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 and Kian.
Special shout-out to Thom The Thim for the Throwback Exhibition.
Thank you to our reviewers: Leong, Tibialis, Hazel-Rah, Ashley 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、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、Daniel、 Hazel-Rah、Ashley 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

Cloudy with A Chance of Pandas

1. Woodchuck
2. ⁠Volcano
3. ⁠Bad For Me
4. ⁠Instant Noodles
5. ⁠Row Your Boat
6. ⁠Dancing With My Demons
7. ⁠Toy Boy
8. ⁠(Cover of Teenage Dirtbag by Wheatus)

Having never seen Cloudy with a Chance of Pandas before, I was pleasantly surprised at how strong singer Amanda’s voice is. The set begins with Woodchuck, a fun opening song to start the festival with. The next song Volcano was my favourite of the set. The bridge of the song was built up really well, the vocals are excellent, and the keys and guitar in this song just push it that extra mile. Bad for me left me wishing the song was longer, not because it was particularly short, but because I enjoyed it so much.

Already at this point in the set, it was evident how much I enjoy Amanda’s voice; I would listen to her sing about anything, which perhaps shows in the next song: Instant Noodles! Catchy and fun, Cloudy with a Chance of Pandas seems to do a great job at mixing light-hearted songs with more personal ones. I would have much preferred the bridge to feature more vocals, but admittedly ‘so hot so hot spicy spicy’ is very fun to say. The fifth song of the set is Row Your Boat, and once again the vocals are incredible. The bass here really makes the song; I feel as if I wouldn’t have enjoyed it nearly as much without it.

Another personal highlight of the set, Dancing with my Demons shows what Cloudy with a Chance of Pandas does best: mixing silliness and vulnerability. The band sounds pleasantly jovial whilst Amanda sings out her feelings. It builds nicely, everyone is playing excellently, a great song to showcase the strengths of the band.

As we reach the last original song, the band has noticeably relaxed a lot more since the start of the set, and the audience’s attention hasn’t wavered for a minute. Toy Boy is a fun, albeit slightly repetitive, song to end the originals with. It would have been great to have Amanda unleash her vocals more throughout the song in the way she does before the final chorus, but it is a fun song nonetheless.

The band finishes their set with a cover of Teenage Dirtbag, which was a great choice. The cover was very well done, it felt like the band kept everything people like about the original whilst putting their own spin on it.

Needless to say, I had a great time watching this band. Cherry on top of a great set was the free stickers they gave out afterwards :).
I’m excited to catch Cloudy with a Chance of Pandas wherever they play next!
-Ash B

Umoja Rootz

UNIFY
EXPLOITED
STAND
ONLY MY LIGHT
BACK IT UP

Umoja Rootz bring a smooth, infectious reggae groove that immediately settles into the crowd from the opening notes of their set. With Moon on drums and Duane on bass locked tightly together, the foundation is solid from the start, while Seb on guitar and Ben on organ—supported by Izumi on keyboards—layer in rich textures that define the band’s sound. Fronted by Anissa on vocals, the band delivers a set that is as engaging as it is musically tight.

They open with “Unify,” a laid-back reggae bounce where guitar and keys work seamlessly together, setting the tone while bass and drums play off each other with precision and feel.

“Exploited” follows with Ben leading on organ, joined by Seb’s guitar and Duane’s bass in a tightly interwoven groove. Anissa’s vocals stand out as an instrument in their own right, blending and responding to the guitar lines. Ben’s organ work shines here, complemented by Izumi’s keys, which add depth and enrich the overall sound.

Anissa proves herself a natural frontwoman, effortlessly connecting with the audience. She engages the crowd early—asking if they’re into reggae and encouraging them to move closer—instantly creating a sense of unity. On “Stand,” the interaction between Anissa and Seb becomes a standout feature, trading musical phrases back and forth. Ben’s organ and Rhodes lock in nicely with Izumi’s keys, while Duane and Moon keep the groove steady and driving. This one got a strong reaction—people were singing along and moving with it.

“Only My Light,” dedicated to the women in the audience, showcases Anissa’s storytelling. Her vocals carry the song, with a lilting guitar riff and keys and bass adding depth underneath.

Throughout the set, Anissa moves effortlessly between singing and dancing, frequently inviting the crowd to join in and even trading vocal lines with them. The connection is constant and genuine, with the audience responding in kind—arms raised and energy high.

They close with “Back It Up,” a high-energy finale that caps off a set built on groove, connection, and positivity. From the first note to the last, the crowd is dancing, and by the end of the performance, Umoja Rootz have clearly won over a host of new fans—many of whom will no doubt be seeking them out again soon.
Shaun @BRG

Night Ships

– Cold Tea
– ⁠Walk A Mile
– ⁠I Am Everywhere
– ⁠WDYWFM
– ⁠Sound & Light
– ⁠Pressure Cooker

The jolly crew of this nocturnal vessel from what I have searched seem to have a lot of experience with playing music, they sure played with confidence.

The songs they played were quite different from each other, some of them giving opposite feelings than each other.

Their first song “Cold Tea”, was for most of the part relaxing and soothing especially the beginning, before going relatively a bit more intense.

“Walk a Mile”, was quite paradoxical for me as the instrumentals and vocals sounded quite happy while the lyrics themselves from what I heard sounded pretty melancholic.

“I am Everywhere”, was a song that started off strong straight from the beginning. Which is what I personally prefer, I see it as it goes straight to the point.

“Pressure Cooker”, an overall jolly sounding and my favorite song of the band. The instrumentals at the beginning that Night Ships was what I enjoyed the most. The feeling it gave was similar to two songs (Tommy Boy by Kid Smoko and What You Know by Two Door Cinema Club). It sounded tranquil and happy with a small dose of longing, maybe you won’t get the longing part but I definitely did.

Lastly, I recommend that you check their music out, they play a good show and hopefully will continue to in the future.
–Tibialis

The Ferals

PROXIMITY
WOOFIE
IN THIS SPACE
GO FISHY GO!
NEVER READY
(Delay) NO MORE
SHOCKED
SPACEMAN

The vocalist of this punk rock band, Chris B is the one who organised this whole event, woohoo. The Ferals gives off an intense and anger inducing vibe. It probably was the loudest band in the event as I could feel the music through my toes. Chris B also introduced an alternative to crowd surfing by throwing us some human shaped balloons out in the crowd.

“PROXIMITY”, I would describe it as intense instrumentally, it serves as a good starter song as to what the band generally is like.

“WOOFIE”, the vocals on this song was more intense than the instrumentals. The lyrics seem a bit chaotic, although its not chaotic as the messy situation described in the lyrics themselves, so the only best thing to is drown yourself in the music.

“GO FISHY GO!”, the name and lyrics of the song are literal, about a fish swimming. I guess a little simplicity is needed in life sometimes, seeing as the other songs don’t seem so straightforward. I added my own imagination into it thinking it is not just some fish but the notorious white whale Moby Dick, which reminded me of a song by Mastodon.

“SPACEMAN”, overall my favorite and the hardest song the Ferals played in their performance.

In conclusion, I enjoyed seeing them live for the second time. They seem dedicated to their craft. Oh and they also have music videos on their channel.
–Tibialis

Helter Skelter

– All Your Love (Gm)
– Let Me Love You (A)
– Thrill is Gone (Bm)
– Mary Had a Little Lamb (E)
– Hoochie Coochie Man (boogie version) (A)
– I’m Still Alive
– Seedy Cadillac
– Walking the Dog (A)
– Strange Brew (Em)
– Roadrunner (E)

Helter Skelter returned to The Underground stage for a special appearance, marking a rare reunion for a band that once held a strong presence in Hong Kong’s live music scene. With Hiroshi Shimamura (guitar) and Koya Hisakazu (bass) now based in Japan, this set felt like a genuine occasion. Long-time fans turned out in force, clearly thrilled to see them back, while newcomers could be heard throughout the night reacting with a simple but telling sentiment: “Wow, this band is good.”

Fronted by Vincent Lam (vocals, guitar) and Adrian Fu (vocals, keyboards), and backed by Hiroshi, Koya, and Jimi S. Galvea Jr. (drums), the band delivered a set rooted in blues tradition. The setlist leaned heavily on blues standards—alongside their originals, “I’m Still Alive” and “Seedy Cadillac.”

The classics were solid, but the originals are where the band really came into their own. “I’m Still Alive” and “Seedy Cadillac” gave the set a more distinct edge. Koya and Jimi stay tightly in sync, holding the groove down, while Adrian’s keys add weight and that classic blues tone.

Vincent’s voice is perfectly suited to the genre, and his guitar work, paired with Hiroshi’s lead playing, creates moments that are as engaging to watch as they are to hear.
There’s a natural understanding between these musicians that only comes from years of playing together. They instinctively make space for one another, knowing exactly when to step forward and when to pull back—always in service of the overall sound. It feels effortless, while still showing a high level of musicianship. The band themselves seemed genuinely happy to be back on stage together, smiling throughout the set and clearly enjoying the moment. They even apologised for not including more original material, though what they did deliver more than made an impact.

This was a rare treat for Hong Kong audiences: a chance to watch seasoned musicians reconnect and share their love of the blues. For those who had seen them before, it was a reminder of what makes Helter Skelter special. For others, it was an introduction that won’t be forgotten anytime soon. It had been a long time since I’d seen them live, and their originals were a strong reminder of just how much they’ve been missed.
Shaun @BRG

Senseless

1. Happy Man (instrumental)
2. 股票 (Stock)
3. 快與我別離 (Leave me soon)
4. 男人唔可以窮 (A man cannot be poor)
5. Senseless (聲是勒仕)
6. 毅行者 (Trailwalker)
7. 請緊握搖滾 (Please hold on to rock n’ roll)

Line-up:
Vocal: Raymond
Guitar: Kenny
Guitar: Oscar
Bass: Elliot
Drums: Sailim

There’s a certain comfort in seeing Senseless take the stage again, like an old friend who keeps getting better with age. I missed their early debut days, but I’ve followed them from their youth all the way to this “seasoned adult” era. There’s a brutal truth to face now. The carefree days are behind us, and these gigs are becoming rare commodities. Real life gets in the way, and band practices naturally take a backseat to daily responsibilities. Enjoy them now, because the gaps between shows are only going to get wider.

Opening with the instrumental Happy Man was a bold but smart choice. The band let their musicianship speak first. Then came 股票, and Raymond’s vocals roared in. Fans of their “Stock”-era material will recognize the band’s love for poking fun at Hong Kong work life. Tight, palm-muted verses opened into a big sing-along chorus while the regulars grinned knowingly. It was classic Senseless, comedic punk with bite.

快與我別離 was the surprise of the night, and the most nostalgic. A genuinely lovely ballad, it offered proof that Senseless aren’t just a one-trick comedic punk band. Raymond shared that they wrote it back in high school, which makes the track (and the band!) more than 20 years old, serving as a poignant reminder of how much time has slipped by.

Then came the inevitable mid-set breather, and in classic Senseless fashion, they pulled back the magician’s curtain. Instead of pretending to be tireless rock gods, they used a frontman monologue as a transparent tactical timeout to catch their breath. Raymond turned this logistical necessity into the funniest banter of the night, delivering a grand, sincere song introduction he’d asked Gemini to write for him. Equal parts hilarious and oddly touching, it proved his brilliance as an entertainer. Only Senseless could turn an AI monologue into a genuine crowd moment.

Shifting from that meta-comedy to a bluesy swagger, 男人唔可以窮 kicked in next. A fan favorite for good reason, the band leaned heavily into the song’s great arrangement, sharp riff, and infectious hook. It’s the kind of Canto rock songwriting more local bands should aim for. Their self-titled Senseless (聲是勒仕) followed, proving that the pun never gets old. The hook, that gleeful “We~r~sen-si-le-si”, is impossible not to chant along to, and by the second round, half the room was shouting it back. Bonus points for sneaking senselesshk@gmail.com into the actual lyrics; they are effortlessly the only band in Hong Kong with their booking email in a chorus.

The energy peaked as 毅行者 brought gunshot drums and unpredictable rhythmic shifts, where the singalong line “行山，點可以一個人行” (how can you go hiking alone?) landed beautifully to turn the gig into a shared collective moment. Finally, they arrived at the closer. Quite simply their best song, 請緊握搖滾 is an absolute anthem. The “when I say rock, you say roll” call-and-response is practically an indie scene tradition by now. The room shouted back with metal horns in the air as Raymond pushed his vocals to the absolute limit on the final chorus, sending the crowd home buzzing.

If you haven’t seen Senseless live, fix that while you still can. They remain one of the most entertaining, unapologetically real acts on the local scene. They deserve more Canto rock love.
— Wain Yee

Deer MX

Intro
WILD EYES
HUMAN\
YLMN
TFICG
IN THE NAME
DEAD SOULS

An alt electronica Mexican band with more than a decade of experience, they even played in Clockenflap. I found their performance one of the most enjoyable, with nostalgia being a factor as their music reminded me of the type of songs people use for Dragon Ball AMVs.

“Wild Eyes”, a good opener. Both the instrumentals and vocals eased one into the vibe of the band.

“HUMAN\”, is where the crowd went in tune with the music. The song itself was energizing with its beats, this song in particular reminded me of the AMVs that people made.

“DEAD SOULS”, I really liked the vocals in this song. It was reminiscent of the band STARSET. The lyrics from my perspective seems to talk about sacrificing yourself for seemingly the wrong person or wrong ideology, I am not sure if the cause was just at one point and it got corrupted. Nonetheless the end result was the soul fading away.

To reiterate, I really enjoyed their performance. I feel like some of their songs would fit into an AMV very well. Lastly I suggest for anyone reading this to check out their website, it has a cool design and look to it.
–Tibialis

MiChannel

1)Dirty Caffeine
2)Working Hours
3)Good Evening
4)Line 38
5)Fishbone Antenna
6)Pizza Deluxe

MiChannel bring a refreshing change of pace to the lineup, delivering a groove-driven set that blends keys, sax, and rhythm into a tight, expressive sound. With Michael on vocals and guitar, Rosa on drums, John on keyboards, Adoss on bass, and Chester on saxophone, this is a band that clearly knows how to play together—and enjoy doing it.

They open with “Dirty Caffeine,” easing in with mellow piano chords before the full band joins. It’s an immediate shift in tone for the night, setting up a relaxed but confident groove. Michael is an engaging frontman, smiling throughout and quickly connecting with the audience, while the sax adds a warm layer over the band’s sound. The track builds naturally, with subtle guitar work and a strong piano-led finish.

“Working Hours” follows with a walking bass line that sets the foundation before keys and drums lock into a tight groove. John’s keyboard style stands out here, reminiscent of Ray Manzarek in the way he drives both rhythm and melody while leaving space for the rest of the band. The interplay between keys, bass, and drums is particularly strong, with Michael’s vocals weaving smoothly through the arrangement. A keyboard-led solo section flows into a guitar lead from Michael, before the song resolves neatly back to bass.

“Good Evening” leans into a slower, funk-infused groove. Adoss and Rosa provide a solid backbone, allowing the band to move fluidly around each other. The saxophone steps forward with some particularly tasteful lines, while the drums add texture with rim shots and subtle fills. There’s a looseness here that works in their favour—the band feels relaxed and confident, especially during the instrumental passages.

On “Line 38,” Rosa drives the tempo while Michael actively brings the crowd into the performance, encouraging them to chant along. The audience responds immediately, adding to the atmosphere. As the song builds, the guitar lifts the energy and the band settles into another strong groove, with Chester’s sax once again adding depth and character.

Across the set, what stands out most is the band’s chemistry. Adoss and Rosa consistently lock in to create a dependable rhythmic core, giving John the freedom to explore on keys while Chester’s sax weaves in and out with ease. Michael ties it all together—not just musically, but through his presence and connection with the audience.

MiChannel are clearly a band that enjoy what they do, and that energy translates effortlessly into the crowd. Their mix of groove, funk, and melodic interplay makes them a compelling live act—and one that leaves a strong impression.
Shaun @BRG

Hey Joe Trio

微光
汽化
餘溫
Walking In The Rain
即興之鬼
Purple rain (cover)

The first time I saw Hey Joe Trio they played an awesome blues set which
managed to impress several seasoned blues musicians. Fast forward lord
knows how many years and the band has evolved. The set definitely kicked
off with a bang with the hard hitting Glimmer (微光), a high energy track
in the funk/r&b tradition which, without a doubt, got the audience’s
attention. The next 3 tracks, yet to be released at the time Vapour
(氣化), 餘溫 and one of their earlier works, Walking in the Rain, dialled
things down a little, being more of a smooth R&B style, finishing the
set another new song 即興之鬼 and a cover of Purple Rain.

Having watched the band from its early days, I had no doubt over their
technical skills – all instruments were spot on delivered tightly and,
more importantly, expressively delivered. The songs were very nicely
arranged, and very well balanced. However, most of, if not all of their
works involves some singing in the head voice range, and Joe did
occasionally miss the top notes ever so slightly in places, something
that he needs to work on moving forward.

All in all a highly enjoyable set both musically and technically – the
trio has been around for a while and have come a long way, and I have no
doubt that the trio will continue to go places.
-Hazel-Rah

Other Theories

Edgy
Frozen Charlotte
Solomon
Are We Alive
Un Dia
Memory

Other Theories come in with a full set of originals and make an immediate impact.

The first song, “Edgy,” opens with a guitar riff intro before bass and drums kick in to create a huge, full sound. Eric lays down a driving bass riff that becomes the hook of the track, while Reiny works his lead over the top and KK fills everything out on drums. Kyle stalks the stage, delivering the lyrics with a power rarely heard, using reverb to give the track a slightly trippy edge while still keeping it raw and gritty. His voice acts like another instrument in the mix. The intensity from the whole band is matched throughout, with Reiny’s guitar work taking the track out strongly while Eric holds it all together underneath.

This is a really interesting band.

On the second track, “Frozen Charlotte,” Kyle picks up the guitar, and the sound fills out even more. The band clearly know how to use effects without overwhelming the song, and just as importantly, they know when to step back and give each other space—something that really benefits their overall sound.

“Solomon” sees Kyle talk about channeling anger as a positive force for mental health, encouraging the audience to use music as a form of expression. The guitars build into a wailing wall of sound before pulling back to let Eric drive forward with a heavy, aggressive bass line. His backing vocals support Kyle particularly well here. It’s a powerful track, and at this point I’m fully into the set—this is my first time seeing them, and I want more.

Then the unexpected happens. Eric steps back, gets tangled in a lead, and falls hard off the stage. It’s a serious fall, but he handles it well. As he gets back up, the crowd erupts in support—everyone clearly relieved he’s okay. Unfortunately, the sound system takes a hit, and the technicians step in to sort things out. Eric apologises for the interruption, completely unnecessarily—everyone is just glad he’s alright.

The band regroup and come roaring back, leaning into what feels like their signature style: hard-driving bass riffs, layered waves of guitar, and Kyle adding rhythm guitar alongside his commanding vocals. KK keeps everything pushing forward, giving the set a constant sense of energy and momentum.

Unfortunately, the set is cut short, which is a real shame because the band were delivering a hell of a performance. What we do get shows a strong, tight band with a powerful sound—Kyle’s vocals standing out as a key part of it, not just leading but driving the music alongside the instruments.

A band I’ll definitely be watching out for next time.
Shaun @BRG

Mouse FX (阿鼠)

MOUSE FX阿鼠_UDG22演出歌單:
Reggae Party
俾啲反應
See Jah Light
火藥味
Stepper
小小草皮
Hali Selassie I
In Born Conception (EarthBound by Mr Zebre )
說聽到我嘅聲音（cycle by Mr Zebre)
真相 (Pon Pause by D Operation)
Praising Jah (Babylon is Falling Dub by OBF)
SoundSystem
活著實在美麗
衣索比亞

MOUSE FX阿鼠 雷鬼童樂

最近嘅AI可以將廣東歌改造成雷鬼曲風，幾耳目一新！而其實香港有位仁兄，MOUSE FX阿鼠，從90s就「真實」咁表演緊香港雷鬼；有啲Feeling AI畀唔到，真實專享！

DJ Set架喺台下，台上就留畀阿鼠帶嚟嘅一面衣索比亞獅子旗，以及一位成日喺UDC event蒲頭嘅Cosplay小朋友，今次佢配合主題玩雷鬼Look，仲喺台上Fing足全程，雷鬼童樂，定調氣氛！

有別於Rave Party會聽到嘅強鼓點節奏，雷鬼樂雖然都以重低音強節拍為主軸，但無咁Hardcore，相對柔和。更突出嘅係主唱唱腔，字句精悍同時做到高低起伏。第一次聽廣東歌雷鬼樂，感覺幾新鮮，無諗過廣東話可以咁樣唱出嚟，嗰種隨興「WE暈暈」rhythm又幾過癮。阿鼠唱腔、Freetalk與歌舞節奏拿捏得當，好快令人投入表演隨節拍「un下un下」；加上佢本人澎湃嘅表演力：突如其來嗌你一聲、遞咪合唱，上台敬禮等，都好傳遞到佢呢種音樂風格代表嘅理念，係差咁啲燈光推進氣氛！

阿鼠喺歌與歌之間，Freetalk咗幾句音樂以外嘅處世理念—「面對不公，要擁抱正義嘅生活方式」！我覺得表演者有呢種分享幾好，平時忽略／唔啱聽嘅嘢，喺聽歌時較易放低自我聽入耳。但老老實實啦，作為被Techno滲透嘅新生代，乍聽雷鬼樂之下我覺得唔夠力，Love & Peace嘅共同體驗亦都幾視乎同場觀眾氣質，雖然聽Live點都好過聽AI，但如果你想係雷鬼樂中追求刺激共同體驗，或想全然陶醉係節拍達成某種抽離效果嘅話，就要調整吓期望，或者帶埋幾個啱Key老友去啦！
-劉海亮

The Red Garage

1.The Travelling Speed Jive
2.Meathogs
3.Camel The Virgin
4.Wet House Road

Closing out Saturday night at 12:45am, The Red Garage deliver exactly what they promise—high-energy, guitar-driven psychedelic rock that hits from the first note and doesn’t let up.

With Ben on drums, Ethan on guitar, and Kieran on bass, the trio waste no time setting the tone. “The Travelling Speed Jive” opens the set in full force, with Ben launching into a roaring, relentless rhythm that immediately ignites the room.

“Meathogs” follows with a slightly looser feel at first, but quickly tightens as Ethan unleashes on lead guitar. Kieran’s bass anchors the track with a driving line that fills out the sound, while the band shows strong dynamics—pulling back just enough to let the guitar surge forward before locking back in together.

“Camel The Virgin” shifts the focus toward Kieran, who takes the lead both musically and on the mic. His bass work drives the track forward, while Ben—now fully immersed, shirt off and completely in the moment—powers through with intensity. Ethan steps back here, giving the rhythm section space to lead, adding another layer to the band’s evolving sound.

By the time they hit “Wet House Road,” the band are fully locked in. Their performance is as visual as it is sonic—at one point, Kieran drops to his knees, bending backwards while still playing, capturing the raw, unfiltered energy that defines their set.

The Red Garage lean heavily into instrumental, guitar-led psychedelic rock, and they deliver it with conviction. There’s a sense that this is a band still developing, but what they already have is a powerful live presence and a clear identity.

High energy from start to finish, this was a fitting and explosive close to the night—leaving the crowd buzzing and curious to see where The Red Garage go next.
Shaun @BRG

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