Big Smog

We could almost hear the fluttering heartbeats of the adolescent girls and teenage boys echoing through Macau’s Cotai Arena on Saturday night (Jan 28) as the much-awaited gig was about to start. And then the screaming fans almost took the arena’s roof off as six Korean pop acts hit the stage to showcase their biggest hits to the crowd of spirited, energetic and overly-eager teens for the first time at the K-Music 2012 Youth Ambition Concert.

From the group with the greatest number of members to the least, we had: Z:EA (nine), Infinite (seven), U-Kiss (seven), B1A4 (five), Miss A (four), and Kim Hyung Jun (gone solo, but formerly part of a group called SS501). Having more members seems to be the Korean pop trend these days. And with teeny boppers in the front row willing to shell out a whopping $1,280 for their tickets, they might as well get enough eye candy to make their eyes rot.

Every time one of the boy groups walked up to centre stage, the audience was mesmerised by their hypnotic dance moves, lean muscular bodies and sparkling smiles. The boys know their craft well and easily charmed the fans with a mere swoop of their finely groomed hair. Add a few addictive dance beats and pair of handsomely fitted jeans and the boys had full control over the audience.

The only girl group for the evening, Miss A, was not going to be outshined. They came out strong with their 2011 hit Good Bye Baby and climaxed with their debut hit, Bad girl, Good girl. They strutted, flirted and served up a super-spicy dish for the crowd.

Our personal favourites were U-Kiss’s tough guy swagger dance hit, Man Man Hani. They sang “Man Man” and the crowd responded with a roaring “Hani”. ZE:A’s upbeat hit, Watch Out was quite refreshing, light-hearted, and really showed off the lead singer’s vocal talent. The whole performance was almost borderline gagging on cuteness, but it was simply too hard not fall into its sugar-coated goodness.

As the performers waved their goodbyes and made heart-shaped arm signals under the gentle rain of confetti, the teenagers waved back longingly, sadly not knowing when they would see their pop idols in Macau again. Arthur Tam
 

A packed-out crowd for a Thursday night gig. Yuck definitely showed us they have an established fan base in Hong Kong, as the music lovers filled out the oddly-placed Hang Out in Sai Wan Ho. As Dan Blumberg eventually commented - yes, it was weird to be playing in what seemed to be a basketball court, but the graffiti that littered walls gave an intimacy to the space that definitely felt better than worse.

The opening band, The Yours, were solid, reminiscent of The Kooks in their simple but repetitive catchiness. Immersed in their playing, they ended their set with an excited collapse between the guitarists, and the crowd packed in even more. Oozing cool, Yuck began their set strong, with sound riffs that let the audience know it was time to start rockin' out.

Blumberg's vocals had an appealing vulnerability, not unlike other, slightly offbeat, off-tune singers, like Conor Oberst of Bright Eyes - though it was a tonality that had to grow on you. Max Bloom, while standing out as an amazing guitarist, played with swift, comfortable ease, but unnecessarily drowned out Mariko Doi's bass and Jonny Rogoff's drums - both who held down the fort with incredible consistency. The moments where they were given a chance to shine weren't picked up on in comparison to Bloom's sharp guitar that cut through everything. The vocal harmonies were seamless, and Bloom's nonchalant mastery of an exceptional number of pedals and effects was impressive.

Yuck's obvious musicality was nothing to be argued about, guitar melodies that led your body singing through the crisp beats, yet they lacked that on-stage technicality which brings alive recorded sounds. Blumberg's experimenting and droning of guitar effects were always dreamy and rang out perfectly with the poignancy of the lyrics… on recording. Live, his mastery of the shoegazing sound sometimes worked and sometimes just sounded like messy feedback.

The song Soothe Me was a stand-out, with lingering emotion in Blumberg's wavering voice, repeating “so soothe me / don't use me / I'm not your oxygen” until the crowd was crying out with him. Suicide Policeman was also another real killer - “I just wanted to let you know, I could be your suicide policeman” - the crowd immediately moving in ripples and waves… and how could you not?

Their English roots and influences were very noticeable, and each song proved, if not in performance but in its lyricism, why they were named one of the break-out bands of last year.

Louise Choi

Ever been to Hogwarts and Tatooine? We have. Standing in the Concert Hall at Hong Kong's Cultural Centre was like being transported into those fictional Harry Potter and Star Wars worlds as we waited for the Hong Kong Philharmonic to play its Tribute to John Williams show in celebration of the great film score composer's 80th birthday. The concert was a sell-out and the atmosphere was electric. It was a night devoted to one of the most celebrated masters of movie music - a true indulgence in soundtracks that remain classics in film history. However, a concert like this was difficult to pull off. With the audience knowing almost every note to come, it was a challenge to play without sounding clichéd or lacking. But this was HKPO. And, as expected, they delivered a splendid performance.

The concert started off with a surge of excitement - Was it a bird? Was it a plane? No, it was the theme to Superman. The brass rang out majestically before it surged into the gentler staccatos of the strings. Maestro Richard Kaufman was completely was conducting completely in his comfort zone - his pleasure and familiarity with the material was obvious and showing. He was an incredible pick for this concert, having devoted his life to film music, as well as working with Williams countless times as a violinist.

Next was the goose bump inducing theme to Jurassic Park, the strings were excellent, but the control on the drops to the tender, sweeping moments were more satisfying than the climaxes - the smallest differences between pianissimo and mezzo-piano stood out uncomfortably. At the beginning, each section performed brilliantly, but, with the high moments, they were vying for attention. Having delivered a solid start, the orchestra really pulled out the stops. The theme from Close Encounters of the Third Kind was a real stand-out piece. The dissonance started and stayed at the same suspenseful subtlety throughout. Williams masters the emotion of wonder in a way unparallelled by any other film composer, with a gently introduced classic five-note motif.

Though lesser known, it was no less beautiful - next up was If We Were In Love from a Hollywood bomb and Pavarotti's only venture into film, Yes Giorgio. Ruth Bell performed splendidly in her oboe solo, and the orchestra played it as a question, marked with tentative curiosity and longing, a conversation pure and idealistic about love.

Then finally it was here! Star Wars! The arrangement was cleverly done, blending the opening theme, Luke and Leia's theme, and the ending credits for an all-in-one. The tingling of excitement was palpable, however maybe marred by the same vying for attention among the sections. Musically, it could have been better. That being said, the second part of the concert launched itself effortlessly back into the sweeping emotions of Williams' music. Certain chuckles were expected with Jaws - isn't it just those two notes? But the orchestra threw themselves into the song. It was terrifying, as the both the brass, the double bass and the cellists were spot-on with their staccatos, and the final crescendo was breathtaking.

The concert ended perfectly with the gorgeous melodies of ET before a sneaky encore, the march from 1941. At this point, it was obvious they were playing for their own pure - and deserved - enjoyment.

And finally. Why the hell not? They played Star Wars again. And, this time round, the fanfares and the surges were spot on. A perfect ending to an epic night.

Louise Choi

Most Hongkongers have never heard of Shah Rukh Khan, but for over a billion people, he’s King Khan, the Badshah of Bollywood, the greatest star on Earth. And this weekend, he was in the sparkling city of Macau, celebrating the Hindi film industry as host of the “world’s largest viewers choice awards,” The Zee Cine Awards.

The Venetian Macau, with its mix of genuine glitz and cheese, is a venue well suited to the Zee Cine Awards. A glamorous mix of Bollywood stars gathered on the Venetian’s red carpet, alongside men on stilts, gold-plated human statues, and a singing troupe. We spotted the rakish Ritesh Deshmukh, the colorful playback singer Bapi Lahiri, and Bollywood’s latest princess, Katrina Kaif.

Before the awards, we sat down with Shah Rukh Khan (who is also the Awards’ all-time biggest winner at six Best Actors) and asked him whom he was routing for. “I really like to selfishly think that I’ll get one of the awards, and I have no compunction stating that I come with full greed and full desire. My kids don’t treat me well at home if I go back empty-handed from an awards function.”

Bollywood is the world’s largest entertainment industry, and the show didn’t fail to entertain. Sure, there were the long stretches of minor awards announcements and the boring speeches, but these were punctuated by full-out productions the likes of which Hollywood has never met. The highlight was a pyrotechnic dance extravaganza, featuring the handsome and acrobatic actor Shahid Kapoor, who declared, “I’m sexy and I know it.”

Shah Rukh Khan told us, “The thing about the Zee Cinema Awards…you feel like you’re coming to a family reunion, and we participate like a happy family, and hope that each one of us does well. As a host, I wish everyone the best, and I hope that all of them get awards, but first and foremost I should get one.”

And the winner is? Well, we can’t tell you. You’ll just have to tune in and find out.

Maddie Gressel
 

Hundreds of pink lights. Thousands of screaming fans. One stage. Nine girls. Nine cutesy girls with legs that go on forever. And plenty of cheese. It could only be Girls' Generation at Hong Kong's AsiaWorld Arena. And they rocked the house so masterfully it felt like it was about to fall down under the weight of K-pop.

The girls' first gig in Hong Kong on Sunday January 15 was a stunning spectacle. Okay, so there's obvious appeal when it comes to hot female popstars from Korea whose cheesy brand of music makes you shake your butt while you're gawking at their's. But the screaming sell-out was more than just super-catchy pop and a nonet of sexy sirens. It was an epic event, equipped with pyrotechnics, a rave-esque light show and special effects galore. When it comes to a stage extravaganza, surely the Koreans do it best.

Yes, there were screaming teenage girls. And there were more than just a few leering guys too, craning to take a look at their fave pair of pins (Jessica's ours - and judging by the screams many would agree…). But the inch-perfect choreography from the popsters, the awesome costumes (the shimmering robot designs were something to behold), the epic between-tune videos and the constant waving of neon pink lights by the crowd made it a night to remember for K-pop fans and novices.

Highlights were the big tunes - The Boys, Mr Taxi, Run Devil Run and bubblegum classic Gee - but some of the solo numbers also went down a treat, including a fine rendition of Lady Marmalade from diva Taeyeon. And another highlight was seeing some of the starlets suspended in the air after the show's bombastic opening.

There were times when you had to choke back the gag reflex when the girls were supposedly choking back their tears and the little old lady's voice which translated the girls' (all in their early 20s) words into Cantonese edged on the surreal -the balloons shaped like sperms which were released by the crowd at the end were also an enigma - but otherwise GG proved they have Hong Kong's heartstrings well in hand before they clearly ready themselves to take on the West.

It was a grand, sexy, rocky spectacle. They certainly brought both the girls and the boys out - and chewed them up before blowing them away. Gee!

AsiaWorld Expo, Tuesday January 10

Not too many bands are brazen enough to constantly use the word ‘horny’ in front of a heaving mass of teenage girls. Simple Plan, though, care not. “These sexy sounds are making me feel so horny tonight!” exclaimed Simple Plan bassist David Desrosiers, setting the tone for their Hong Kong leg of their Get Your Heart On tour, and sending the mass of punk-rock teen (or thereabouts) chicks who had followed the Canadian pop-punkers since their early years into a semi-frenzy. For the whole night, the playful boys taunted and flirted with their audience, inviting their screaming fans to sexy showers and into short-lived relationships. “I love you!” yelled frontman Pierre Bouvier multiple times throughout the night. C’mon Pierre, you don’t even know them.

Regardless, Bouvier amused throughout the gig, as they mixed up tunes from their older albums to their recently released Get Your Heart On! He danced, threw himself around, and gave the thirsty crowd a glimpse of his impressive abs, pulling in the energetic crowd with their massive hits. Indeed, Hong Kong seemed to get their ‘Heart On’. Although, judging from their overtures on the night, we suspect Simple Plan had something else (that sounded rather similar).
 

Communism of a musical kind has been circulating in Hong Kong for a while, urging people to join the party at KITEC on the 10th January: TPP sky blue cargo truck has been roaming the streets of Hong Kong for months; flyers have been pasted here and there; their intimate stage at Clockenflap was packed. Not that they needed the promotion – they’ve been one of the driving forces in local music since their inaugural 2009 show featuring José González. But this was The People’s Party on a different scale – a four-band mini-festival that signalled TPP’s new ambitions as a pan-Asian touring festival.

This fest, taking in Hong Kong, Taipei, Jakarta and two days in Singapore, kicked off at KITEC. First up were 9 Maps, a local band who have brought been leaders in Hong Kong folk. Sydney-bred The Jezabels rocked up next, their set lighting up the dome room with Hayley Mary’s
hauntingly intense vocals. The crowds began to migrate towards the very edge of the stage prior to the next set: Kiwi quintent The Naked and Famous. A sprightly Thom Powers fronted the band with Alisa Xayalith, who pumped out hugely popular hits such as Punching in a Dream and
Young Blood from between the gaps in her thick hair. The energy radiating from the stage was infectious – teeny boppers and normal people alike began to bounce and headbang along to their thrillingly loud songs.

Four portrait canvas paintings were rolled out from the ceiling in anticipation of Metronomy’s arrival. “It’s our first time playing in a shopping mall,” singer Joe Mount said in half-serious wonder. “So...we hope you like our products...and that you’ll come to our shop again!” Material
from their earlier albums resonated with the crowds well, whereas unfortunately songs from The English Riviera (nevertheless a great album to listen to at home) were a little deflating after having been built up by climatic electro-pop classics from Nights Out, although it was rather
made up by Oscar Cash’s finger-pointing, robotic dancing and the hypnotic synchronised lights attached to team Metronomy.

AsiaWorld Expo, Thu January 5

Scissor Sisters frontman Jake Shears recently told Time Out: "If you don’t like us… here’s an ass in your face. And if you do like us, here’s an ass in your face. Enjoy!" And the same could be said about the glam rock band's first Hong Kong concert on Thursday night. "Who’s a Scissor Sisters virgin?" screamed the glitter-ladened Ana Matronic, shaking her scarlet hair with aggressive sexuality. "We are gonna POP. YOUR. CHERRY."

After over an hour’s wait for the five camped-up starlets to appear, we wanted both our cherries and our ears popped. And we were not disappointed. A mélange of old-school Sisters tunes (including overt eroticism, gay dancing and even gayer vocals) and new-school ballads awaited us – and left us thoroughly stirred.

Despite the fact that most of the crowd (gays and girls) were pressed up against the barriers, the Sisters pulled their voices from deep down to accommodate for any empty spots, shooting their thrumming rock and electro sounds right across the room. The first hit ballad off of Night Work, Fire with Fire, showcased Jake Shears’ perfectly tuned vocals, but unfortunately the song itself was an unholy blend of Katy Perry with a dash of Robbie Williams.

Thankfully, though, the Sisters (plus two wriggling curvaceous backing singers) knew how to keep the audience satisfied and plied us with classics like Take Your Mama and Laura. Gay fanboys clapped and whistled when Ana Matronic crouched like a mama-san tiger over a half-shirtless, writhing Jake Shears.

For the Scissor Sisters, concerts aren’t really about the songs, which sound pretty much the same on the album as they do live. It’s all about illusion, glamour and the art of performance. And several asses in our faces. 

The big countdown is just around the corner and there are plenty of ways to welcome 2012 that don’t involve embracing a bottle of booze on your couch. In anticipation of the Chinese Lunar New Year, Hong Kong plans to celebrate with a dragon-themed countdown. 

Whether your night involves family-friendly affairs or all-night debauchery, make sure you check out the elaborate musical ‘golden dragon’ created by flashy fireworks that hops along various landmark building before spiraling up the Two IFC tower. From 11pm onwards, fireworks will be simultaneously blasted every 15 minutes from the ten participating buildings creating a glowing meteor shower of sparks. 

As usual, large crowds are expected so make sure to get early in order to stake your claim on a good vantage point. If you want to get a perfect view from Kowloon side, these are these spots may work for you:

• Along the Tsim Sha Tsui Waterfront between the Avenue of Stars and Cultural Centre (with live music)
• Along the West Kowloon Waterfront Promenade (with live music) 
• Ocean Terminal Rooftop Car Park at Harbour City (must spend $1000+ in mall)

And if you are partying on Hong Kong Island, try these spots:

• Along the Expo Promenade at the Golden Bauhinia Square in Wan Chai (with live music)
• Around Central Piers
  
  

Jalasaya Federoff

18,000 music-lovers, cinephiles, hipsters, toddlers and grannies alike headed down to the West Kowloon waterfront promenade this weekend to celebrate some of the biggest up-and-coming (and golden oldies - hello Santigold, you rocked our world) artists from around the world: all for free! Temperatures dipped to almost ten degrees Celsius over the two days but the crowds kept warm by wrapping themselves up in the awesome waves of music, drinking San Miguels and keeping watch on the brightest lunar eclipse on Saturday night since the 1700s. ‘It’s been one of our best gigs ever!’ Bombay Bicycle Club screamed at the hopping crowd that night as the moon began its orbit behind the earth. ‘Did you guys all know that there’s a lunar eclipse tonight!’.

The music was acoustically sound, clear and surprisingly quiet for an outdoor festival, but perhaps that was the appeal of it: the crowds responded in like, acting with civility and general consideration. Even the mosh pit for the French Horn Rebellion was orderly and evenly spaced. The food queues made our eyes pop but the selection of booze was rather unique. You can’t get a pomegranate cosmopolitan at any old festival. Popping into the Film Tent, you had to be careful not to doze off in the midst of all the oversized silk pillows - we spotted one, two, three couples a-dozing. The Future Shorts programme, as always, provided the creme de la creme of the short film scene, while the local short films showed festival-goers that Hong Kong can be a poignant setting for fleeting narratives. A particularly inspired 7-11 advert (animated, seeing a young man boarding a 7-11 1930s themed junkboat) was a highlight.

By the end of Sunday night, the promenade was thoroughly chipped and the shortage of bins and trash collectors meant that the entire area was littered with empty cups, crisp packets and various festival paraphernalia (lost scarves, flyers, dropped hot dogs, you get the point). All in all though, it was a stellar night, which reached its stupendous climax on Sunday night with Santigold being called back onto stage for a third encore. The crowd, literally, went wild.

See you next year at the Flap!  

Ysabelle Cheung