Jacky Cheung A Classic Tour 2018
Singapore Indoor Stadium/Last Friday
For stage inventiveness and production values, veteran Hong Kong singer Jacky Cheung’s concert definitely scores top marks.
As a measure of how successful it is, last Friday’s gig was the first of three sold-out nights at the Singapore Indoor Stadium – a year after he sold out three nights at the same venue with the same show last February.
And judging by the show of hands when he asked, a good number had already seen it then. Others, like me, had missed it last year and were glad for the encore gigs; still others were watching him in concert for the very first time.
It unfolded like a musical at times, with the flexible stage, video projections and lighting creating different scenes and settings from song to song.
In the opening, with Cheung in a top hat and coattails, the stage set-up resembled a tiered wedding cake.
During Forget Him, there was a bar in the centre of the four-sided stage in keeping with the Moulin-Rouge-cabaret-inspired costumes of the dancers.
Late in the evening, the show still managed to surprise as he performed in a field of floating points of coloured light. At one point, they seemed to be controlled by him as they drifted up when he lifted his arms. What a beautiful and mesmerising sight.
Some of the stage designs could be fully appreciated only from a bird’s eye view.
When he sang The Departed, he stepped onto a life-size replica of an origami paper boat which languidly circled around the stage. Those seated nearer to him would not have been able to see the stage floor transform into a body of water thanks to the clever use of lighting. Good thing there were large video screens placed above the stage which provided that perspective.
For all the thoughtful staging, there was an odd decision with regard to the rundown of songs.
He saved his most classic Mandarin and Cantonese hits for last and sang them in a medley as, finally, he reeled off I Waited Till The Flowers Withered, Farewell Kiss, Love You More Each Day and more.
It was an embarrassment of riches, but they could have been spread out over the evening – and performed in full.
This was the singer’s 138th show of his A Classic Tour and it showed in his relaxed demeanour and easy command of the 10,000-strong crowd.
Over three hours, the 56-year-old sang and shimmied tirelessly, constantly moving around the stage to make sure that every corner of the venue was covered.
He quipped: “Who likes to see me dance? If you don’t watch now, who knows if I’ll be dancing at 60.”
Vocally though, he seemed to be exerting himself to hit the high notes and his voice broke a few times. Perhaps his punishing tour schedule and jet lag are taking a toll as the Singapore dates are sandwiched between gigs in Connecticut and Nevada in the United States.
He generally sounded fine, but one perhaps has higher expectations of the man hailed as the God of Songs.
He said of the long tour at one point: “Your physical condition each day is different, but what gets us through is you (the audience). There were times when I thought I couldn’t go on, but I didn’t want to disappoint anyone and I just want to do my best on that day.”
It turns out that the God of Songs is human too.
(ST)

Message In A  Bottle
JJ Lin
The lead single, Wei Da De Miao Xiao (Little Big Us), sounds like a sequel to JJ Lin’s big hit ballad, Bu Wei Shei Er Zuo De Ge (Twilight), off his previous album, From M.E. To Myself (2015). But not to worry, it is a sequel done right, capturing the moving grandeur of the earlier track without sounding like a retread.
Singapore’s Xiaohan wrote the lyrics and, as usual, she has a way with words, piquing one’s interest with the opening stanza: “A rose is surrounded by thorns, maybe it wishes for an embrace/Dolphins always have a smile on their face, maybe the ocean has washed their tears away, so no one knows”.
It is a song about the universal need for love and finding the courage to pursue it. Lin sings with yearning and a sparkle of hope: “Love is not a coincidence/Let us hold on to each other’s hands/Although we are minuscule/Never run away”.
He composed all of the album’s music and also penned the lyrics in the English version of the track, Until The Day, which is about the circular nature of life (“Lovers straying, seasons changing/Strangers to lovers/What comes around again”). Both work, though I find the Mandarin take more compelling.
The ballads make a greater impression here and Wo Ji Xu (Eagle’s Eye) is another standout number, with lyrics from frequent Mandopop king Jay Chou collaborator Vincent Fang. Lin sings about believing in oneself and rejecting so-called destiny: “I want to be carefree like an eagle, fly far away from fate on the ground”.
The Taipei-based Singaporean singer-songwriter has been on a roll in recent years, with Golden Melody Award wins for Best Male Vocalist for Stories Untold in 2014 and From M.E. To Myself in 2016. He suggests that his greatest challenge right now is himself as he seeks yet another breakthrough.
He asks in Chuan Yue (Stay): “Who breaks through, overcome who/If I don’t, if there’s no me/Who would surpass”.
The message is clear.
(ST)

Story Thief
A-mei
On her last album, Amit 2 (2015), Taiwanese singer A-mei seethed and snarled. For example, she let it rip on Matriarchy: “Men proclaim themselves kings while women have to bear the weight of the world.”
As though in deliberate contrast, Story Thief is quieter and less confrontational. The singer is more concerned with matters of the heart and the pared-down arrangements place the focus on her voice and naked feelings. It is the ballads which shine here as she works with top collaborators such as Jay Chou and JJ Lin.
The opening title track, penned by Taiwanese singer-songwriter Eve Ai, has A-mei ruminating on a failed relationship: “When you left that day, I stopped telling stories/ Stopped weaving transitions, no need to fret about an ending.”
There is no chorus with an obvious hook here, but the melody sneaks up on you and the honesty of the emotions draws one in.
On the ballad A Bad Good Guy, with lyrics by Singapore’s Xiaohan, A-mei acknowledges: “Whose heart hasn’t been damaged, hasn’t been trapped/Grateful to have survived, that’s enough to be real/Not much innocence left in life/I’m willing to wait again for a bad good guy.”
Full Name, composed by Mandopop king Chou, narrates a poignant tale of unrequited love. A loss of intimacy is conveyed by a telling little detail: “When you mention me again, it’s already by my full name.”
This is the sound of someone a little rueful, a little older and wiser, and yet still clinging to hope.
A handful of tracks take a different tack, including the synth number Withdrawal, which presents another aspect of relationships – desperate desire: “Want to breathe you in deeply/Dig my nails into your flesh.”
Story Thief, it turns out, is a pop album for adults.
(ST)

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)

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 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)

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)

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)

Martial God Cardea
Sandee Chan
Watch out, Taiwanese singer-songwriter Sandee Chan is on the warpath.
But instead of a cacophonous war cry, she has crafted a melancholic, chilled out album which seems to take aim at the impact of technology on our lives in the elliptical lyrics.
In the synth-rock number He’s A Space Debris From The Doomsday Prophecy, Mayday’s Monster and Stone are roped in for guitar duty. Is doomsday linked to the ubiquity of the online realm (“Anime, chasing serials, cheap flights and then search/For a long vacation”)? The repetition of the phrase “keep floating” in English suggests a kind of alienating bubble or cocoon which that world creates.
There is both pessimism and optimism as she vacillates between helplessness in There’s Nothing I Can Do About It and a guarded hopefulness in That’s Not The Only Thing I Can Do.
The title track imagines that Cardea is someone’s online handle, which is appropriate, given that Cardea is the Roman goddess of the door hinge. Chan grapples with the nature of the Internet beast: “When information civilisation is preserving me through text/An ideal life is a sorrow that loses control the more it stays silent.”
Romance is ephemeral in this brave new world. In the track Three Days And Two Nights, she writes: “I just wanted to like you at that time in that way/So I liked you at that time in that way.”
After all, being alone is not necessarily a bad thing, as depicted on the opening track Solitude.
With a line in Japanese, “Densha de iku (Going by train)”, one could imagine her on the Tokyo subway, wrapped up in her own world: “I’m not a prime number, don’t beautify the pain, reading a book, traversing imaginary lands.”
It can be a challenging journey, but one is happy to tag along for the ride.
(ST)

C’mon In~
Eason Chan
Thank goodness Hong Kong singer Eason Chan’s mentoring duties on reality show Sing! China have not kept him from putting out new music.
And if he was stressed with juggling a busy schedule, it does not show on C’mon In~, his latest Mandarin album since 2014’s Rice & Shine.
In keeping with the welcoming title, the opening track Fang (Relax) is an invitation to lounge on the sand: “If the world turned into a beach/Just laze if you want to laze, who cares, ya, how nice.”
It is enough to make one forget about the grey skies and thunderstorms outside the window.
The relaxed vibe carries through to the second and third numbers. Hong Kong’s Jerald Chan (no relation to Eason) and Taiwan’s David Ke are behind the music and lyrics respectively for this breezy trio.
The retro dance of Sigh is a winner, but I prefer the Mandarin title, Hai Dan, which means sea urchin.
The word “dan” is also a homonym for “courage” and Ke’s lyrics paint a picture of a man whose prickly exterior is merely a protective shell: “It’s just that this man, whose thoughts are milder than anyone else’s/Won’t admit, but sigh, living like a sea urchin.”
Just when it seems like C’mon In~ is going to be the Mandarin counterpart of sorts to the all-dance Cantonese disc Listen To Eason Chan (2007), the pace slows down for Shei Lai Jian Yue Guang (Miss), which literally translates to the evocative Who Is Going To Cut The Moonlight.
Chan’s rich pipes have always shone on ballads and Miss is tailor-made for him to do precisely that. He sings tenderly, reminiscing: “Too many memories, how am I supposed to pack them into the luggage.”
Adding to the variety here are dance number You Shang Jiao (Notice), which takes a swipe at social media obsession, and dramatic electro-pop track Fu Ke Bai (Leap), which uses the Foucault pendulum as a metaphor for the inexorable forces of life.
He sings on Miss: “The world is a mess, but what can we do/Lift our heads up occasionally and good thing there’s a moon to admire.”
Good thing there is an Eason Chan album to indulge in every once in a while.
(ST)

A Dancing Van Gogh
Stefanie Sun
When the first single, A Dancing Van Gogh, dropped, I was not quite sure what to make of it. One friend remarked that it was “super offbeat” and that not many Mandopop singers could pull it off. Another thought it was terrible.
It was certainly an unlikely choice to herald the release of a new album by home-grown Mandopop queen Stefanie Sun following 2014’s Kepler and last year’s EP Rainbow Bot.
Neither a conventional ballad nor an out-and-out dance number, A Dancing Van Gogh references the famous Dutch artist and his paintings to a mysterious end. There is a breathy edge to Sun’s familiar pipes in the languorous opening couplet: “Sunflowers, golden like fire/Doing away with being wrapped by sunlight.”
This could be a fever dream as suggested by the enigmatic music video of shifting identities and the bridge in the song: “The Starry Night spins me around/Sorrow and merriment roam all over/I can’t bear to, don’t want to wake up”. It builds to a dramatic chorus, with even a choir chiming in eventually.
What it undoubtedly was was attention-grabbing. The track topped the iTunes chart in Taiwan, Hong Kong, Malaysia and Singapore and the music video has chalked up more than 1.1 million views on YouTube.
It still has not quite grown on me, but it suggests that Sun is open to taking risks in her choice of material, which is something to cheer about for an established star.
The question was whether this signalled a completely new direction for the record as a whole, say, the way Tanya Chua went electronica on Aphasia (2015). Perhaps to the relief of her fans, the answer is no.
After all, she works with several familiar names here. Taiwanese singer-songwriter Hush, who penned the track Kepler, writes the lyrics for The Brighter The Day, The Darker The Night and Everyday Happiness.
Also contributing to the album are her regular collaborators, local songwriting-producing twins Lee Shih Shiong – who composed some of her best-known hits such as Cloudy Day, Green Light and Magical – and Wai Shiong, who, not to be outdone, has composed My Desired Happiness, Kite and Angel’s Fingerprints, among others.
Between them, they wrote the music for half the album, tailored to her distinctive, versatile voice. Their songs include the standout poignant number Wind Jacket (“Flying pages of a calendar/Cut and assembled into a wind jacket”).
Elsewhere, Sun displays an aching vulnerability on the ballad A State Of Bliss, while she gets to rock out in the exploratory Floating Islands and the rollicking Oxygenation Period.
Several of the songs are about the passage of time and of people who come and go. But in the midst of change and upheaval, there is also constancy.
Sun sings in the spare closing ballad Extremely Beautiful, for which she penned the lyrics: “Because no matter how cold the wind blows, the umbrella is by my side/Even if the jacket is old, it’ll still keep the chill at bay”.
While A Dancing Van Gogh is not quite as immediate as some of her previous releases, a new album from a well-loved singer can still be a source of comfort.
(ST)

Unlearn
Ling Kai
Cross Ratio Entertainment

The Greatest Journey
Ruth Kueo
Cros Music

Local female singer-songwriters Ling Kai and Ruth Kueo offer different listening experiences on their latest releases.
Ling Kai’s Unlearn EP is more intriguing. It kicks off with the pop-rock numbers Dumbfounded and Eat, Drink, Sleep, Repeat, which are propelled by her distinctive power pipes. She takes aim at the obsession with social media in Dumbfounded: “Face the camera, don’t be too frank in your emotions/What’s beneath, just guess.”
The singer turns the dial down on the title track and Eighteen, but keeps things compelling. She croons poignantly about growing pains on the latter ballad: “18/That year I thought the world/Was as old as me/ Growing up/Stabs of pain”.
Kueo’s seven-track album is a breezier affair primarily concerned with matters of the heart.
From the bop-along pop of Let It Go to the ballad Without You, the songs are a good foil for her sweet voice. On the track Fake, she shows a bit of welcome sass: “Can we not be fake/Be a little honest/Laugh if you like/If you don’t/Say out loud what you think.”
Simple Happiness is a melodic guitar-accompanied track which is unfortunately marred by lyrics which seem derivative of the well-loved home-grown number If There’re Seasons (“Come home when it’s cold, don’t linger in the wind/There’s understanding in mother’s eyes/And a glint of helplessness”).
Kueo sings on her ballad: “No matter how strong the wind and rain, remember to come home/Thinking of what mother used to say.”
Unlearning what you know might be a good idea when it comes to penning lyrics.
(ST)

MICappella You And I Live In Concert 2017
Capitol Theatre/Last Saturday

Since their second-place finish in the televised competition The Sing-Off China in 2012, local vocal group MICappella have been honing their craft and growing as a band.
They released their debut album Here We Go in 2013 and followed that up with an ambitious album of original material, MICappella Reloaded, last year.
They have toured as far afield as Europe and Australia and, finally, performed again in Singapore after four years – in their biggest solo show.
Over 21/2 hours, they showed the sold-out crowd of more than 1,000 fans just how far they have come since they formed in 2009.
The sextet were at their strongest on the high-energy original numbers, One Of These Days and Never Be Defeated. They showcased the tightness of MICappella as a music-making unity where everything fit together perfectly, from the vocal percussion to the harmonisation.
The band comprise leader and vocal percussionist Peter Huang, soprano Tay Kexin, alto Calin Wong, tenor Juni Goh, baritone Eugene Yip and bass Goh Mingwei.
It was all too easy to forget sometimes that every note and sound is generated solely by the six of them.
And if there seemed to be quite a reliance on video clips during the evening, it is worth bearing in mind that there were no other musicians or dancers to take over even for a little while to give them a breather.
Huang’s beatboxing solo was a potent, not to mention entertaining, reminder of the musicality of the group’s members as he gave the concertgoers drums, thumping bass and even turntable scratching in the course of his showcase.
Each member had his or her moment to shine and they also took turns at the microphone to share anecdotes, including how they came to cover legendary English band Iron Maiden’s The Trooper.
It was in response to a gauntlet thrown down by some musician friends who asked: “A cappella cannot do heavy metal right?”
The stomper of a cover with an impressive wall of sound certainly proved the doubters wrong.
Even as MICappella stretch themselves by composing their own material, they did not neglect the fans who first got to know them through their covers.
They took on Pharrell Williams’ Happy, Bobby Chen’s One Night In Beijing and, of course, Hu Xia’s Those Bygone Years and Hebe Tien’s A Little Happiness. The music clip for their Hu-Tien mash-up has garnered more than 1.6 million views on YouTube.
The evening had also started with two mega medleys that went through 22 songs in Mandarin, English and even Korean.
However, that felt like packing in too much as it did not give the audience a chance to settle down as the band were constantly switching gears. It was a good thing the pacing became less frenetic once the show got underway.
The final number was a rendition of Mayday’s Minnan dialect ballad Peter & Mary – the first song that MICappella did, back when they had no idea where they were headed.
What came across loud and clear, in that track and throughout the evening, was their joy and excitement in coming together to make music – and that is the heart and soul of a cappella.
(ST)

illi
Will Pan
After a head injury sustained while rehearsing for his Kingdom Of Eve tour in 2014, Taiwanese-American singer-actor Will Pan dreamt about giving birth to a baby alien – which he believed was his reincarnation. As far as backstories for mainstream albums go, this is pretty left-field.
Not to worry, though, as illi is a solid offering of hip-hop – head for party-hearty track Go Hard and the old-school jam of Coming Home – and ballads with some extra-terrestrial imagery worked in.
On the propulsive number Close Encounter – the title references the 1977 Steven Spielberg sci-fi flick Close Encounters Of The Third Kind – he sings: “Don’t tag this biological aesthetic as a dangerous monstrosity that belongs to Area 51, that’s right I belong in this world.” Area 51 is a classified place in the United States which some believe harbours evidence of alien life.
It is not just an attention-grabbing gimmick here – an alien is also a metaphor for being different and Pan makes a case that he is one.
He is not the strongest singer, but one can see that he puts in the effort from debut album Gecko Stroll (2002), in which he likens himself to a gecko waiting for mosquitoes on the title track, to his latest, 11th record.
It helps that he can also pen radio-friendly hook-filled tracks such as Numb with its stinging chorus: “Break it, forget it, let it go/Don’t test your own cunning/Quiet, don’t speak/Learn to be a mute.”
Sometimes, the material feels a little generic, such as the lightweight love song Fight For You.
The antidote is Dear Memories, in which the bitterness and vitriol aimed at an ex is leavened by the breezy melody: “Didn’t think you were such a beast/Hope you’ll never forget me/Suffer every day.”
Despite the unusual premise, illi is far from alienating.
(ST)

Wei Bird 2017 Concert
Resorts World Theatre/Last Saturday
The best encore is an unplanned one.
Nowadays, concerts are planned in detail, down to the last note an artist sings. But every once in a while, something surprising and magical happens – as it did at Taiwanese singer-songwriter Wei Li-an’s gig.
The two-hour-long set ended with a planned-for encore of the rousing track Girl and the hit ballad Still that had his fans on their feet and making a beeline for the stage. It left everyone on such a high that the cries of “encore” grew with renewed urgency.
Happily, Wei emerged with a guitar and proceeded to take requests for songs such as Still Loving You and Think Of You First before ending the evening with the delicate beauty of Cloudy Sunflower.
He ended up performing for another 20 minutes.
The singer, who is also known as Weibird or William, said: “I hope you’ve found your moment to take home with you. I’ve found mine.”
On disc, he comes across as a thoughtful young man sensitively probing matters of the heart in melodic songs that linger in the mind, including Have Or Have Not, Slowly Wait and Someone Is Waiting For Me.
Live, he is an affable presence whose pipes shine whether he is rocking out on a number such as 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 was, in his own words, an introvert.
He mused: “If I weren’t a singer, I wouldn’t get to travel to so many places and meet so many people.”
In his more recent albums, Journey Into The Night (2014) and It All Started From An Intro (2016), he has begun to move away from ballads and R&B influences to more adventurous territory, such as venturing into electronica and experimenting with song structure.
But the focus of his Free That Girl tour, which started in 2015, is on his earlier material and mid-tempo hits. Perhaps his next show could show more facets of the talented songwriter.
Still, the concert was an enjoyable one. If anything, he deserved a bigger audience than the crowd of about 1,300.
In one segment, a visual of his room showing a guitar and a work table with a screen and speakers served as the backdrop to an unplugged selection of songs, such as The Fleeing Of A Two-Legged Bookcase and What You Think Of Me.
Judging from his fans’ reactions, there is no question that Weibird flies high in their eyes.
(ST)

Artists' Mood
Leo Wang

On his official Facebook page, Taiwan’s Leo Wang lays out his mission of “trying to combine jazz, hip-hop, reggae and scat singing with Mandarin Chinese in a groovy way, and making his people dance”.
He lives up to that pursuit of eclecticism on his fourth so-called mixtape, an apt description for this album of diverse genres and influences with music that is fun, irreverent and cheeky.
On the opener Thoughts Of Lee Kuo Hsiu, which is addressed to the late Taiwanese theatre pioneer, he raps smoothly: “You’ll slowly get used to my style/And gripe that you get testy on nights without me.”
He switches gears, grooving to a laid-back reggae beat, on Soul Truck and Jam All Night, which 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.”
Turning Eighteen is about Wang doggedly pursuing his music dreams and it seems to be his own experience cloaked in the guise of advice: “Child, congrats on turning 18/Want to make a living doing music, you might have to move to Taipei/Child, congrats on turning 18/The excuse for moving, just say you’re heading to uni.”
At the same time, it is also a no-holds-barred portrayal of slacker, hormonal youth. J***ing Off, Got Caught sets up the scenario of the title and then gets progressively kinkier.
The mixtape also features collaborations with a few artists.
Weekends With You dissects a mismatched relationship with honesty from his point of view and that of female singer 9m88’s. He confesses: “I just wanna head home I don’t feel so well/I don’t like people.”
He might have to get used to people liking his music, though.
(ST)

Home III
Lo Ta-yu

Home Coming
Bobby Chen

Two grizzled veterans of the Taiwanese music scene ruminate on the meaning of home in their new albums.
The question is particularly pertinent for troubadour Lo Ta-yu, 63, as he was born in Taiwan, but has lived in the United States and Hong Kong and has a music studio in Beijing.
It is a theme that he has dealt with before. The songs Home I and Home II are on the 1984 album Home, a very different animal from his earlier, more politically charged works, which led to him being pegged as a “protest singer”.
Then, he yearned for the warmth of the past and wondered on Home II: “What place can appease an exhausted spirit which has been wandering the ends of the world.”
Now the father of a five-year-old daughter, he is the one who is providing a safe haven and it is as if he is singing on her behalf in Home III: “Give me feelings of warmth, understanding, strength and mutual protection/Hope that as I grow up in days to come of cold, heat and storms, my heart will never change.”
Even with an eye on the future, Lo reminisces fondly about the past. On the breezy and folksy Reunion, he recalls his schooldays: “That period in my life with no regrets and no complaints.”
The mood is more elegiac on singer-songwriter Bobby Chen’s record. Its title track begins with a chorus of la-la-las over a simple guitar accompaniment and it is suffused with nostalgia and a gentle melancholy.
It ends with a moving line about his late mother: “My mother, she wasn’t beautiful, how do I describe her.”
On the album closer Yesterday Today Tomorrow, Chen, 58, reflects: “Time is inscrutable/Maybe no one should live today, but dream of returning to yesterday.”
Like Lo, Chen has had a peripatetic existence. But while he has recorded his music in various countries and published books about his overseas travels, he seems to have neglected his own country.
This was the genesis for Home Coming and he even went back to his birthplace, Changhua County, to shoot the music video for the title track.
There is no mistaking the honesty and depth of emotion in these albums and the rough-hewn, weathered voices of the two musicians are part of the homespun charm.
(ST)

Abstract
Shio Quek
A crop of up-and-comers is injecting the Malaysian music scene with much-needed new blood.
Duo FS (Fuying & Sam) have been scaling the charts with radio-friendly tracks such as It Should Be Better For Us To Break Up, sounding like an updated version of Wu Yin Liang Pin. Meanwhile, Shio Quek is a singer-songwriter in the vein of, say, Penny Tai, and is in fact signed to the latter’s agency.
Sporting a head of pink hair on the album cover, Quek is clearly no shrinking violet.
Opening track Extrication is an atmospheric slice of minimalist electronica with a softly hypnotic thump and haunting synth line about breaking out of a bad relationship. She declares determinedly in English on the chorus: “I need an extrication/I need to extricate myself away from the pain.”
The track also features a guest turn by Taiwanese rapper Miss Ko and it all comes together nicely.
Quek switches effortlessly between English and Mandarin, though the wholly English ballads End To Ribbons and Your Name are not her most compelling work here.
Head instead for the pleasures of ballad Solo Bliss, which touches on the fleetingness of happiness: “This solo bliss, can only understand by listening with eyes shut/Even if everything’s not mine, I won’t beg anymore.”
The album feels too ballad-heavy though, and more could have been done with the music arrangements, such as for Chimera, which features an ear-catching electronica intro.
What keeps one from quickly extricating oneself from the album is her consistently compelling singing.
(ST)

Evidence
Frande
Taiwanese band Frande’s third album offers more laidback, beguiling indie pop under the arch Chinese title of Why Does It Resemble A Love Story, I Was Clearly Reading A Detective Novel.
On their Facebook page, they describe their genre of music as “soft things but not that soft; crazy things but not that much”.
Over the unhurried beats on electro-pop opener All You Need To Do Is Love Me, female lead singer Fran’s voice glimmers as she protests lightly: “I haven’t even had time to love you/Why would I harm you”.
The band line-up also includes guitarist Chiang Chen-yu and drummer Wu Meng-yen.
Love is a tussle on I Hate You, I Love You as Fran and Taiwanese singer-rapper DJ Didilong circle each other: “Soon, I won’t be able to tell right from wrong/We’ve fought over this so many times.” But there is a solution to melting their cold war: “We just need an embrace.”
Love, in its different forms, is put under the magnifying glass here.
It can be sweetness and light, and on Until Death Do..., it is a powerful force as well: “Like to hear you say ‘I love you’/Drive away all grievances/ Together, with you together.”
Love is most tender on the lullaby-like My Darling Lamb, which is inspired by the ploy of counting sheep to battle insomnia (“Can’t sleep, I can’t sleep/Waiting for a ‘goodnight’ from you/Won’t tie, won’t tie you down/Want you to be free”). Instead of romantic love, it is about the love for a child as Fran sings: “Want to kiss your face at every age.”
(ST)

Pluto
Enno Cheng
The dreamy and spacey Recycling In The Universe is the perfect introduction to Taiwanese singer-songwriter Enno Cheng’s new album Pluto, the follow-up to her previous record Neptune (2011).
It is a slice of electro-pop that is vast and intimate as she croons in her lightly husky voice: “Float, float gently, let go of space, time and language/Close my eyes, I’ve come to you without any defences.”
Somehow, even a blackhole sounds innocuous: “Can’t see inside this black-coloured hole, it will swallow up everything, everything/La la la la la la la la.”
The other songs are easily approachable with their breezily melodic tunes, but the lyrics sometimes carry a sting.
She sings in English on the chorus for Golden Old Days: “Hey bastard, you know this is how we work/No matter how, no matter how, you’ll always be my love.”
Our Pop Song, a collaboration with Hong Kong’s Ellen Loo, appears to be a response to Recyling In The Universe at one point: “I’ve put down my edges and strengths, will you destroy me,” Cheng sings.
At the same time, she is not afraid of being seen as vulnerable. She is earnest and hopeful on Pride (“Trust me, although I’m as frightened as you, we can search for answers together”).
Cheng charts an idiosyncratic and imaginative musical journey, one that honestly embraces the contradictions and fragility of life.
(ST)