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The inaugural PSG Academy HK GBA Invitational Tournament commenced with a vibrant opening ceremony at the Christian Alliance International School in Lai Chi Kok. The event, held last weekend on May 25, 2024, featured 30 teams from Hong Kong, Macau, and Guangdong, showcasing the region's burgeoning football talent.
The ceremony, attended by nearly 1,000 players and their families, commenced at 10:30 AM, with a media reception preceding it at 10:00 AM. Notable attendees included Benjamin Cabouat, Consul for Culture of the French Consulate in Hong Kong & Macau, Florian Petit, Educational Attaché of the French Consulate, and Law Yuen Pui, Sha Tin District Council member. The event was emceed by Stephen Wong Cheung Hing, a former Mr. Hong Kong contestant and actor.
Throughout the day, attendees enjoyed a series of football matches and carnival activities, which included various small games and engaging family-friendly events. The tournament aimed to underscore PSG Academy's commitment to youth development and football excellence in the Greater Bay Area.
The day-long event culminated in an awards presentation, recognizing the outstanding performances and sportsmanship displayed by the young athletes. The presence of dignitaries and a supportive crowd contributed to the event's success, highlighting the potential of the region's aspiring football stars.
To learn more about their programmes, visit the official PSG Academy Hong Kong website.
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It’s been seven years since Hong Kong last hosted Asia’s most electrifying music event, and now, the wait is over. The 2025 MAMA Awards, the region’s premier K-pop celebration, is making its grand return to the city with a two-night celebration on November 28 and 29 at the newly opened 50,000-seat Kai Tak Stadium.
Courtesy of VISA
Presented by CJ ENM and sponsored by Visa, this year’s MAMA Awards promise a full-scale sensory experience that includes jaw-dropping performances, dazzling visuals, and appearances from some of the biggest names in K-pop.
The awards span a wide range of categories, from Artist of the Year, Song of the Year, and Album of the Year, to genre-specific honors like Best Dance Performance, Best Vocal Performance, and Best Rap & Hip Hop Performance.
Instagram/ MAMA AwardsInstagram/ MAMA Awards
This year’s nominations reflect both global dominance and fresh talent. Superstars like aespa, BABYMONSTER, and ZEROBASEONE are up for awards, while rising acts such as Hearts2Hearts, CORTIS, and BabyDONTCry are making their MAMA debut with nods in the Best New Artist category. The awards also include fan-voted categories, giving international audiences a direct voice in the celebration.
The ticketing rollout is choreographed. Fans can choose from a wide range of seating options, with prices starting at HK$899 and climbing to HK$2,599 for premium seats with dedicated entry lanes. A limited Blind Ticket Sale opened on September 30, offering early access to front-row seats on a first-come, first-served basis.
Visa cardholders enjoy exclusive presale access via Cityline:
Visa Infinite Presale: October 17, 10 AM–2 PM
Visa Presale: October 17, 6PM – October 18, 2 PM
General Sale: October 20, 10AM HKT
With Hong Kong’s skyline as the backdrop and Kai Tak Stadium as the stage, this event marks a new chapter in the city’s relationship with global pop culture. It’s a celebration of music, fandom, and the power of performance to unite across borders.
Location: Kai Tak Stadium, 38-39 Shing Kai Road, Kowloon City, Kowloon, Hong Kong
2025 MAMA AWARDS (마마 어워즈) in Hong Kong Kai Tak Stadium Fri, November 28 4:00 PM
onwards
Celebrate the best in K-pop at the 2025 MAMA Awards on Nov. 28-29, 2025, at Kai Tak Stadium, Hong Kong.
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In a quiet corner of Hong Kong, Allex Chan began crafting songs in a space so small it could barely contain the weight of his emotions. That space, Room307, was both literal and symbolic: a bedroom, a cocoon, and eventually, a name that would carry his music far beyond its walls.
The indie artist started releasing music under the name Room307 in 2017, uploading lo-fi sketches made on GarageBand to platforms like SoundCloud. His debut eponymous EP, Room307, arrived in 2021 via Wildstyle Records, a Hong Kong-based indie label known for spotlighting experimental and emotionally raw voices. Though his sound leaned more toward dream pop and ambient textures than the label’s usual rap roster, the creative exchange helped shape his early identity, one that blurred genre, language, and emotional tone.
The Beat Asia sat down with Room307 before his performance for "M+ at Night: Good Times" in September, stepping into his world: a lo-fi dreamscape of whispered narratives, retro and psychedelic visuals, and emotional honesty. Known for his layered songwriting and nostalgic aesthetic, Room307 is both a visual and a sonic storyteller.
Through a conversation that drifted from chrysanthemum tea metaphors to punk alter ego in N.Y.P.D., and the emotional weight of healing, he opened up about his dual life as a musician and Chinese medicine practitioner, the making of his 2025 debut album Memory Boy, and the quiet rebellion of choosing softness. What unfolded was a meditation on self-expression, growth, and the art of listening with intention.
Instagram/ Room307
“I’m deeply honored to bring my music from the room to different countries and museums,” Room307 reflects on his journey. “I hope I can continue to reach more people down the road, from one big room to the world.”
By day, Allex works in a Chinese medicine clinic. By night, he crafts songs that soothe emotional wounds. To him, these roles aren’t opposites because they’re reflections of the same impulse: to feel deeply and help others do the same.
Instagram/ Room307
“Everything I do, including being a Chinese medicine practitioner, is part of who I am,” he answers on whether there's a version of him that only exists when he's making music.
“I'm always diagnosing people’s symptoms and sickness, which requires a deep sensitivity to what people need. So, I think this ability translates into my music because music is also about evoking emotion and connecting with people on a sensitive level.”
Whether he’s diagnosing physical ailments or layering ambient synths beneath vocals, Room307 is always listening, to the body, to the mood, and to the silence between sounds, proving that the sensitivity does run through all his work.
Instagram/ N.Y.P.D.
And yet, there’s another side to him. As the guitarist and synthwave artist of post-punk band N.Y.P.D., Allex channels a completely different energy that’s much louder, rawer, more chaotic. But this shift isn’t a contradiction but it’s a duality.
“It’s also me because I listen to lots of different genres like ambient, rock, and punk,” he says. “Based on my hardware, I can’t really sing loud or hardcore, so I put this personality into N.Y.P.D., which is the expression of my energy. Punk music is just so straightforward, but my own music is more like talking to my inner self. People can have two faces, right? So that’s how I can satisfy both of my faces — the introverted one and the angry one.”
Instagram/ N.Y.P.D.
That duality plays out not just in sound, but in performance. With N.Y.P.D., he has recently taken the stage at Boiler Room Hong Kong, channeling punk’s visceral immediacy. In contrast, his solo work invites listeners into a quieter space, one where emotions unfold slowly, like a whispered confession.
This ability to inhabit multiple emotional landscapes is part of what makes Room307 so compelling. Instead of choosing between softness and rage, he honors both and give them a voice.
Instagram/ Room307
This is echoed in his debut full-length album, Memory Boy. The title comes from the first guitar effects pedal he ever bought: a delay pedal that repeats sound in soft, echoing loops. It’s a fitting metaphor for the way his music lingers: subtle at first, then emotionally resonant on repeat, emphasizing how he’s both a bedroom producer and an emotional architect.
“I would describe it as chrysanthemum tea because it helps you relax,” he says when asked to describe the new album with a type of herbal tea. “It soothes and eases the tension of your liver, allowing your mind and senses to stretch out.”
While Room307 handled most of his songs' lyrics, composition, and production himself, the album marked a rare moment of collaboration. Co-produced by Kok Kok (曾國宏) of Sunset Rollercoaster and mixed by James Fouren, the album added polish to his signature lo-fi textures without compromising their intimacy.
The Beat Asia
Another meaningful creative relationship behind the album is with Akira Mimasu, drummer of Hong Kong’s groove-jazz band R.I.D.D.E.M. Their connection began years ago, when Room307 first uploaded his music to SoundCloud.
“Originally, you know, it’s Room307 in his bedroom,” Akira recalls. “And then when he released his first cassette, it [had] quite a good reception. And when I saw that, I thought ‘Wow! This guy’s making great music,’ so I just hit him up and I said, ‘Yo, if you need a drummer, hit me up.’”
That casual offer evolved into a long-standing creative exchange. Akira contributed drums and flute to his tracks, and Room307 welcomed collaborators into his process, though he still prefers to work solo.
“I handle almost everything by myself because I don’t want to burden others,” he admits. “Especially since I can’t always compensate financially.”
Courtesy of M+Courtesy of M+
Even so, the spirit of collaboration helped shape Memory Boy into something more expansive. It’s a shared emotional language built with trust and mutual respect.
“The story I wrote based on the lyrics is fictional; most of it is imagination,” Room307 explains. “However, I infuse genuine emotions into the imagined story. When performing, I’m immersed in the soul of that character.”
That blend of fiction and feeling is what gives Memory Boy and his earlier releases their emotional weight, telling something that isn’t confessional but feels true, relatable, and emotional honest. And that honesty extends to how he hopes listeners engage with his music.
“You can enjoy it as a background music,” he says. “You can also do nothing and try to explore the details within each track. My music contains many layers but sometimes it takes careful attention to uncover.”
“For the second time beyond, you can try to concentrate more deeply, discovering new textures like a different version and for a different sensation.”
Courtesy of M+The Beat Asia
In Room307’s world, music isn’t just something you hear but also something you return to, again and again, each time uncovering a new musical and emotional layer.
That’s why his recent performance at M+, alongside mainstream artists, felt like a meaningful moment because it was a bridge between underground intimacy and public visibility.
“I think it’s really important for us to play in occasions like this because, in the indie music scene, we often don’t have budget for marketing and promotion,” he says. “Opportunities like this are rare, but sometimes, I mean the best marketing is simply putting your work out there, letting people experience your music to connect and surprise them, especially for those who might not have heard it before.”
Your different works speak to very different emotional landscapes, and you’ve also performed across cultural textures. Has moving between these identities and places ever shifted how you create?
Instagram/ Room307
When we are touring, it’s valuable to meet a lot of artists and musicians. We have a lot of discussions, and we share how we each create and exchange ideas. I think this process is really important for an artist because it provides perspectives. When you play different genres in different locations and meet a variety of people, you naturally encounter new influences. And if you’re open to these experiences, they can have a positive impact on your growth.
How important is it for someone’s thoughts or memories to have an outlet for expression? How would you suggest people express themselves?
The Beat Asia
It’s definitely important for everyone to have some kind of outlet. When I was making this album, I didn’t think too much and simply focused on doing things that I could really feel and enjoy.
I’m not mature enough to be a mentor or to teach someone exactly how to express themselves. I’m still a young person figuring things out, like discovering the best way to express emotions and understand how things work. But I’d say music is one of the ways and activities like sports or other hobbies can also help.
What role does nostalgia play in shaping your aesthetic choices?
I’m not really trying to be too retro, but since I was born in the ’90s, the movies I watched and music I listened to definitely shaped my aesthetic. I’m creating something to blend the aesthetic from that time with some modern music too.
There’s a band called Yellow Magic Orchestra, which is Ryuichi Sakamoto’s work, that really inspired me. The way they make music is kind of similar to the way I create to an extent.
What’s the most unexpected reaction a listener has ever shared with you?
People seldom comment on my music because my audience tends to be too introverted and they don’t talk to me.
But one of the most frequent responses I hear is, ‘Your music really heals my schizophrenia or my mental health problems.’
I feel genuinely happy knowing that my music can soothe people’s emotions. Sometimes, I enjoy working in music more than my work as a Chinese medicine practitioner, because in the music industry, I can be more helpful.
Your past music videos are visually striking, creative, and occasionally psychedelic. How do you and your team come up with those concepts?
The Beat Asia
I've always been inspired by psychedelic music as well as glam rock.
The aesthetics in these genres are often linked to subcultures and altered states of perception influenced by drugs. It’s the aesthetic they bring out that have had a strong influence of my creative approach.
These subcultural elements shaped my perspective and made me want to bring them into the Hong Kong scene, allowing audiences to experience that sense of the unexpected.
Will there be any music videos released for Memory Boy and what can we expect?
Instagram/ Room307
We did shoot in Japan, but I’m still finalizing the editing and the color grading. I don’t have very high expectation of the video, but putting out something that I love is in itself enough. The storyline and set design turned out really cool.
We filmed in a grassy field somewhere near Mount Fuji, where we dug a large hole and built something inside it. That’s about all I can share for now.
Courtesy of Room307
Following the release of the album, Allex isn’t chasing the next big moment but building something slower — something that lasts.
“It won’t be anything extremely surprising,” he says. “But the plan is to slowly release new music. I hope to have a long music career, so I’m just trying not to shock anyone and just keep a gradual workflow.”
That philosophy extends to touring, too. He’s already begun writing his next album and hopes to take it on the road.
“We’ve been wanting to tour in Taiwan and China. We’re trying to figure things out because you need a long set, at least half an hour,” he explains. “So we keep working on that until we’re feeling ready and confident. Hopefully, it will happen soon.”
Meanwhile, his punk project N.Y.P.D. is gearing up for a solo show in Bangkok later this year.
Room307’s journey, from a bedroom in Hong Kong to museum stages and beyond, isn’t about spectacle. It’s about staying true to feeling, to softness, and to the kind of art that whispers and shouts at the same time.
This interview has been edited for length and clarity.
Enjoyed this article? Check out our previous Up-and-Coming articles here.
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Shi Fu Miz Festival, Hong Kong’s pioneering celebration of underground music, art, and sustainability, returns on March 21, 2026, with a new venue, a new format, and a renewed sense of purpose.
After a one-year hiatus, the beloved cultural gathering reemerges at Tai Tong Organic EcoPark for a one-day experience blending electronic music, creative expression, and community spirit filled with wellbeing, while the opening party is set to take place a night prior.
Photo from Website/ Shi Fu MizPhoto from Website/ Shi Fu Miz
Located in the tranquil valley of Tai Tong village, just ten minutes from Yuen Long, the EcoPark spans over a million square feet of farmland and lychee forests, having long been a destination for leisure and recreation among local communities.
Now, it becomes the venue for Shi Fu Miz’s next chapter, offering expansive natural surroundings and a deeper connection to the land. The 2026 edition will feature three distinct stages: the Feng Shui Stage, set outdoors on a grass field with a spiritual atmosphere; the Warehouse Stage, an indoor space with raw, industrial energy; and the Dragon Stage, which brings a traditional Asian aesthetic to life in an intimate indoor setting.
Photo from Website/ Shi Fu Miz
This marks a notable shift from previous editions held at Saiyuen Camping Adventure Park on Cheung Chau Island, where the festival sprawled across multiple open-air zones, forest paths, and beachside installations. The island’s bohemian charm and ferry-accessed remoteness gave the event a sense of escapism and adventure.
In contrast, Tai Tong offers greater accessibility and logistical flexibility, but with a more streamlined setup, downscaling to three stages, and condensing the experience into a single day. While the scale may be reduced, the intention remains: to create a space where music, nature, and community converge.
Photo from Website/ Shi Fu Miz
The weekend kicks off with an opening night on Mar. 20, 2026 at 宀 Club in Sheung Wan, Hong Kong’s iconic underground venue, setting the tone for a weekend of deep grooves and cultural connection.
Founded by FuFu Asia and La Mamie’s, Shi Fu Miz has built a reputation for curating eclectic sounds, from bass to house to techno and beyond, while championing wellness, sustainability, and artistic exploration. The move to Tai Tong reflects the festival’s continued commitment to environmental consciousness and immersive experiences.
Tickets for Shi Fu Miz Festival 2026 are now officially on sale via TIKS Asia. The Early Access Ticket is priced at HK$508 and requires arrival before 2 PM, while late entry will incur an upgrade fee to the standard door rate. The Student Access Ticket, also HK$508, is available to attendees aged 12 to 23, with free entry for children under 12. All under-18 attendees must be accompanied by a guardian and present a valid ID. The First Release General Admission is priced at HK$588, offering flexible entry throughout the day.
For more information and line-up announcement, stay tuned to Shi Fu Miz’s website, Instagram, and Facebook.
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The biggest impressions of Pink Dot, one of the most beloved LGBTQ+ celebrations in Asia, must be its sea of pink, the laughter, the music, and the unmistakable feeling of community.
And this year in Hong Kong, the biggest annual event of its kind is taking a different route — one that leads straight to your living room. Pink Dot Hong Kong 2025 is going fully online, transforming its signature outdoor carnival into a vibrant digital concert on Nov. 2, 2025 from 3 PM to 6 PM.
Photo from Website/Pink Dot HK
The shift to a virtual format comes after organizers were unable to secure their usual venue at the Art Park, West Kowloon Cultural District. While the details behind the venue denial remain undisclosed, the team behind Pink Dot has chosen to focus forward, embracing the opportunity to reach audiences wherever they are. And judging by the lineup, they’re doing it with style.
This year’s concert features a dynamic mix of artists who embody the spirit of pride and inclusion.
Photo from Instagram/On ChanPhoto from Instagram/Marf Yau
Leading the charge are event ambassadors Marf Yau, from the girl group COLLAR, and On Chan of C AllStar — two voices that have long championed diversity in Hong Kong’s music scene. They’ll be joined by a star-studded lineup of performers, including Terence Siufay, Cath Wong, Zeno, Billy Choi, Kira Chan, J.Arie, Andy Lin, and Higgo Raj. Hosting duties will be handled by the ever-charming Bonnie Wong (Ah Jeng) and Joe Wong, ensuring the show flows with warmth, wit, and plenty of pink sparkle.
Since its Hong Kong debut in 2014, the event has grown into the city’s largest LGBTQ+ gathering. The team works year-round to promote visibility, support the queer community, and foster inclusion through workshops, outreach, and cultural programming. Their efforts extend beyond the stage, creating safe spaces and amplifying voices that deserve to be heard.
Photo from Instagram/Pink Dot HKPhoto from Instagram/Pink Dot HK
While the absence of a physical venue may feel like a loss, the digital format opens new doors. Viewers from across Hong Kong and beyond can tune in, celebrate, and show their support. And with Pink Dot actively exploring new venue options for future editions, there’s hope that the pink glow will return to the city’s skyline soon.
As pride comes home, mark your calendar and get ready to celebrate love in all its forms with three hours of love going online. Join the celebration online via this link.
Don’t forget to visit Pink Dot’s website and follow their Instagram and Facebook for more information and updates.
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Canadian rapper and singer bbno$ (pronounced “baby no money”) is bringing the third leg of his world tour “It’s Pronounced baby no money” to Asia this November 2025, taking him to Singapore, Hong Kong, Taipei, Seoul, and Tokyo.
bbno$ is set to kick off the third leg of his tour in Australia on Oct. 31, touring Australia and New Zealand until his first stop in Asia in Singapore on Nov. 12. This will be followed by Hong Kong on Nov.13, Taipei, Seoul, and Tokyo, before wrapping up this leg with a show in São Paolo on Nov. 22.
“It’s Pronounced Baby No Money” in Hong Kong
Instagram/ Live Nation Hong Kong
Following his successful debut in Hong Kong at Clockenflap in 2024, bbno$ is returning to Hong Kong for his first event at TIDES, the newly opened entertainment space at Whampoa.
Alexander Leon Gumuchian, professionally known as bbno$ first gained fame following the release of his TikTok viral hits “Lalala” with Y2K and “Edamame” with Rich Brian. Since then, he has released more tracks like “Mathematics,” “It Boy,” “Antidepressants,” “C'est la Vie,” and “Mary Poppins.”
Recently, he made his Philippine debut at the &FRIENDS Festival, where he took the stage in an Ironmouse cosplay and performed his then-unreleased track with the VTuber “1-800” to the crowd.
Instagram/ bbno$
Tickets now available via Live Nation priced at HKD$599 for an all-standing show.
For more information and updates, follow Live Nation Hong Kong on Facebook and Instagram.
Listen to the bbno$ “It’s Pronounced baby no money” Concert setlist here:
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The popularity of pickleball in Hong Kong is getting hotter and hotter and in Wong Chuk Hang, the sport has been reimagined as a full-blown lifestyle, Now officially open, 212HK is Hong Kong’s largest indoor pickleball social club, redefining what it means to play, connect, and unwind with four premium courts, two floors of curated amenities, and a philosophy built on going the extra mile.
Courtesy of 212HK
Spread across 15,000 square feet and two expansive floors, 212HK offers four state-of-the-art, all-weather courts, solving one of the city’s biggest recreational challenges: indoor court access. Whether you’re a casual player, a competitive enthusiast, or a family looking for weekend fun, this club is built to welcome all skill levels and ages.
Inspired by the 212° philosophy, that one extra degree of effort can spark transformation, every detail of the club is designed to elevate the experience. Apart from the elevated basic amenities, large TV screens are available to replay your best pickleball moments. The in-house café and lounge, The Kitchen, serves up curated bites and bar snacks, with four giant screens streaming live sports from around the world.
Courtesy of 212HK
212HK also houses a dedicated gear shop featuring top brands like Joola and Selkirk, and offers specialised coaching led by Asif Ismail, Hong Kong’s first USPPR-certified coach. The club’s elite academy is committed to nurturing the next generation of pickleball talent through tailored training programs.
Beyond the court, 212HK brings the energy with recurring themed events like After Dark, a glow-in-the-dark pickleball experience, plus corporate team-building sessions and private event packages.
Four memberships range from Club (HK$1,000/month) to Inner Circle (HK$2,500/month), offering perks like complimentary court bookings, priority access, free parking, and exclusive event invites. There’s also a Family Plan (HK$4,000/month) for households looking to rally together.
Ready to play, connect, and glow? Visit their official website and follow them on Instagram and Facebook to join the movement.
Location: 15-16/F, S22, Heung Yip Road, Wong Chuk Hang
Opening Hours: 7 AM to 10 PM (Sundays to Thursdays); 7 AM to 11 PM (Fridays to Saturdays)
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Hong Kong-based charity More Good, known for providing high-quality, nutritious meals to those in need, is set to host its first-ever charity event at the prestigious Clearwater Bay Golf & Country Club.
The inaugural “More Golf More Good” Charity Golf Classic invites you to make every swing count on Oct. 9, 2025, where More Good will bring the same vibrant energy to the course, leveraging their network of chefs, creatives, educators, and food and beverage experts to create unique and engaging experiences for everyone.
Participants can expect a day packed with tournament games followed by a gala dinner that will highlight food and drinks from their F&B partners, as well as special moments from their sponsors and donors. The gala dinner will showcase dishes from culinary stars, including Michelin-awarded chefs from community partners such as Yardbird and Ando, drinks from Asia’s No. 1 bar, Bar Leone, as well as special moments from confirmed generous partners Marshall and Nomad Caviar.
“We are delighted to host the More Golf More Good Charity Golf Classic at Clearwater Bay Golf & Country Club. More Good is a valued charity partner, and this event reflects our shared commitment to supporting those in need,” said Dr. Jack WK Wong, Chairman of The Clearwater Bay Golf & Country Club.
This event’s immediate goal is to achieve its fundraising target and increase weekly meal output by 25% throughout the 2025/26 period.
“This isn’t just about golf,” said Timothy King, Co-Founder of More Good. “We hope to make the More Golf More Good Charity Golf Classic more than just an annual fundraiser, but represent our commitment to nourishing our most vulnerable communities here in Hong Kong. Every swing will help us expand our meal services and make a real difference in our community.”
Courtesy of More GoodCourtesy of More Good
Born in 2022 in Yardbird’s kitchen during the height of the pandemic, More Good has since grown from a small community effort into a full-blown organization supported by a dedicated group of volunteers, chefs, and supporters who all share the same belief: that everyone deserves access to nutritious, flavorful food. The charity has since prepared and distributed over 110,00 meals to the elderly, refugees, homeless, and low-income families, and this upcoming fundraiser aims to embody that same spirit of creativity and care as the previous More Good events — this time coming to the fairways of one of Asia’s most spectacular courses designed by five-time British Open champion Peter Thomson.
Don’t miss this amazing opportunity to play a good round of golf while helping those in need.
More Good is currently open to sponsorships, brand partnerships, prize donations, and volunteer applications. You can find more information here or contact them via email at golf@moregoodhk.com. Those who wish to get more hands-on can also sign up to volunteer with More Good beyond this event here.
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On Oct. 10, 2025, Hong Kong’s Southorn Stadium will transform into a melting pot of adrenaline, grit, and global talent as The Encounter 2 returns with a stacked card and a mission to put Hong Kong on the map as Asia’s rising combat sports capital.
Organized by Verano Promotions, the event's first edition was held last year at PMQ, marking the return of professional boxing to the city after a five-year hiatus.
The second iteration of the high-impact series promises a night of electrifying professional boxing. With doors opening at 5 PM and the first fight starting at 5:30 PM, fans can expect a full evening of title fights, international rivalries, breakout performances, and entertainment, including dancing showcases from Hong Kong Taurus, a local cheerleading team.
Courtesy of The Encounter
On the event’s expansion, Adam Brough of Verano Promotions shared, “It’s a 2,000-seater stadium, so the scale has grown, and we’re getting more international fighters in.” He also emphasized the elevated standards of the production, adding that they are “bringing professional standards: WBO-sanctioned rules and certified judges. This is professional fighting for champions.”
Headlining the event is Saagar Pradhan, Hong Kong’s 24-year-old boxing prodigy of Nepalese descent, defending his WBO Youth Asia Pacific Super Welterweight Title against India’s Gaurav Bisht. It’s Pradhan’s first home fight since his knockout win at PMQ. The stakes are high, with his unbeaten record and two knockouts in six matches since he turned professional in 2023.
“Being a professional boxer in Hong Kong is tough,” said Pradhan, who ranks 13th in the WBO Asia-Pacific, during a sparring session at Verano Boxing Club. “We sparred at least 96 rounds over the last month in Hong Kong and China with different sparring partners, including my teammates from the Philippines.”
Website/The EncounterPhoto by The Beat Asia
On defending his title in his hometown, the 24-year-old added, “I was born and raised in Hong Kong, so it’d be an honor for my family and friends to come down and support me in defending my belt, which is also a big achievement.”
The co-main event features Scotland’s Colin Cairney versus India’s Trijot Singh Bawa for the vacant WBO Youth International Welterweight Title, adding another layer of international tension to the night.
Beyond the title fights, the undercard showcases regional talent. Local fighters like Brondell Medina and Lee Ka Wing will be joined by athletes from Macau, Mainland China, the Philippines, Thailand, and Vietnam.
Photo by The Beat Asia
“We fought at PMQ last year, which was big, but Southorn Stadium is a proper venue,” said 20-year-old Brondell Medina, who will be competing in his first professional match. “I’m excited to fight in front of the hometown fans, and I expect the noise in the stadium to boost me and give me a lot of energy.”
The Encounter 2 has established itself as a statement of the boxing scene in the city. With WBO-sanctioned titles and a diverse lineup, it’s a celebration of athleticism, identity, and the raw thrill of competition.
Tickets range from HK$200 to HK$550. Get your tickets now via Ticketflap or Pyjama. Apply the promo code BEAT15 at checkout for an exclusive 15% discount.
The Encounter 2 Southorn Stadium Fri, October 10 6:30 PM
- 11:30 PM
The Encounter 2 returns on Oct. 10 at Southorn Stadium with a diverse lineup of fighters from across Asia, headlined by two thrilling WBO Youth Title bouts. Tickets from HK$200.
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If you’ve been waiting for a reason to dust off your lightstick and scream your lungs out, this is most probably it. K-Pop’s metaverse queens, aespa, are officially heading to Hong Kong as part of their 2025–2026 “SYNK: aeXIS LINE” world tour!
Instagram/ aespa
Set to take place on February 7 and 8, 2026, the concerts will light up AsiaWorld-Expo with aespa’s signature blend of futuristic visuals, razor-sharp choreography, and immersive stage production. Fans, known as Mys, can expect a high-energy spectacle that blurs the line between digital and reality, true to aespa’s tech-forward identity.
The tour kicks off in Seoul in late August 2025 before sweeping through Bangkok on November 15 and 16, 2025, Japan, and Jakarta, eventually landing in Hong Kong for two nights of pure pop adrenaline. After their Hong Kong stop, the group will head to Macau’s Galaxy Arena on March 7 and 8, continuing their domination of Asia’s biggest stages.
Instagram/ aespa
aespa, made up of Karina, Winter, Giselle, and Ningning, debuted under SM Entertainment in 2020 and quickly carved out a niche with their AI-powered concept and genre-bending sound. Hits like “Next Level,” “Drama,” and “Spicy” have cemented their place as one of K-pop’s most innovative acts.
Musically, aespa blends hyperpop, EDM, and dance-pop with a futuristic edge that mirrors their digital alter egos and metaverse-inspired storytelling. Their tracks often feature layered synths, glitchy textures, and bold transitions, creating a soundscape that’s as unpredictably addictive. Whether it’s the bass-heavy swagger of “Savage” or the shimmering hooks of “Supernova,” aespa’s sonic identity is both experimental and unmistakably modern.
Courtesy of SM Entertainment
Check out the event listing below for more information, or purchase your tickets directly on Trip.com. If history is any guide, seats will vanish fast, especially after their last Hong Kong appearance in 2024 drew massive crowds from around the world.
Whether you’re a longtime MY or just curious about the future of K-pop, this is one show you won’t want to miss.
Follow aespa on Instagram here and check out SM Entertainment’s website here for updates.
aespa SYNK: aeXIS LINE World Tour in Hong Kong AsiaWorld-Arena Sat, February 7 7:00 PM
onwards
Catch aespa live at AsiaWorld-Arena, Hong Kong, on Feb. 7-8, 2026, with their futuristic SYNK: aeXIS LINE World Tour.
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You may have observed the recent revival of Cantopop and Disco Nights happening across the city or trending on your feed, often hosted by local DJ collective and creative agency Cantomania. From coffee raves to family-friendly daytime discos like their takeover of Murray House in Stanley in partnership with Carnaby Fair, you'll often find DJ Fabsabs behind the decks hyping up the crowd with a flawless set delivering a seamless lineup of nonstop nostalgia.
The Beat Asia sat down with the DJ as he enthusiastically regaled his recent (global!) gigs, educated us to the depth and cultural richness of Cantonese music, and shared his secret to bringing the vibes to every party. As much as we loved Fabsabs' stories, we were also receiving a music education as he illuminated us on the history and intricacies of our Cantonese favorites.
Courtesy of DJ Fabsabs
DJ Fabsabs, also known as Pete Sabine, may have grown up as an expat in our international city, but he and his two brothers found their own ways to feel a sense of belonging in Hong Kong. “Cantopop was an avenue for me to try and connect more with local culture and to have less of like an expat identity,” Pete shares.
Pete grew his love for music into a career starting out as a radio DJ in university, then booking gigs in underground clubs. Cantonese music, though, was not something he imagined spinning in front of an audience of thousands. And little did Fabsabs know, he’d become one of the most visible champions of Cantonese music in Hong Kong’s nightlife scene, leading a movement that’s turning nostalgia into innovation.
Through his work at Cantomania, the genre-fluid party series he now runs, he’s remixing the city’s sonic heritage and building a space where language, identity, and sound collide.
Courtesy of DJ Fabsabs
But this isn’t just a story about a DJ finding his groove. It’s about cultural reclamation, about what it means to grow up in a place and choose to belong more deeply. Fabsabs didn’t inherit Cantonese music- he pursued it, learned the language partly through lyrics, and built a platform that celebrates both the classics and the lesser-known gems of Hong Kong’s musical past.
Tracing his journey from an outsider to a cultural curator, let’s explore the rise of Cantomania, and unpack how a genre once confined to karaoke rooms is now pulsing through dance floors across the city and beyond.
Courtesy of DJ Fabsabs
Cantomania itself, started as a modest party series founded in 2016 by DJ Jayme. A medical doctor by profession and a devoted figure in Hong Kong’s underground music scene, Jayme envisioned a space where Cantopop could be celebrated outside its usual contexts: not in karaoke lounges or concert halls, but on the dance floor.
Drawing from his eclectic DJ background and growing fluency in Cantonese, he began curating nights that blended nostalgia with experimentation. The parties gradually grew in scale and ambition, eventually landing gigs in venues like 宀, Quality Goods Club, and Soho House.
The turning point behind the success of Cantomania may have come during the pandemic, when audiences, starved for connection and craving cultural familiarity, flocked to their events and sets at local festivals like Clockenflap, Pop Fest, and M+ at Night. Social media moments, like a reel that hit over a million views, helped propel the brand beyond Hong Kong, bringing Fabsabs to London, Manchester, Macau, and Singapore.
But even as the project grows, its core remains the same: to celebrate Cantonese music in all its forms.
Courtesy of DJ Fabsabs
For Fabsabs, remixing is sometimes about reframing memory. His approach to Cantonese music is rooted in storytelling, where each edit becomes a way to reintroduce a song or a sound to a new audience, often in a new emotional context.
“Lyrics are so important in Cantopop,” he said. “The people who write lyrics in Cantonese are geniuses. If you think about lyricists like Wyman Wong, their writing is so emotionally involved and they’re referencing a lot of history, literature, and culture.”
That philosophy is especially evident in how he selects tracks. While Cantopop is often associated with slow ballads and karaoke staples, Fabsabs digs deeper, surfacing faster, lesser-known cuts from local artists that rarely get club play. These songs, often overlooked in mainstream settings, have become the backbone of his sets. By pairing them with ambient samples, vintage TV ads, and even MTR chimes, he creates a sonic collage that’s both nostalgic and forward-thinking.
But it’s the Cantonese lyrics that anchor everything. Their emotional density, poetic phrasing, and cultural specificity make them uniquely powerful on the dance floor, especially when recontextualized through basslines and synths.
How long have you been DJing for?
Courtesy of DJ Fabsabs
I’ve been DJing for over 20 years. I started during university in Edinburgh, doing late-night radio slots from 2 AM to 4 AM, which taught me how to collect and mix music, though it was on a radio console, not a club setup.
After graduating and returning to Hong Kong, a friend invited me to DJ at a bar (now Penicillin). I had no idea how to use the equipment, but I winged it, figured things out on the spot, and didn’t get fired, so that’s how my club DJ journey began!
When did you start DJing with Cantopop?
I actually started integrating Cantopop into my DJ sets around 2008 or 2009, mostly in bars and clubs, artists like Sammy Cheng were big then. But the first Cantomania event I played was in 2018 at 宀 in Sheung Wan.
In the early days, it was a niche event with small, dedicated crowds. Things really picked up during the pandemic, and by 2023, after playing Clockenflap and West Kowloon Pop Fest, it blew up. Now there’s huge interest, but I want to keep Cantomania special. not something that happens every day.
What makes a Cantonese track “dancefloor-worthy” in your eyes?
A strong beat and bassline are essential, but it’s also about energy and relatability. While Cantopop is often seen as slow or ballad-heavy, many artists have upbeat tracks that just aren’t widely known. I’ve spent time digging through albums to find those hidden gems.
Ultimately, it comes down to testing, seeing how people respond on the dancefloor. Some slower tracks can work too, depending on how you build the set’s tempo. If it’s not too serious and people can connect with it, it has dancefloor potential.
Cantomania started as a niche party and has grown into a movement. What do you think it tapped into culturally?
Courtesy of DJ Fabsabs
I think it resonated because people, especially during the pandemic, started reflecting on what Hong Kong meant to them, and Cantonese music became a way to reconnect with that identity. Everyone who speaks Cantonese knows the songs, so there’s a built-in emotional link. Social media played a huge role too. One reel from a show unexpectedly went viral, hitting a million views and adding thousands of followers in minutes. That moment made me realize how much interest there was.
Since then, we’ve built a team and streamlined operations. I think Cantomania tapped into a cultural need, especially among Gen Z, to celebrate local language, music, and identity in a fresh, communal way.
How do you balance nostalgia with surprise in your sets, especially when the crowd probably already knows the lyrics by heart?
Courtesy of DJ Fabsabs
It’s a real challenge now that Canton Disco has matured, people know the hits, and repetition can get predictable. So I always keep the essentials but dig deeper into artist catalogs to find lesser-known tracks. I also incorporate non-musical elements like samples from Hong Kong TV ads, movies, and even ambient city sounds like the MTR, things that instantly evoke local culture.
Mashups help too, blending Cantopop with K-pop or Western tracks, but I’m careful not to dilute the Canto identity. The goal is to keep Hong Kong’s culture and language front and center while still surprising the crowd.
Instagram/ DJ Fabsabs
Fabsabs’ recent performance at Murray Summer also marked a symbolic moment. Held at one of Hong Kong’s most iconic colonial-era buildings, the event bridged past and present, turning a heritage site into a living venue for contemporary Cantonese culture. And these choices aren’t accidental. From venue selection to visual storytelling, Cantomania is designed to foster cultural pride and community.
It’s a place where older generations hear familiar melodies in new forms, and younger audiences discover the richness of a language they feel deeply. It’s also a space where diasporic Hongkongers, whether in London, Manchester, or Singapore, can reconnect with home through sound.
You recently participated in the “Murray Summer” takeover of Murray House in Stanley. Can you share a little more about the experience with us?
Courtesy of DJ Fabsabs
Murray House is such a recognizable landmark for anyone who grew up in Hong Kong, so doing an event there felt special.
For the night, I curated the DJs based on vibe, but I never tell them what to play. I want spontaneity, not rigid setlists. That freedom is what keeps the energy alive and the experience authentic. Visuals are central too, they help evoke the memories tied to the music.
Why are such initiatives essential for fostering culture and community in the city?
Events like Murray Summer show how underused spaces, like Murray House, can be transformed into vibrant community hubs. What made it special was that it was all-ages, which is rare in Hong Kong’s nightlife scene. Families could attend together, and that inspired me to think more about inclusive, family-friendly events. It’s important to create spaces where people of all backgrounds and ages can connect through music and culture.
For that event, my team at Neon Tiger handled everything, from the bar to the sound system, even though I’d just flown in from London that morning. It was exhausting but worth it. Collaborations like these, especially in historic venues, help bridge generations and keep Hong Kong’s cultural spirit alive.
Do you think Cantonese music carries emotional weight that’s different from English-language pop? If so, how?
Courtesy of DJ Fabsabs
Absolutely. Cantonese lyrics often carry a depth and poetic quality that’s missing from much of today’s English-language pop.
While older English ballads had strong lyrical storytelling, modern chart music tends to focus more on surface-level themes. In contrast, Cantopop lyricists like Wyman Wong, their writing is so emotionally involved and they’re referencing a lot of history, literature, and culture. That richness creates a deeper connection for listeners. I also see this emotional depth emerging in Hong Kong’s hip-hop scene, where artists are writing with real substance.
Are there songs or lyrics that have stuck with you — ones that feel personal or poetic?
Instagram/ Moon On Planet (MOP) Macau
RubberBand - 未來見 (See You in the Future)
I played this song as the last of an M+ set to 4,000 people. That day I had just come back to Hong Kong from my grandmother's funeral, and I thought it was the perfect ending to the set, as a farewell, see you in the future to my grandparents who are now both passed.
陳奕迅 (Eason Chan) - 任我行 (Let me Roam)
Eason songs can be fairly indecipherable for Western audiences and out of all the songs this one stood out on the Fear and Dreams concert that I went to see in London. I was very kindly provided a ticket by Ben from Congee Sounds who I had played with at a Canton Disco event in Manchester. Me and a friend were talking about the end of this song, bringing in this tension between being free and following others: as a DJ I think this is really real, and it's relevant for everyone.
N.Y.P.D. - 美之 (Mee & Gee)
I just love this song because it references lots of stuff I grew up with. It's a really good example of newer bands writing fun songs without having to be so serious about the song structure or lyrics. And it's all kind of clever and post-modern but really fun.
Gordon Flanders - 全世界停電 第二年 (The Blackout, Year 2)
This is kind of a serious and depressing song in some ways, but I think it's quite a clever Wyman lyric, and it's a bit mental that you can hear this in a McDonald's, that wouldn't happen in English-first speaking countries. You probably would get something more upbeat.
LMF - 大懶堂 (Lazy Clan)
I think this song is something that always gets a great reaction because a lot of people hate their job and working is really stressful. LMF are definitely the type of artist 100% of people love at our shows.
What’s something you haven’t done yet musically that you’re itching to try?
Instagram/ DJ Fabsabs
I’m really keen to explore more visual mediums, things like mini-drama formats or projects that weave in Hong Kong’s cultural elements. I’m also looking at expanding Cantomania into larger-scale festival-style events and more international touring. We’ve already played in London, Manchester, and France, and the response has been incredible.
Musically, I’m interested in remixing older Cantonese tracks using era-specific sounds, like Italo disco and analog textures, to preserve their original aesthetic. Remixing is tricky, you have to add something meaningful without losing the soul of the original. I’ve been reaching out to lesser-known artists from the ’80s and ’90s to collaborate on re-releases and edits that feel authentic to their time.
Beyond that, I want Cantomania to evolve into a full cultural movement, blending music with fashion, design, and visual storytelling. We’ve built a team that can handle everything from visuals to scripting, and we’re experimenting with new venues, including historic spaces like Murray House. I’m also passionate about supporting underground artists and producers, especially those who don’t fit into mainstream venues. A pop-up space could be a great way to give them a platform.
Ultimately, I want to keep pushing boundaries, supporting emerging talent, and creating experiences that go beyond just music.
This interview has been edited for length and clarity.
Catch DJ Fabsabs at his next shows and experience the magic of Cantomania at Maggie Choo’s on Sept 20, 2025, AIA Vitality Hub on Sept 26, and La Vache! on Sept 28. In case they're fully booked, follow the Instagram of DJ Fabsabs and Cantomania to make sure you don't miss their next ones!
Enjoyed this article? Check out our previous In Tune With profiles here.
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