#ASIA SONG FESTIVAL 2020

[louisupdates]

WORLDMUSICAWARD: Happy 33rd birthday to the gorgeous, hugely talented Singer, Songwriter, Producer & Global Icon, #LouisTomlinson, who rose to fame as a member of #OneDirection, one of the best-selling Boy Bands of all time, and became a chart-topping, history-making, award-winning Superstar in his own right! 👏🎂🎉🌟🐐👑❤️

Louis has contributed more in songwriting to One Direction than any other band member, with credits on most of the tracks of 'Midnight Memories', 'Four', and 'Made in the A.M.' and on 38 songs across the band's discography, and was the main guy in shifting 1D's music towards a more mature sound...

Louis is an amazing Solo Artist and has so far released 2 studio albums, 1 live album, 11 singles, 1 promotional single and 11 MVs! Louis debuted at #1 in the UK with his 2nd studio album 'Faith In The Future' in 2022 which also reached #5 on the Billboard 200, and spawned the hit singles singles "Bigger Than Me", "Out of My System" and "Silver Tongues"! His debut studio album 'Walls' (2020) debuted at #4 in the UK & #9 on the Billboard 200, becoming the 1st new album for Arista Records in almost 9 years to hit the US top 10! Louis' debut single "Just Hold On" with #SteveAoki reached #2 in the UK, and was certified platinum! In 2017 Louis released "Just Like You", "Miss You" & "Back to You" with #BebeRexha, which was certified platinum in the US and UK! In 2019, he released "Two of Us", a Tribute to his mother, followed by the hits "Kill My Mind", "We Made It", "Don't Let It Break Your Heart" and "Walls" in January 2020!

Louis has embarked on 2 world tours! His 'Faith in the Future World tour' began in North America in May 2023. In the context of the tour, Louis performed in North America and Europe in 2023 and Asia, Australia and Latin America in 2024. In November 2023, after a sold-out concert at the O2 Arena, Louis was nominated for the Live Act Award at the Rolling Stone UK Awards. During the Latin America leg of his 2nd World tour, Louis made history, becoming the 1st male Solo Artist to headline Mexico City's Autódromo Hermanos Rodríguez! He held a charity livestream of the event titled 'For Every Question Why', donating the proceeds to War Child UK. This year, Louis toured a summer 2024 festival circuit, including the Main Square Festival, Pinkpop, Ruisrock, Santander Music, Untold Festival, Sziget Festival, Frequency Festival, Victorious Festival, and Lollapalooza Berlin!

Louis has received numerous accolades including an MTV Europe Award for Best UK Act (2017), an iHeartRadio Music Award for Best Solo Breakout (2028), 3 Teen choice Awards for Choice Music Collaboration for "Just Hold On" (2017), Choice Male Artist (2018) & Choice single Male Artist (2020), a TDY award for Album of the Year (2020) for 'Walls' and most recently a Northern Music Award (2024) for Artist of the Year!

Louis is also a successful Producer and in 2015, he created his own record label, Triple Strings Ltd. In 2021, Louis founded and curated the indie music festival 'Away From Home' and in 2023, he officially launched his 28 streetwear-inspired unisex clothing line!

Louis is an active philanthropist and personally donated £2 million to Believe in Magic, which supports terminally ill children! He's also a Patron of the Bluebell Wood Children's Hospice. In April 2016, he joined the Soccer Aid 2016 star line-up, a biennial fundraiser for UNICEF. Louis actively supported the Black Lives Matter movement in May and June 2020, and attended the George Floyd protests in London.

[deimosbreakfrost]

@yulsbabymama

WEEEEEEEEEEEEELL...

☝️🤓 the black parade is...

The Black Parade is the third studio album byAmerican rock band My Chemical Romance . Released in Europe on October 23, 2006 and in the United States on October 24, 2006, [ 1 ] by Reprise Records , it was produced by the band in partnership with Rob Cavallo , known for having produced several albums for the Goo Goo Dolls and Green Day . It is a rock opera and conceptual album centered on a character who is close to death from cancer known as "The Patient". The album tells the story of his apparent death, afterlife experiences and reflections on his life. It is the band's only studio album to feature Bob Bryar on drums before his departure in 2010.

The Black Parade received generally favorable reviews from critics , and the band achieved their first UK number-one single with " Welcome to the Black Parade ". The album debuted at number two on both the��Billboard 200 and the UK Albums Chart and is also certified triple platinum in the United States by the Recording Industry Association of America (RIAA) and in the United Kingdom by the British Phonographic Industry (BPI) , in addition to certifications of gold in Argentina by the Argentine Chamber of Phonogram and Videogram Producers (CAPIF) and in Chile by the International Federation of the Phonographic Industry . The Black Parade received the Platinum Europe Award from the International Federation of the Phonographic Industry for one million sales in Europe. The limited edition box set also earned My Chemical Romance a nomination at the 2008 Grammy Awards . Four singles were released from the album: " Welcome to the Black Parade ", " Famous Last Words ", " I Don't Love You ", and " Teenagers ".

My Chemical Romance kicked off The Black Parade World Tour on February 22, 2007, at the Verizon Wireless Arena in Manchester, New Hampshire . The tour included 138 performances around the world, as well as several festivals and shorter shows. The tour was the longest and most internationally wide-ranging tour the band has done as a headliner, with three legs in North America , two in Europe and one in Asia , Oceania and Latin America .

The song "Dead!" appears in the Xbox 360 game console version of the game Guitar Hero II , and the three songs "Teenagers", "Famous Last Words", and "This Is How I Disappear" were available as downloadable content. As of 2016, The Black Parade has sold three million copies in the United States and four million worldwide. The album was re-released as The Black Parade/Living with Ghosts on September 23, 2016, in celebration of the tenth anniversary of the album's release. In 2020, Rolling Stone magazine ranked the album number 361 on its updated "500 Greatest Albums of All Time" list. [ two ]

[theodorically]

The Black Parade is the third studio album by American rock band My Chemical Romance. Released in Europe on October 23, 2006, and the United States on October 24, 2006,[1] through Reprise Records, it was produced by the band with Rob Cavallo, known for having produced multiple albums for the Goo Goo Dolls and Green Day. It is a rock opera and concept album centered on a dying man with cancer known as "The Patient". The album tells the story of his apparent death, experiences in the afterlife, and subsequent reflections on his life. It is the band's only studio album to feature Bob Bryar on drums before his departure in 2010.

The Black Parade received generally favorable reviews from critics, and the band achieved its first number one single in the United Kingdom with "Welcome to the Black Parade". The album debuted at number two on both the Billboard 200 and the UK Albums Chart and is also certified as triple-platinum in the United States by the Recording Industry Association of America (RIAA) and the United Kingdom by the British Phonographic Industry (BPI), as well as with gold certifications in both Argentina by the Argentine Chamber of Phonograms and Videograms Producers (CAPIF) and Chile by the International Federation of the Phonographic Industry Chile. The Black Parade was given the Platinum Europe Award by the International Federation of the Phonographic Industry for one million sales in Europe. The limited edition boxed set also earned My Chemical Romance a nomination at the 2008 Grammy Awards. Four singles were released from the album: "Welcome to the Black Parade", "Famous Last Words", "I Don't Love You", and "Teenagers".

My Chemical Romance began The Black Parade World Tour on February 22, 2007, in the Verizon Wireless Arena in Manchester, New Hampshire. The tour featured 138 performances worldwide, as well as several festival and condensed shows. The tour was the longest and most internationally comprehensive headlining tour the band played, featuring three legs in North America, two legs in Europe, and one in Asia, Australia, and Latin America.

The song "Dead!" appears in the Xbox 360 version of Guitar Hero II, and the three songs "Teenagers," "Famous Last Words" and "This Is How I Disappear" were once available as downloadable content. The Black Parade has sold three million copies in the United States as of 2016, and four million worldwide. The record was reissued as The Black Parade/Living with Ghosts on September 23, 2016, in celebration of the tenth anniversary of the album's release. In 2020, Rolling Stone ranked the album number 361 in their updated "500 Greatest Albums of All Time" list.[2]

Three Cheers for Sweet Revenge (often shortened to Three Cheers or Revenge)[1] is the second studio album by American rock band My Chemical Romance, released on June 8, 2004 by Reprise Records.[2][3] With this album, the band produced a cleaner sound than that of their 2002 debut I Brought You My Bullets, You Brought Me Your Love.[4] It was the band's first release to feature rhythm guitarist Frank Iero on all tracks, as well as the final release to feature drummer Matt Pelissier, who would later be replaced by Bob Bryar.[5]

The album was a success for both the band and the label.[6] The record produced four singles—"I'm Not Okay (I Promise)", "Helena", "The Ghost of You", and in the United Kingdom, "Thank You for the Venom".[4] It was certified platinum by the Recording Industry Association of America (RIAA) less than a year after its release,[3] and has sold over three million copies in the United States.[6]

Musically, Three Cheers for Sweet Revenge has been described as emo,[7][8] alternative rock,[8] pop punk,[9] post-hardcore,[10] punk rock,[11] and pop rock.[12] While I Brought You My Bullets, You Brought Me Your Love was considered "a particularly strident entry in that shifty genre of bands tortuously slamming together elements of emo, hardcore, and even metal",[13] Three Cheers for Sweet Revenge "both showcased their songwriting skills and gave them much-deserved attention".[4] Moving away from the "screamo parts"[14] and "the more complicated structures"[15] of their first record in favor of a sound that "skirts the line between pop punk and edgy, theatrical, emo"[4] while being "strongly influenced by hardcore punk",[15] Three Cheers for Sweet Revenge has been variously compared to The Misfits,[16] AFI,[13] and Thursday.[13]

Lead singer Gerard Way has referred to the first single "I'm Not Okay (I Promise)" as a "self help pop song"[17] while also being called "a surging piece of emo-pop with a hook as ridiculously catchy as it was ridiculous"[18] and a "moving anthem for the young and depressed"[19] by AllMusic and Rolling Stone respectively. This single went on to be nominated for the Kerrang! award for best single[20] and reached number 86 on the US Billboard Hot 100.[21]

The album opener "Helena" has been referred to as an "album highlight and smash hit". Gerard has claimed that the song "shaped what the album is about" and "revealed their dark side" in comparison to the first single.[17] Its lyrics mourn the loss of Gerard and Mikey's grandmother,[17] Elena Lee Rush, and was their first entry into the top 40.[21]

[tomeltinto]

For us to be ourselves (2023/12/06 Interview)

The Novembers released “At the Beginning” in the first half of 2020, while the new coronavirus was just starting to exert its fury. In the same year we fell into a situation where concerts with a live audience could not be held, but starting from 2021 they held one-man concerts in Usen Studio Coast and Zepp Haneda (Tokyo), appeared in large-scale festival Fuji Rock Festival, and in addition to that each member has intensified their own solo activities and kept moving widely. Then, after 3 years and a half from their latest work, they completed the ninth full album, “the Novembers.”

The name of the band was crowned as the album title, and it is about 16 years after their debut album of 2007, “THE NOVEMBERS”. Members explained the reason as “We wanted you to feel that the Novembers of now are this”, and revealed that it is a “rock album where the us of now are condensed”. At Ongaku Natalie, we are celebrating the release of this work with an interview to Kobayashi Yūsuke. Looking back to “At the Beginning”, he's talking to us about the background in which they created this rock album, “the Novembers”.

──The period of the creation of the previous work “At the Beginning” was just the period when the new coronavirus was spreading around, and back then you [Kobayashi-san] talked about how, along with the state of the world, the composition of an album would change as well.

Back then we had scheduled a tour not just in Japan, but in Asia as well, and that period ended with many activities related to “At the Beginning” that could not be executed properly. So, honestly, it became a work where many regrets and feelings linger. It became introspective as in “what can we do now?”, because of several activities that we had to cease.

──“At the Beginning” was a strong album with a dark mood, also because it came after 2019’s “Angels”. At first “Rainbow”, that depicts in a majestic way a “beginning”, was supposed to be the last song, but you were saying that with the spreading of the virus, you decided that “if it hasn’t yet begun, it’s already too late”, so you decided to move the song order at the top.

The air of the moment of creation and the zeitgeist flow into every album, and since we changed the song order and the arrangement, matching “At the Beginning” to the state of society, maybe it was more in real-time than anything we had ever done. We were constantly trying to think “That’s good”, and as we continued doing this in the album, and it was not like only in this particular moment we thought “let’s do this in this mood”. However, I feel like there were many moments when we were looking for both parts oozing out of ourselves and the most self-conscious parts. The result of working on what kind of band we are, so, became the style of that album.

──In 2020 the Novembers temporarily halted concerts with a live audience, but starting from 2021 you gradually restored them, and continued one-man (shows) in large venues like Usen Studio Coast and Zepp Haneda (Tōkyō). And also, in 2022 you appeared in Fuji Rock Festival, so it seems like you had a favourable new start.

Looking back, large-scale concerts continued then.

──On the one side, when you held the one-man show at the Liquid room, in november 2022, you said “I’m writing new songs, but I didn’t give them to my bandmates yet, and only the songs I didn’t show anyone have increased”, and “what I want to do with this band, it’s become something that weighs heavily on me”. Was this disquieting state somewhere [then]? What was the situation like in the band back then?

My words at the time worried the fans and I apologized for that. Starting from 2020, all the members tested each their own strengths in activities outside of the Novembers, me with the Spellbound, Takamatsu started working with Petit Brabancon.

──Even outside of music, Kengo worked in many collaborations and Yoshiki [Ryōsuke] even opened a clothing brand. That’s quite vast.

Obviously, both Kengo and Yoshiki kept making music, they also started being support members for other bands. All of us have experienced new methods, aesthetics, philosophies from other places, different from the Novembers.

──About the individual activities of the members, did you set in advance until what point to undertake them?

Not particularly. Each one of us had a positive experience in their own field, and since we wanted to have a good communication once we would meet again, there were no restrictions. On the one hand I was fretting about not neglecting the activities with the Novembers, but I also felt frustrated about not making an album.

──Were there different parts, points where you made use of the activities outside of the Novembers, during the making of the album and in live performances?

I think there definitely were, but it wasn’t like we were talking about it like “let’s change this” or “let’s make use of this action from that one time”. We do not talk about it, but I feel like it shows from the performance, from the sound.

The meaning of the Novembers being the Novembers.

──At Natalie, we asked you a few times to talk about the activities with the Spellbound, and one of those times you said that “[you]’d like to use with the Novembers what I got from the Spellbound”. As with the Spellbound as well you’ve worked tirelessly on the creation of an album, concerts and large-scale festival performances throughout several dates, I imagine this has been for you a valuable experience.

It’s been only three years since I’ve started working with the Spellbound, and I’ve spent such an intense time that it doesn’t feel so short. So I end up inevitably comparing music by both the Novembers and the Spellbound. Before I started working with the Spellbound, I was creating with a feeling like “I will only make the songs I want to make”., and I realized that that’s something that makes me self-sufficient, for better or for worse.

──Working with Nakano Masayuki, (The Spellbound, Boom Boom Satellites), your way to confront music has changed quite a lot.

Nakano-san always thinks earnestly like “how can I change the world with music?”. I think that seeing this scene before my very eyes, I understood why I was so attracted by Boom Boom Satellites and why they’ve been driving my life. At the same time, I understood how serious and hard it could be to guide people and the times in a positive direction.

──So, also the attitude and music you were looking for in the Novembers changed as well.

The hurdle of a standard of value entered in me all at once, so I could no longer be satisfied saying “That’s a pretty good song”. I kept thinking about what it was that could make someone happier, something cooler, and time passed while I was working. So because of that, rather than saying that I fell into a slump, it would be a nuance close to being conflicted with all my heart, so as to make a better work. To make an example with food, I was fermenting. (Laughs)

──Fermentation (laughs). Did the other members know that you were so conflicted while writing?

Honestly, after falling into the Corona outbreak, we didn’t meet much with the other members. We’ve been friends since our 10’s, so if we had united it would have been like always, but I was convinced like “I have to settle this matter all by myself”. Obviously, it’s important to have time alone to think, but thinking along with someone else is important too. And with that, we weren’t able to share daily things like “I want to make this come true, now and in this situation” and grow together.

──Because they’re long-time friends, there are things it’s hard to talk about.

On the contrary, there are things I have to tell them because they’re friends. However, there are times where I prioritized too much getting along and harmony, and I ended up not having a meaningful contact. For a band, if you throw even a pebble, there’s the possibility that that harmony could crumble. But more than settling “let’s continue this band the four of us”, we had to think together about what it means for the Novembers to be the Novembers.

──About “Kanashimi ga kawaitara”, released this April, you commented this: “we’re taking back ourselves” and “we’re ascertaining the meaning of being the Novembers and the meaning in our meeting”. So there was this background.

Yes. We’ve also had the time to deeply consider how to keep going with the band from now on, with this meaning.

Creating an instant when we come into contact with new music.

──Before the general distribution of the new album “the Novembers”, it was put on pre-sale in each venue of the one-man tour, and even tickets where the members would be handing over the CD were arranged.

Just releasing an album, and only then carrying out a tour would be dull. Now the distribution became the main point, and the span between it and presenting the new songs becomes shorter, so we wanted to deliver it more carefully and thoroughly. So by presenting the new songs of the album with a tour before the general distribution, we made the very first moment of contact with the new music into a live concert. Also the CD conveys directly the feeling that “This is us now”.

──Even naming the album after the band name was due to “I want you to feel the very band itself”. We could say it’s like you returned to the early days of your activities in a way, with an act close to having someone taking into their hands the sound source at the venue, going to see the concert without including prior information, buying (the album) in a direct sale if they like the songs.

In addition, since in case of purchase of a ticket including the album, we were making people decide in advance whether to buy or not the album without having listened to even one of the new songs, it becomes even more of a hurdle. Since there were many people who bought that ticket including the album, I was grateful and also very tense. Because it conveyed not only the desire to support our activities, but also the thought that they believe that the new work of the Novembers is something good.

──You went and personally handed over the albums to the audience, how was it?

There were many people from whom I felt that they really looked forward to this, and there were many people that thanked me like “I’ve been following you for nearly fifteen years, but it’s the first time I’ve spoken to the members” or “Thank you for always been so close to me”. We also receive messages on social media, but I was happy that we could let them express their feelings in front of us.

──So far, you as a band have always been treasuring the act of giving something to someone, the letter and the flower seeds enclosed in “zeitgeist”, the formula of the “share-CD” in the single “kyō mo ikitane”, where you included 2 CDs with the same contents, the delivery of the “Tour 2022 - Kangiten” after the end of every performance, the paper with the lyrics of the songs you’ve just performed at concerts. The very personal delivery of this album, we feel what you want to convey in that stance.

From the personal delivery words and feelings are born, and since the energy you can’t see comes and goes, we can say that it’s a truly intimate communication. When you think that it’s not only a thing, but also every conversation and gesture is a gift, the appearance of your everyday life, and the way you grasp the facial expression and aura of your partner change as well. Precisely because I live with someone, I am regularly becoming more aware of a feeling like “I want to increase the happy moments”.

If we don’t express all we have now, the baton of energy won’t stay.

──As the comments you made when the release date of the new album “the Novembers” was announced, like “a rock album where the us of now are condensed”, and “after all it’s really cool to be in a rock band. It’s that kind of album”, this was an album where you condensed the charm of rock that you [the Novembers] have pursued until now. From the first song “BOY”, you demonstrate your will to plunge forward with lyrics like “Please don’t stand in our way, if we destroy everything”, “We are reborn, pressing on the accelerator”, and it feels like you divided the songs into two, the first half that emphasises guitar sounds from you and Kengo, and the second half, from the sixth song “GAME”, that emphasises the rhythm elements from Takamatsu and Yoshiki. How did you decide the whole composition or concept?

This time I wrote all the song at pretty much the same time, and in that I could see a connected story. And from that eventually I came out with the theme of a “rock album” and it was kind of like the flow.

──So in the first half you express frankly a sound like “The Novembers is this kind of band” with “BOY”, and after that “Seaside” is new wave, “Daremo shiranai” is hard and alternative, and songs that shake free from every genre that you have taken as a motif follow.

To be honest I didn’t realise the idea of musical taste and genre. It’s not like we especially discussed “BOY” being the first song. More than calculation and deliberateness, the mood and aura of the band that we can’t express with words became the criteria for the musical composition and the song order. Somehow it was more of a feeling like the fighting spirit, in a way, of “let’s express everything we have now”, “the baton of energy we’re giving the listener, it won’t linger if we don’t do our best”.

──It’s the feeling, and the individuality of each song has stood out.

Also I think that the idea of every member like “I want to be like this” or “I want to develop like this” is dwelling in each song. The songs grow in the same way as watering flowers, it’s a natural and healthy way of creating.

──The ballad in the middle “Katachi aru mono, Bokura wo tabanete” while incorporating a mood similar to “Saikin Anata no Kurashi wa dō” and “kyō mo ikitane”, is a challenging song that also features the sound of saxophone.

We played this at Shindaita Fever, at the celebration for the 15th debut anniversary, and thanks to that we completed it. Not only at the exhibition, but I also participated at a talk event with tobird, who has been handling our artworks for a long time, and while we were looking back at the activities until now, I realised that we have many accomplishments, like treasures. And I wanted to turn those memories into a song.

──This talk event was focused on looking back to all of your activities from the early days up to now, there were many valuable topics.

There are also parts where you reflect when you look back on past events, but I also understand things I finally realised now and that I treasure. I often daydream if I’d look glittering if the me of the past saw the me of today, and if I’d be a person who could inspire [that past me]. On one hand there were moments when I thought “I was good back then”, and I feel like I’ve lost something important. But through the past (I’ve) accumulated, I want to keep being the best now.

Not to get closer to the ideals, but to keep working while feeling

──One more song in the middle of the record, “November”, precisely because it recalls the name of the band, does it quote elements from the past songs, does it give a new interpretation?

“November” is a song I’ve developed from some lines I wrote back in 2010, so it’s not like I wanted to collect and reinterpret the motifs of old songs. In my case, the more what I want to express with a song is concrete, the more its explosive power grows dull. Picturing the blueprint and creating by getting closer to that ideal, it’s just not my thing. Most of the time I complete things touching the songs, working all the time while feeling with all my heart.

──So what’s the reason you gave it the title “November”?

At the stage of the rough sketch of songwriting, without parts of the song composition like A-melody, B-melody, the hook, being clearly defined, it just kept on flowing like a road movie, and it was good. Only at a later time it started to sound like it was a symbol of our band and existence itself.

──In the second half follow “GAME” which showcases Yoshiki’s powerful drumming, “Cashmere” where Takamatsu’s complex bass becomes intertwined with ethnic tunes, “Morning Sun” which abundantly uses step recording vaguely resemblant to the 1980s synthpop, songs with a characteristic way to use rhythm. It’s also something that the Novembers challenged in recent years, and developed ideas of new sounds.

With “GAME” using only one type of riff I wondered what kind of song could come out, and it was ready with the rehearsals in studio sessions. Normally I try to make sounds accurately with the effector board, but I just tried to perform with the amp and guitar in the studio. For how long the time I couldn’t make songs along with the other members, I feel like we genuinely rejoiced at being able to perform the 4 of us together. I completed “Morning Sun”, like “November”, based on an idea I’ve had for a long time.

──Like “November” and “Morning Sun”, there’s also the pattern of developing ideas conceived several years ago.

But instead of dragging them out, it was like thinking unintentionally “Let’s do this song once more”. Truthfully, this year we’ve encountered some trouble with the hard disk where we had been safekeeping the original tracks, and we lost all the songs we’d made and stored during the corona.

──You also talked about it during the talk event. Yoshiki, who was sitting there too, said that “We were absolutely depressed.”

Especially if we’re counting the number of songs, there were enough to make three albums, and they all disappeared. But we broke through it, and while making use of some ideas left in my head, reflecting also the ideas of each member, as a result we used this as a chance to make fresh songs, and it tied us together.

The power of words “Dakiau yō ni” unleashed

──Then, the last song “Dakiau yō ni” is the song that probably symbolises not only the album, but the Novembers from now on. In an interview with The Spellbound, you said about lyrics “the form when transcribed, the type to be fixated on the world view that is expressed in the lines”, but hearing those words, I realised that the Novembers’ lyrics have, to a certain extent, many long lines.

I see.

──Also, regarding that, “Dakiau yō ni” accumulates short and kind lyrics like “Even if I forget the fun things, let’s walk just a bit” and “Even if I forget the happy things, we will walk”, and it feels like the whole song enhances the power of words.

This is also something my activity with the Spellbound has had a huge influence on. I think earnestly about something I want to convey, I understand how closely I can examine it, and it paid off with the result that a better standard has been raised.

──This feature of your poetry is also shown in the single “Kanashimi ga kawaitara”, and I suppose that it was further defined in “Dakiau yō ni”. Furthermore, with “I’m gradually coming undone, breaking, when I can’t understand anything anymore, reassure me”, and the influence generated by the Novembers, with “I’m gradually coming undone, even if I break, because you make me remember my shape” you’re making the fans that have been following you feel a sense of trust. Precisely because every word is so sincere, it’s like a persuasive power has born.

I’m glad. It was worth to value so much which words I should use.

──By the same token, aside from the songs that could, for example, cheer someone up, if the words employed are too dark the persuasive power fades as well, if the tone is too strong an uncomfortable feeling arises, as if you were being forced. This balance is very difficult, but how do you think about the lyrics while also paying attention to all that?

Lyrics are very mysterious, when I looked at them as characters, when I read them aloud, when I talked about them, when I sang them on the melody, the way they are transmitted changes in each moment. Even the simple “Fine”, the impression changes completely if it indicates a specific someone, or if it doesn’t necessarily indicate it. It happens that the energy of the singer yields the persuasiveness of those words, and the opposite happens as well. It’s hard to quantify it and to explain it, but because the deep emotion of music is born from vibes and feelings impossible to analyse. When I value that, it sparks joy in me too, and I’m able to share that feeling for the first time to the listener. It resonates.

──Also, it’s a case-by-case thing, but there are also cases where discrepancies arise between the original artist’s intention and the listener’s interpretation.

Yeah, that’s unavoidable… there are people who are deeply moved seeing the hard work, and there are others that may have a negative reaction. But if the feeling of “I want to make something good making something” is true, what is transmitted by the work could change. The old me would be making music with a feeling like “I like this kind of music” or “I like this beautiful thing”, happy just by looking at those things. I jumped out of that extent of self-absorption, and I started thinking “I want to create for someone who also includes myself”, and then the moment I’d feel like I maybe I’ve actually delivered it, I’ve started thinking that that was good.

Rock changes the “here” you are into “somewhere”

──There are people who claim that due to many musicians being on the scene for a long time, and the number of listeners increasing, they gradually could no longer understand who to make music for, or that they could no longer write lyrics. You [seem to] address your songs to the right person, how do you gain that consciousness?

I’m that kind of person who worries about the lyrics all the time too. But maybe that’s normal, and the fact itself that both I and the listener could think that the words and melody I came up with are good, it’s a miracle. Maybe it’s about wondering if the thought of “I want to share it even if it’s painful” will prevail. Also, I think it can coexist with the wish for both the people close to us and the world to be happy. It’s important to write lyrics as if we were writing about the meaning of our existence in the world in a letter, and I feel like that kind of songs will keep being heard forever.

──Another one, this album is, again, a work where you’ve been searching what rock is, and rock is violence and beauty, and it’s sinister, you can express it with many images. What do you think rock is?

Yeah… I believe rock changes the “here” you are into a “somewhere”. The rock bands that changed my life are all like that, they made me feel like the place where I am now has changed into a completely different world. To put it in other words, it changes something in a person to the point their world view changes. They’ve been driving my life, and that energy still remains inside me. That’s why I’m doing it too. To me, that’s rock.

──Indeed in this album, with words like “start walking” and “fly”, it’s depicted a state where you tap into a different world. Going even further, in the line “we’ve flown beautifully to the other side of the rainbow” in “Dakiau yō ni”, is charged with the desire to go in the same direction of “Rainbow”, that was supposed to be the last one of your previous album, and, differently from “ANGELS” and “At the Beginning”, the whole album is wrapped in a bright atmosphere, and it’s like finally it’s showing in a very Novembers-manner the words you’ve been saying for a long time during the MC speeches, “Let’s meet in a bright future”.

I have the actual feeling that we made a good album. But there’s also the feeling of “we can make an even better one”.

──It’s also important what appears in the vision of what comes next.

Yes. More than vision, it’s about premonition and hope. Rather, without those it’s very tough (laughs). From now on too, we’ll keep having this feeling like “let’s make an even better one”. So if with the last work of my life I’ll feel like “I did it!”, it will be the best.

[independentartistbuzz]

DANKO from Lay Zhang’s Music Collective ‘D.N.A’ Releases New Single “Except”

Today, a new single is released under international idol Lay Zhang’s (LAY) very own music collective called the D.N.A Music Alliance, a curated collection of talented and emerging Chinese musicians that are to dominate the music industry on a global level. The new track, “Except,” is from rapper DANKO, which comes off the heels of back-to-back releases such as “21” by rapper GALI and “What She Said” by Vinida plus the group effort, “Break My Heart.” All releases are under the executive reproduction by LAY himself.

LISTEN TO “EXCEPT” HERE

WATCH LYRIC VIDEO HERE

D.N.A’s stacked line up consisting of 7 talented artists, including DANKO, GALI, Vinida and LAY himself debuted the collective with a full group project called “Cyphers.” Along with an experienced production team, with one of their producers being GRAMMY® award-winning producer Murda Beatz, this group of artists continues to expand its global reach. This next release sets the tone with a new subunit of the Alliance that is long-awaited and showcases a distinct style.

LAY's production skills shine through in his ability to craft captivating melodies, intricate beats, and atmospheric soundscapes that elevate the overall quality and aesthetics of the song. His creative vision and attention to detail contribute to the success and sonic appeal of the track, showcasing his versatility and talent as a multi-faceted artist in the realm of music production.

With a fluid flow, GALI’s abilities are unmatchable when it comes to style, he is a chameleon when it comes to adapting to different styles of music. GALI effortlessly showcases his lyrics and clever rhymes with his songs. With impeccable control and sense of flow, the artist creates a new style of rap that captivates the listener from start to finish.

Shanghai-based, hip-hop pioneer GALI is a rising star in the Chinese hip-hop music scene. He has established himself as a rapper and one of the most watched rappers in China, having been third runner-up of the 2020 hit show, Rap of China. His thoughtful lyrics and connotative taste distinguish him from other rappers. He continued to demonstrate that he is a force to be reckoned with in the music industry with the recent release of a single titled. “Stay With ME ((因你而在)” with YIHUIK (苡慧). The well-known Chinese rapper is all set to take his fans on an electrifying journey when he brings his much-anticipated ATLANTIS tour to Melbourne's 170 Russell on Sunday, July 23, fresh from a slot at Australia's premier festival Splendour in the Grass.

China-based rapper, DANKO is no stranger to the public in Asia and has become a household name from his vibrant career. He debuted in 2011 with his first album, “Illusion Human Nature” and soon became part of several known groups. He’s toured the United States and has released an array of hit singles, even appearing on the hit TV show, “The Rap of China'' like his predecessors that brought him to prominence. This latest release is a testament to DANKO and LAY’s undeniable chemistry as artist and producer. The track showcases the pair’s perfect blend of rhythmic beats and verses to catch melodies effortlessly executed under a classical instrumental.

LAY has been and continues to be a household name in Asia, and his career his been a whirlwind the last three years after joining forces with Steve Aoki and will.i.am for the 2020 hit cross-cultural collaborationLove You More, reaching #1 on the QQ Music China chart. He then released a string of hits with an album, two EP’s, cross-genre collaborations and solo singles overseas further propelling his international star power. The Chinese icon is one of the most beloved stars in the region with a loyal and highly engaged 51 million followers on Weibo and over 14.2 million followers on Instagram. As a solo artist, the entrepreneur’s career has skyrocketed to tremendous success, becoming the highest-ranked Mando-pop star on Billboard 200 chart and the first Chinese artist to enter the iTunes Top 60 in the U.S.; with his third solo albumNAMANANA. Outside of music, he routinely showcases his skills for acting in TV and film roles, hosted multiple top-rated reality shows in Asia and is one of the most awarded artists in China. Now, LAY is working with a multitude of established and emerging artists to help bring their star power overseas with this project close to his heart.

[mariacallous]

Netflix’s recent announcement of a $2.5 billion investment in its production of South Korean movies and television shows is only the latest data point to suggest that Asia is a rising content giant—and Seoul sits at the center of it all.

The Netflix outlay—twice what it has plowed into the Korean market since 2016—came just before Asian American, Native Hawaiian, and Pacific Islander Heritage Month, which kicked off May 1. Asian content and entertainers of Asian descent are enjoying their highest profile in the United States since the month was first celebrated in 1992.

The historic showing at the Academy Awards in March—seven wins for Everything Everywhere All at Once, including actors Michelle Yeoh and Ke Huy Quan, and two Oscars for Indian films—represents a breakthrough moment. This builds on the cultural phenomenon of the South Korean show Squid Game, which took over Halloween costume parties last year, as well as Parasite, which won several Oscars in 2020.

Entertainment is a trend-driven industry, and it’s easy to write off the success of Korean content as a potent but passing fad. Other foreign-produced content has had its moment in the American sun and then faded. What sets South Korea apart from many other countries its size, and its neighbors in Asia, has been its relentless focus on foreign markets and its ability to produce multiple types of successful entertainment content—music, film, TV shows, and games—for those markets. Only South Korean literature has yet to join the party, and that may be coming. South Korean novels that have been translated into English, such as Kim Ji-young, Born 1982 and Please Look After Mom, a Man Asian Literary Prize winner, have started to focus global attention on Korean authors.

There are some specific reasons the South Korean entertainment industry has prospered overseas. First, it is a tough crucible. If Korean audiences don’t like a new film, TV show, or song, it will die a quick and merciless death. The domestic competition among entertainment companies is intense.

Korean audiences demand high-quality content, high production values, and a constant stream of fresh product. Unlike in the United States, where successful TV shows span multiple seasons and spawn franchises, it is rare for even hit shows in South Korea to last for more than one season. Writers are restless and want to move on to new projects, and so do audiences.

South Korea’s size has something to do with its constant cycle of creation and improvement. With just 52 million people in the Korean market, entertainment companies’ growth depends on creating movies, TV shows, and music that will fare well internationally. As a wealthy country that has prioritized content creation as an economic engine, in some ways the Korean entertainment industry has become too big to be contained within national borders. At the same time, the Korean domestic market acts like a shark tank as companies battle for a limited number of entertainment dollars. These factors combine to create high-quality, ready-to-export content.

This constant pressure guarantees a pipeline of high-quality shows and movies at a pace most other countries haven’t matched. For example, four of the eight-most watched non-English Netflix series of all time are South Korean. South Korea is a perpetual content engine tuned to the latest societal issues of our times. It’s also worth noting that South Korea has made the entertainment industry a national priority, in terms of seed funding, establishing numerous international film festivals and teaching filmmaking in schools, and the industry treats behind-the-scenes production staff as importantly as stars.

Culturally, South Korea is like a petri dish of innovation for many industries. The cycle of consumer trial, adoption, and failure or success is accelerated to warp speed because of the country’s dense population, global orientation, and fast internet. (South Korea was the first nation to roll out wide-scale commercial 5G service.)

There is a relentless appetite for something new that has led South Korea to be a preferred testbed for technology companies, luxury brands, and co-working with robots. “If any trend is going to move from overseas to the U.S., I would put South Korea at the front of the line in terms of who is likeliest to be that springboard,” Andrew Wallenstein, the president of Variety Intelligence Platform, told the New York Times.

Second, despite what American audiences may understandably think, K-content did not come out of nowhere. The United States is only the most recent market to embrace it. One of South Korea’s first big entertainment exports was the TV series Winter Sonata, which became a hit in Japan and the Philippines in the early 2000s, generating a wave across Asia that Korean dramas and films rode.

K-pop expanded its footprint beginning in the mid-2000s from Asia to Latin America and Europe, propelled by social media. According to Twitter data, the top five countries of origin of K-pop tweets are Indonesia, Japan, the Philippines, South Korea, and the United States. In fact, research by the AMPD group showed Korean content ranking first or second in every Southeast Asian country as measured by premium content by country of origin in 2022, besting Hollywood and even local-language content.

Much has been said about the diversity of American K-pop fans. Indeed, last year’s KCON, the annual K-culture festival sponsored by my firm, CJ ENM, in Los Angeles, drew about 100,000 fans—and only about 20 percent of them were ethnically Korean. In 2022, 60 percent of Netflix’s 221 million subscribers watched Korean content, and even this week, the Korean series Black Knight features on Netflix’s list of most watched non-English shows (with South Korea’s Dr. Cha in second place). The streaming services’ algorithms that curate shows don’t think in terms of geographic boundaries, so they surface high-quality, popular content regardless of country of origin.

By their increasing size, audiences have demonstrated that the storylines of K-dramas are universal. Even a Korean film that looked inaccessible to Western audiences—set in the hidden neighborhoods of Seoul and featuring a cast largely unknown to English-language moviegoers—hit on universal themes of class struggle, greed, and justice, all with a dash of caper and horror. This is why Parasite grossed $260 million worldwide. Korean content creators—much like Korean automakers and smartphone producers—are outwardly focused on global trends and the social zeitgeist. Director Bong Joon-ho tapped into the brewing cross-cultural anxiety over wealth inequality that drove the film’s core connection with global audiences. And, as CJ Group Vice Chairwoman Miky Lee said during her Oscar acceptance speech, “I really, really, really want to thank our Korean film audience … [who] never hesitated to give us straightforward opinions.”

Action movies look different today than they did 20 years ago. But their popularity endures. Likewise, K-content—with a strong international base and a constant cycle of creation and improvement—will continue to resonate with global audiences. It takes time and money to establish a high-quality entertainment industry, but digital technology and social media have lowered some key barriers to entry for production and distribution. Every country has distinct cultural forces at work within it, but South Korea’s success at creating broadly appealing music, movies, and TV series and engaging online with fans around the world could well be a template for other countries seeking to make their mark on the global stage.

[pledisvenus]

STAGE NAME: Sera

NOME REAL: Yoon Sera (윤세라)

POSIÇÕES: Visual e vocalista líder

PERSONA(S): The Original Visual, Goddess Sera, Face Economy, Sold Out Fairy

DATA DE NASCIMENTO: 31 de outubro de 1991

LOCAL DE NASCIMENTO: Seul, Coreia do Sul

FAMÍLIA: Pais e um irmão mais novo

FANDOM INDIVIDUAL: Seraphs (serafins)

COR DO FANDOM: Dourado Champagne (#F7E7CE)

AGÊNCIAS: Pledis Entertainment (VENUS), Namoo Actors (SOLO)

Yoon Sera sempre gostou de cantar. Primeiro na igreja, mas depois começou a se inscrever em todos os concursos de talentos que via pela frente. Com o sonho de se tornar uma estrela, em 2007 ela fez uma audição para a Pledis Entertainment, uma empresa estreante que mandou olheiros para um dos concursos que participou. Embora sua beleza tenha sido muito comentada, Yoon não conseguiu passar na audição. Mas um dos jurados, que também era um dos principais investidores da empresa, simplesmente não conseguiu parar de pensar nela. Sua presença ficou gravada na mente de quase todos os avaliadores. Por isso, uma semana após ter sido recusada, Sera recebeu uma ligação dizendo que a empresa havia decidido reconsiderar a decisão. Eles a convidaram para começar seu treinamento junto com as outras integrantes do projeto que mais tarde se tornaria o grupo VENUS.

TRABALHOS DE YOON SERA (2011-2017):

Dramas:

Dream High (2011) - Participação especial.

The King 2 Hearts (2012) - Participação especial (dama da corte).

Pinocchio (2014) - Participação especial (repórter rival).

Scarlet Heart: Ryeo (2016) - Secundária (Park Soon-deok).

While You Were Sleeping (2017) - Participação especial (ex-namorada de Jung Jae-chan).

Filmes:

The Age of Shadows (2016) - Secundária (Yeon Gye-soon).

Outros trabalhos:

MC: Apresentadora do programa musical M Countdown (2014–2015).

Modelagem: Rostos de campanhas para Innisfree, Etude House, L'Oréal Paris e Adidas entre 2013 e 2017.

Eventos: Convidada para o Festival de Cannes (2017) como parte da delegação coreana.

TRABALHOS DE YOON SERA (2017-2024):

Dramas:

Strangers From Hell (2019) - Secundária (So Jung-hwa).

Kill It (2019) - Protagonista (Do Hyun-jin).

Crash Landing on You (2020) - Secundária (Seo Dan).

The Uncanny Counter (2020) - Protagonista (Do Hana).

The Uncanny Counter 2 (2023) - Protagonista (Do Hana).

Mask Girl (2023) - Protagonista - (Kim Mo-mi).

Destined With You (2023) - Protagonista (Lee Hong-jo).

Tale of the Nine Tailed 1938 (2024) - Participação especial (personagem misteriosa).

The 8 Show (2024) - Protagonista (8° andar).

Filmes:

Door Lock (2018) - Protagonista (Cho Kyung-min).

Honest Candidate (2020) - Secundária (Cha Yoon-Kyung).

The Call (2020) - Protagonista (Yeong-sook).

Nothing Serious (2021) - Protagonista (Ham Ja-young).

Decision to Leave (2022) - Protagonista (Song Seo-rae).

Love in the Big City (2024) - Protagonista (Jae-hee).

Outros trabalhos:

Modelagem: Incontáveis capas de revista, incluindo Vogue Korea, Elle Korea, Harper's Bazaar Korea, W Korea e mais.

Embaixadora: Embaixadora global da Chanel, L'Oréal Paris e Cartier.

Eventos: Presença constante no Met Gala (2022–2024), júri no Festival Internacional de Cinema de Busan (2023).

Prêmios e reconhecimentos:

Prêmio de Melhor Atriz no "Busan International Film Festival" (2021) – Vencedora.

Prêmio de Melhor Atriz no "Blue Dragon Film Awards" (2021) – Indicação.

Decision to Leave recebeu o prêmio de Melhor Direção no Festival de Cannes, com Sera ganhando uma menção especial do júri por sua atuação como Seo-rae.

Prêmio de Melhor Atriz no "Korean Film Awards" (2022) – Vencedora.

Prêmio de Melhor Atriz no "Asia Art Awards" (2023) – Indicação.

Nomeada uma das 100 Mulheres Mais Influentes na Moda pela Vogue Korea (2023).

[k-wavemy]

SEGi K-Pop Soundwave Festival

BamBam, DOLLA, Blink, Nahsyk, SAIXSE & Ezra Kairo, Let’s watch their performance!

It's a FREE EVENT! You just need to register yourself! Read more below for more deets!

SEGi University & Colleges will be organizing the SEGi K-Pop Soundwave Festival on August 24, 2024.

Venue: Campus Piazza, SEGI University, Kota Damansara

Time: 12pm - 10pm

Link: concert.segi.edu.my (FIST COME, FIRST SERVE)

SEGI has added additional seats for the no age limit category.

BamBam

A Thai singer, rapper, and dancer who gained popularity as a member of the K-pop group GOT7 under JYP Entertainment. BamBam is known for his charismatic stage presence, unique fashion sense, and his ability to speak multiple languages, including Thai, Korean, and English. Besides his work with GOT7, he's also pursued solo activities, including releasing his own music and appearing on various TV shows

BamBam debuted with GOT7 in January 2014 with the single "Girls Girls Girls."

He's known as the rapper and sub-vocalist in GOT7. His energetic rap style and distinctive voice have contributed to the group's unique sound.

DOLLA

A popular Malaysian girl group known for their vibrant performances and catchy music. The group debuted under Universal Music Malaysia in 2020 and has quickly become one of the leading girl groups in the Malaysian music scene. DOLLA is often praised for their strong vocals, powerful choreography, and distinct style that blends elements of pop, hip-hop, and EDM.

Dolla Make You Wanna Their debut single, which was a hit and established them as a new force in the Malaysian pop scene. The song's catchy hook and dynamic choreography quickly gained them attention.

BLINK

Lau Hoe Yin, also known as Blink Lau, is a well-known Malaysian DJ and music producer. He has gained recognition for his work in the electronic dance music (EDM) scene. As a member of the DJ duo BATE (Brain and the Eye), Blink Lau has made significant contributions to the Malaysian and international music scenes.

Blink Lau and his partner in BATE have performed at some of the biggest music festivals, including Future Music Festival Asia (FMFA) and ZoukOut Singapore. Their performances have earned them a strong following in the region.

Nahsyk

Formerly known as Double E, is a talented Eurasian DJ and music producer. Driven by a deep passion for music, Nahsyk's career has been rapidly gaining momentum in various directions. In 2009, he began experimenting with DJing on his computer. However, after a year of exploration, he craved more. In 2010, he purchased his first DJ controller and started performing at small events like house parties, private functions, and proms. With the support of his friends, Erin booked his first live club show in Kuala Lumpur at just 15 years old.

SAIXSE

Saixse began his career by releasing the remix of ‘Malampagi’ and has since released several new singles, including ‘Tak Percaya’ featuring rapper Kidd Santhe, as well as ‘Love Me’ and ‘Malampagi’ earlier this year. 'Malampagi' has become a sensation and started trending on TikTok.

Ezra Kairo

Ezra Kairo started singing at the age of 16 and has released two Malay-language singles: 'Kau Tiada' in 2020 and 'Benar,' which was launched this year.

[mykpopwire]

media release: MALAYSIA’S VOCAL POWERHOUSE, AINA ABDUL TO OPEN FOR AILEE AT THE `I AM: HERE’ CONCERT ON JUNE 22 AT MEGA STAR ARENA, KUALA LUMPUR

K-pop fans in Malaysia and South-East Asia may still be reeling from euphoria as AILEE sets her sights on Malaysia for her first solo concert on June 22nd. But the heatwave bounced a Fahrenheit higher with Malaysia’s own vocal dynamo, AINA ABDUL ready to open for AILEE at the I AM: HERE near SOLD-OUT concert at Mega Star Arena.

Winner of the Best Vocals’ award three years in a row, and this year too at the just concluded AJL 2024, singer, songwriter, record producer, actress and vocal powerhouse from Malaysia, Aina Abdul will open for the American-Korean four times consecutivebest female vocal’ winner, Ailee with her own selection of award-winning songs. A rare occasion for fans across South-East Asia to witness a goosebumps worthy phenomenon as two celebrated vocal icons showcase their spine-tingling talent on one stage, at one big concert.

Malaysia’s own national pride, gifted singer-songwriter from Johor Bahru, Aina Abdul's journey in music began at a young age driven by her passion and determination to pursue her dreams. Her soulful voice, combined with her emotive delivery and dynamic stage presence has garnered widespread acclaim, admiration, awards and fans both locally and internationally.

Mentored as a protégé for Rock Queen ELLA -- as one of the participants in the Mentor Legend Rock (where Aina finished second) -- Aina Abdul has only grown from strength to star power debuting with her single “Inyan Kaumafu” in 2015. Aina’s recording musical trajectory since then has been nothing short of ground-breaking with hit albums and hip collaborations in Malaysia, as she continues to trail blaze her brand of success in music, fashion, television shows and stage stomping performances across major musical festivals in the country.

In addition to her remarkable vocal prowess, Aina’s dedication and contribution to her craft, authenticity, music and fashion - as also with Ailee -set both apart as iconic artistes in a crowded industry, making both these four time best female vocal’ awardees a formidable force in creating music that resonates with their listeners on a profound level. An undisputable quality that has earned them both a loyal fanbase and critical acclaim from music critics and industry insiders alike.

Aina’s popular collaborations and singles likeBlue’ (2023), I Lost Me’ (2023)Fool’ (2022), Tunggu Kamu’ (2021), Nafas Cinta’ (2020), Maybe’ (2020), Same Kind’ (2018), Hashtag (2018) and more have garnered a million streams across digital platforms, captivating listeners with her infectious melodies, heartfelt lyrics and a distinctly soul-searing unforgettable voice. Thus, sealing her mantel as an iconic power vocalist determined to push boundaries and defy expectations, whilst showcasing her growth and evolution as a multi-faceted artist.

So, are we ready then to witness two phenomenal vocal queens on one stage? Fans ready yourself for electrifying performances, stunning visuals, and one mega night celebrating your queens.

Ailee, I AM: HERE LIVE IN CONCERT at Mega Star Arena on June 22nd at 8.30pm is presented by LOL Asia, and supported by A2Z Entertainment, HOT FM, FLY FM, Ascott Hotels.

Tickets are on sale NOW and you can get your ticket here!

*photos courtesy of LOL Asia

Don’t forget to like, follow and subscribe to MY K-POP WIRE for more K-Pop interview, debut, comeback and event updates!

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[jodievdw]

Three dudes, a drag king and a nonbinary disaster walk into a bar...

Rockhampton comedy news! So stoked to be supporting Anna Brennan, her drag alter-ego Bruce Highway, Shayne Hunter, Kody Maverick and Max Leishman at the Berserker Tavern on Wed Dec 6:

Catch the cream of the QLD comedy scene with this December's Christmas Comedy Gala. The perfect 18+ night out to celebrate the silly season.

Bring your workmates, your mum...whoever. There'll be drinks flowing, jokes cracking and a grown-up version of the 12 Days of Christmas song. 

Three male comedians and a drag king walk into a bar....what happens? Come along and find out. 

Headliner Shayne Hunter has been crushing onstage for over a decade. In 2010 he was selected for the prestigious Melbourne International Comedy Festival Comedy Zone. He has toured every capital city in Australia, plus South East Asia, Malaysia, Singapore, Myanmar and Thailand as part of Magners International Comedy Festival. In 2020 Shayne started producing his own original, wild and fast paced show Crowd Control, where eight comedians compete against each other to see who can do the funniest crowd interaction. This birthed Shayne's reputation as one of the best crowd work comedians on the circuit.

Check Shayne out here: https://www.youtube.com/watch?v=8G36UuNXOrw

Host Anna Brennan and her Drag King alter ego Bruce Hwy have been telling their raw and anecdotal brand of storytelling onstage for ten years. Anna has produced and performed at hundreds of comedy shows; including a ten performance run of her solo show Tinderella at this year's Melbourne International Comedy Festival.

"She's supremely likeable, with a flair for the physically comic flourish. When she's in full flight Brennan is a wonder to behold." Kate Mulqueen- ARTShub. 

Bruce Hwy is on a mission to smash negative bogan stereotypes. He's the loose yet lovable mate we've all got, and feel the need to warn our posh friends about. Bruce Hwy hit the standup scene in April this year and has just launched his debut parody song Marshamallows in the Fire:  https://www.youtube.com/watch?v=1AyCuOY6Uxs

Kody Maverick is a fresh, friendly face on the comedy circuit who had the privilege of performing at this year's Melbourne International Comedy Festival. He was raised by a single mum and will be your sister's new favourite comic in no time. 

Max Leishman is an emerging talent who gets away with a lot onstage because audience's can't help but like him. He came runner-up in the 2022 Sunshine Coast Comedy Festival's Laughable competition and is definitely one to watch.

[sansaurora9904]

ASIA SONG FESTIVAL 2020 OUTFIT!

Hair Color Guide

[xxwenrenexx]

201010 Asia Song Festival 2020

[illbeyourshiningstars]

2020-10-10 [Asia Song Festival 2020]

[FULL VER.] 아시아송 페스티벌 - 본공연 2부 | ASIA SONG FESTIVAL- MAIN STAGE_PART2 (15:19～)

・답을 줘 (THE ANSWER) ・초현실 (SURREAL)

AB6IX 에이비식스 - SURREAL 초현실 @ Asia Song Festival 2020

[FANCAM] AB6IX, SURREAL (에이비식스, 초현실) [2020 ASIA SONG FESTIVAL]

[peaches-of-1]

Looks like I'm gonna get into Project K

[sleepineskpop]

ONEUS 'Dynamite' of BTS Cover on Asia Song Festival 2020

ONEUUUUSSSS OMG 😭 THIS MADE ME HAPPY