to merge seamlessly. As for the latter, it requires deeper communication. “Maybe they don’t have a strong urge to work with me yet, or perhaps they don’t see what the collaboration brings to their music.” There are many possible reasons, which is why whenever he receives an invitation now, he tries to ask the other party, “Why me?” to clarify expectations and avoid confusion later in the collaboration.

Once the creative process begins, it’s time to keep some “ambiguity.” “There’s a benefit to collaborating with foreign musicians. I love when we don’t really know what the other is saying, but we still make great music.” He jokes, “If someone says, ‘Oh, I know exactly what you want!’ it’s rarely the case unless you’ve worked together for a long time!”

He emphasizes that creativity requires trying things from different angles and allowing time for something new to take shape. Therefore, in international projects, “I hope they can follow their direction, and I can follow mine. In the end, if the two can come together, that makes a perfect collaboration.”

His track “Fantasy, Maybe” with Thai musician Olin MattiBlue is a prime example. “Originally, we wanted to write about a playboy. Later, we realized it wasn’t about being a playboy at all—it was about a state of mind.” Stepping into an unfamiliar realm sparked unexpected chemistry in their discussions. That, to him, is what makes collaboration valuable.

Admittedly, international collaborations also serve practical functions. From a commercial standpoint, LINION notes that co-releasing music with artists from different countries can give a track twice the opportunity to be considered for playlists across different markets. Not only that, but releasing music together allows both parties to cross-pollinate their audiences. Moreover, LINION looks forward to working with creators from a wide range of musical genres.

“Personally, I feel that collaborating with someone from a completely different background is also a way of accumulating experience. Music creators in every country work and think differently. I’m really curious about how they think.”

That curiosity later found more concrete validation when he began bringing his work to overseas stages.

▴ Photo Source: LINION

Stepping Out of the Comfort Zone: Finding Taiwan’s Place in the World

Last year, through a collaboration with Taiwan Beats, LINION performed in South Korea for the first time. Before receiving the opportunity, he admits that he and his manager had doubts about his work, his current momentum, and how far his music could actually travel. “There had been a small peak in LINION’s work and momentum, and I could feel the ups and downs after that.” The outside world might not see it, but only he knew the gap within.

“It wasn’t until this opportunity came along that I realized I had already spent these past few years getting ‘ready’ for a new stage presence.” Even if ticket sales and promotion did not necessarily reach new heights, the abilities he had built up through experience were real, and the feedback he received from live audiences proved it. For him, this has become a form of self-encouragement: “I think this is the best period of preparation before reaching the next peak.”

After the show, many Korean audience members told him, “You’re the best!” Industry professionals from different countries also responded enthusiastically. For LINION, these new audiences abroad didn’t have preconceived notions about him. “They saw the value I already had—what makes me unique. After all, there aren’t many people in Taiwan who can play the bass and sing R&B at the same time.”

 

 

 

 

 

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This year, he participated in the Bangkok Music City festival in Thailand. The packed schedule of performances, media interviews, and networking allowed him to experience different music environments within a short period of time. Besides meeting more talented musicians, it solidified his conviction:

“The world is truly massive, and I believe Taiwanese music should venture outward. Taiwan’s music isn’t weak at all! As long as Taiwanese creators are willing to go out and see the world, once they return, they will know exactly where their bottlenecks are and start figuring out how to improve.” LINION says.
“That is the beauty of Taiwanese people.” By stepping out of their comfort zone, Taiwanese people will naturally find their own place in the world.

 

 

 

 

 

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From courageously handing over a cassette tape to trusting his intuition in cross-border collaborations, intentionally leaving room for ambiguity in the creative process, and eventually standing on overseas stages and receiving immediate feedback and recognition, LINION has carried his music farther through each collaboration, offering one possible path for Taiwan music to continue expanding outward in more diverse ways.

Author: 采郁 / YSOLIFE