Concert Fixer Scams Rock Filipino Entertainment in America.

Court cases mount as fake producers scam investors and leave the Filipino community footing the bill.

Los Angeles, CA - The Filipino concert scene in America is booming—but behind the stage lights, a shadow economy thrives. At its center are concert fixers, middlemen who rake in obscene profits while genuine local producers bleed money.

These fixers thrive by exploiting promoters in the Philippines who entrust them to find U.S. producers. Instead of building partnerships, they manipulate the system. Their scheme is simple: mark up the artist’s price by tens of thousands of dollars, pocket the difference, and walk away with no risk. In one recent case, a fixer allegedly added more than $20,000 per state. Who pays the price? The hardworking local producers and, ultimately, the Filipino community.

Legitimate producers—those with real capital, credibility, and accountability—are left at a disadvantage. Some say a true producer should have at least $100,000 in the bank to sustain an event. But fixers need nothing but words to deceive. They masquerade as producers, manipulate promoters, and defraud investors. Smooth talk, false promises, and hidden markups are their only investment.

The exploitation does not end with concerts. Some fake producers even organize so-called fundraising events for kababayans struck by disasters in the Philippines. They appeal to compassion and solidarity—yet, in the end, nothing reaches the victims. What should have been an act of charity becomes another scheme to line their pockets.

The results are disastrous. Venues go unpaid, investors lose their life savings, and lawsuits pile up. Cases against fixers are already filed in California, New Jersey, and New York—some amounting to half a million dollars. Yet many of these fraudsters continue to operate freely, unashamed and unpunished. By some estimates, millions have already been siphoned away by fake producers preying on trust.

This exploitation is not just financial theft—it is a betrayal of the Filipino community’s passion for entertainment and cultural pride. Instead of building bridges, these fixers burn them, leaving behind wreckage for others to clean up.

The solution is clear. The community needs a credible organization that can regulate, certify, and hold accountable true producers. Standards must be set. Contracts must be transparent. And fraudulent fixers—long-time predators of their own kababayans—must face legal consequences.

Every dollar lost to a fixer is a dollar stolen from the community. If this cycle continues, Filipino concerts in America will collapse under the weight of corruption. The music must go on—but not at the cost of exploitation.