Big BIG thank you to The Underground Team who made this night run so well: Yan Yan, Gordon, Kiwi, Wincy, Joana, Raven, Calvin, Darwin, Aaron, Tim, Ivana and Kian.
Special shout-out to Thom The Thim for the Throwback Exhibition.
Thank you to our reviewers: Leong, Sherman, Cyril and Shaun.
Thank you to Yvonne & Fringe Club, Black Kite, bakerie.c, Iconic Hotdog, Franco African and Abe.
Thank you to Harmonic Empire and GD Audio Hong Kong.
Thank you to the bands who put 200% into performing.
Biggest thanks to the audience who came to check out / support / love the bands on stage.
非常多謝 The Underground 嘅團隊：Yan Yan、Gordon、Kiwi、Wincy、Joana、Raven、Calvin、Darwin、Aaron、Tim、Ivana 同 Kian，令到呢一晚可以順利完成。
特別 shout-out Thom The Thim，搞咗個咁正嘅 回顧展覽。
多謝我哋幾位 reviewers：劉海亮、Sherman、Cyril 同 Shaun。
多謝 Yvonne 同 Fringe Club、Maurice 同 Black Kite、Cherie 同 Bakerie、Iconic Hotdogs, Franco African 同 Abe 嘅支持。
多謝 Harmonic Empire 同 GD Audio Hong Kong
多謝晒所有樂隊，上台真係落足二百分力去表演。
最多謝嘅梗係到場嘅觀眾，入嚟睇／入嚟撐台上面嘅樂隊。
❤️ Chris B xx
Stone Dragons
Drown
Seven
Hideaway
Holly
Feels Like Nothing
Nevergreen
Walk on by
You Look So Fine (Garbage)
Telephone (Blondie)
Avi and Lauren took the stage at The Dairy Bar as a two‑piece band that instantly proved capable of filling the intimate space with a sound that felt both expansive and deeply personal; Avi’s smooth, resonant guitar work paired with Lauren’s deep, soulful voice created an unforgettable combination that carried the audience through a thoughtfully paced set.
They opened with “Drown,” a somber, soulful ballad that immediately drew a few listeners into its emotional current, and after a brief, professional tune‑up they transitioned into the slow‑paced “Seven,” where Avi’s warm, shining tone drenched in tasteful reverb perfectly complemented Lauren’s slightly husky, yearning vocals. The third song, “Hideaway,” recently featured on the radio, picked up the tempo and showcased Avi’s masterful use of the whammy bar together with a deft blend of finger‑picking and chord strumming, while Lauren’s voice rode the upbeat rhythm with an infectious energy. “Holly,” a faster ode to Wanchai, saw Avi’s driving chords propel the track forward as Lauren’s slightly crackly timbre filled the room, adding a gritty yet melodic edge.
The band’s favorite, “Feels Like Nothing,” arrived at a moderate pace, gradually drawing more of the crowd toward the stage; its subtle dynamics; quiet verses swelling into a fuller chorus, which allowed Avi’s nuanced picking and Lauren’s emotive phrasing to shine. With “Nevergreen,” the set took a wistful turn, and a few audience members could be seen swaying to Avi’s lingering, wistful guitar licks that underscored Lauren’s plaintive delivery.
The last original, “Walk On By,” already feels poised to become their debut single, its polished arrangement and memorable hook eliciting enthusiastic applause and signaling strong radio potential. The duo then surprised the audience with a cover of Garbage’s “You Look So Fine,” transforming the grunge‑infused original into an atmospheric, guitar‑driven rendition while Lauren added a fresh, soulful twist that highlighted their ability to reinterpret classics with their own stylistic stamp.
They closed the night with a high‑energy performance of Blondie’s “Hanging on the Telephone,” a fast‑paced number that had the band clearly enjoying themselves on stage; Lauren’s spirited vocal bursts and Avi’s energetic strumming kept the crowd on their feet and left the room buzzing. Overall, the performance was a masterclass in how a duo can command a venue: Avi’s tonal control, from the warm reverb on “Seven” to the expressive whammy‑bar work on “Hideaway”, combined with Lauren’s vocal texture, ranging from crackly vulnerability on “Holly” to confident power on the Blondie cover, created a seamless flow between original material and thoughtfully chosen covers.
While a brief instrumental interlude or subtle percussion could add an extra layer of depth for larger settings, the duo’s chemistry, musicality, and emotional range made the evening a compelling showcase of talent, promising a bright future, especially with “Walk On By” set to become their first single. If you have the chance to see them live again, arrive early; you won’t want to miss a single note of this captivating performance.
– Sherman Leung
Pomegranate Heist
Mulligan
Hot Air
Violet
Forgettable
Memento of Lexis
I Threw Glass at My Friend’s Eyes and Now I’m on Probation – Destroy Boys (Cover)
Last night’s gig was an absolute blast, kicking off with an electrifying intro from Chris B that immediately set the stage for an unforgettable evening. We were then treated to the raw talent of a band comprised entirely of 17-year-olds, proving that age is truly just a number when it comes to musical prowess.
Their first song, “Mulligan,” exploded with an energetic burst, featuring punky vocals that grabbed the audience’s attention from the first note. The momentum didn’t let up with the second track, “Hot Air,” which opened with a fast-paced intro that instantly got bodies moving in the crowd. This song had a distinct Pixies vibe, complete with a catchy interlude that had everyone hooked, and a drum solo that went absolutely wild during the guitar break.
Before diving into their third song, “Violet,” the band engaged in some charming crowd interaction, which only added to their appeal, showcasing some truly interesting drum beats, a testament to the immense practice and dedication these young musicians clearly put into their craft.
The fourth song, “Forgettable,” took a grungier turn, demonstrating the band’s versatility before coming into “Memento of Lexis,” a particularly special moment as guitarist Pia revealed it was both her and drummer Lincoln’s birthday. The song featured a moody bass line that perfectly complemented the drummer’s visibly enthusiastic performance.
The energy soared once more with a cover of Destroy Boys’ “I Threw Glass at My Friend’s Eyes and Now I’m On Probation.” Lincoln’s vocal intro was a highlight, leading into a groovy verse and a solo with a delightfully bassy guitar tone. The crowd was fully immersed, clapping along to every beat.
The evening culminated in a well-deserved encore, cheered on enthusiastically by the crowd. This final punky explosion left everyone buzzing and garnered a huge round of applause. This band is not just tightly locked and incredibly talented; they’re also full of undeniable charm. We can’t wait to see what these rising stars do next!
–Sherman Leung
Delta T
國王的救生衣
通心粉
土豪金
純愛夜空
盛夏的細語
寂寞的雪糕
Can’t Stop
From the moment the band began soundchecking, an undeniable party atmosphere enveloped the venue, promising an evening of high-energy entertainment. The DJ, impressively operating two MacBooks, provided a dynamic backdrop, seamlessly blending DJ sets with Cyrill’s live guitar instrumentals throughout the night.
The official kick-off was with “國王的救生衣“, which began with a cinematic entrance that immediately grabbed attention. The thumping bass and frontman Delta T’s incredibly groovy dancing set a vibrant tone. The energy continued with the second song, “通心粉“, featuring an almost trap-style intro. Guitarist Cyrill put down their instrument to join in on the rapping, delivering catchy hooks over a compelling hip-hop beat.
“土豪金” saw DJ Deanz bouncing along from the very first note, a clear sign of the infectious rhythm. This track boasted a catchy chorus uniquely punctuated by a bird call, adding an unexpected and delightful touch. The mood shifted slightly with “純愛夜空“, which had a distinct city pop vibe. The guitar and backing track blended so seamlessly that it created a smooth, immersive soundscape, prompting the audience to sway along in unison.
A special moment arrived with “盛夏的細語“, a song they were performing live for the very first time. This slower track showcased a tasteful use of autotune, a rarity at underground events, proving that the effect can be employed with artistry. The 80s-inspired “寂寞的雪糕” brought the energy back up, with DJ Deanz visibly enjoying the groove. Delta T expertly got the crowd jumping along to the chorus, eliciting massive cheers from the enthusiastic audience.
The grand finale was “Can’t Stop,” preceded by some fun and engaging crowd talk that further connected the band with their fans. As the song played out, a significant portion of the audience was grooving along, a perfect culmination to an electrifying performance where the band members themselves were clearly having an absolute blast. This gig was a masterclass in dynamic performance, showcasing a band with incredible stage presence and a diverse, captivating sound.
–Sherman Leung
Naggin Eejits
1.Franks Medley (trad)
2.Drunken Lullabies (cover)
3.I Useta Love Her (Cover)
4.Wake Me Up (cover)
5.The Riverflow (cover)
6.Jump Around (cover)
7.You Spin Me Round (cover)
8.Dirty Old Town (cover)
(All covers are ‘Naggin Eejits’ versions)
The Naggin Eejits, are Hong Kong’s #1 Celtic Band because they are, by their own accord, and by my very unreliable personal experience, Hong Kong’s only Celtic band. This is a tall order in a city that was at one point jokingly called the “Celtic Colony” and whose Scots-Irish traditions run quite deep (and not only in the insane amount of Guinness my parent’s generation drank). I may have seen them once at the Races but I don’t think I’ve ever seen them sober, so I was actually quite excited for this show.
So, then! Are the Naggin Eejits the boys of the old brigade? Or should the IRA make them run the hell away?
Let’s start with the grand. Song line-up’s a good bit of craic. They began with Frank’s Medley, a mix of classic Irish drinking songs like Hills of Connemara and I’ll Tell Me Ma (or the Belle of Belfast City) among others. They then moved onto covers of more modern Celtic Rock like Drunken Lullabies (Flogging Molly) and I Useta Lover (The Saw Doctors) and The Riverflow (Levellers). They even swapped drummer, Rick, and lead singer, Paul, for a rousing cover of House of Pain’s Jump Around. The audience were clearly (disappointingly) more receptive to the British and American song covers Wake Me Up, Jump Around and You Spin Me Right Round. They did, actually, wake up, jump around and spin. I also really liked a lot of the song arrangements; the fiddle opening to Wake Me Up was a welcome Celtic addition and gave Paul a good chance to interact with the audience, encouraging one of the photographers to get down and do a jig! In any case, Kate and Lidia’s fantastic fiddle work deserves a shout out.
But let’s talk a bit about the audience interaction…and about the parts of the band that are not girls with fiddles. Irish folk is unfortunately not as popular here as it once was, so I didn’t expect everyone to be belting Dirty Old Town with me (which Paul said was a “return to Ireland” but is actually, fun fact, about Salford, Manchester). Nonetheless, I still spent a good part of the show wishing it was more of a ceili. The beauty and power of a good Celtic party is that everyone’s singing and dancing. If you don’t know the lyrics, the rhythm will infect you, and in any case, after the chorus has been screamed three times, one naturally picks it up. The audience did not seem to be infected – neither by the blight nor by anything too bright – for the first few songs, they kept somewhat at arms length and only warmed up around the time Wake Me Up came on. The band was playing and talking, the people were listening but there didn’t seem to be a very close connection. Perhaps the choice of key could have led to this – a lot of the songs seemed a little low in Paul’s range which kept him from really connecting musically to the crowd.
Part of me feels like I’m being overly critical because I wanted to see a gaggle of leprechauns impersonating The Wolfe Tones. That may be racist. But I’m also unsure what is so Celtic party band about a black Adidas T-Shirt.
All in all though, a couple of fun jigs. Whether the Eejits are really the best Celtic party band in Hong Kong is up for debate but I wouldn’t for a day wish we not have them. After all, everyone needs some luck o’ the Irish in their lives.
-Cyril Ma
The writer would not like to apologise for the number of badly placed Irish puns and references in this review.
The Hertz
1. 獸之路
2. 千世書
3. 泡泡
4. 逆旅
5. MR. SMILE
6. 末日快車
7. 命之道
The Hertz 搖滾稚氣
Mic checked聲音畫面無問題，起歌前冇特別寒暄暖場，主唱Herman簡單一句「Live house場你哋知規矩啦～」，場內半數人就有默契咁同時Ｈyper——睇嚟The Hertz嘅Fans唔少，而且仲真係幾知聽團「規矩」，比一般觀眾更快投入喎！
The Hertz定位Indie Pop，曲風多變時快時慢；近年上多咗大台，唔知細場表現又點呢？我冇聽過佢哋嘅歌，入場前揀咗最Hit嗰幾首熱身。對返咗一個星期工，禮拜五傍晚有啲眼瞓嘅我嚟講，竟然係愈聽愈迷糊，直至聽畢<千世書>精神先返返嚟——首歌嘅概念同編曲都幾耳目(第)一新，完Show後自己仲Loop緊！
返去現場，聽Live同網上就咁聽都幾大分別！我記得第一首＜獸之路＞係節奏輕快，但又未「密」到會「跳」住嚟聽嘅歌，然而現場前奏響起，比喇叭就咁播出嚟多咗好幾分搖滾味，前排觀眾勁High，一洗Office慵懶頹風，耳目(再)一新。
Herman把聲幾舒服，有種男仔專屬嘅稚氣，成就咗佢作為主唱嘅辨識度；呢把聲所衍生嘅親和力令新聽眾都可以快速入局，聽聽吓仲自然卸去一周工作嘅戒備狀態。今次表演曲目有快有慢，整體都偏難唱，爆發、輕聲屢屢切換，更突出主唱歌聲層次；雖然後尾喇叭問題有啲擦聲，調整未果，影響咗慢歌嘅穿透力，但整體唱功優秀，更重要係佢都好享受唱歌！
唱功以外，樂隊整體配合都好好，各有發揮。最快引起我注意嘅係Keyboard哥哥Him，因為佢嘅「舞台」比其他人更細——喇叭、DJ SET、Keyboard、電腦就似四面牆圍住佢。呢個轉身都有啲逼嘅空間無阻佢自得其樂＆與bandmate同樂，一個用力彈Keyboard嘅樂手係點？係會「彈到彈起身」啊！而記得有首歌就到高潮位，Bass手Ray露出一副「計劃通行」嘅笑容，好似預知到Bandmate會點樣驚艷觀眾，呢啲默契都令人感覺五子同在。今次The Hertz有首歌第一次玩live——
總括嚟講，The Hertz嘅Live，無論快歌慢歌都好有感染力，主唱略帶稚氣嘅歌聲無論用搖滾定柔和嘅方式，都可以令你耳目一新。就算冇特別花臣，純粹嘅表演都足夠觸動，睇Live就更High。歌曲編曲豐富，隊Band情感都豐富，五子享受舞台，同在感強烈；主唱話見返Fans好開心，而你會feel到佢係真心開心而非門面話，唔怪得有班咁撐佢哋嘅Fans啦。雖然今次喇叭問題聽到有啲耳鳴，不過呢種耳鳴，聽The Hertz值得啊！
如果你期待緊佢哋2026下半年新企劃，聽完新歌
-劉海亮
Yusobeit
1. #Celebration
2. 56K
3. 無3害
4. 怪物
5. 唯有平淡
6. 秋分
Hong Kong pop music seems to really only have two moods.
Either A) chill af and lovey-dovey sounding but with deranged undertones; think Serini and MLA, or B) deranged and insane but actually chill af inside; think Snails and, you guessed it, Yusobeit.
Despite multiple technical issues stopping them from starting on time, they simply rolled with it. Several unsuccessful sound tests and they decided it was time to play their first song #Celebration which immediately showed off their incredibly layered musical style. Synthesizers, pre-programmed sound effects, metalhead screaming, rapping drummers, several guitar lines. Crazy stuff. But what drew me in was how they asked us at the end for improvements – the sound mixing was still a bit off and instead of just talking to the booth, Elvis (lead vocals) turned to his audience for feedback to get things right.
After a bit of tweaking, they sang their second number 56K. Another crazy screamfest with Elvis jumping and dancing and doubling over, and the fangirls in the audience doing the same. By 無3害, their third song, the crowd was all warmed up (and warm) from the dancing and screaming. Most technical issues were also resolved, as was Elvis’ slight falsetto tuning issues from earlier songs (I later found out he was having an ‘off day’. It did not seem like it at all!). But they again turned to the audience and asked us if there could be any more improvement to the sound. Someone in the front said 可以好啲 (it could be better). Exasperated, Elvis turns to him and says: 香港人就係咁嘅問題! 可以好啲真係點啊？有冇意見呀？(This is exactly the problem with Hongkongers! It could be better? What could be better? Do you have a suggestion?)
I couldn’t help but laugh along at such a natural piece of Hong Kong banter. The banter continues – Elvis then asked 有冇人唔識講廣東話？。。。你唔會識答以個問題 (Does anyone here not speak Cantonese? … You wouldn’t be able to answer this question). Then he told us about how he tried to get over his bronchitis by smoking a cigarette. Apparently he got that suggestion from AI. And Elvis thinks it works because the ciggy forces him to cough out all his phlegm! Local culture, clearly, is alive and well. But not only local Cantonese culture but Hong Kong’s great multinational, multicultural culture. The band, unprompted, told us all to turn to the back of the hall – Ross is a real motherf*cker and it’s his birthday. Let’s all sing happy birthday – Ross, an old, quiet, slightly messy yet friendly looking white man couldn’t help but smile as everybody, strangers and friends, sang his birthday ditty.
The final few songs 唯有平淡 and 秋分 were emotional heavy rock ballads where, somehow, the band’s charisma had yet another second wind. In 唯有平淡, Elvis stepped off stage to sing in the audience. Surrounded by his loving fans, he sat down and gestured for everyone to follow along, creating a cozy little circle on the Fringe floor. He then stole someone’s phone to take some selfies…as one does. Then he looks up. Wow. This is so comfortable I feel like I’m in my room at home. Then he lies down and decides to not get back on stage for the final song. What?! I told you this is my home! And as everyone waved their orange amber yellow phone flashlights, the stage lights seemed to dim ever so slightly.
Before tonight, I’d never seen Yusobeit. I thought I was pronounced Yu-So-Be-It. Four syllables. It’s pronounced Yu-So-Bate. Three syllables. Shows what I know.But you don’t need to know a band in advance to enjoy them and Yusobeit are so fun, lively and genuine that you can’t help but feel part of their inner circle just after a few songs. And maybe, just maybe, for a moment, we even shared the same home.
-Cyril Ma
Diamond 6
1. Head electronica
2. pretty shot up
3. transit casino
4. neon crush
5. darkest hour
6. far from home
Diamond 6 delivers a powerful wall of sound from the moment they step on stage, which instantly gets the audience moving. Anchored by the tight, in-sync backbone of Gavin on bass and lead vocals, Albert on guitar and backing vocals, and Matt on drums and backing vocals. From the opening beat, the trio are immediately comfortable and relaxed, and their confidence grows with every track. There’s a clear connection between them—they instinctively know when to give each other space and when to come together to hit with full force.
“Pretty shot up” builds on that momentum, with guitar and bass leading the charge before Matt drops in behind, pushing the energy forward. The backing vocals add depth here, and the band shows real control—pulling back at just the right moments before surging forward again with impact.
“Transit Casino” introduces a more spacious, atmospheric feel. This track gives Gavin’s vocals room to shine, particularly in the verses, before the band kicks back in with a strong, driving chorus. The dynamic contrast works especially well here.
“Neon Crush” stands out as a highlight of the set. Albert’s guitar effects create an almost synth-like texture, adding a fresh layer to the band’s sound while Gavin and Matt hold everything together underneath.
They close with “Far From Home,” returning to the driving, high-energy sound that Diamond 6 deliver so well. This time, they build in more space, allowing each member to step forward with moments that feel like mini solos—each one enhancing the song rather than overpowering it.
Diamond 6 are a great live band: fun to watch, full of energy, and clearly enjoying themselves on stage. The crowd responded in kind—those already familiar with the band were fully engaged, and newcomers were quickly won over.
Opportunities for original bands to play festival stages in Hong Kong are still relatively rare, and Diamond 6 made the most of it. They delivered a set that proved exactly why they deserve that platform.
Shaun @BRG
Alpha Tone
Alpha Tone_UDG22演出歌單：
1. Last Party
2. 迷宮
3. 蝴蝶
4. 321
5. 黑白
Alpha Tone_UDG22演出成員：
Zing (Vocal)、Moz (Guitar)、Frankie (Bass)、Crow (Drums)
Alpha Tone 本土視覺
如果香港有多幾套本土王道熱血動畫，主題曲考慮交畀Alpha Tone啦。佢哋嘅歌夠硬夠燃，絕對係大加成！
Alpha Tone走視覺系搖滾路線，日搖風格，結他手嘅老西同Bass手嘅髮型令我諗起後X JAPAN（以及其他平成年代嘅日本樂隊）。
樂隊造型印象深，主唱阿Zing嘅吼叫亦一樣。佢把聲嘅辨識度唔算突出，但喺Screaming上嘅發揮就令人眼前一亮———由唱到嗌嘅切換、氣量，令我有種「係佢嗌緊！？」＆「佢仲嗌緊！？」嘅驚艷。Zing確係有自己一套用聲技巧，並且能作為底牌驚艷觀眾，臨尾＜黑白＞中「要你默許———」嘅Screamming，就成功將氣氛推到高潮。另外Bass手和音把聲幾有辨識度，同主唱一高一低有啲火花；能夠將呢種反差加以善用，會成為樂隊特色之一！
嗌爆係嗌爆，然而我覺得嗌前嗌後，Alpha Tone可以再滲多啲「無明火」鼓動情緒！後尾睇返資料，當晚演出少咗位Keyboard樂手，加上結他聲效出問題，Live performance唔多唔少有影響。呢啲時候就考樂隊整體嘅情緒渲染力——姿體動作、表情、互動方式、高潮Signal等。我見到Zing有帶頭揮手，不如再誇張甚至浮誇啲，畀多啲信心視覺系／搖滾樂隊嘅Fans，佢哋接得住你團火嘅。多少少堆疊，高潮位可以去得更盡！
總括嚟講，Alpha Tone用視覺系造型玩老派硬搖滾，確立咗風格並塑造緊自己嘅特色。當中佢哋嘅歌詞同概念幾出眾，有股純正硬燃嘅質感！而其他部分如台風同編曲就可以再豐富啲，整體都值得觀望嘅！我見到Bass手好享受表演，結他手會為自己登台而忍唔住開心；期待佢哋繼續以本土視覺玩出本土視覺，他朝可以喺某套香港動畫／Game上，聽到Alpha Tone把聲唱(Scream)出一首熱血主題曲！（佢哋嘅歌真係好Ｍatch一啲激鬥熱血畫面，哈哈！）
-劉海亮
Bitez
1.寅時無鬼
2.出走東京
3.風花
4.指尖
5.死心不息
6.小魔怪
Vocal – Bitez
lead guitar – Ron
Rhythm guitar – Matt
Bv and tecs – Leo
Bass – Harry
Drum – Kevin
With a new name and a new lineup, Bitez start their set strong. Every time I watch this band they get better, and tonight they are tight, relaxed, and clearly enjoying themselves. Bitez and Leo’s vocals are working particularly well together, while Ron, Matt, Harry, and Kevin lay down a sound that perfectly supports the back-and-forth between them.
The second song, “出走東京,” starts with the guitars, Matt picking out a refrain while Leo comes in across the sound. Bitez’s vocals are particularly strong in this track—it really suits his range—and he encourages the audience to never give up on their dreams. It’s one of my favourites of the set, and the crowd clearly agrees. Harry and Kevin lay down the perfect beat to let the guitars work together and fill out the sound.
The next track, “風花,” picks up the pace with Ron leading on a running riff that fills the room. The band pull back and then come roaring back in, showing great control of dynamics.
Then the band takes it down a notch with “指尖,” a more laid-back track played with a real sense of connection and enjoyment. Again, it really suits Bitez’s range, and he shows what a strong frontman he is—drawing the crowd in while still sharing the stage with the band. Leo’s backing vocals add a layer that makes the track feel even more soulful.
This new lineup really works and has taken Bitez to another level. It’s even more impressive when you learn that Ron had broken his finger just days before the show, but was so determined to play that he adapted his style to make sure the band could perform.
The final song, “小魔怪,” is about Hong Kong and closes the set perfectly. Bitez introduces it by talking about how beautiful the city is and how much they love it, and that really comes across in the performance. The crowd goes quiet, almost leaning in to take it all in.
I spoke to the band afterwards and they said they’re getting ready to record the track—definitely one I’m looking forward to hearing again.
Shaun @BRG
Most Into The Music (最投入音樂獎)
For someone who’s clearly absorbed in the music and whose energy naturally gets others more engaged.
比嗰啲一聽歌就好明顯好投入、又有感染力，會自然令身邊啲觀眾一齊投入嘅朋友。
One winner per night
每晚會揀出一位得獎者
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 Yan Yan Pang. 海報由 Yan Yan Pang.
22nd Anniversary logo designed by Angus Leung. 22周年紀念logo由Angus Leung設計
