All who attended the Clockenflap- the Clockenflap Multi-Media Arts and Music Festival- will say that this was exactly what Hong Kong needs.
A festival that brings together different bands and arts and people.
For all this, we say Thank You, Thank You, Thank You.
Not since Rockit tried to take off- and did for a while- at Victoria Park has there been anything close to a music festival in Hong Kong.
The city’s infra-structure and strict sound ordinances have put so many dampers on there ever being a REAL rock festival here like Summersonic or the Fuji Rock Festival or Glastonbury where one needs to wear Wellies to get about.
And there isn’t even any rain. Only the hard rain of a government that doesn’t know but pretends to understand.
If you think this bloke- “Horse face” Henry Tang- and, without a doubt, Hong Kong’s next Chief Executive, is going to change a thing, think again.
The man is a dullard.
Let’s never forget that in an inspired moment, one of those local Legislative counselors- and, really, what exactly do they do?- came up with how to get over the sound problems of an outdoor Elton John concert in Hong Kong: Watch the concert wearing gloves- to keep the applause down- and headphones.
How much more Pythonesque can one person get?
And Elton John? LOUD?
The clothes at that time, perhaps, but certainly not “Your Song” and “Daniel”.
So, while neighbouring Singapore has a music/Rock Festival almost every month, Hong Kong struggles for space, venues and ways to cut through red tape.
Look at Indonesia. Who played there early this year? Stone Temple Pilots.
Next in Indonesia? If we have our way, Chris Cornell, the brilliant Travis Barker and 3-4 other international acts.
http://www.youtube.com/watch?v=cNhR48oCz6g
Indonesia, like Malaysia, has been a very big Rock market and Rock acts come and go out of the country without the rest of Asia ever knowing.
Jakarta has the venues, the space and the sponsors.
Promoters actually make money with these shows/festivals.
Muse has played there a number of times, plus a number of great bands from Denmark including the brilliant Mew.
We come back to Clockenflap in Hong Kong, which was held at the new West Kowloon Cultural District.
Guess the name should have said it all.
From what we know, admission HAD to be free as this was a public venue and, apart from some financial help from the British Council, there was not much else in the way of funding. Yeah, there were some sponsors, but one can have one hundred piddly “sponsors” and not make a dime.
It wasn’t exactly, “Burberry Acoustic Presents Clockenflap” and with a Creative Director like Christopher Bailey involved.
Frankly, if there is this fucking problem with SOUND, I have no idea why Burberry Acoustic cannot happen in Hong Kong.
http://www.youtube.com/watch?v=D-KtEBsFcuI
So, apart from paying for the bands- especially those from overseas- the organizers of Clockenflap would have also been in for a venue fee.
Where was the money to come from?
One can only guess: From a percentage of the food and drink sold?
And what could that amount to?
If someone does an audit of the festival what would they find?
Would it be scary as shit?
Would it be worth the trouble of doing it next year and, perhaps, taking another TKO “for the music, bro”?
Plus the Letter to the Editor from “the nearby resident” complaining that the world shook for him and gave him “bad vibrations” would not have helped.
At the racecourses in Shatin and Happy Valley are two great venues for concerts in Hong Kong- probably the best as all the infrastructure is in place along with the facilities.
Both, however, are bound by these strict sound ordinances and with everything having to be closed down by 11.30pm- and with ‘live’ music only “available” on race days.
If not, the neighbouring hordes will revolt.
And the last thing we want are revolting neighbouring hordes.
So, one guesses, it’s back to hearing small gigs in industrial buildings in the bowels of Kowloon and Kwun Tong.
Or seeing if there is space in Taipo in Macau.
But “Asia’s World City” not having a rock concert is a very sad oxymoron.
Sadder is when people with their hearts in the right place and trying to improve a moribund music scene are cut off mid-stream.
It does everyone no good…
Bands and artists cannot improve as they continue to be big fish in a very small pond and end up with a false sense of importance.
And “Hong Kong Music” still means one of those endless Canto-Pop concerts at the Coliseum by the likes of Andy Lau and other ageing old farts.
Comments