Wooooohooo!! What an amazing second night of the Festival! Twelve great Hong Kong bands performing on two separate stages of the Fringe Club, to celebrate 21 years of our original music showcases. Plenty of diversity, genres, and great atmosphere. Thanks so much to Carlsberg beer for collaborating with us by supporting local culture!
Biggest shout out to the amazing audience who kept saying what great bands we have in Hong Kong!
Thanks to the twelve bands who were part of this memorable night.
Thanks to Aaron & Tim for all the great photos.
Thanks to Darwin for the cool video clips.
Thanks to Yan Yan for doing so fabulously on MC duty.
To all the wonderful people who make The Underground run so smoothly, I appreciate you guys so much: Shaun, Calvin, Bun, Prada, Victor, Raven & Sunny, and especially Cadence for all your hard work in the lead-up to the festival.
Total respect and love to El Jay, Rob, Cain, 劉海亮 and Ash, our reviewers who dedicate their time to writing reviews for each band.
Thanks to Dawn for the cool poster artwork.
Thanks to these companies for the giveaways: Tom Lee Music Company &TANGZU WANER SG 2.
Thanks to Shaun B for supporting everything I do.
Wooooohooo!! 第二晚Festival都真係勁正！有十二隊香港本地好勁嘅樂隊喺Fringe Club嘅兩個舞台表演，齊齊慶祝我哋original music showcase 21周年！成晚都有超多唔同元素，唔同風格，氣氛一流！多謝Carlsberg啤酒同我哋合作，支持本地文化！
最大嘅shout out梗係要畀現場咁勁嘅觀眾啦，成日都話香港嘅band好正！
多謝參與呢個難忘之夜嘅十二隊band！
多謝Aaron&同Tim影咗咁多靚相！
多謝Darwin拍咗啲咁型嘅video！
多謝Yan Yan做MC做得咁掂！
仲有一班令The Underground運作得咁順利嘅好朋友們：Shaun、Calvin、Bun、Victor、Prada、Raven &、Sunny，特別要多謝Cadence，為咗festival前期咁落力幫手，辛苦晒！
Respect and Love 畀El Jay、Rob、Cain、劉海亮、同Ash，成日幫手寫review，支持每一隊band！
多謝Dawn設計咁型嘅poster！
多謝以下公司送出咁多禮物：Tom Lee Music Company、同TANGZU WANER SG 2！
最後，多謝Shaun B一直咁支持我做嘅所有嘢！
❤️ Chris B xx
Jennifer Tee
1. screwed loose (do you feel it too?)
2. you’re not my destiny
3. shreds
4. spin and twirl (unreleased)
5. state of the art (unreleased)
6. warning
7. lovelocked (unreleased)
Jennifer Tee is 18 years old, but had the presence of a seasoned performer. What?!! I had to check my notes twice. She walked out alone with just an acoustic guitar, and within seconds, the room fell silent. No backing band, no effects—just her voice, her stories, and a calm control that many artists don’t find until much later. From the very first strum, she had us.
“Screwed Loose (Do You Feel It Too?)” felt like someone falling in love in slow motion. Gentle acoustic picking gave way to a soft but knowing vocal, full of expression without the need to oversing. Her sound instantly reminded me of Frente—there’s a purity to it, a clean emotional clarity. The lyrics captured that fluttery, unsettled feeling you get when emotions start to tangle. Her strumming felt like those same butterflies dispersing from each chord. A genuinely impressive first song.
“You’re Not My Destiny” came next, opening with a chunky guitar rhythm that set the song in motion. Her voice led the way, gradually rising as she built toward the chorus. There’s a moment where she hits this quirky note, and you can’t help but smile—partly from the sound, partly from how present she is in the performance. “You are… not my destiny.” The way she lands it feels like closure wrapped in charm.
“Shreds” was a slower number, again reminding me of Frente. Her music doesn’t need much backing—just simple chords and that captivating voice. As the song progresses, the intensity builds, not with volume, but with feeling. She provides the emotional element that connects with your soul, and for me, it did exactly that. The tempo shifts back down near the end as she delivers the line “She prefers the dark,” and it left the whole room in thoughtful silence.
“Spin and Twirl” followed—her first unreleased song of the night, and one that felt deeply personal. I actually wrote in my notes: I want to record this song and send it to the person who I loved, but took advantage. That should tell you how it hit. The song had that raw, honest energy that makes you reflect on your own past, even when you don’t want to.
Then came “State of the Art,” which opened with a few melodic chords before Jennifer sang about pushing against unnamed forces. The song dealt with a very specific kind of frustration—the kind that comes from trying to take back control in a situation you didn’t ask for. There was tension in her voice but also resilience. She sang about being broken but not defeated, and you could tell she meant every word. The verses held her ground, and the chorus gave just enough space for the fight to breathe. It felt like a step forward.
Finally, “Lovelocked” closed the set—no guitar this time. Jennifer moved to keyboard, and everything shifted. The song was about heading off to uni in the States, but more than that, it was about the emotional tug-of-war between what you dream of and what you’re afraid to leave behind. The real heart of the song wasn’t in the lyrics—it was in the feeling: her hopes vs her needs. You could sense that Jennifer wanted the screams, the recognition, the moment—and she earned it. The crowd was leaning into every word she sang, completely still, completely present. Her voice was so sweet it almost disguised the ache beneath it. A beautifully vulnerable way to close the set.
Jennifer Tee’s set wasn’t loud, but it was powerful. It was felt. Honest, lyrical, a little broken, and a lot hopeful—her songs were confessions turned into lullabies. She might be young, but she’s got stories. And I’ll be listening when she’s ready to tell more.
– Cain McInerney
Lenny
1. Pink
2. Don’t call me
3. March madness
4. Let them go
5. Who are the worthy
Lenny wasted no time getting people moving—they literally got the crowd to step forward before the first note. That’s a power move. Fronted by Egg on vocals and bass, the rest of the band filled out with Terry and Jonathan trading guitar lines, Ellie layering vocals and synths, and Jim keeping it solid on the drums. You could tell right away this wasn’t just a band playing songs—they were performing. Big energy. Big presence.
They opened with “Pink,” and Egg’s voice immediately stood out—iconic and unique. It’s so rock. The music was full and proud, with Ellie’s keys adding texture beneath the guitars. The drums set a rolling pace while the rest of the band jumped in to fill the space with a kind of playful chaos. The fullness of the sound meant that even when the singer pulled back, the band surged forward. Back to the chorus—rock!
“Don’t Call Me” was a shift. The keys really came forward here, especially in the early part of the track. The vocals were sharp and deliberate. The chorus hit hard:
“Don’t call me… Don’t call me… No!”
We’ve all been there. The distortion in Egg’s voice added just the right kind of emotional static. This one stuck with people. Like when you say, “Leave a message” but you never plan to call back.
“March Madness” was exactly that—madness. It jumped straight in. Quirky, fast-paced, unpredictable. I loved the interplay between the lead vocals and the keyboardist’s harmonies. Sometimes they echoed, sometimes they were in perfect sync. Either way, it worked.
[STOP]
I loved it. The final refrain ended with a big groovy chord that hit like a full stop. Before the last notes were even gone, I wrote: “I’m going to have this stuck in my head for days.”
With “Let Them Go,” things slowed down. A softer track, but still full of feeling. The keyboard took the lead this time, setting the pace without being overbearing. The melody was rolled up and presented in a palatable way—nothing too sweet, nothing too heavy. The vocals and synths offered a bridge that matched the gentle fall-off of the drums. It wound down slowly, beautifully—almost like an exhale.
Finally, “Who Are the Worthy.” The band brought it all back for the big finish. Punchy, tight, and just the right amount of snarl. Egg’s vocals cut through the wall of sound. There was a moment where the guitars and drums synced up so hard I couldn’t help but grin.
Woah! Oh! Oh! — That part? Yeah. Crowd loved it.
And me? I felt something more. The presence of The Good Fellas—Egg and Jim’s past band—echoed through that last song. I still have their track “Together!” in my head, and now it means even more. It’s a piece of Hong Kong’s music history that has touched me and so many others. I feel lucky to have witnessed it then, and now to experience this new iteration of their talent—infecting and inspiring a new generation of music lovers.
Lenny doesn’t just play their songs—they throw them at you with everything they’ve got. Loud. Lyrical. Lockstep.
Did you move closer too, or were you already at the front?
– Cain McInerney
RUE
1. Begging You
2. Stay the Night
3. Cigarette
4. Close Your Eyes
5. I Wanna Be a Rockstar
6. Fades Away
7. Fall Out of Love
RUE is a solo artist—but you wouldn’t know it from the way she filled the room. For this Underground set, she brought along some talented friends: Jaz on keys, Khain on drums, and Benjamin on bass. Together they created a clean, emotional sound that’s delicate without ever feeling weak. There’s a pop structure to what she does, but it’s coated in rawness and reflection.
They opened with “Begging You”, and I immediately wrote: “OMG, I need this song.” It was intimate and personal. I could feel this lightheaded, upbeat energy underneath everything, like it was floating—but grounded by Rue’s vocals. The phrasing in the chorus reminded me of something Bruno Mars might sing if he had a heartbreak pop phase. When Rue hit the words “I’m begging you,” it landed. Any anxieties I had were lifted. What a way to start.
“Stay the Night” was introduced in Cantonese, but sung in English. Rue said it was one she’d like us to dance to—and people did. The upbeat, positive vibes bounced around the room. It had this playful innocence to it, like someone nervously asking their lover a question, but already knowing the answer. It wouldn’t be so happy otherwise.
Then came “Cigarette.” Rue introduced this one in English. The mood shifted—this song was about being done wrong on her birthday. Despite the subject matter, it didn’t wallow. The keys provided a nice contrast to the grit in the lyrics. The line “Pass me a cigarette!” landed hard. The bass and drums held it steady and tight. You could feel the bitterness, but the groove kept it moving.
“Close Your Eyes” was the chance to let loose a bit. There was a Red Hot Chili Peppers flavour to the rhythm section, and Rue played up the energy with swaying, lean-in vocals. It had attitude, but also a soft pleading underneath it. Like asking for just a moment of peace in the middle of chaos.
Before launching into “I Wanna Be a Rockstar,” Rue shouted, “This one’s for the broken heart!” The guitar and vocals began gently, building up into a full-band anthem. This song hit that sweet spot between personal and universal—one of those tracks that sounds like it’s about someone, but ends up being about everyone.
“Fades Away” was Rue at her most stripped back. This was one of those “deep breath” songs—a moment of stillness before the finale. Rue introduced it by saying it was about wanting to die young—at 25, to be exact. “Don’t worry,” she added, “I made it.” That got a warm laugh from the crowd, but the song itself was no joke. The keys floated, the beat was soft, and Rue’s voice lingered like a secret. The whole thing felt like it was slipping through your fingers as it played. Beautiful, but brief.
Finally, “Fall Out of Love.” Rue mentioned how artists often monetise their breakups—and this was hers. The chorus had that sing-along quality that sticks with you, even if you’re not sure you’ve heard the words before. There was heartache in there, but it didn’t wallow. It felt like someone finally putting the last box of their ex’s stuff away.
Rue didn’t need flashy tricks or over-the-top solos. Just good songs, played well, and shared honestly. It wasn’t a set that demanded attention—but it quietly earned it.
Were you paying attention, or were you too busy feeling things?
– Cain McInerney
The Ferals (HK)
PROXIMITY
USED TO SAY
THROUGH THE PARK
WOOFIE
SUPERFICIAL
SCAM
SHOCKED
The Ferals hit the stage like they were about to tear a hole in the floor—and honestly, they kind of did. Chris B. on vocals, Craig on guitar, Avi on bass, and Jimmy on drums make up this raw, tightly coiled outfit, and from the very first beat of “Proximity,” you could tell we were in for something loud, fast, and unapologetically direct.
Avi’s bass set up the riff we were about to witness, and Jimmy’s drums followed with confidence. Chris launched into her verse, but the volume could’ve come up a touch at this point. What really stood out, though, was the way she slipped so naturally between English and Cantonese when talking to the crowd. It wasn’t flashy—it was just how she speaks. That back-and-forth, especially in her introductions and transitions between songs, made the whole set feel more grounded and honest. You could tell she wasn’t trying to impress anyone—she was just being her. And it worked. She’s got that rough-edged vocal tone that blends ‘90s riot grrrl with local punk garage grit. She has a way of saying things that grabs you. She’s the ultimate frontwoman—she knows how to amp up the crowd. First time seeing her live, and boom—cherry has been popped. Spinal Tap!
“Used to Say” followed, leaning into a pseudo-rap style over a solid beat from the bass and drums. The guitar came alive in this one, adding a solo right in the middle before things dropped off too quickly. Before launching into the next verse, Chris sang a few solo lines that showed her control. The vibe here was darker, snappy, and showed a different edge. It worked.
Then “Through the Park” This one hit me hard. Just guitar and drums to begin with. The vocals reminded me of Spiderbait’s female singer, Janet—open, raw, not trying to be polished. Chris admits she’s forgotten the words. Real or part of the act, it was still honest. I felt like this song was more than scripted—it was like a moment. The guitar represented the steps forward, the drums the weight inside. The lyrics were a kind of inner monologue. I’d queue this song up the next time I need to walk up a hill—it’d give me the energy to keep going – running up that hill to the Fringe Club.
“Woofie” was another standout. You know that feeling when a singer says something, and you instantly go, Yep, I’ve thought that? Chris nails it. “Don’t you hate the ‘he said, she said’ shit?” was delivered with pure punk attitude while the band held down an almost military beat beneath her. It pulled me in and challenged my perspective. The music was tense and urgent, and I felt like I was caught in a spiral I didn’t want to leave. Then came the screams. Raw. Unfiltered. What? Yes!!!
Then came “Superficial.” Ugly Kid Joe would’ve been proud. This one helped lock in the ferocity and tone of the set. The whole band was tight—you could tell they’d spent serious time together. The riff even reminded me of Soundgarden’s “Rusty Cage.” There was something awesome about watching the whole thing click. And here, Cantonese lyrics were sung —this time in the song itself, not just between songs. That blend of languages added even more punch and personality. It was a release, a thrash, and a good kind of mess.
“Scam” opened with the bass, and was followed by Chris, setting the tone. The song doesn’t immediately blast off, but that’s part of its charm. It’s got a slower burn. I liked when she dropped into that talk-sing delivery—half calling people out, half reflecting. The rhythm section laid down a chill groove while Craig tore out a slick solo. Chris laughed at one point, totally in control. It was another one of those “rockstar without the ego” moments. Honest, relaxed, and powerful.
Finally, they ended on “Shocked” It started out like a Church or R.E.M. song—jangly, dreamy—but quickly veered into a Beastie Boys-inspired punk rock banger. I even caught an “Egg Man”-like vocal rhythm. Chris didn’t hold back. The whole band tightened like a fist and slammed it home. Fast, short, and sweet. Just the way a punk set should end.
The Ferals didn’t just play a set—they told us who they were. Bilingual, bold, and burning with purpose, they tore through seven songs like they were shaking something loose. Whether it was rage, joy, or both, they left it on stage. Keep your eyes on this band. They’re not done.
– Cain McInerney
UDG21｜The Ferals(HK)｜The Queen knows why 演唱的「演」會在「唱」前面
時：躁動週末夜晚
地：昏黃燈光剛好照不清人們臉孔的地下舞台
人：從黑夜而來的Hard rock樂隊The Ferals(HK)
第一幕：主音Chris B甫踏上台，觀眾還未知道他們將迎來甚麼，只感受到台上四人那身全黑造型詮釋著某種傳統的、歷久彌新的、美好的硬核搖滾精神。
第二幕：鼓手敲起節拍，Chris B頭上兩抹Signature靛藍隨節奏擺動，劃破這心癢難耐之夜。嘶吼不是The Ferals的主要武器，他們首先以搖滾慢敍事，配以情感演技、抑揚頓挫將歌詞如statement、旁白般逐句唱出，讓觀眾進入這段故事之中。
第三幕：Chris B的臉部表情與姿體動作逐漸豐富起來，她跪地、她凝視、她輪流舉起雙手、她垂低雙手，將手肘提至肩膀位置，頭部向下，呈現「斷頭台」姿勢、她帶頭進入了故事——她在「表演」歌詞，The Ferals的同伴不約而同露出「Here we go」神色，they know their vocal will take over the stage。
最終幕：Chris B走到台下，四處逃竄，她躲在不同觀眾背後，像要避開某種目光⋯⋯隨後又回到台上，在最後一首歌曲《Shocked》中肆意嘶吼了一番，雙手舉高交疊，維持「X」手勢，用力擲向深夜。Well，表演完結，大家弄清楚狀況了嗎？應該沒有；但同樣都被台上那抹靛藍震懾，為表演者的魅力鼓掌。這是不尋常的表演，不尋常的星期六晚，卻完美地抒發了今夜躁動——
是的，看The Ferals演出就像看Drama一樣，充滿觀賞性。我知樂隊主唱Chris B是今次UDG 21的主辨，識講廣東話，也是香港地下音樂界的熟悉臉孔，而我不知的是她有著如此豐富的表演力——表情、動作、道具，以致是觀眾，都融入了她這夜表演之中。Unpredictable的Chris B下一秒隨時會到台下kiss我、挑釁我、與我跳舞也說不定，因為她所到之處就是舞台，所視之人都是演伴，這樣的表演也令觀眾感受到主唱「seeing me，看到我」。香港少見這種將Drama元素加入表演的樂隊，而加上樂隊本身的硬核搖滾風格與外國臉孔，一下子像置身美國紐約大道的酒吧。（其實我也不知那裡是否有這種表演，feel而已，哈！）The Ferals另外三人相信對Chris B的即興表演司空見慣，他們既是主角也是觀眾，以穩定的伴奏讓主唱盡情表演，尤其鼓手Jimmy看到Chris B「進入狀態」時所露出的笑容是令我印象深刻的；這樂隊有著良好化學反應，不然演出中段Chris B忘詞甩拍時大家也不會笑得如此開心，就像某種把大家Connect起來的巧妙即與表演，畢竟這樣一個有魅力的表演者，who doesn’t love her？
* The Ferals(HK) UDG 21演出曲目：
《PROXIMITY》、《USED TO SAY》、《THROUGH THE PARK》、《WOOFIE》、《SUPERFICIAL》、《SCAM》、《SHOCKED》
* The Ferals(HK) UDG 21演出樂手：
Vocal：Chris B
Guitar: Craig
Bass: Avi
Drums: Jimmy
-劉海亮
Kowloon Cowboys
Sawyer Solo Flute Intro
1. Unstable
2. Down Low
3. Solid Gold
4. Stealing Chords
5. Didn’t Notice
6. Samsara
7. If I Ever (Anxiety)
8. Hurricanes
9. Million Dollars
10. Neo The One
When Sawyer Xie, aka “Mongkok Mozart”, opened Kowloon Cowboys’ set with a solo flute piece, it set the tone for a genre-blending, wildly original performance that debuted this “lofi supergroup” on The Underground’s stage. “Down Low” followed, with keyboardist Season swapping to guitar, adding a shimmering texture that elevated the groove as Sawyer rapped bars such as, “In a vegetative state, the educated ape…” – adventurous and colourful lyricism that marked him and fellow vocalist Michael Wong as compelling new talents on the Hong Kong scene. Together, they delved into notions of pride and loyalty, and pondered manhood and the spectrum of emotion that forming relationships brings.
The camaraderie was palpable, radiating out into the rapturous crowd which packed the room for the Cowboys’ appearance. “Didn’t Notice” was a sonic shift – a smooth, Frank Ocean-style ballad with soulful three-part harmonies that lingered.
“Samsara” introduced trumpet into the mix, with lines such as “If only you were told, there are a million roads, no matter where you go, it’s infinite – your soul.” The song felt like a jumbled jamboree – they describe themselves a “music collective” and it showed. There was a lot going on onstage, and the sense of synchronicity and coherence often slipped, but the charisma, wit and creativity the five exuded carried them through without things feeling too jarring.
“If I Ever (Anxiety)” featured Frank Ocean-esque falsetto harmonies from Sawyer and Michael. Kasa shared a touching moment with the crowd: “Kowloon Cowboys means a lot to me – without jamming with this crew I wouldn’t have been inspired to do my own thing.”
On “Hurricanes”, Michael rapped in English and Mandarin, while Kasa added Japanese verses, and the chorus – “teardrops turn to hurricanes” – hit with force. “Million Dollars” was the peak of the night. A gentle guitar intro led into a full-band vocal harmony and delivered a message of humility: “Remember to give more, remember to give back and be grateful for what you got.”
They closed with “Neo The One”, a swagger-filled finale that tied together the night’s themes of unity, gratitude and sonic exploration.
Blurring the lines between hip-hop, R&B, punk and jazz, each member brought something unique – instrumental wizardry, charisma, lyrical depth and grounding rhythms, leaving the crowd with a feeling that this is an outfit destined for much bigger things. Together, they create something bigger than the sum of their parts.
-El Jay
DEER (MX)
– Intro
– Wild Eyes
– In the Name Of…
– Human\
– You Left Me Nothing
– The Farthest I Can Get
– Dead Souls
In the dimly lit cavern of The Underground, DeerMX conjured a set that felt more akin to a ritual. Founding duo Adriana Falcón (vocals/guitar) and Miguel Bastida (synths/guitar) alongside newer members Alfonso Rosales (drums; aka Ponchong Kong) and Peter Enderberg (guitar; of Diamond 6 fame), delivered a performance that fused industrial electronica with punk ferocity, creating a cinematic soundscape.
The spectral “Intro” set a slow build that teased the chaos to come. “Wild Eyes” followed, setting the room ablaze with its driving pulse. But it was “In the Name Of…” that truly shifted the atmosphere. A dark, Deftones-like thrum underpinned Adriana’s breathy vocals, while Peter’s guitar added a Troy Van Leeuwen-style distortion. The bridge was layered and ominous, evoking Chelsea Wolfe’s shadowy textures.
“Human\” was a cyberpunk fever dream. It began with a low-slung rhythm reminiscent of Muse’s Hysteria but quickly veered into Nine Inch Nails territory: zapping synths, strange clicks and a wall of sound that crashed like a digital apocalypse. The lyrics “Come on and take me, come on and break me” cut through the chaos like a desperate invocation.
Then came “You Left Me Nothing”, a standout track that felt like a supernatural event. Buzzsaw guitars and spaceship synths collided in a mind-melting sonic storm. Despite the absence of a bassist, the low end was immaculate – an earthquake rumble that shook the heritage venue’s rafters. Miguel’s synths shot like lasers, and Adriana’s vocals soared, ripping through the mix. The final explosion was pure catharsis.
“The Farthest I Can Get” began with a haunting refrain offered to the audience: some sang along, some stared, but all were drawn in. The song kicked into motorik toms and revving guitars, transforming DeerMX into a fully-fledged rock outfit. Adriana’s vocals took on a Shirley Bassey-like grandeur, operatic and commanding. She leapt into the pit, preaching to the crowd as synths spun like alarms. The tempo shifted, the energy surged, and the final chorus became a communal scream. Peter’s tremolo and Miguel’s synths fused into an eviscerating climax.
They closed with “Dead Souls”, a track that encapsulated the night’s energy: driving, slinking and dark. Adriana, more punk frontwoman than ever, delivered rap-like verses with a Zack de la Rocha defiance, while the rhythm section channelled Tomahawk’s chaotic drive.
By the end, DeerMX had transformed the venue into a cathedral of noise. It was a visceral exorcism; a volcanic eruption of sound and soul, burning brightly and beautifully haunted. After nearly a decade on the scene, beginning as an electronic outfit and morphing ever darker, this DeerMX feels like a creature caught travelling through the night – now finally caught in the beam of the headlights and revealed in its full intensity.
-El Jay
UDG21｜DEER MX｜登上目的地不明的太空船
文字音符：黑暗浪潮裡的電子搖滾、像太空船駕駛儀的主控keyboard，空靈女聲是艙內指引，而領航員是兩位香港的外藉老師
Yes，UDG 21的門票也是登上太空船的許可證，因為Deer mx的表演讓人魂遊太虛。
第一次接觸DEER MX，未知接下來我會（被）登上太空，所以就從氣質猜測他們音樂風格：女主唱Adriana予人的第一印象是dark dark的，友善但寡言；側邊戴黑超的keyboard手Miguel則笑容爽朗，而他手下那設多款按鈕的主控keyboard早就在悄悄啟動飛船⋯⋯墨西哥鼓手Alfonso就散發豪邁奔放氣場，屬於觀眾會撩他傾偈那type；還有黑衫結他叔叔Peter，典型美國硬漢形象，好有型。至於對他們音樂風格的猜測，老實講當時無咩頭緒，想著不是暗黑狂濤就是熱情之巔吧，能夠同時存著這兩種可能性也是有趣。
Vocal不走健談路線，表演開始時沒有太多hyper開場白，很快就嚟料。作為上過Clockenflap大台的樂隊，they know how to get audience in，Adriana的沉厚女聲很快就令觀眾投入情緒，事前的寡言、精簡原來都用作烘托開場慢歌的氣氛。登上太空是有些步驟的，首先從慢歌進入狀態，同時讓身體慢慢適應Miguel的電子底聲，那種「we暈暈」的電子失真恰到好處，沒有蓋過人聲或太過迷幻，成功營造到一種符合歌曲情緒的空礦感。
登上太空的第二步，Adriana帶頭解放，以她的方式帶動觀眾享受工業搖滾歡愉，快節拍Rock歌配上電子音效，她厚實的聲線展現了強大的可塑性，嘶吼起來同樣有feel。Miguel更放下了手上keyboard（太空船控制器）一齊彈結他，一切都為集結大家的搖滾力量於稍後啟動飛船。這中間Adriana與攝影師有個得意互動，她近距離對勞碌走位的攝影師擺了些很dope的pose，然後攝影師還她一個飛吻（this photographer rockkkk！），這一吻填滿了啟動飛船的能量條，讓大家進到太空裡頭，在空蕩失真的琴聲與結他聲下跟隨Adriana與Miguel進行大合唱，讓太空迴蕩人類讚歌。大合唱是有節拍的幾句「hah ah．Hah ahhh～～～Hah ah！」，有種神聖感（然而歌名卻叫《DEAD SOULS》，夠衝突，nice），或許初到太空的觀眾（包括我）未適應重力，捉不準節拍感，使得Miguel笑罵觀眾「Bad～」，最終大家笑場後再次投入合唱，係兩位領航員帶領下，成功遨遊了太空一轉，至於呢敞字宙之旅中大家望到咩風景，去聽一次DEER MX live你就會知道㗎啦～
*DEER MX UDG 21演出曲目：《Intro》、《Wild Eyes》、《In the Name Of…》、《Human\》、《You Left Me Nothing》、《The Farthest I Can Get》、《Dead Souls》
*DEER MX UDG 21演出樂手：
Vox / GTR -Adriana Falcón
Synths / GTR -Miguel Bastida
Guest musicians:
Drums -Alfonso Rosales
GTR -Peter Enderberg
-劉海亮
omnimori
長夢Endless Dream
幻夢Hallucination
Mist
遺Lost in..
乏Dull
Omnimori’s set journeyed through dream-like textures, post-rock crescendos and emotional extremes. They opened with “長夢 Endless Dream”, a wistful, reverb-soaked track that showcased Eddy’s beautiful, keening vocals. The music was tight and evocative, a fusion of shoegaze, post-rock and dreamy indie that echoed the legacy of Hong Kong acts like Chochukmo and My Little Airport.
It was fitting that Yanyan Pang (Teenage Riot/After-After-Party/Night Ships) introduced them: this was music rooted in the city’s sonic past while reaching for timeless sounds and offering something new.
“幻夢 Hallucination” followed with a super ’90s guitar melody. The vocals leaned into boy band territory, but the instrumentation grounded it in sincerity – especially Harry’s finger-tapped bass lines.
“Mist” was the centrepiece – a sprawling, euphoric post-rock epic. Drawing from Japanese influences and local indie, it built slowly with undulating guitars and soaring vocals. Zach’s drumming was thunderous, with six cymbal crashes leading into a massive bridge. The guitars wailed overhead like celestial signals – it felt like a Prune Deer track made for Clockenflap. This song deserves a huge sound system and a full visual show.
They closed with “乏 Dull”, a post-rock track that took a sharp turn into something darker. A guest vocalist delivered a spoken word section that escalated into full-on screaming – like Mike Shinoda caught in a typhoon. The breakdown was furious, with black metal intensity and rolling drums that felt like a storm breaking over the room. It was cathartic and unforgettable, epitomising this must-see band.
-El Jay
Tommy Chung
1. Shuffle Jam
2. Play My Blues
3. Good Times Roll
4. Walking Blues.
How does someone like Tommy Chung exist in Hong Kong? A city with zero blues tradition somehow spurted out a bona fide blues legend, wheeled out on occasions when a spot of musical gravitas is required.
Of course he can’t be the only one. My own research suggests that, just as Elvis Presley and The Rolling Stones repackaged and whitewashed the blues for a Western audience, Cantopop stars like Sam Hui and George Lam shaved off some of the rougher edges of this distinctly African-American tradition for a regional audience. (The later Ramband, led by guitarist Peter Ng, was hailed for bringing purer blues-rock flavors to Hong Kong audiences). Chung famously founded the city’s first and only blues bar, 48th Street Chicago Blues, in Tsim Sha Tsui, in 2001. A victim of Sars, it closed three years later.
But how many blues players are left in the city today? Old dudes steeped in the art of the 12-bar used to congregate at the monthly jams at Yau Ma Tei’s Green Wave Art, but that closed down a few years ago. Visual artist, raconteur and blues aficionado Yank Wong – subject of Angie Chen’s doc I’ve Got the Blues – could once be spotted sputtering out flat-fifth licks over too many drinks in the corner at Club 71. But we all know what happened to that.
All of which is to say, Chung may not be the only one – the last OG HK bluesman standing – but we do wonder what he does the rest of the year.
He clearly hasn’t stopped practising, storming into the opening extended instrumental “Shuffle Jam”, a 12-bar in E which served as a platform for his blazing, Strat-tastic licks. Interestingly, the former lawyer uses a thumb pick, freeing up his fingers for quick-fire arpeggios, a trick frequently and fluently employed for descending harmonic phrases.
In Logo – the self-described “lounge-punk” trio, defunct but with a posthumous album dropping soon – bassist Kylie Chow was always a beacon of detached, sunglass-shielded cool. But the blues made her work and sweat, ripping a short solo in the opening instrumental, before drummer Wu On-wai took a few bars. This would be about all the showcase these hired hands would get – the rest of the set they were relegated to plodding the bounce beneath Chung’s voice and, primarily, guitar.
“Come On (Let the Good Times Roll)” is so well known from Jimi Hendrix’s 1968 interpretation (on Electric Ladyland), Chung’s mellower, more faithful take on the Earl King classic – another blues in E! – felt a touch lethargic. However the two numbers that saw Chung take his open-tuned slide guitar were golden, displays of virtuosity and soul alike. Because that’s the thing about the blues: in the wrong hands, the idiom so obviously falls into the easiest cliches, offering the inexperienced soloist a chance to widdle at will with nothing to say. But to really play the blues, you gotta live it first.
-Rob Garratt
QIU HONG (秋紅)
1.叢林法則-Jungle
2.落葉-Falling leaves
3. 城內入夜-Night
4.藤掕瓜 – Vines
5.Flower-Flower
6.圍住我-Break the wall
“They’re all so young!” a friend proclaimed loudly, crammed in the front of the stage, as Qiu Hong 秋紅 readied themselves for showtime. That much is true – drummer Alvin is only 19, he proudly told me afterwards – and also more remarkable than it seems. Because one of the five men on stage must be twice as old as his bandmates. The story goes, after eight-odd years of inactivity, Jan, the founder/leader of this quasi-legendary metal act parted ways with his old bandmates, and has revived the project with an entirely new line up. And because he apparently owns the rights to the songs, he’s allowed. Uh-oh, is this another review where I’m forced to invoke Axl Rose?
And this was the new line-up’s big debut.
A few disclaimers. I am not the right person to write this review: I missed the band’s first time around. I don’t speak Cantonese. And I don’t even like metal.
So let’s stick to the business.
If Jan is pondering his prospects, feeling the market, or simply needs a low-pressure first outing to road test his new recruits … well then hell, The Underground was an ideal platform. You’re guaranteed a crowd, payment, and props for doing the scene a favour.
So assuming this was market research, the focus group verdict was a resounding success. Take this baby to market, at once.
A few hours before the show, Qiu Hong 秋紅 were shunted from the smaller Underground stage as it became clear why the festival’s second day was a sell out. Inside the larger, 240-ish-capacity Dairy room there was barely space to move – until 90 seconds into opener “叢林法則-Jungle”, the whole room took a deep breath in to accommodate the circle pit that would be the defining feature of the next 30 minutes.
It’s easy to hear the influence of nu-metal stalwarts Korn and Limp Bizkit in the new single’s tightly wound teenage rage (the first with the new line-up – more are on the way, Jan promises.) A metal-fluent friend compared it to Scar The Martyr (noting “you get bonus points because the drummer was Joey Jordison, ex-Slipknot”), with a touch of Heretic Anthem in the heavier outro.
By the second track “落葉 (Falling Leaves)” Jan had dramatically leapt into the pit himself. Of course it was impossible to take anything in, to scribble a coherent note, amid the chaos – as it should be. Cutely, the couple next to me managed to pass out mints like pills to passersby (we’re all so close together, let’s at least smell good? #sohongkong).
Overall the young guns proved their worth, despite a few nervy rhythmic fluff-ups. Second vocalist Chu handled the doom vox and harmonic heavy lifting alike, freeing Jan to pounce, prowl and film on his phone – getting sentimental already, or taking notes for a post-set debrief? He shouldn’t be too harsh: bassist Nick and drummer Alvin pounded with passion, and Felix filled a hell of a lot of space as the only guitarist on stage.
The show ended with the piledriver assault of “Flower”, before Jan brought a child with a painted beard on stage to wave devil horns for closer “圍住我 (Break the Wall)”. Cute, but give him ear plugs next time, please.
-Rob Garratt
UDG21｜秋紅｜狂、暴、野、怒與希望
文字音符：宰制級別的中佬嘶吼、基因叛逆、地道粗口、舞台新血、嘶吼背後不只純粹的惡怒，還有美好的東西在裡頭
擠得入場內時，瞥見主音Jan企上了疑似是座地喇叭的東西，站姿似皇者登基，傲視眼前一切，那不是「自信、信心」就足以描述的氣場，mix了少少殺心，準備陣間開聲就將腳下舞台變叢林，以嘶吼勾起觀眾野性共嗚。作為02年成立嘅地下搖滾樂隊，秋紅近幾年消聲匿跡，至25年重生，今次UDG 21舞台見秋紅核心Jan組了新人腳，有佬有嫩。嗯，想必他們都知道這場號召是hardcore的。
Jan開口，全場爆炸，直接成為UDG 21最high的一場表演——他開場前那股傲氣不是沒來由。地道粗口、嘶吼快嘴與強勁節拍三者fulfil了起哄條件，場地大細亦框限不住被辣㷫的觀眾，隨Jan從台上跳入人群，所有人獲得了「解放許可證」，人浪、Mosh Pit自然又合理不過地發生，Jan跳落台的一刻還有好心觀眾將Mic線拉開，好讓主音不被勒死，哈哈！（這mic線當時已在Jan頸上纏了一圈，Real亡命之徒）
至於新人腳，另一主唱Chu渲染力同樣夠強，壓到場，夠狠夠專注，但可以有更多牽引觀眾情緒的互動；結他佬Felix手結他有料，喺新歌兼顧咗一小段rap；鼓佬Alvin打鼓時嘅表情狀態幾好，表演入面都有幾句吼叫位留咗比佢，兩個年青boy都無怯場，不過感覺顧埋「唱」部份係有少少吃力。Bass佬Nick低調有力，起到定心作用。串連Bandmate的還有Jan，唱到咁上下會同隊友碰一碰拳，中佬毋須多言：「I got you and we make it.」
歌詞下下媽叉確實舒暢，畢竟社會建制x us everyday，然而「暴怒與狂野」若沒有一種內容或理念support，只是純粹發洩的話，雖是人類天性所在，但作為Band的核心未必能走遠，嬲完發洩完之後仍要生活嘛。秋紅呢班band佬band仔無一味得個嬲、得個X，喺佢地身上仲見到愛同希望嘅特質——除了在唱《Flower》前讓全場高舉經典的花pose 作為peace remind；見到小朋友喺台下，Jan會主動邀請佢上台由小朋友lead觀眾大合唱，將future嘅信念散發開去；唱完最後一首歌，更會叫觀眾留步為鼓手Alvin老竇合唱生日歌——呢啲畫面、舉動，令秋紅係新人腳磨合階段中，個性也漸漸鮮明起來。當然，隊內加入年輕人，本身已經有一種訊息。
*秋紅UDG 21演出曲目： 《叢林法則-Jungle》、《落葉-Falling leaves》、《城內入夜-Night》、《藤掕瓜– Vines》、《Flower》、《圍住我-Break the wall》
* 秋紅UDG 21演出樂手：
Drum: Alvin
Bass: Nick
Guitar: Felix
Vocal: Chu
Vocal: Jan
-劉海亮
Seasons for Change
1. Welcome Home
2. Meteor
3. Move On
4. Anchor
5. Sky
6. Rain
Seasons for Change are incredible to see live. With much of the audience coming off an exhilarating set by Qiu Hong (秋紅), it’s no small feat to capture their attention, and Seasons for Change do this superbly. The band is perfectly in sync, with KASA’s vocals blending seamlessly with the instrumentation. They seem to feed off the excitement of the crowd, building up even more energy. “Move On” and “Anchor” were standouts in the set. Both songs showcased KASA’s impressive vocals, and “Move On” has a catchy chorus that’s a real earworm. The bridge of “Anchor” features a powerful build of vocals and guitar. The harmony between instrumentation and vocals is a recurring theme in Seasons for Change’s songs, and they are absolutely worth seeing live.
-Ash B
Bad Actors
Intro
Sobering up
FBI & CIA
Suicide Circle
Exxxit
Remorse Song
Racing
It was nice to see George Silver, the bassist/guitarist in Houseplants, leap on stage the second Bad Actors wrapped their late set to offer congratulations. A tactical soft-power play, perhaps – after all, its Houseplants who are appearing in The Aftermath’s Battle of the Bands final a week later on June 21, after controversially knocking Bad Actors out in the heat.
The post-punk quartet have been heavily tipped by scene insiders since their sudden unveiling to the world, less than a year ago – playing their first three gigs in just 11 days in July 2024. But steady up, no one really lands fully formed.
The instrumental intro was a cool, smart piece of intention setting: a Pixies-ish, surfy, Tarrantino-ey, hoe-down that let Josh do his very best Joey Santiago impression on guitar. New single “Sobering Up” kicked things off properly, those shimmering, reverb-laden chords quickly giving way to an edgy strut and pure grunge chorus – the old quiet/loud thing in short, trying perhaps a bit too hard to be poppy yet punky all at once, with a commercial motivation. The purer, powerful attack of “FBI & CIA” was what they should be doing – edgy, raw, wild, wonderful. The worryingly titled headbanger “Suicide Circle” did, perhaps as destined, get a circle going, before things calmed for the almost-Blondie, 80s-esque “Exxxit”.
It was refreshing to see a band where the guitarist was the least important member – this is unsubtle, primal music of regular rhythm, built on the driving force of Roger’s bass, riding Rocky’s drums. Of course the real weapon – the thing Bad Actors success will depend on – is vocalist Ming, whose charisma, message and mystique are the necessary ingredient of any captivating front-person. This not-so-secret weapon is also the reason we have no doubt Bad Actors will succeed – Ming’s cathartic scream in the climax of “Remorse Song” hit the heady heights of emotional expression the band aspires to, and marked the clear set highlight. Closer “Racing” got another pit going; but this was a nice, indie-kid pit – not the violence and rage witnessed in front of Qiu Hong 秋紅, in the same spot, an hour earlier.
We still think the hype may be a bit premature for a young band so clearly still evolving in front of our eyes, but Bad Actors have all the elements – the sound, look, presence and passion – to grow into a major contender on the scene. Clockenflap surely beckons.
-Rob Garratt
Ink Inferno
1. 半途
2. 一息
3. 寵牢之內
4. 萬念俱灰殺掉你
5. Voices
6. 人生戰爭
Ink Inferno is a band whose confidence in their abilities gives them the impression of a much more seasoned act. Kingto, the singer, seems confident and is able to build up hype with the crowd. The band is just as talented, with a standout moment of the set being a solo by Kwan, the bassist. The audience clearly had a great time, headbanging enthusiastically to every song. Kingto’s voice is strong, whether he’s screaming or not. While some songs end abruptly, the energy is immediately picked back up by the next track. They’re a great band to mosh to, and definitely one to keep an eye on for future shows. Special mention to Don on guitar for gently coaxing the history of The Underground out of Chris B before the start of their set.
-Ash B
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 Dawn.
海報由Dawn.
21st Anniversary logo designed by Angus Leung. 21周年紀念logo由Angus Leung設計
