DAY TWO of the festival ROCKED!
Thirteen Hong Kong bands performing on two separate stages of the Fringe Club, celebrating 20 years of original music showcases. The whole evening oozed with diversity, multiple 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 came to watch some of the greatest bands we have here 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 thirteen 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, Raven, Sunny & Lucy.
Total respect and love to Jarrod, Cyril, El Jay & Hazel-Rah, our reviewers who dedicate their time writing reviews for each band.
Thanks to Angus for the cool poster artwork.
Thanks to Shaun for supporting everything I do.
音樂節的第二天太精彩了！十三隊香港樂隊在藝穗會的兩個不同舞台上演出，慶祝著20年來的原創音樂展示。整個晚上充滿了多樣性、各種流派和絕佳氛圍。
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。
向來觀看我們香港最棒的樂隊之一的最捧觀眾致以最大的讚譽！
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 Jarrod、Cyril、El Jay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
THE ORIGIN
逆時
劫後記
talk something
冷戰
假裝快樂
Bittersweet
Rain
It’s confronting for a band to open their set to a handful of punters; joyous to watch the room begin to fill up during their opening song, with more and more people nodding to the beat and digging the sound.
It’s world record store day and in the foyer a stall is selling a limited edition vinyl of Air Supply live in Hong Kong. There’s one or two parallels in the sound: plaintive melodies and harmonies that belie a subtle power that builds and builds, with vocals shared across the three frontmen of Origin – two acoustic guitars, one electric six string bass.
‘Talk Something’ opens with a solid kick drum-driven rhythm into a late night vibe and ascends into an instrumental break designed for rainy streets and emotional breakup montages.
The sound mix is perfect, matching the powerful dynamic range of a band who can build from soft intimate vocals up to powerful rock ballad moments.
They finish with their song ‘Rain’ and it’s a more urgent affair, again with a driving rhythm and catchy chorus, showcasing some great harmony-laden folk pop.
– Jarrod Watt
GWENJI
unresolved noise
ordinary way
girl
everytime when i see u
jaja
haze
don’t
Gwenji, a folk singer-songwriter, kicked off Saturday’s proceedings with a solo set.
Musically, Gwenji’s mostly finger picking style songs were well composed with well thought out chord progressions and meaningful lyrics. The track “Everytime when I see you” struck me as particularly interesting with very clever use of dissonance. also has a nice voice which, on the whole, she applied skillfully in a melancholic way appropriate to her songs. As far as the performance goes, Gwenji needs to pay more attention to the tuning on her guitar, with the odd string or two sometimes being slightly out of tune.
Overall I had enjoyed the set, it was a pleasant way to start the evening.
– Hazel-Rah
LIME PUNCH
1. Pull the trigger
2. BF/GF Material
3. One day
4. Rooftop (A Liberation Broadcast) (cover)
5. Vice City
Fair play to Lime Punch: they played their first-ever gig at The Underground’s 20 Year Anniversary Festival and weren’t even the opening act. The heavy Pull the Trigger kicked off their set, the room filling quickly as crowd members were drawn by smashing cymbals and bass-heavy rhythms. An electro backing track spun things with a pop-punk energy as singer Kacy alternated between Cantonese and English.
BF/GF Material, inspired by Gareth T’s Boyfriend Material, saw Kacy team up with singer-bassist Kasa for a duet. The vocals were drowned in the mix and lyrics were forgotten, though nervousness was forgivable given how new they were to the scene. Kasa’s charisma, his chemistry with Kacy, and the more accomplished musical backing of their drummer and guitarist carried not only the song but the whole set. The band produced some thoughtfully crafted original songwriting on One Day; uplifting in sound but wistful in topic; “about dating someone and breaking up but hoping you’ll meet again in the future and get married”. The guitar melody was very U2’s Edge in its high, glimmering, stadium-aspiring sound, and there was a flavour of Paramore to the poppy emo duetting between the singers.
Dedicated to “all the emo kids of our generation”, a cover of Lostprophets’ Rooftops (A Liberation Broadcast) was an extremely bold choice for reasons that don’t bear repeating here. However, it shows how the British alternative band’s music continues to influence younger listeners and sparked a worthy discussion in the audience about separating artists from their art. Delivery of the song requires certain vocal elasticity and power which just wasn’t attained here, giving the track a strained karaoke feel. Closer Vice City, inspired by Grand Theft Auto was similarly ropey, with atonal duetting, though, again, the guitar and drums were absolutely in lockstep, especially during the thumped-toms bridge and the crashing finale.
“There’s a lot of mistakes but that’s OK,” Kasa remarked mid-set. He was right: the band made up for a shaky performance with charm and character, and their performance hopefully gave them a boost in stage experience and galvanised them for more polished shows to come.
– El Jay
AIRTUB
1. Confusion
2. 一擊心臟
3. Perfect Life
4. 真相
5. Can’t take my eyes off you / happy birthday (cover)
6. This Time
7. Friends
8. Running Behind
The room begins filling some ten minutes before the band has even soundchecked: it’s not so much an air of expectation as part reunion/family event for this band who played the original Underground gig some 20 years ago.
What do you remember of 2004? Green Day’s American Idiot? Outkast? Eminem?
The reviewer is immediately excited by the sight of the keyboard player wearing a custom model synthesiser keytar-style around his neck with a guitar strap, and the instrument itself has no white keys, only black ones. There’s one thing you can say about the intervening decades – time has treated the five members of Airtub well, and their passion for this reformation gig is palpable.
The band launches into their song Confusion, and the dual vocal attack with big chunky metallic guitar riffs backed by keyboards recalls that type of crossover hard rock/metal made famous by the likes of Faith No More and Evanescence.
For their songs Perfect Life and 真相 (The Truth) the band take it down a notch – reminiscent of an era when bands would give a heaving, sweating crowd a chance to get their breath back.
The vocals are perfectly matched, the mix perfectly captures the rhythm section thumping behind the guitars and keys.
There are some jokes about being ‘inclusive’ for the bilingual crowd, and the band launches into their first English language song – a cover of Franki Vali’s “You’re Just Too Good to Be True” – to which the crowd duly rises to the challenge to sing along, and the situation escalates massively and raucously for the singalong chorus, before switching back to crooning – and now the crowd is back in action singing along.
The song doesn’t so much end as switch into a very personal dedication – there are few seven year olds who get to say their Dad got his whole band to sing happy birthday to them from the stage on their special day – and then it’s time to close out the set.
The band announce their last song is Friends, a slow burn building on the concepts of friendship – with added gravitas for the crowd as this reflects something of the two decades of experience of these six musicians over the past 20 years.
The band’s attempt to wrap up proceedings is cut short by the crowd screaming for just one more song, and they deliver Running Behind – powerful, multi-vocal hard rock from a band with nothing to prove and everything to celebrate in coming together once again for the Underground in Hong Kong.
Such a great experience to see a band of people who clearly enjoy playing together reunited and delivering the original music they’ve created on a stage to an adoring crowd.
– Jarrod Watt
MAGIC MOUNTAIN BELLS
– Time
– Electrocity
– Bad Habits (Cover)
– Paradox Love
– Lost Paradise
– Coming Home
– Still Got It
I normally just start with some descriptive preamble on the history of the band, but Magical Mountain Bells is a very direct band that goes straight to the audience so here we go –
A sheen of sweat on the nape of his neck, lead singer Vaun cast a spell over the bodies and mind of the audience. “Get closer, I want to smell you” said Vaun as they finished their first number “Time”, an almost period-accurate 90s-2000s punk number. With the look of 80s glam, the energy of 90s punk, and swagger of 2000s alt-rock, the fabulous and sexy Magicals Mountain Bells conjured a tempest on the main Fringe stage.
In any other context, asking to smell your audience would be a weird request, but with the crowd hypnotised, they moved closer. Vaun spoke again, “Hong Kong’s fucking electric”, he yells as thick power chords explode from the (obviously) electric guitars. Several performers come off the stage and interact with the screaming fans.
Despite only being founded in 2023, the ‘five time-travelling rock wizards’ are clearly experienced beyond the age of the band. Not only was their musical performance flawless, almost like listening to a studio recording. The gestures and movements of the band members were methodological, rehearsed, choreographed. Moment after moment, time after time, they find photogenic moments on and off the stage. With few exceptions, the band controlled the audience with their friendly and infectious personalities.
“Gotta fight for it” Vaun yelled while throwing their newly printed hats out into the audience; “We got condoms coming”.
“I’ve been partying all week so I haven’t sang at all for a week but I’m getting my energy from you guys”.
…It’s easy to see why they had such a large audience.
Musically, the songs were just as interactive and exciting as the band themselves. Every song had a memorable, singable chorus, and most of the songs had built in sing-along sections, which the band, of course, taught us first. Although the audience were a little apprehensive during the first sing-along in their cover of Ed Sheeran’s ‘Bad Habits’, they were soon bouncing up and down the drops and breaks of the music.
Perhaps their most memorable number was a relatively new song, ‘Paradox Love’. The verses oscillate between melodic rock and punk rap, almost disguising itself as first a love ballad before showing you the darker, harsher, paradoxical side of love. “And now I see you hurting, You stab and hold me”. Love-hate-stabbing-holding; “My heart it now bleeds”. The texture of the piece was just as paradoxical and complex with chants, bass slaps, military drum rolls, shredding all encompassed with their fun viral energy.
Though, perhaps that viral energy at times goes a little far. While it’s undoubtable that the show was exciting and smooth, it at times felt a bit too smooth. The moves were too perfect. Stage personalities too much a persona. Even Vaun’s speech patterns seemed to be a riff off social media influencers (“you guys!” “you guys!” “you guys are really…really the best”). And although the band does have five magical wizards, it at times felt like Elder wizard Vaun (and friends) instead of one cohesive school of musical magic. No one else in the band spoke or gave banter, though in at least one song they touched him.
But, am I being a bit mean about a band as smooth as an HD music video? Yes, probably. Their love for music and performance was undoubtedly true, and just like the Underground, undoubtedly Hong Kong – why? Because they admitted their love for this ‘electric’ city before singing “Coming Home”: “All of us are not from HK but this, this HK is our home”. Persona or not, the performance was undoubtedly fun and I look forward to being mesmerised by them again.
– Cyril Ma
LAZY SUSANS
1. My Dear Girl
2. Steel Wall
3. Let it Roll
4. Episodes
5. What Can I Do
There’s something about watching a band methodically going through their soundcheck, then nonchalantly launching into their set, followed almost instantly by a stream of people pouring into the big room at the Fringe as the band next door ends their set.
The Lazy Susans’ lead singer announces the band hasn’t been together for some eight years, and that their first performance for the Underground was some 19 years ago. Once again it’s time to try and remember what music was big back in 2005, what the audience might have looked like back then and maybe play a little game of who in the audience might have been conceived after their parents had a big night at the Underground some 18, 19 or 20 years ago…
They launch into a super funky groove, challenging the audience to do more than nod their heads. There’s some isolated hip shaking and swaying but the band has an uphill battle to unfold the arms of the majority of the 100 or so people who are now in the room.
The lead singer announces the next tune is their theme song, and they launch into the funky driving pop of Let It Roll, putting out an upbeat and joyous vibe that gets the crowd moving (at least enough to lower their phones and nod along), and as the chorus “We are the Lazy Susans” kicks in with powerful bass and drums backing there’s some outbreaks of actual dancing in the crowd.
“I hope you’re enjoying the oldies,” the lead singer announces and it’s an irony not lost upon those of us in the audience who are catching up on what they missed 19 years ago, or indeed who missed out on the two tracks contributed by this 5 piece funk band to the Underground CD that came out the year Barack Obama became US president.
(Mummy, what’s a CD?)
Upon the song Episodes we hear the lead singer in full flight, showing off an amazing falsetto vocal range, ascending to note-perfect bliss in a song that builds and builds, and then it’s time to close out the set with What Can I Do?, a song driven by a hypnotic, captivating bassline that develops into something much more complex.
It’s a night for reunions and rejuvenation through rocknroll and the Lazy Susans have absolutely delivered a flawless set.
– Jarrod Watt
THE SINISTER LEFT
In Slow Motion
MSG
Heartworm In My Head**
Lap Of Mystery
Juan The Vampire
Coldest Man In Summer
Metamorph
It’s testament to Chris B’s powers of persuasion and the pull of The Underground that The SInister Left were pulled out of their unofficial six-year hiatus for an eagerly anticipated performance. Having been around since the mid-00s, they’ve played The Underground more times than any other band, which is a respectable feat. Singer Nathan and bassist Stu recruited drummer Phil and managed to deliver a tight set off the back of very few rehearsals, drawing from their superb 2016 album Soot.
A sped up version of In Slow Motion launched an atmospheric and characteristically gloomy set, enhanced by vocal echo, distorted guitar and an ominous rhythmic undercurrent. Phil and Stu together emitted a dark thrum which didn’t let up throughout, while Nathan’s unique vocal tone brought songs a grandiosity befitting the post-punk genre.
In fact, certain songs were delivered better than on record: Heartworm in My Head sounded more built-out and evil, like driving through an icy wasteland with sandworm-sized bass undulation, thunderous toms, and Morrissey-esque anguished yelps. Juan the Vampire was very Joy Division in its desolate, echo-laden vocals; its titular villain conjured to life with menace. However, Lap of Mystery felt like a misfire: overly distorted, foggy, muted and lacking in punch and drive.
The proggy, peculiar Coldest Man in Summer started with spine-tinglingly, setting the scene with jagged guitar, but the guitar became lost in a bad mix as the track built, overpowered by the cymbals and lurching bassline. The band segued straight into the darkly motorik Metamorph, the ideal way to sign off a welcome return set – and the start of a new chapter for the group.
– El Jay
FLOOR 13
Dance
Touch the ground
Whatyoudoingtome
Home
Soul
G# (this song has no name )
Miserlou
Among the reunions and slight returns comes a band who have never played a gig. It’s part of what makes this night at the Underground such a wildly diverse haven for live music lovers. Of course, for a band battling first night nerves the soundcheck takes an inordinate amount of time, as the room fills beyond “full” to “packed” and expectations and impatient fiddling and shuffling begins to rise.
Who is this three piece? Surely that guitarist and that drummer are brothers? (“I’m getting Mars Volta vibes,” a crowd member whispers to me) And just how old is that drummer, anyway?
Chris B comes onstage and announces this is the live debut for Floor 13, and a sampled piece of French classical music plays… and then it’s straight into intensive rock/metal/rap that grabs the crowd, now enthusiastically clapping out rhythms and BAM!-straight into the next tune, and the crowd screams delight as the band keep pointing to the guitarists’ mic to get some volume.
It’s impossible to pin down where this band is coming from – the Killers? Bowie? Did they just lay down some hardcore punk riffs while the singer took on vocals like Sting?
The drumming is monstrously, magnificently powerful and it’s revealed he is… 15 years of age. The energy onstage is infectious, the chord and riff changes are epic and it’s plain to see there is so much more to come from this trio.
Sure enough, a young girl wearing a hoodie is invited up onstage, handed a mic and she delivers powerful vocals over crunchy alternative metal, again showing off the huge potential of this band.
The band announce their last number – and brother #1 on guitar rips into the signature guitar riff of Miserlou to screams and shouts of recognition from the audience. It’s a big rock finish from a band who have delivered a fantastic debut performance at the Underground.
The house lights come up and we are left wondering… What comes next for Floor 13?
When do we see them again?
– Jarrod Watt
TURBULENT
1. 續
2. Non-Fiction
3. 派對以後
4. 流星說
5. Caged
Five angsty musicians collide in one beautiful destructive chaotic musical storm. Turbulent, named after crashing ocean currents, is a local pop rock band with lots of punk energy. As their name suggests (they’re pretty big on the symbolism of their name on most socials), their music is heavy, energetic and emotional – the turbulence is not only musical, but personal as well. They’re also counter-cultural (or as they put it, “refuse to be confined to established frameworks). In any case with a name like Turbulent, you’re expecting a couple of collisions.
Their first song 續 (Continue) was a rock ballad, naturally full of turbulence already, with hints of dreamcore on the squealing guitars and background chanting. Their vibes and performance style matched the energy with each musician’s outfit being similar but slightly different – most wore dark, earthy tones, except one of the guitarists was in a green crop top and the someone had a pearl necklace. Their collisions are planned – the falling scales in the song clashed deliberately with the rhythms which then were covered in vocals like dripping water. That’s not to mention their incredible guitar shreds as well providing even more layers.
The effect overall was a dreamlike piece of rock, beautiful and energetic, but expressive and full of angst.
Their later songs got the crowd riled up in their tempest, especially “Asteroid” where they asked everyone to “jump like an asteroid” (although it was misheard by many as “jump like a steroid” which kind of makes sense but also definitely wasn’t what they intended). The song, and its transitions in and out were both smooth musical segues, but also roller-coasters of noise.
Despite being around for a couple of years, this was actually Turbulent’s first time on the Underground stage
“None of you knowing us is normal”, they said between songs “there is a long road in front of us and we hope we can play everywhere and want to thank the Underground for this chance”
And they definitely stole the stage not only with their explosive energy but their genuineness, apologising several times for their bad English. With several decent bilingual songs, I can’t see why they’d feel bad, although they should probably get that steroid problem sorted.
All in all, Turbulent is an exciting, energetic storm, full of genuine emotion and skill. Although there were a few accidental comedic moments, everyone was headbanging along the full hour. Next time I’m on a plane and the pilot says there’s turbulence up ahead, I’m hoping the band flies out of the cockpit.
– Cyril Ma
SADJAY
1, 序章
2, 這旅程
3, 靈魂情歌
4, 回復原廠設定
5, 只想繼續唱著未唱的歌
“Every moment of sadness, there is always a song that represents the mood of the moment”
That’s what the band has on their record label site. And from love songs, to sentimental ballads, expressive punk rock and the occasionally summery jitters, SADJAY does, in fact, have a song that represents the mood of many moments.
Formed in 2017, SADJAY was one of the more established and experienced bands to showcase their musical talent at UG20th (and it’s their first time!). Arriving in matching slack blacks, dyed hair, and a keyboard, SADJAY stood out as one of the more truly local bands of the night. Their heavily layered, sappy melody forward sad ballads also gave off an air of sophisticated Asian pop. However, while the songs were well written, the performance in the Dairy did leave a lot to be desired.
If you were to find them on YouTube, the performances both in sound and visuals are tight, well-balanced and passionate. At the Dairy, we had the passionate. After the first song, lead singer Anthony asked for a rebalance with the piano going quieter and the vocals getting louder. For an already pretty heavy band, this really pushed them a bit too far with the vocals overwhelming the now tinny piano. The vocals were also often flat especially when half sung, and during the introduction to their third song 靈魂情歌 (A Ballad for the Soul) the solo drum opening was out of beat with the pre-recorded backing effects. All of this does, however, point to an issue more with the Dairy Bar’s sound system than them – clearly from other live performances and their studio recordings, SADJAY is more than capable.
This is a shame because their songs, with their relatable lyrics, catchy melodies and complex musical layering could have been one of the more memorable performances of the night. At times, the piano arpeggios soared high above the chaos of the other instruments, creating a moment of calm before crashing back down into the sad mire, reminding us, as they aimed to, of all the complex emotions of love and life. Clearly, very clearly, hopefully, this was an uncharacteristic performance. Nonetheless, their experience shows. It’s not easy to keep a performance going with so many problems out of your control so kudos to them for sticking to the most important mantra of all performers – the show must go on. Considering their musical goals, it’s kind of symbolic isn’t it.
– Cyril Ma
極美樂團 GIMAG
密友
兇手
惡果
框
羊咩
風
派對
內傷
Penultimate headliner (is that a thing?) GIMAG stood out for several reasons: one, they themselves described themselves as a ‘more of a jam band’ than an actual performance band; two, they’re an all-star band, band leader Choi Ching is an established singer-songwriter and actress, and was part of Carrier帶菌者 along with drummer Vincent ‘Ah Po’, who has himself been part of many different groups; bassist Joel was part of 草魚禾 (Weed – yes, that’s their actual English name), established in 2006; and guitarist Manping is of Andy is Typing… fame; thirdly, by the time they started playing at around 11pm, they were all pretty drunk. (And Manping kept asking everyone to get drunk as well – drink responsibly kids).
While their English name seems like an acronym, it’s actually not. It’s a stylised transliteration of their Chinese name 極美樂團 – the very beautiful orchestra. And true to that name, their music was indeed very beautiful. With influence from dreampop, psychedelia, punk and even a tiny bit of ska, their songs are wild and peaceful escapades into another universe. In just one 30 minute set, they had Beatle-esque waltzes, Cigarettes After Sex dreampop, theatrical punk and so much more.
Their performance was just as amazing. Without any fuss, they smoothly transitioned between audience interaction, banter, jamming and playing. Most pieces felt slightly improvised – as expected from the ‘jam band’ but it was still obviously rehearsed. Practised but authentic, and never taking themselves too seriously (when they screwed up on their third number 惡果, they just laughed and asked the audience “can we start again? We’re going to start again”). If there were any musical errors, their lively and relaxed demeanours more than made up for it; it did just feel like four incredibly talented friends playing together.
Shout out has to be given in particular to two performers: Choi Ching’s vocals were astounding – strong but sultry, stuttering and shaking yet controlled throughout. And Dale, the 16 year old session guitarist who played along on the corner of the stage. Ah Po would tell us later that she had not practised at all with the band and just decided to join in on a whim. No one could tell.
Ultimately though, the performance was great not necessarily because of their musical skill but because it was fun and real. Choi Ching joked continuously about her bad English, forcing Manping to translate tipsy. They spoke with the audience; they connected with us without putting on an awkward performative facade. And, in respect for the event, gave the Underground one of the best thank yous of the night – bestowing on Chris B the title of “Mother of Hong Kong Rock”.
– Cyril Ma
GOOD FELLAS
Nothing about my way
Hey you
Be with me
Take me back
Tonight tonight
Move on
It was a happy crowd that greeted indie rockers Good Fellas on their Saturday night set at The Underground 20 Year Anniversary Festival. Their relationship with Chris B dates as far back as Underground 71 in 2008, when the reviewer praised their “attitude and talent”. Sixteen years later and that description still applies. The room quickly filled to the sound of the tight and dynamic Nothing About My Way, with guitarist Angus, bassist Egg and drummer Jim led by the infectious energy and joyful charisma of frontman Keith.
Mid-00s indie rock is kept alive in Hong Kong, with influence from The Strokes, The Libertines and The Cribs heard throughout all Good Fellas’ songs, but especially on Move On, which employed an earworm “woahh” chorus that had everyone itching to dig out their skinny jeans and trilby. The band overcame some technical issues to perform Hey You, which combined snappy drums with angular, ascending guitar and a catchy, chantable chorus, while Be With Me, a set mainstay, twinned poignant lyrics with softly strummed acoustic guitar and made for a nice breather before the finale.
New song Tonight Tonight featured a line specifically written for the occasion, which touched Chris B, while closer Move On was a crazy bop from start to finish, with tonnes of energy and blasting bass. Their name was apt: Good Fellas were the perfect party band, bringing good vibes and tunes crowd members were humming long after the show.
– El Jay
MEØWMEØW
1. KILL THE MONSTER
2. FLARES
3. 2ND
4. ASHES
Like church incense before mass, The Fringe Underground Theatre filled with the smell of Monster Energy, signalling the arrival of Meowmeow and their rabid fandom. There couldn’t be a better drink to symbolise this band: chaotic energy, bright clothing and a set that practically ripped the speakers out the wall. The show signalled the departure of band member Mex, marking a new chapter for the group as well as the crowning performance of The Underground 20 Year Anniversary Festival.
An angry cat noise led into a huge drum ‘n’ bass onslaught of Kill the Monster, which came studded with claps and driven by an electronic backing track. It may sound like the recipe for nausea, but it was weirdly magnetic. Growl-clean-contrasted vocals hyped punters, the most energetic crowd of the night, who pogoed to choruses, started mosh pits and screamed on cue.
The band tipped a hat to the electro-tinged metal of bands Enter Shikari and Linkin Park, but brought something truly unique with more of a hip hop sensibility and showmanship, working the room with heavily mechanised production, anthemic choruses, sharp guitarwork and crushing drums. “Make some noise!” was the order for closer Ashes – and everyone in the room willingly complied.
– El Jay
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.
