We Spoke to @memes.hk, Hong Kong's Biggest "Part-time Meme Dealer" on Instagram

The Beat Hong Kong's Up and Coming is a series where we feature rising talented artists from Hong Kong, giving them a platform to share what they’re passionate about and to promote the music they (and us too!) would love for the world to hear. Do you want or know someone who wants to be featured? Email us at [email protected] or slide through our DMs on Facebook or Instagram!

Hong Kong’s music scene has long thrived on its homegrown talents, and Luna Is A Bep is no exception. 

A staple of Hong Kong’s alternative music scene, known for her razor-sharp Cantonese lyrics and experimental spirit, Luna is set to electrify the stage at this year’s Star Street Blok Party.

Luna has been nurturing her creativity since posting her rap lyrics on online platforms as early as 2018, songs which transform everyday observations and social dynamics into sonic gold. 

Based in Hong Kong, her music traverses different styles, from Hip Hop and Cantopop to Drum and Bass, a sound that is as unpredictable as the city she calls home.

Her raw, authentic style has quickly gained traction, earning her spots on ViuTV’s Chill Club and the 903 Music Awards. Luna also clinched the Best Electronic Music Single at the Tone Music Awards 2022 for her track "每當幻變時."

As she gears up for her performance, The Beat Asia caught up with Luna to talk about her creative process, the evolution of her music style, and playing the upcoming neighborhood bash. 

How did you come up with your name "Luna Is A Bep?"

In 2018, I started posting songs anonymously and wanted a fun stage name. "Luna" is my real name, so I thought of "Luna something." It was originally "Luna Is A Bitch," but I changed it to "Beep." When I made my Facebook page, I made a typo, and it became "Luna Is A Bep," which doesn’t really mean anything.

How did you get into rap and why pursue music?

I come from a grassroots background, and Chinese University of Hong Kong (CUHK) opened my eyes to art. My music reflects local experiences, like Hong Kong’s busy life and social issues.

How would you describe your music and how has it evolved over time?

It’s hard to define—it's very much "me" and evolves over time, often being quite honest.

My taste has shifted. I choose music styles that fit the themes [of the song]. My latest song "到時" is a ballad about my father's loss, and I felt a Cantonese pop vibe suited it best.

Are you experimenting with different styles in the future?

Definitely! I’m exploring my feminine side, and I want to create related concept art.

Can you describe your creative process and where do you go for inspiration?

I focus on staying chill and letting inspiration flow, without a strict routine.

[I find inspiration] everywhere! Conversations, people watching, traveling, and life’s ups and downs.

Which artists impact your music the most?

I didn’t have an idol growing up, but The Low Mays back then really inspired me to embrace wild ideas. I love their absurdity and freedom.

Do you take an on-stage persona? How do your live shows differ from studio work?

I do! I'm more introverted offstage, but onstage, I connect with the audience and enjoy making them laugh. 

What do you think about Hong Kong's underground scene?

Social media has changed things. We used to have strong online communities; now it feels more about self-branding. But creativity is alive, and the younger generation's visual sense is more promising now.

Are you excited to perform at Star Street's Blok Party?

Yes! This is my first gig this year after my solo show in January. I appreciate every opportunity to showcase my work and can’t wait to see the audience!

What's next for Luna Is A Bep?

I’m taking a break. As the world slows down and AI tech moves fast, I want to stay calm and prepare for the next steps. I’m researching concepts and working on music, focusing on quality without rushing!

Stay connected to Luna Is A Bep on her website, Instagram and Facebook. 

Details on Luna Is A Bep's Star Street Blok Party Performance:

Location: Starstreet Precinct

Time: Friday, Apr. 18, from 2:40 PM to 3:25 PM

Enjoyed this article? Check out our previous Up-and-Coming articles here.

Ready for another summer weekend filled with good music, high spirits, and water gun fights? 

After its successful inaugural run last June 2024, South Korea’s Waterbomb Festival will be making a powerful return this 2025! 

In their announcement posted last Apr. 8, 2025, organisers of the much-awaited Waterbomb Festival said that “water splashes and music will once again bring the heat back to Hong Kong!”

Waterbomb Music Festival: Music, Water, and A Whole Lot of Fun

First held in 2015 in Seoul South Korea, the Waterbomb Music Festival, or Waterbomb, is an annual summer music festival blending music, water, and epic water fights. 

Artist lineups to the summer event usually include some of the biggest names in the K-pop, K-Hip Hop, and K-R&B genres, such as Jay Park, Jessi, Hwasa, HyunA, and more. 

According to the organizers, “music, water, and passion” will once again come together to bring in new exhilarating moments for festival goers to enjoy. 

Waterbomb Hong Kong 2024

Hong Kong was able to enjoy South Korea’s much-anticipated Waterbomb Festival for the first time last June 1 to 2, 2024, at the AXA x Wonderland in West Kowloon. 

Last year’s lineup included popular Hong Kong artists like PACT, Tony Yu, Yao Chen, and TIAB, who electrified the Waterbomb stage with its headliners Jay Park, Jessi, HyunA, Loco, Yugyeom, Kwon Eunbi, Rain, and more. 

Follow Waterbomb Hong Kong on their official Instagram page to know more details! And stay tuned to The Beat Asia for more updates and let us know who’s on your Waterbomb Hong Kong 2025 Artist Wishlist! Visit our Instagram for more details.

Those mourning the vibrant celebrations of Art Month, get ready to dive into a world of creativity again as the 12th edition of Affordable Art Fair Hong Kong (AAF) takes over the Hong Kong Convention and Exhibition Centre (HKCEC) from May. 22 to May. 25, 2025.

With 98 local and international galleries showcasing contemporary masterpieces—all under HK$100,000—this is your chance to snag stunning art without breaking the bank.

From rising stars to established names, the fair brings together top galleries from across Asia-Pacific and beyond, many veterans of the global Affordable Art Fair circuit. 

Plus, this year’s GREAT Art zone, curated by Wong Ka Ying in collaboration with the British Consulate General Hong Kong, spotlights the bold, dynamic creativity of UK artists, adding an exciting cross-cultural twist.

Don’t miss the spotlight on emerging talent with Young Talent Hong Kong, curated by Peony Hung, where five rising artists explore themes from generational connectivity to environmental awareness. Highlights include Jason Chan’s pixelated sculptures made from recycled plastics and Aria Chan and Irene Lee's mesmerizing printworks.

Families, take note! Art Loop will bring interactive workshops and tours for kids (ages 4–12), while adults can join a one-time-only Saturday workshop with award-winning Hong Kong illustrator Kitty N. Wong from 2 PM to 4 PM, presented by Young Soy Gallery. 

Acclaimed artist Eleanor McColl, a long-time exhibitor and staple of the Hong Kong Arts Collective, will also lead an exclusive artmaking session for grown-up creatives, complemented by a free glass of wine.

Travel through time with Century of Glory – Kai Tak, a collaboration with Hong Kong Design Institute (HKDI), featuring 20 artworks reinterpreting the old airport’s legacy. And for pure sensory delight, this year's Special Projects will unveil six unique projects exploring connection, cultural identity, and tradition vs modernity. 

Step into The Tiny Smile’s vibrant, interactive installation or explore Li Shudan’s whimsical Fruit Market, featuring 365 hand-carved wooden apples—with a special surprise reveal!

Prices for the Opening Night and Fair Pass are HK$340, General Admission is priced at HK$195, Family Morning (minimum purchase 2 tickets or above) is priced at HK$180, and Concession (senior citizens aged 65 or above and full-time students) is priced at HK$145. Get your tickets here!

For a full list of the participating galleries, visit their website here, or find AAF on Instagram and Facebook for more details. 

Location: Address: Hall 1D – E, Hong Kong Convention and Exhibition Centre, 1 Expo Drive, Wan Chai

Opening Night Hours: Thursday May. 22, 2025, from 4 PM to 9 PM 

Public Opening Hours: Friday May. 23, 2025, from 12 PM to 9 PM, Saturday May. 24, from 10 PM to 8 PM, Sunday May. 25, from 10 PM to 7 PM 

Family Morning Hours: Saturday 24 May, from 10 AM to 12 PM, Sunday 25 May, from 10 AM to 12 PM.  

Everyone, say hello to CHIIKAWA! 

One of Japan’s cutest obsessions, CHIIKAWA, is having its first-ever official pop-up at Harbour City in Hong Kong from Apr. 2 to 27, 2025! 

Presented by local lifestyle brand NIKO-NIKO, this highly anticipated pop-up store measuring 3,000-square-feet will be bringing over 400 adorable and authentic CHIIKAWA merchandise from Japan, with some exclusive, limited-edition items that will only be available at Harbour City. 

This pop-up is the first official one in Hong Kong, featuring a range of official printed T-shirts, stationery, plushies, lifestyle items, and trendy fits you’ll surely want to cop!

Plus, from Apr. 9 onwards, 21 classic Japanese figurines and charms will be released with limited stocks, with a purchase limit of one per design — so you’ll have to be quick to not miss out on it! 

The pop-up will also have three cute photo spots, including a two-meter-tall plushie display wall with over 600 CHIIKAWA dolls and a 10-meter-long photo wall for cute pictures and selfies with your favorite CHIIKAWA characters!

Make A Wish with Chiikawa at the CHIIKAWA Wishing Garden!

Harbour City is bringing the charmingly pretty CHIIKAWA Wishing Garden to Ocean Terminal! The spring-themed garden has three wishing trees, with Chiikawa, Hachiware, and Usagi waiting for everyone to come in and make their wishes!

The garden also has a cute photo wall for fans to capture some shots from their time there! 

After spending HKD$300 or more at the pop-up store, fans can redeem a CHIIKAWA Wishing Card, where they can write down new CHIIKAWA merch they’d like to see in the future, or express their love for CHIIKAWA, and hang it on the tree right after!

Location: CHIIKAWA Wishing Garden, Atrium, G/F, Ocean Terminal, Harbour City

Fans are encouraged to pre-register at KKday for priority entry to the pop-up! Same-day tickets will also be distributed during designated time periods at the pop-up store. Register here!

Don’t miss out on this chance to see Chiikawa, Hachiware, and Usagi, and to cop exclusive CHIIKAWA merch! Follow NIKO-NIKO on Instagram for more information and sneak peeks. 

Who is CHIIKAWA?

Chiikawa is the main protagonist of the Japanese manga and anime series “Chiikawa” or “Nanka Chiisakute Kawaii Yatsu”. Their name is derived from the Japanese title meaning “Something Small and Cute.”

They are creatures of unspecified species or gender that’s small, cute, and easily moved to tears. They also express themselves through sounds, and they often say “Yada” or “Iyada,” a childish way of saying “no” in Japanese. Their best friends are Hachiware, a bicolor cat, and Usagi, a rabbit. 

Location: Ocean Terminal, Main Concourse, Harbour City, 3 – 27 Canton Road, Tsim Sha Tsui, Kowloon, Hong Kong

Time: 11 AM to 9 PM (Last entry: 8:30 PM)

We're super excited to announce our exclusive English Media Partnership with Star Street Blok Party as Starstreet Precinct is about to be the hottest spot on Apr. 18, 2025. The Blok Party series, powered by Y2K and Clockenflap, is making its biggest 3rd edition comeback yet, turning this stylish, cozy neighborhood into a street full of vibrant energy, good vibes, and local community love. 

Here's a guide on what to expect and how to make the most out of the party! 

Pop-ups, Street Style Markets, and Workshops

This Blok Party will be packed with interactive experiences for the culturally curious. Expect a street marketplace from local vendors brimming with artisanal finds and shops rolling out their special promotions and exclusive deals. There will also be fun and engaging workshops and experiences suitable for all ages! 

Exclusively partnered with Starstreet's very own local F&B vendors, Pirata Group (Pici, The Pizza Project, and TMK Rap & Rolls) and Sleepyhead. Food options include Furikake Fries from TMK Rap & Rolls, Lasagna, Homemade Meatballs (2 pcs), and Tiramisu from Pici, and Pizza Margherita and Pizza Nduja from The Pizza Project. While beverage options include Orion draft beer, canned beer, red/white wine, cold-pressed juices, and any coffee, milk tea, and HK lemon tea.

All ticket holders have exclusive access to activities, along with one choice of bite from Pirata Group and one choice of drink from Sleepyhead. 

Blok Party Easter Hunt and Star Street Scavenger Hunt by Street Value

The Blok Party Easter Hunt will be kicking off at 1:30PM exclusively for ticket holders, inviting you to uncover hidden surprises across the neighborhood and win big prizes! 

The prizes include Clockenflap GA 3-Day Weekend Passes, two Pacific Place Vouchers worth HK$5000 in value, a pair of Major V Marshall Headphones, and a Willen II Marshall Speaker.

At 3:30PM, the fun continues with Star Street Scavenger Hunt that is open to everyone with more loot up for grabs, including a Willen II Speaker, two Emberton II Speakers, a set of Major V Headphones, and a pair of Minor IV Earphones. 

Keep your eyes sharp- there's treasure tucked around every corner!

All-Day Beats and Energy

It would not be a Blok Party without music, and this one is turning up from day to night as live music fills the streets with local artists and DJs. Kicking off at 1 PM, The Live Stage will feature indie rapper Luna is a Bep, hip-hop collective OJ Reambillo & The Bosin, surf rock band Mr Koo, and indie-folk singer-songwriter Gwenji, street dance group crew SDS, and singer-songwriter Andreah.

When the sun sets, the energy shifts, and the Silent Disco takes over. Back by popular demand, this after-hours favorite will take over Sleepyhead from 6 to 9 PM. Wind down the party to curated sets by crowd-pulling DJs — Gargoyle Girlfriend, Guido Balboa, and Just Bee. 

All ticket holders will have free access to Silent Disco headphones!

Free Entry for All

The Starstreet Blok Party is open to the public of all ages with free entry from 12 NN to 9 PM! If you are looking to level up your day, limited Presale tickets are available for purchase on Ticketflap for HK$220, while Door tickets are HK$260 on the day. 

Each ticket allows a redemption of one drink, one snack, and access to exclusive activities. 

Follow Y2K and Blok Party on Instagram for the more details and connect with us at @thebeat.hkg for exclusive updates! 

Filipino theater is making waves in Hong Kong with the launch of The Bootstrap Theatre HK, the city’s first Filipino-led multicultural theater company. 

The award-winning performer, writer, and composer behind Mula sa Buwan — William Elvin Manzano — is taking the reins with this new theater group, aiming to bring bold, thought-provoking Filipino stories to a global audience.

For its grand debut, Bootstrap Theatre is tackling Floy Quintos’ “FAKE,” a gripping English-language drama that delves into truth, faith, and identity. 

Set for June 7, 2025, at The Hong Kong Jockey Club Studio Theatre, the play follows Jose Marco, a man who tricked an entire nation with fake historical documents, shaking the foundation of Filipino history. 

The production marks Manzano’s long-awaited return to directing after a decade, paying tribute to both Quintos and the late National Artist Tony Mabesa, who mentored him.

Starring Philippine theater veteran Ralion Alonso as Marco and Blaise Buendia as a visionary nun from the mountains of Luzon, the cast brings together Filipino and British talents from Hong Kong’s vibrant arts scene.

But Bootstrap Theatre is about more than just great performances. “It is our goal in The Bootstrap Theatre to create an artistic, creative industry for Filipinos living in Hong Kong, from actors, dancers, and musicians to writers, directors and filmmakers as well as backstage and administration personnel,” Manzano stated. 

"FAKE" is just the beginning, with more productions lined up to shine a spotlight on modern Filipino narratives through world-class theater.

Tickets are available now on Eventbrite here. General Admission tickets are priced at HK$380. 

For more information, visit The Bootstrap Theatre HK on Facebook and Instagram.

Location: Fringe Club, 2 Lower Albert Road 

Date and Time: Saturday, June 7, either at 4 PM or 7 PM

Prehistoric birds and dystopian landscapes abound in Vapors, British-American artist Emma Webster's first solo show in Hong Kong. 

The title of the show, Vapors, evokes multiple meanings – the transformation from air to water, warm to cold, and the fluid form of dust.

Viewing the large canvases of hyperreal landscapes at Perrotin is a dizzying and visceral experience. The 11 canvases on show feature ethereal worlds that Webster built in Virtual Reality (VR), as wildfires swept the hills near Webster's studio in California. Her paintings feature nature, trees, and creatures that distort reality and reflect the real-life climate catastrophe. This tragedy permeates her vistas, imbuing them with a melancholic emptiness. 

Webster is among the pioneers of her generation to repurpose these tools for a painting process that merges traditional artmaking with cutting-edge technology. She creates sculptures in wax and plaster, 3D-scans them, and incorporates them into her digital dioramas. Using Virtual Reality programs like Blender and Oculus, she plays with light and structure within the virtual environment, before projecting and painting these terrains onto a canvas.

Her works in Vapors are populated with undefined creatures—beasts that defy taxonomy, birds caught in unnatural stillness, and landscapes that breathe with Webster's fluid and expressive brushwork. 

Moon Wood places a spectral hyena-lion hybrid in a moonlit forest, while a vulture in Alaska appears calcified, frozen in time. Each painting suggests a world at its tipping point, where nature is both witness and casualty. 

Webster’s large-scale landscape painting Hunter’s Garden also made its way to this year's Art Basel, showcased at Perrotin’s booth.

The Beat Asia sat down with Webster to talk about Vapors, her unconventional approach to painting, and how technology is reshaping the way we think of landscapes.

What inspired your painting "Woodside" for Vapors?

Woodside is the street name of my childhood house, so it has this kind of sweetness to it, but the title also refers literally to the wood on the side of the painting. The painting is so pared back, all you have is this one tree and this central light sandwiched in the middle, and it strips away everything else. 

It's cheeky to call it Woodside because it's a description that seems obvious and literal, but at the same time, it has this whole hidden thing. The landscape is non-specific, in the same way that memory gets fuzzy.

You created this body of work during the Pacific Palisades wildfires. How did this experience influence Vapors?

I remember coming outside of the studio — my car was covered in gray ash coming down from the sky and the sky was orange. There was this constant fear and noise. I felt like I was in a war zone. 

I always thought that something spectacular would happen at the end of the world. Instead, it’s banal, and you’re kind of lost.  The paintings have a bit of that melancholy, where you’re looking out onto these vistas, and you don’t know what's coming next. 

They have a kind of tunnel-vision: each one focuses on just one element and muffles the noise in the background. This clarity is a symptom of chaos, panic, turbulent times; we focus on just one thing, because that’s all there is to do. That’s a survival mechanism that all animals have, and I think the paintings have that too.

How do these works reflect the times or this generation?

Our generation is in two places at once, the screen and the literal. There’s a confusion about where we are. There’s also a solitude to this generation. You’re more connected with friends through texting, but at the same time, you're alone. I see my paintings as kind of lonely, maybe because there's no people in them. 

I don't ever set out to try and be the voice, or the speaker, for my generation, but I think that they are products of this age. Literally, these paintings couldn't have been made at any other time, because of the technology. So even though there are realistic landscape paintings from other generations, this is a whole new genre that is being invented.

Which artists were you inspired by for this show?

I was looking at John Martin, who's famous for his really over the top, crazy, apocalyptic pieces. I was also looking at a lot of William Blake, especially in the spiritualism of this bright light on the horizon. I always like Arthur Dove and Charles Burchfield, and Georgia O'Keeffe, when she gives volume to these mystical things and spaces.

You construct your compositions using virtual reality models, alongside traditional sculpting and 3D scanning. Why do you enjoy working with this hybrid process and how has it evolved?

Using all of these new strategies keeps my process fresh. I always feel like an amateur because there’s constantly new software added and media to be discovered. The lack of security and ungroundedness is essential to curiosity and play. It’s a mentality that extends far beyond the process and is (hopefully) indicative of my own disposition.

A lot of people see VR as play or recreational, how did you get into VR and what made you see its potential for art?

I had a friend from Stanford who had an extra Oculus [a virtual reality technology] and he asked if I wanted to borrow it. I started playing with it and gradually, things became more intricate and interesting. 

Theater is the first virtual reality. I'm reminded that when we think of virtual reality, we think of technology, but virtual is any imagination.

Imagination isn't necessarily about childishness or inventing the world. A writer I read recently called virtual reality an empathy machine. And I love that, because you can literally put yourself in other people's shoes, and other places. 

With AI and digital tools reshaping creative fields, how do you think they open up new possibilities to the artist?

The new digital tools just represent the “how." What AI and the digital reflects is simply a concise macro-collection. It shows us what we already know. 

I’m interested though in the back-end of the evolution: how AI might help transform different media. For example, it will be fascinating when AI can help us translate a drawing into a photo, and then a photo into an object.

While Vapors doesn't feature any human figures, do you feel there is still a sense of human presence or consciousness embedded within your works?

Absolutely, these are very human paintings, even if there are no human actors. It’s just like looking at a dollhouse (as a reflection of human behavior), the dolls are proxies, but the dollhouse is both a schema and an artifact that parallels our reality. The emotions, whether it’s sadness, anxiety, wonder, or curiosity, are so intrinsically human.

Do you get creative block? How do you combat it?

When I have creative block, I’ll start sculpting or do something in wax. I know I'm not a sculptor, so that takes the judgment off and brings joy and fun back into the practice. 

It can get serious when you start showing your work to wonderful galleries and the paintings start selling for big numbers. You can get tight or scared. But at the end of the day, the reason that people like the paintings is they like the freedom that comes with the painting. 

Your new painting, “Hunter’s Garden” (2025) was exhibited at Art Basel. Can you introduce this painting to us?

There is a hide-and-seek quality to “Hunter’s Garden," as it plays with the idea of hunting and taking a shot (both a picture, and potentially a gunshot). The painting captures a ram drinking in a forest. And, in the context of looking at art, I’m speaking to how we claim things for our own, that to behold an image is also to metabolize it.  

How did it feel to be exhibiting at Art Basel Hong Kong?

I was thrilled to be here and have new audiences see my work. It was an honor to be included in the fair’s vivacious spectrum of work. These were artworks coming directly from the studio, and some of them were still wet. 

I’m excited about this freshness – this is how the art history cannon is made! It’s at fairs like this that we begin to self-historicize and understand links between contemporary artists and the history of art.

Have you drawn any creative inspiration from being in Hong Kong?

Hong Kong is incredible. The fact that you've got a public aviary that anyone can just go to and talk to these exotic, beautiful birds is amazing. There’s a pristine quality of the nature here, and a weird mix of high-tech skyscrapers with gorgeous green nature. 

I've been thinking a lot about how strange it is to show these paintings about artificial landscapes in a skyscraper. It's a cool place to show the work — in the sky, because it’s attached to the natural world, but it also invents new perspectives from the landscape.

What do you make of the art scene in Asia and are there any emerging artists from the region that have caught your attention?

I’ve been a long-time fan of Chiura Obata, and I look at his paintings often for inspiration. 

As for contemporary emerging artists, there are so many! I have a small painting by Makiko Kudo that brings me so much joy.  I absolutely love both Gumi You and Sun Woo, both of whose exhibitions I saw at Make Room, and was totally floored by. I was also impressed by Shuangyi Li’s painting with Searoom at the recent Felix Fair. And of course, fellow Perrotin artist Xiyao Wang!

Do you have any upcoming exhibitions where we can view your work?

I have a concurrent show with Petzel in New York called “That Thought Might Think." Those paintings up in NYC right now are my largest to date and an interesting foil to the more refined and solemn paintings here in Hong Kong.  I’d love to come back and continue exhibiting in Asia so we will see what the Perrotin team says for 2026!

Location: Perrotin Hong Kong, 807, K11 ATELIER Victoria Dockside, 18 Salisbury Road, Tsim Sha Tsui, Hong Kong

Opening Hours: Tuesdays to Saturdays, 11 AM to 7 PM.

Exhibition Period: Mar. 25 to May 17, 2025.

Learn more about Emma Webster and her work via Instagram. For more information about Vapors, visit Perrotin on their website, Instagram and Facebook.