In recent years, Southeast Asia has emerged as one of the most dynamic regions for live events and large-scale productions. With its diverse audiences, growing infrastructure, and increasing appeal to global talent, the market is steadily positioning itself as a serious contender to established entertainment hubs. At the heart of this growth is Malaysia—an evolving stage for international concerts, festivals, and corporate spectacles.
One of the key figures shaping this landscape is Rohit Rampal, Founder & CEO of Hitman Group. What started as a passion project during his DJing days has today grown into one of Malaysia’s leading event production companies, hosting icons from Arijit Singh to Ne-Yo and creating record-breaking experiences. Recently featured in the IP, Festivals and Concerts A-List 2025, launched at the Shows of India Conclave 2025, Rohit shares his journey, insights, and vision for the future of events in Malaysia and beyond.
Q. Malaysia isn’t always the first destination that comes to mind for large-scale event production—what inspired you to establish Hitman Group there, and how has your journey in the Malaysian event landscape evolved over time?
Before evolving into the Hitman Group, Hitman was just a moniker. I was a DJ and music producer in Malaysia, and I organised simple concerts for neighbourhood artists. Eventually, I started a company and expanded with Bollywood events. The Imran Khan Unforgettable Tour 2009 became a sort of turning point where I realised the potential of just how big the Hitman Group name can be. So we brought in more artists from different parts of the globe, such as Ne-Yo, Baby Metal, G-Idle, and so on, all while elevating the local scene.
Q. How would you describe the current event management and production ecosystem in Malaysia? What are some of the unique challenges you’ve faced, particularly in terms of logistics, permissions, and legal formalities? What opportunities do you see emerging in the region?
There is strong infrastructure and government support for the events industry in Malaysia. You have buildings like MITEC and KLCC that allow the opportunity to position Malaysia as a regional events hub. As for the challenges, there is a rising venue and logistics cost, but that only highlights the intense competition present. For permissions and legal formalities, securing entertainment licensing can be a bureaucratic hurdle. Malaysia is a multicultural country with a lot of potential for growth in the events space, if these two main challenges are tackled effectively.
Q. With Malaysia now becoming a strategic hub for events in Southeast Asia, how do you envision collaborations evolving between Indian artists, intellectual properties, and global brands with the Malaysian market?
We brought in icons like B Praak and Arijit Singh to perform in Kuala Lumpur recently, and that drew in thousands of people. So when that happens, it signals to everyone that, hey, it’s possible and it works. We can definitely expect more Indian artists and brand collaborations with the Malaysian market.
Q. When it comes to producing events for international clients in Malaysia, what’s one key aspect of audience behaviour or cultural nuance that’s often overlooked—but can make or break an experience?
We must have inclusive, localised engagement. Malaysia is not a homogeneous market. As I’ve mentioned, we are a multicultural society. So, for example, it would be tone-deaf to promote a Bollywood concert entirely in Tamil, as there may be Malays or other ethnicities that are keen to tune in. Some Indians may not be very good at Tamil altogether. The same goes for any other language; we must have a mix of all.
Q. Can you share a behind-the-scenes look at the most technically complex production you’ve executed in Malaysia? What did it teach you as a leader and as a team?
A few come to mind. For VCON 2024 at Spice Arena, we had these massive hanging LED screens in the centre of the stage, and that took quite a long time to set up and secure. That same year, we also hosted the Underground 2024 concert, where we were recognised in Malaysia’s Book of Records for the largest inflatable guitar. Big goals are achievable, and as CEO, my job is not to ask, can we do it? It’s to ask, HOW can we do it?
Q. With so many event IPs flooding the market today, what’s your internal decision-making process or checklist before launching a new property under the Hitman banner? And where do you see Hitman Group expanding next—within Southeast Asia or beyond?
One thing we always take into consideration is the potential for partnership. Who else is interested in this IP? Who can we collaborate with to make this happen? In a way, the more people who are keen on working together, the more it tells us of the potential that IP has to penetrate the market. As for expanding, we have already organised a few concerts in Singapore, so that would be a great place to start.
As Malaysia continues to grow as a strategic player in Southeast Asia’s live events sector, Rohit Rampal’s Hitman Group stands as a case study in how vision, adaptability, and partnerships can transform a market. From creating inclusive experiences to executing record-breaking productions, Rohit’s journey underscores how Malaysia’s event story is only just beginning.
