Wooooohooo!! What an amazing first night of the Festival! Ten great Hong Kong bands performing on two separate stages of the Fringe Club, to celebrate 20 years of our original music showcases. Plenty of diversity, genres and great atmosphere. Thanks so much to YAU beer for collaborating with us by supporting local culture!
The yummy food & comfortable seating area in the Gallery kept all our festival goers happy and contented for hours.
Biggest shout out to the amazing audience who kept saying what great bands we have in Hong Kong!
Thanks to our prize sponsors: Hong Kong Express Airways, Tom Lee Music Company, Nuarl, Pico, Pirata Group, Giordano & Umbro. Thanks to Saw Music, Liquorles & Evolution who had table displays.
Thanks to the ten bands who were part of this memorable night.
Thanks to Aaron & Tim for all the great photos.
Thanks to Ally for the cool video clips.
Thanks to Shirley for assisting on MC duties.
To all the wonderful people who make The Underground run so smoothly, I appreciate you guys so much: Shaun, Calvin, Bun, Raven, Sunny & Lucy.
Total respect and love to Dan, Sherman & Hazel-Rah, our reviewers who dedicate their time to writing reviews for each band.
Thanks to Angus for the cool poster artwork.
Thanks to Shaun for supporting everything I do.
節日的首晚真是太精彩了！在藝穗會兩個獨立舞台上，有十個優秀的香港樂隊演出，以慶祝我們原創音樂展演20周年。各種風格和氛圍絕佳，多元化程度令人印象深刻。非常感謝YAU啤酒與我們合作，支持本地文化！畫廊裡的美味食物和舒適座位區讓所有參加節日的人開心滿足了好幾個小時。最大的感謝要送給觀眾，他們一直在讚嘆我們香港有多棒的樂隊！感謝我們的獎品贊助商：香港快運航空、通利琴行、Nuarl、Pico、Pirata集團、Giordano和Umbro。感謝Saw Music、Liquorles和Evolution提供展示桌。感謝十支參與這個難忘之夜的樂隊。感謝Aaron和Tim提供的出色照片。感謝Ally提供的酷炫影片剪輯。感謝Shirley協助主持。向所有使The Underground運作順利的出色人才表示衷心感謝和愛戴：Shaun、Calvin、Bun、Raven、Sunny和Lucy。
非常感謝 Dan、Sherman 和 Hazel-Rah，為了評審每支樂隊的現場表演，他們付出了很多努力。
感謝Angus提供的炫酷海報藝術作品。感謝Shaun支持我所做的一切。
❤ Chris B xx
KAMIE 㛓僑
種光
我不想就這樣老去
星塵號
情感動物
In the general scheme of a 20th anniversary party, Kamie is a very new comer to the Underground world, having “just’ made a name for herself in the last few years. Performing as a duo, herself and a cajón player, Kamie kicked off the celebration with a very pleasant set of acoustic numbers, commencing with her latest “single”, “種光” a song about reaching out when going through hardship and adversity, which, without putting too fine a point on it, is a very typical, but very pleasant, Canto ballad. I was particularly moved by the lyrics, which seem very appropriate in this age of economic and political uncertainty. The second number, “我不想真樣去老” which, if memory serves, was written during the lockdown when people were keeping themselves locked up both voluntarily or involuntarily. Both from a musical and vocal style this song was different from the first track, demonstrating her versatility as a song-writer. Rather than go through every track, I am just going to say that another one of her tracks later on in the set, “情感動物”, was a track from her rock outfit, Kater, which again, shows her versatility.
Kamie has a really nice pleasant voice which she puts to good use whether singing ballads or rock anthems, and her guitar playing was clean and confident. When I say clean I meant her chord changes were clean and controlled with minimal fret noises (which have a tendency to get in-proportionally amplified when going through a PA system. The addition of a percussion player was an excellent decision, as it added much needed body to the instrument (the PA system again was to blame for more or less thinning out the guitar sound). Overall an excellent performance and a very strong start to the big party.
– Hazel-Rah
KEISHA BUCKLAND
1. Paradise
2. you made your bed now lie in mine
3. Are Your Parents Home
4. Something
5. The Poet
6. Suddenly I See by K.T. Tunstall (cover)
7. Ammonite
Cutting a graceful onstage presence in her pretty green summer dress, Keisha both looks and sounds beyond her mere 17 years, such is her confidence and charisma. She explains that the mainly original set (there’s one cover) is like chapters in a relationship, the happy beginning, developing into a stable mid-section where you discover more about each other, before everything breaks down and self-destructs.
And while it’s obvious she is a huge Taylor Swift fan (she refers to her hero several times, even mentioning that her new album was out that day), her music is all her own. First things first – Keisha has a great voice, with the control and power or an older, more seasoned performer, making her all the more beguiling.
Accompanied only by her guitar (which sounded a little over trebly to this reviewer’s ears and could do with upgrading), she runs through her set, explaining each track in turn.
While she’s not rewriting the pop-folk songbook, I got the distinct impression that doesn’t really matter when you have this much talent. It takes real ability to entertain a whole room of music lovers. What was I doing at 17? Sulking in my bedroom playing ‘The Legend of Zelda’ probably!
For sure she’s a little underdeveloped, with occasionally predictable chord sequences, and mainly simple strumming, but that’s to be expected, and I’d love to catch her in five years or so. Lyrically she’s frequently biting and clever, with one track titled ‘You Made your Bed Now lie in Mine’. Again, precocious stuff from such a young woman.
Her equally charming sister joined her for the one cover, a run-through of K.T. Tunstall’s ’Suddenly I See’, which took a few moments to steady itself before hitting its stride, but otherwise this was an impressive set from a young artist exuding star appeal. Put it this way: if she was on America’s Got Talent I’m 100% sure she would get four ‘yeses’!
– Dan Creffield
小兵樂隊 (LE PETIT SOLDAT)
黃手絹
睇戲
最後勝利
悟空
香港製造
花房姑娘 (cover)
Consisting of veterans of the Hong Kong indie scene, Le Petit Soldat made its debut in 1997, then disappeared for about 20 years in 2002 and making a comeback in 2022. One of the band members, Edmund, is a member of the fabled …HUH!? of which I am a fan, so I was really looking forward to their performance and I was not disappointed. Musically you could clearly hear the influences of …HUH!?, however, that is not to say the band is a replica of them. The style is a mixture of progressive and psychedelic rock, with a somewhat outworldly feel about it which had a tendency to suck the audience right into its world. The set of 4 of their songs was augmented by a guest member Anthony Wong/Perry Chau Sang, who performed a cover of Wu Bai’s “花房姑娘” as well as Anthony’s anthem, “香港制造” both of which totally bowled over the audience. In contrast most of Le Petit Soldat’s music is something that needs to be ‘savored’, with the arrangements being so intricate. One thing worth mentioning is the drummer – the drumming was so solid it would be fair to say that it gave body to the otherwise ethereal style and acted as an anchor for the set.
For fans of …HUH!? I definitely recommend Le Petit Soldat, I usually do not make this sort of comparisons. However, in this case I mean it as a compliment, having admitted that I am a fan of the former.
– Hazel-Rah
SAILOR CANDY NG
1.Game
2.22
3.W/O U
4. Hotel California (cover)
5. 壞女孩 (cover)
I didn’t know this act before tonight, so wasn’t quite sure if it was the singer or band that is called Sailor Candy Ng, but no matter! Sailor Candy, as I shall refer to her, is clearly a seasoned performer on the circuit, judging by her great voice, eclectic style and on-stage charisma. She gave us a set of original and cover tracks tonight, offering a lovely smoky, jazzy sound but very contemporary, with backing band of guitar, baby grand piano, muted drums and bass combining gorgeously, distilled by that smooth, sweet vocal.
She sometimes has an almost scat-rap delivery, but this just speaks to the versatility of her voice. “You make me feel a better person, you make me feel beautiful” she purrs on original track ‘2.22’, which has the feel of the kind of song in rom-coms, when the beautiful couple are walking in the countryside and it starts raining, and they run, laughing, hand in hand, for cover. Slow and sultry, there’s an engaging sweetness and purity to her voice.
‘W/O U’, another original track, has more of a Canto-rap feel, but still there’s that refined hotel lobby lounge jazz band (in the best way). What it lacks in originality it makes up for in style. ‘Hotel California’ is a bit of a leftfield choice but the quasi-jazzy feel again kept it fresh. Just remembering the lyrics on it is an achievement in itself, as a million pub bands have found to their cost.
She closes the set with a spirited version of an Anita Mui classic, of which the main refrain is “why why, tell me why”, which will be familiar to most Hong Kongers, whether fans of the much-missed Canto-pop star or not. This was a great interpretation, with superb piano and guitar contributions from the band.
– Dan Creffield
MANGO JAM
1.朝夕
2.皇帝甦醒記
3.梅菲定律
4.文女
5.彌留
6.野心
7.心麻
If you thought Canto-pop/rock was an overmined seam (and I did), these guys are definitely here to re-educate you! Matching tropical shirts chime with the band’s overall super professional approach to their work – these boys have sweated blood and tears on their sound and set, and this definitely comes across.
Singer Rudy has a hell of a set of pipes, which he needs, singing over two guitarists both as capable of jazz-funk as they are syncopated, harmonic lines and big, anthemic riffs. Overall it’s a big, fat, rock sound à la The Strokes/Franz Ferdinand.
With an all-original set primarily in Cantonese, I struggled with the lyrical themes of the songs, and couldn’t really work out what Rudi was on about. But it was clearly very important to him. And if it was important to him, it was important to me, and the rest of the crowd, who were energised and enthusiastic throughout.
Highlights included the second track, which came over like Batman’s favourite rock song – dark and heavy – and the following track, which again featured an excellent vocal, with harmonies from the band. The next track had a more soulful feel, and an anthemic chorus which put me in mind of Taiwanese rock band Mayday and their catchy hooks. It’s also got a bit of a superhero movie soundtrack vibe – immediate and compelling.
Yes, it’s occasionally a bit of a dated sound – sadly, most rock bands now are – but they attack it with such vim and vigour they make it fresh and fun. This was next-level Canto.
If only they could be reborn 20 years ago they would probably find a bigger market. This hasn’t stopped them putting together a brilliant, original set for which they should be congratulated – it’s a fantastic achievement. Make no mistake – these boys are rock stars.
– Dan Creffield
HELTER SKELTER
1. (Use It For) What It’s For
2. Delusions
3. Seedy Cadillac
4. Say You, Say Love
5. I Don’t Wanna Lose You
6. I’m Still Alive
7. Hey
8. Mojo Working (cover Muddy Waters)
9. Cherry Red Wine (cover Jonny Lang)
The band has a storied history, formed in HK over 20 years ago, and commanded a decent following back in the day, apparently. It’s easy to see why – they are all brilliant players, and have a unspoken chemistry that still flows between them, even after all the years. Playing both original material and covers, the band reinterprets blues-based rock and pop in the style of tons of classic bands we’ve all loved over the years, including Television, Talking Heads, The Smithereens, The Dave Matthews Band, Bare Naked Ladies et al.
A couple of the guys actually flew in to have a little reunion in celebration of The Underground’s 20th anniversary, so we have to admire that commitment (and those airmiles). So it was with considerable expectation that a big crowd, clearly familiar with the personnel and material, welcomed them onstage.
Their first track kicked off with a honky-tonk country feel which set the tone – very catchy with a great vocal. The World Party (RIP Karl Wallinger) vibe featured a big wah solo and a bar band feel which immediately had everyone dancing. Each track had its own little story – this is really good stuff with a distinct American vibe. With quirky musical touches, it was also anthemic, pulling together tons of influences, and acting as the missing link between The Eagles and Little Feat.
Fifth track ‘I Don’t Wanna Lose You’ was the second song sung very effectively by the keyboard player Adrian Fu, who also contributed a fabulous solo during renowned bassist Koya Hisakazu’s (who is very familiar to The Wanch regulars), vocal contribution on ‘Mojo Working’, the Muddy Waters classic. This made for a humorous and tongue-in-cheek slice of Americana.
Extremely cultured pub rock, and the most accomplished band of the night for me.
– Dan Creffield
SENSELESS
1. 繽紛樂+燒雞翼
2. 如果我去踢南華
3. 男人唔可以窮
4. 聲是勒仕
5. 請緊握搖滾
Turning up to the long standing staple of live music that is the Fringe Club during Mango Jam’s sound check, I had a chance to nip back and forth between the two venues (Fringe Underground and Fringe Dairy) for a little recon before getting ready to take notes for Senseless. The format proved to be quite interesting; two venues with staggered set times, and close to each other so that you could easily scoot between the two if you were at one stage and some curious sounds caught your ear on the other.
Moving on, I was a bit concerned for Senseless’ set as I came in while Mango Jam was playing, as the band itself was great, they seemed to be suffering some feedback issues that appeared to be persistent across the set. Nevertheless, a slightly hoarse sounding Chris B, who had been introducing bands for the past two hours or so, introduced Senseless on set, and my worries about the feedback issues conceded as the band gave an energetic jingle while Chris B walked off. And “Energetic” is just the right word I’d use to describe this band – a singer that kind of looks like a thinner version of C君 (at least when he sings) from FAMA belts out a very impressive alto range to an audience slowly filing in from Helter Skelter’s set next door; and already getting them jumping along to their opening songs 繽紛樂 transitioning into 燒雞翼, the latter having some fun sing along chorus parts and the singer getting the crowd clapping along.
I could tell that the band brought a gaggle of super fans to see them, some I could see were belting every word out along to the nostalgic-like sounds of 如果我去踢南華, jumping around to heavy riffs and amazing guitar solos in 男人唔可以窮, laughing along to the lyrics of their self titled song 聲是勒仕D (self titled, as it sounds like “senseless” in Cantonese), down to getting involved with their ending song 請緊握搖滾 and putting their metal horns up in the air.
Overall the band reminded me of a poppier version of Sum 41, and with the fans they bring down you can be sure that you won’t feel a stranger if you’re new to their band, as they are very enthusiastic to get the crowd involved and chanting along.
–Sherman Leung
DARTHREIDER & THE BASSONS (JAPAN 日本)
1：Hanarabi
2：The World’s Strongest Man
3：Ill Communication
4：Tonde Phnom Penh
5：Goodnight Good bye
6：5years
In a line-up of primarily rock bands, Darthreider & the Bassons stood out for more than one reason. Firstly, as a three-piece there wasn’t a guitar to be seen, just drums, bass and vocals, the latter in the form of bright red-haired, comedy eyepatch-wearing vocalist Darthreider, a.k.a. Rei Wordup. Except it turns out he had earlier suffered cerebral disease and lost an eye – not so funny.
But how could we have known before he explained? The three are also all sporting colourful judo, or ju-jutsu jackets, and at first glance, don’t seem to take themselves too seriously. And they don’t – Darthreider, who grew up in London and speaks fluent English, spent considerable time joking and fooling about with the audience, with whom he established an instant connection.
And his rap, some of which included material spontaneously improvised about the event and The Underground, reminded us of a poetry slam/hip-hop style which of course saw the emergence of artists like Eminem. It takes a lot to hold a room with just bass, drums and vocals, but Darthreider & the Bassons manage it effortlessly. The vocals are frequently fast and furious, but always eloquent and in control. All those K-Pop ‘rappers’ should have been here to learn what this compelling vocal style should really represent.
Because combining Japanese, English, and what sounded like his own made up language hit harder than sumo. This was partly because of the brilliance of the performers, and their beat-perfect harmony, but also because of the subject material he was rapping about.
Some of it was genuinely heart-breaking. While explaining that he was older than he looks, he sang about how, when he was 40, he was told he only had five years to live. He won that battle, but told us, “the Grim Reaper is a friend of mine!” in another moment of dark humour. He insisted that the experience had only made him stronger. He also rapped about the death of his parents in ‘Goodnight Goodbye’, which had us all seriously tearing up.
But again, levity was never too far away. “Free your mind and your ass will follow” he told us at one point, to much laughter. This also fitted nicely with track four, ‘Tonde Phnom Penh’, which explained about the food poisoning he got while the band was playing in Cambodia: “All I remember is performing and the toilet!” But he was able to get a song out of it I guess!
This was an extraordinary performance from an inspired vocalist backed up by first-class musicians. I’m absolutely convinced that nobody who witnessed it would have left without being affected – I know I didn’t.
– Dan Creffield
HIBYE
1. 之所以這樣
2. 壞了的文青
3. 寂寞城市需要一種病
4. 正能量日日鏟屎
5. 煩惱將我炸掉
6. 不透明坦白
Duo HIBYE is a very stark contrast to the other band (Senseless) I was tasked with reviewing for the night, though that’s not a bad thing. Coming in during their sound check, I was intrigued at their set up and the myriad of futuristic, swirly sounds the guitarist had displayed already; dreamy like chorus driven dreampoppy/shoegazey overdriven guitar, with finely polished backing tracks triggered by the drummer, though I can almost certainly say the drums were played live, as she looked like she was 100% in the music and could feel it completely.
The band’s sounds spanned a wide range, songs such as 之所以這樣 and 煩惱將我炸掉 having a dreamy, indie-emo-rock feel that made me think of HK’s previous indie rock legends Silhungmo or Emptybottles, songs like 壞了的文青 and 寂寞城市需要一種病 taking more creative turns, the former having esoteric, confusing but interesting timing and riffs, and the latter including some inspiring beatbox-y interludes by the singer, whilst the song 正能量日日鏟屎 had a jazzy, mainstream cantopop feel (similar a bit to Gareth T’s sound), and 不透明坦白 being a modern sounding cantopop inspired ballad, you could tell this duo loved making whatever music they felt like and felt totally comfortable with just doing what they wanted for their own sake and not anyone else’s. Seeing as these guys were on for the later part of the night, it was the perfect set to chill down to, right after the emotional bass-rap-drum set of Darthreider and The Bassoons, HIBYE’s sound is equally as heart wrenching, at times angsty, at times crooning, but all the time passionate. If you are into avant-garde, experimental ‘art noveau’ type sets such as those displayed by KYVLE, then you’ll love HIBYE.
–SHERMAN LEUNG
RADIO RESURGENCE
1. Crystalized
2. Wherever The Wind Blows
3. Desire
4. By My Side
5. Luden’s Call
6. Killing in the Name [Cover]
Rounding up Friday night was the young 5 piece Nepalese band “Radio Resurgence”, who entertained the audience with a very solid set of heavy rock reminiscent of Linkin Park. It was getting close to midnight when they started their set in front of a crowd who by then clearly looked tired, the band performed with so much energy that it spread to the audience, many among them were clearly not the heavy rock type – so, full mark to the stage presence and audience engagement, striking a very good balance between talking and playing music. As an outfit the band played extremely tightly, with interesting guitar hooks being a hallmark of their songs throughout. Vocally, the lead singer was strong, solid and, for what of a better word, heartfelt, the last of which was very well demonstrated in their last song (before the “encore”) Luden’s Call, a song about war. one may have heard of the cliche “now do it once more with feelings”, in this case this was completely unnecessary – I never thought I would describe a rock vocalist as heartfelt singing, but I definitely felt it in this instance.
So overall a very strong set in the areas of technical ability, tightness and entertainment, I hope Radio Resurgence will go places, because otherwise it would be a grave injustice.
– Hazel-Rah
The photos with our Underground watermark on the bottom left were taken by angweilo_saxon.
浮水印喺左下角嘅相係由angweilo_saxon攝影。
The photos with our Underground watermark on the bottom right were taken by Aaron Michelson
浮水印喺右下角嘅相係由Aaron Michelson攝影。
Poster by Angus Leung.
海報由Angus Leung.
