Marshall’s $1.15B Evolution Continues With New ‘Livehouse’ in Bangkok: ‘We Have to Do This’

The competition for your attention in Bangkok, Thailand is fierce. Motorized scooters whizz down narrow streets, street food vendors hawk tasty treats and pulsating beats spill out of bars and fill the humid air. Amidst the din, British company Marshall is looking to stand out with their contribution to this vibrant scene with Marshall Livehouse, a new multi-purpose space in the heart of the city’s creative quarter.

Located in the trendy Charoen Krung district, the newly-opened venue is a combination of a performance area, rehearsal space, community lounge and workspace over its five floors. It’s the latest addition to the music company’s physical presence, alongside their factory and recording studios in Milton Keynes, England, the amp maker’s longtime home.

Nick Street, Marshall’s chief marketing officer, says that the decision to launch the inaugural Marshall Livehouse in Bangkok is based on the strength of the brand’s recognition in the market. Bangkok’s standing as a tourism and distribution hub in South East Asia also continues to grow, as well as its presence as a music-loving community. In 2023, the IFPI reported that Thailand was the 26th biggest recorded-music market in the world, generating $107.7m of revenues, and Ed Sheeran, Green Day and Coldplay have all performed in the capital city in the past year.

“Bangkok has changed so much over the 20 years that I’ve been coming here, particularly in the last five or ten years,” Street says, adding that “it really is a hub of creativity in SEA.” Their relationship with Ash Asia – Marshall’s distributor in the region for their hardware and range of bluetooth headphones and speakers – has boosted their stature, giving them a foothold to build upon. 

Steve Tannett, director of music platforms and head of Marshall Records, says to align with Marshall’s rebellious spirit in a society such as Thailand’s – one where military service is still mandated for young men – is a “rock ‘n’ roll statement that says, ‘I’m different.’” 

The company’s origin story is etched into rock ’n’ roll’s lore. The company was founded in London by Jim Marshall in 1963, with The Who’s Pete Townshend being an early adopter of the louder, heavier tone of the brand’s amplifiers. Jimi Hendrix, Eric Clapton and Jimmy Page soon became enamored with gear, and new models of amps were used by Slash and Randy Rhodes as rock music evolved. Their legacy – one of quality and undeniable cool – has seen their gear appear on the biggest of stages, including Super Bowl halftime performances from Rihanna, Usher and Kendrick Lamar in recent years. In January 2025, the majority share of Marshall was sold to Hong Kong-based private equity firm HongShan Capital Group for $1.15 billion.

The Marshall Group has since expanded into new spaces beyond hardware, namely Marshall Records, run by Tannett. The label offers “one of the best” net royalty rates for its signees, Tannett says, and has seen considerable success with British rock duo Nova Twins who have received nominations for the BRITs and toured with Muse and Foo Fighters. Tannett says the label prides itself on being hands-off creatively, and being able to offer its roster time in its world-class recording studio in Milton Keynes.

Both the record label and the Livehouse hark back to that original ethos: stepping up and filling a gap. The Livehouse in Bangkok came from listening to locals on the ground and what they needed from a new venture. Street says that the rehearsal space’s rates were kept deliberately low to avoid barriers to entry. “It’s born out of a need of the community to have a safe space where they can rehearse with good equipment,” he says. If he could script it, Street says, the dream would be for artists to meet here to collaborate, rehearse and perform, then sign with the label.

For Tannett, whose career included a stint at IRS Records and working with R.E.M. in their earliest days, it’s about leveraging Marshall’s music expertise to create a wider family for its users and roster. “We have a record label, we have the studio, we have gear – we want to try to tie that all together. This isn’t us trying to ‘own’ everything in our ecosystem, but to create an interesting one with the platforms that we are building.” 

The freedom of possibilities made Bangkok stand out as a priority, and to connect with local musicians away from the Western gaze. “The U.K. industry, for example, is such a mature market. As an emerging artist, things can feel quite closed off if you don’t know the right people to get a foot in the door,” Tannett says.

Street concurs, adding that “our goal is to add, not to take away.” One room of the venue will be left as a blank canvas for its occupants to use as they deem fit, with Street saying that the hope is for it to host exhibitions, workshops or whatever else they decide. “We don’t have a preconceived way of doing things. It’s not about showing how this space needs to be used, but about giving permission for them to do what they want with it.”

On its preview night and public opening on Saturday (Aug. 16) the Livehouse’s purpose comes into view. The Molotovs, a teenage sibling duo signed to Marshall Records and influenced by The Jam and Blondie, perform a rollicking set full of spunky, spiky energy to set the tone; no surprise that they’ve been chosen to support the Sex Pistols on their upcoming U.S. tour. Heading to Asia for their first-ever performances in the region ahead of their upcoming debut LP (Wasted On Youth, Jan. 2026) is “definitely a highlight” and shows Marshall’s capabilities for a band at their nascent stage.

The night was stolen by Rejizz, a newly-signed local artist with a sound dubbed “Thai Fusion Music,” that blends alt hip-hop and traditional and modern Thai funk sounds. His slinky material and charming, bolshy confidence set the tone for the new venture as his hardcore fans busted out their best moves and start their own call-and-responses with the bustling crowd. As he proudly reminded the audience: “I’m the first Thai artist signed to Marshall Records – and definitely not the last.”

Street and Tannett are confident that the Livehouse could come to different markets, but stress that it’s not a one-size fits all operation and each space would be tailored to the city’s local scene. For Street, ultimately, the Marshall Livehouse both embodies their sincere passion about local music scenes and balances that with corporate responsibility. “As a brand that’s shaped music culture for 60 plus years – it’s almost our duty. We have to do this… because if we don’t do it, who will?”