BEST
Wei Bird 2017 Concert
Resorts World Theatre, Oct 28
Given that shows are now planned down to the last note, Taiwanese singer-songwriter Wei Li-an’s 20-minute encore was a lovely surprise. He emerged with a guitar and proceeded to take requests before ending the night with the delicate beauty of Cloudy Sunflower.
The rest of the show was not too shabby either. Live, he was an affable presence whose pipes shone whether he was rocking out on Wolves or soaring in his falsetto range on early track Translation Exercise. He seemed comfortable enough on stage that one would not guess that he is, in his own words, an introvert.
Eason Chan Says C’mon In~ Tour In Singapore
Singapore Indoor Stadium, Dec 3
Usually, when an album is released, only a few numbers from it would be plugged and performed in concerts. Hong Kong singer Eason Chan tried something different with the C’Mon In~ tour, which is also the title of his latest Mandarin record. He performed all 10 tracks, giving each its moment to breathe on stage.
It worked, thanks to his reliably fine vocals and the strength of the material, which ranged from the retro dance of Hai Dan (Sigh) to the poignant balladry of Shei Lai Jian Yue Guang (Miss).
MICappella You And I Live In Concert 2017
Capitol Theatre, Nov 4
The a cappella sextet started out doing covers and have since gone on to put out an entire album of original material with last year’s MICappella Reloaded.
They were at their best here in the high-octane original numbers One Of These Days and Never Be Defeated, in which all the elements – from the vocal percussion to the harmonisation – formed a satisfying whole. In their biggest solo show to date on home ground, they conveyed the joy and excitement of coming together to make music.
WORST
Least enjoyable aspect of concerts: queues
Long snaking queues to get into gig venues are now par for the course. But people are stoic about the fact that this is the new normal, with enhanced security checks a necessity in a time of terror threats.
Maybe we should take heed of what Bono from Irish rock band U2 said in Paris. The band were rehearsing in the city during the deadly attacks in November 2015 at a rock concert by Eagles Of Death Metal that took 89 lives inside Paris’ Bataclan venue. Bono said: “Be vigilant, but be unafraid.”
(ST)
Sunday, December 17, 2017
BEST ASIAN ALBUMS OF 2017
The Silent Star Stone
Guo Ding
The Hunan-born singer-songwriter deservedly broke out with his third album.
He has a mesmerising voice with a slight drawl that hints at both intimacy and attitude, one that is magnetic at the lower end of the register and equally persuasive on the higher reaches.
From Qi Mei Di (The Fog Space) to Shui Xing Ji (Mercury Records), this is lush and imaginative pop, propelled by a pulsing beat and urgency of feeling.
He might have missed out at the Golden Melody Awards despite six nominations, but the greater exposure he has received as a result makes it a win for him.
The Servile
No Party For Cao Dong
Da Feng Chui (Simon Says), which won Song of the Year at the Golden Melody Awards, is a scathing criticism of society’s obsession with material goods and the need for one-upmanship.
Frontman Wu Tu sings without heat and then tears into the chorus at the end: “Cry, shout, ask your mother to buy a toy/Hurry to school and show off, child, make some friends.”
The Servile is the sound of Taiwan’s disenfranchised youth venting their frustrations and it has struck a chord in their homeland. But its searing honesty and seamless musicality would resonate with anyone.
Artists’ Mood
Leo Wang
The Taiwanese musician’s mission, as laid out on his Facebook page, is “trying to combine jazz, hip-hop, reggae and scat singing with Mandarin Chinese in a groovy way, and making his people dance”.
He achieves that on his fourth so-called mixtape, a fun and irreverent grab bag of genres and influences.
Jam All Night is about the pure pleasure of making music: “I think everything will be all right/As long as we can jam all night/Use your hands to drum, use your feet to drum/Use your mouth to drum, use your body to drum.”
The joy is infectious.
WORST
Appreciation
Alan Tam
Props to Cantopop legend Alan Tam, 67, for continuing to put out new work but, unfortunately, this disc of Mandopop duets is a misfire.
Despite rounding up collaborators such as Kit Chan, Eason Chan and Mayday, the pairings do not work. While it is true that Tam’s diction has improved compared with when he started singing in Mandarin, his Cantonese accent remains discernible.
Simplicity Is Happiness packs a double whammy of accented Mandarin with the addition of Andy Lau, another singer who is better in his native Cantonese.
(ST)
The Silent Star Stone
Guo Ding
The Hunan-born singer-songwriter deservedly broke out with his third album.
He has a mesmerising voice with a slight drawl that hints at both intimacy and attitude, one that is magnetic at the lower end of the register and equally persuasive on the higher reaches.
From Qi Mei Di (The Fog Space) to Shui Xing Ji (Mercury Records), this is lush and imaginative pop, propelled by a pulsing beat and urgency of feeling.
He might have missed out at the Golden Melody Awards despite six nominations, but the greater exposure he has received as a result makes it a win for him.
The Servile
No Party For Cao Dong
Da Feng Chui (Simon Says), which won Song of the Year at the Golden Melody Awards, is a scathing criticism of society’s obsession with material goods and the need for one-upmanship.
Frontman Wu Tu sings without heat and then tears into the chorus at the end: “Cry, shout, ask your mother to buy a toy/Hurry to school and show off, child, make some friends.”
The Servile is the sound of Taiwan’s disenfranchised youth venting their frustrations and it has struck a chord in their homeland. But its searing honesty and seamless musicality would resonate with anyone.
Artists’ Mood
Leo Wang
The Taiwanese musician’s mission, as laid out on his Facebook page, is “trying to combine jazz, hip-hop, reggae and scat singing with Mandarin Chinese in a groovy way, and making his people dance”.
He achieves that on his fourth so-called mixtape, a fun and irreverent grab bag of genres and influences.
Jam All Night is about the pure pleasure of making music: “I think everything will be all right/As long as we can jam all night/Use your hands to drum, use your feet to drum/Use your mouth to drum, use your body to drum.”
The joy is infectious.
WORST
Appreciation
Alan Tam
Props to Cantopop legend Alan Tam, 67, for continuing to put out new work but, unfortunately, this disc of Mandopop duets is a misfire.
Despite rounding up collaborators such as Kit Chan, Eason Chan and Mayday, the pairings do not work. While it is true that Tam’s diction has improved compared with when he started singing in Mandarin, his Cantonese accent remains discernible.
Simplicity Is Happiness packs a double whammy of accented Mandarin with the addition of Andy Lau, another singer who is better in his native Cantonese.
(ST)
BEST MOVIES OF 2017
Call Me By Your Name
Luca Guadagnino
American writer Andre Aciman’s 2007 novel of the same name is a thing of beauty, an account of a love affair between 17-year-old Elio and visiting 24-year-old scholar Oliver in a small town in Italy in the 1980s.
Against an idyllic backdrop of rural Italian gorgeousness, director Luca Guadagnino conveys the headiness of first love and sexual awakening. Timothee Chalamet slips thoroughly under Elio’s skin and gives a sensitively tuned performance as he swings from heady rapture to being lacerated by doubt. Armie Hammer is also well-cast as the athletic American academic who wants to do right by Elio.
Adaptations are tricky things, more so if the original is beloved, but this movie is its own kind of wonderful. After two sold-out screenings and winning the Audience Choice Award at the Singapore International Film Festival, the drama is slated for a run at The Projector from Jan 4.
Midnight Runners
Jason Kim Joo Hwan
A thoroughly entertaining and satisfying South Korean buddy action flick, thanks to the chemistry between the two charming and likeable lead actors, Park Seo Jun and Kang Ha Neul.
They play a pair of police academy trainees who witness the abduction of a young woman and decide to follow up on their own time, even at the risk of getting expelled.
Writer-director Jason Kim Joo Hwan deftly mixes comedy, action, crime and morality drama. Hopefully, there is a sequel.
Mad World
Wong Chun
Young Hong Kong film-maker Wong Chun’s debut feature is a compassionate look at the often-ignored topic of mental illness. The 28-year-old depicts the maladies of intolerance and fear, but does not pretend there are easy remedies.
The drama is also grounded by fine performances from Shawn Yue, as a bipolar disorder sufferer trying to navigate his way in society, and Eric Tsang, as a father who is faced with difficult questions about how to best care for his mentally ill son.
Kudos to the Singapore Chinese Film Festival for screening it in its original Cantonese.
WORST
Love Contractually
Liu Guonan
Yet another dire and dour movie which purports to be a romantic comedy.
Sammi Cheng’s nitpicking executive-type taskmaster is a cold and cheerless creation that is hard to warm up to and there is no chemistry between the Hong Kong star and Taiwan’s Joseph Chang. He is a paratrooper-turned-courier who ends up as her assistant, only to realise later that he was picked to be her sperm donor.
When a movie shifts its location to scenic Paris for no good reason, that is a sign that the film-makers are clutching at straws.
(ST)
Call Me By Your Name
Luca Guadagnino
American writer Andre Aciman’s 2007 novel of the same name is a thing of beauty, an account of a love affair between 17-year-old Elio and visiting 24-year-old scholar Oliver in a small town in Italy in the 1980s.
Against an idyllic backdrop of rural Italian gorgeousness, director Luca Guadagnino conveys the headiness of first love and sexual awakening. Timothee Chalamet slips thoroughly under Elio’s skin and gives a sensitively tuned performance as he swings from heady rapture to being lacerated by doubt. Armie Hammer is also well-cast as the athletic American academic who wants to do right by Elio.
Adaptations are tricky things, more so if the original is beloved, but this movie is its own kind of wonderful. After two sold-out screenings and winning the Audience Choice Award at the Singapore International Film Festival, the drama is slated for a run at The Projector from Jan 4.
Midnight Runners
Jason Kim Joo Hwan
A thoroughly entertaining and satisfying South Korean buddy action flick, thanks to the chemistry between the two charming and likeable lead actors, Park Seo Jun and Kang Ha Neul.
They play a pair of police academy trainees who witness the abduction of a young woman and decide to follow up on their own time, even at the risk of getting expelled.
Writer-director Jason Kim Joo Hwan deftly mixes comedy, action, crime and morality drama. Hopefully, there is a sequel.
Mad World
Wong Chun
Young Hong Kong film-maker Wong Chun’s debut feature is a compassionate look at the often-ignored topic of mental illness. The 28-year-old depicts the maladies of intolerance and fear, but does not pretend there are easy remedies.
The drama is also grounded by fine performances from Shawn Yue, as a bipolar disorder sufferer trying to navigate his way in society, and Eric Tsang, as a father who is faced with difficult questions about how to best care for his mentally ill son.
Kudos to the Singapore Chinese Film Festival for screening it in its original Cantonese.
WORST
Love Contractually
Liu Guonan
Yet another dire and dour movie which purports to be a romantic comedy.
Sammi Cheng’s nitpicking executive-type taskmaster is a cold and cheerless creation that is hard to warm up to and there is no chemistry between the Hong Kong star and Taiwan’s Joseph Chang. He is a paratrooper-turned-courier who ends up as her assistant, only to realise later that he was picked to be her sperm donor.
When a movie shifts its location to scenic Paris for no good reason, that is a sign that the film-makers are clutching at straws.
(ST)
Saturday, December 16, 2017
The Mayday 2017 Life Tour takes its name from a track titled Life Co Ltd on the Taiwanese band's last album History Of Tomorrow (2016).
It also serves as an inspiration for the humorous and action-packed videos interspersed throughout the concert at the Singapore Indoor Stadium on Friday (Dec 15). The concept is that the quintet - frontman Ashin, guitarists Monster and Stone, bassist Masa, drummer Guan You - are out-of-work superheroes recruited to work in a company to fight evil once more.
The slick-looking clips were in keeping with the high production values of the gig, from the programmed light sticks given to every ticket holder to the versatile stage, parts of which could ascend and descend. The band performed The Dark Knight on a raised platform and it looked as though they were atop an apartment building with the rest of the city spread out behind them. It definitely made an impact visually.
There was quite a lot going on but it was not quite enough to distract one from the fact that Ashin was not in top form at first.
Perhaps starting with the fast-paced and high-pitched Party Animal was not the best idea and his vocals felt a bit raw. He sounded strained on the high notes and even waded into dubious keys at points.
But just as I was wondering if this would be the first Mayday concert where I did not get up on my feet, the band found a second wave of energy and Ashin's pipes finally warmed up. Following the high-octane Jump and the Minnan number Motor Rock, he asked the fans to help fulfil their dream of holding an outdoor concert in Singapore by lifting the roof with some noise. They duly obliged.
He quipped: "We'll have to see ear doctors when we get back."
Taiwanese band Mayday mark their 20th anniversary in 2017 and over the years, they have built a large and dedicated fanbase.
The band mark their 20th anniversary in 2017 and over the years, they have built a large and dedicated fanbase.
Some of the fans prepared the mini blue banners ("Mayday is.... Monster Stone Masa Ming Ashin & ME!") that were displayed during People Life, Ocean Wild, the rousing title track of their 2001 album. (Guan You is also known as Ming.)
Others prepped the audience to chant "jia ban (overtime)" instead of "encore" at the end of the set, in keeping with the show's theme.
The band kicked things up a notch during the encore with a line-up that included the fast-paced Sad People Should Not Listen To Slow Songs and the ballad Onion, written by Ashin for Taiwanese singer Aska Yang.
The highlight of the concert was 10,000 people - on the first of three sold-out nights - fervently belting out the classic hit Tenderness as lightsticks shone in unison.
The highlight was 10,000 people - on the first of three sold-out nights - fervently belting out the classic hit Tenderness as lightsticks shone in unison.
By the time Mayday ended their three-hour-long gig with the defiant Stubborn, I was ready for more overtime.
(ST)
It also serves as an inspiration for the humorous and action-packed videos interspersed throughout the concert at the Singapore Indoor Stadium on Friday (Dec 15). The concept is that the quintet - frontman Ashin, guitarists Monster and Stone, bassist Masa, drummer Guan You - are out-of-work superheroes recruited to work in a company to fight evil once more.
The slick-looking clips were in keeping with the high production values of the gig, from the programmed light sticks given to every ticket holder to the versatile stage, parts of which could ascend and descend. The band performed The Dark Knight on a raised platform and it looked as though they were atop an apartment building with the rest of the city spread out behind them. It definitely made an impact visually.
There was quite a lot going on but it was not quite enough to distract one from the fact that Ashin was not in top form at first.
Perhaps starting with the fast-paced and high-pitched Party Animal was not the best idea and his vocals felt a bit raw. He sounded strained on the high notes and even waded into dubious keys at points.
But just as I was wondering if this would be the first Mayday concert where I did not get up on my feet, the band found a second wave of energy and Ashin's pipes finally warmed up. Following the high-octane Jump and the Minnan number Motor Rock, he asked the fans to help fulfil their dream of holding an outdoor concert in Singapore by lifting the roof with some noise. They duly obliged.
He quipped: "We'll have to see ear doctors when we get back."
Taiwanese band Mayday mark their 20th anniversary in 2017 and over the years, they have built a large and dedicated fanbase.
The band mark their 20th anniversary in 2017 and over the years, they have built a large and dedicated fanbase.
Some of the fans prepared the mini blue banners ("Mayday is.... Monster Stone Masa Ming Ashin & ME!") that were displayed during People Life, Ocean Wild, the rousing title track of their 2001 album. (Guan You is also known as Ming.)
Others prepped the audience to chant "jia ban (overtime)" instead of "encore" at the end of the set, in keeping with the show's theme.
The band kicked things up a notch during the encore with a line-up that included the fast-paced Sad People Should Not Listen To Slow Songs and the ballad Onion, written by Ashin for Taiwanese singer Aska Yang.
The highlight of the concert was 10,000 people - on the first of three sold-out nights - fervently belting out the classic hit Tenderness as lightsticks shone in unison.
The highlight was 10,000 people - on the first of three sold-out nights - fervently belting out the classic hit Tenderness as lightsticks shone in unison.
By the time Mayday ended their three-hour-long gig with the defiant Stubborn, I was ready for more overtime.
(ST)
Wednesday, December 13, 2017
En
Li Ronghao
Chinese singer-songwriter Li Ronghao has made his name with finely crafted, and performed, mid-tempo tracks about life and love on Model (2013), 2014’s eponymous album and An Ideal (2016).
He shakes things up here on the opening title track by serving a slice of electronica pop with lyrics that sketch a portrait of millennial youth: “Don’t like tattoos of dragons and phoenixes/To bleed for one you love/Perhaps the upper classes won’t get it.”
The misguided attempt to connect with a younger audience is worrying. Luckily, much of the album is still Li doing what he does best – contemplating the vicissitudes of life and relationships at a slower pace.
The poignant Ballad sees him draw strength from ditties that remind him of home: “Ballads from hometown/ Are a good thing to me/They’re the most tenacious side of me/Whenever I feel low, I’d sing them.”
Wish You Happiness is melodic and moving: “Last night, unknowingly, falling leaves fell, a fairy-tale like autumn/That day a girl faced the phone, do you still love me.”
There is also Teenager, a song about taking life by the horns which features a cappella harmonisation: “While you’re still unafraid/Choose a path and set off/Don’t look back/ While you’re still a young man.” Despite the title, this might resonate more strongly with older listeners looking wistfully back on their youth.
(ST)
Li Ronghao
Chinese singer-songwriter Li Ronghao has made his name with finely crafted, and performed, mid-tempo tracks about life and love on Model (2013), 2014’s eponymous album and An Ideal (2016).
He shakes things up here on the opening title track by serving a slice of electronica pop with lyrics that sketch a portrait of millennial youth: “Don’t like tattoos of dragons and phoenixes/To bleed for one you love/Perhaps the upper classes won’t get it.”
The misguided attempt to connect with a younger audience is worrying. Luckily, much of the album is still Li doing what he does best – contemplating the vicissitudes of life and relationships at a slower pace.
The poignant Ballad sees him draw strength from ditties that remind him of home: “Ballads from hometown/ Are a good thing to me/They’re the most tenacious side of me/Whenever I feel low, I’d sing them.”
Wish You Happiness is melodic and moving: “Last night, unknowingly, falling leaves fell, a fairy-tale like autumn/That day a girl faced the phone, do you still love me.”
There is also Teenager, a song about taking life by the horns which features a cappella harmonisation: “While you’re still unafraid/Choose a path and set off/Don’t look back/ While you’re still a young man.” Despite the title, this might resonate more strongly with older listeners looking wistfully back on their youth.
(ST)
Tuesday, December 05, 2017
Eason Says C’mon In~ Tour In Singapore
Singapore Indoor Stadium/Sunday
No fancy staging, no eye-popping costumes and no sign of his best-known hits.
Instead, Hong Kong singer Eason Chan tried something different with this C’mon In~ gig, which is also the title of his most recent Mandarin album.
He performed all 10 tracks from it and shared anecdotes about them. Usually, only a few numbers from a new record would be plugged and performed, but he gave all of them space to breathe with this format.
It was a conceit that worked, thanks to the fine form of his voice and the strength of the material. It ranged from the beautiful balladry of Shei Lai Jian Yue Guang (Miss) to the lively Hai Dan (Sigh), a retro dance tune that served up sea urchin as a metaphor for how a man lives his life.
And “slow song with a groove” Ling Xia Ji Fen Zhong (Freeze), inspired by the late English singer-songwriter George Michael, painted a picture of wintry New York as smoke swirled on stage.
Dressed in a casual ensemble of jacket, T-shirt and trackpants, Chan was in a relaxed and expansive mood on the final stop of the tour.
With no strict run-down to adhere to, he digressed all over in his chatter (“Let’s talk about gossip. Actually, I’m really out of it.”) and danced when the mood seized him.
Speaking in a mix of Cantonese, Mandarin and English, he recalled the madness that would usually follow when a movable stage descends. Complete with actions and exaggerated expressions, he recreated the rush to change costumes and take a sip of water – sometimes getting a mic poked in his face.
In addition to songs from C’mon In~, he also performed a selection of Cantonese tracks for the sold-out crowd of 5,000.
As he rattled off names of past hits, including King Of Karaoke and Next Year Today, the crowd roared with approval – only to have him declare that these were tracks he would not be singing.
Instead, he dug deep into his back catalogue and came up with numbers such as Superman’s Theme from 1998 as well as a Canto-Mando mash-up of White Rose and Red Rose.
It was not as though he was out to alienate the audience, but this cosy setting – though perhaps, say, the Esplanade Concert Hall would have been more ideal – was a good platform to trot out material that might not have been big hits, but was still important to him.
And what was important to fans was another chance to hear Chan live in concert – regardless of the format.
(ST)
Singapore Indoor Stadium/Sunday
No fancy staging, no eye-popping costumes and no sign of his best-known hits.
Instead, Hong Kong singer Eason Chan tried something different with this C’mon In~ gig, which is also the title of his most recent Mandarin album.
He performed all 10 tracks from it and shared anecdotes about them. Usually, only a few numbers from a new record would be plugged and performed, but he gave all of them space to breathe with this format.
It was a conceit that worked, thanks to the fine form of his voice and the strength of the material. It ranged from the beautiful balladry of Shei Lai Jian Yue Guang (Miss) to the lively Hai Dan (Sigh), a retro dance tune that served up sea urchin as a metaphor for how a man lives his life.
And “slow song with a groove” Ling Xia Ji Fen Zhong (Freeze), inspired by the late English singer-songwriter George Michael, painted a picture of wintry New York as smoke swirled on stage.
Dressed in a casual ensemble of jacket, T-shirt and trackpants, Chan was in a relaxed and expansive mood on the final stop of the tour.
With no strict run-down to adhere to, he digressed all over in his chatter (“Let’s talk about gossip. Actually, I’m really out of it.”) and danced when the mood seized him.
Speaking in a mix of Cantonese, Mandarin and English, he recalled the madness that would usually follow when a movable stage descends. Complete with actions and exaggerated expressions, he recreated the rush to change costumes and take a sip of water – sometimes getting a mic poked in his face.
In addition to songs from C’mon In~, he also performed a selection of Cantonese tracks for the sold-out crowd of 5,000.
As he rattled off names of past hits, including King Of Karaoke and Next Year Today, the crowd roared with approval – only to have him declare that these were tracks he would not be singing.
Instead, he dug deep into his back catalogue and came up with numbers such as Superman’s Theme from 1998 as well as a Canto-Mando mash-up of White Rose and Red Rose.
It was not as though he was out to alienate the audience, but this cosy setting – though perhaps, say, the Esplanade Concert Hall would have been more ideal – was a good platform to trot out material that might not have been big hits, but was still important to him.
And what was important to fans was another chance to hear Chan live in concert – regardless of the format.
(ST)
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