The local music scene has never been a stranger for conversational currency here in Singapore.
Try mentioning to your parents that you want to pursue music as a career. Chances are, they’ll scoff at you and begin their lecture about how there’s “no hope” in Singapore and that you’re doomed for life and prone to failure. Then there’s the issue about how the job (you’re lucky if they even acknowledge it as a real job) would be unstable and financial-wise, with the eventual price hike of everything, would be “unimaginably daunting”.
If it’s one thing I know about parents, they’re good at scaring their kids; using stereotypes and far-fetched examples without having any thought for anyone else. Yes, they’re doing their duty as parents to protect their kids, but using scare tactics? Stop that shit. Even if that (music having “no hope”) IS the case, which really isn’t, why are you listening to your parents anyway? Filial piety? There’s a line between making them happy and making yourself happy. Take a risk, have a stand, do something.
T.S. Elliot once said, “Only those who risk going too far can possibly find out how far they can go.”
It is this exact stigma that causes the downfall of our local music scene. Our music may not be the best or comparable to international artists (some actually ARE better than some international artists *cough* fun fun *cough*), but it’s Singapore, man. We’re Singaporeans. Where is the love, people?! The only reason why it’s “failing” in our eyes is due to the sheer lack of support we give to these talented people. Too often we do not see what’s right in front of us, but beyond us (this applies for many other things as well). It is good to be far-sighted sometimes, but the Devil is in the details. Look closer, pay a little more attention and give these fine specimen of human beings a chance.
We all deserve a chance.
Fred Perry’s movement, Subculture, does exactly that.
Subculture’s main aim is to bring about bright up and coming young talent into the music scene. The initiative originated in Britain by Paul Weller in September 2005. It has helped numerous acts such as The Young Knives, The Rakes, The Klaxons and New Young Pony Club, to achieve global recognition in displaying their musical heritage and contemporary relevance of the Fred Perry Brand.
Coming to our shores, its main aim hasn’t changed. On 18 August 2011, Thursday, the Fever Avenue Team went down to Zouk where it was all happening. We were greeted by a row of quirky looking Vespas where the hot dog stand was, followed by the friendly reception from Amnesty. Through the entrance and all the way into the main arena, we saw more Vespas strategically placed along the way. The glimmering display of the 10 Mod stylized Vespas and Lambrettas are by scooter collective Simply Scooters.
The night played host to a number of quality local acts who have been around in the local music scene for quite some time. Their contributions have been invaluable, and the line-up provided a good mix of genres to showcase the various styles that Singapore has to offer. Whoever said that Singapore has no talent, clearly hasn’t done his research properly. Either that, or they choose not to support them because they’re local.
A stigma is like a disease; resilient and highly contagious. The smallest seed of stigma can grow to define or destroy. A simple sentence like, “They don’t sound like The Killers” can change everything.
Vanessa Fernandez was the first in the line-up
Cheating Sons taking the stage
Rockin' it out with The Pinholes!
It was a night of good, boozed-out clean fun with the team, and the other 650 people that attended that event; a record-breaking number from the past installments. Besides the music, we were treated to lovely desserts courtesy of Seventh Heaven, such as the Blood Red Rum & Raisin and Lime Tonic Sorbet. Fuelling our energy was the iconic Fred’s Punch; a refreshing passionfruit-based cocktail concocted by 42Below for Fred Perry.
Vanessa Fernandez wow-ed the crowd with her soulful voice that many may not have heard before. She is a former DJ on 98.7FM and was once part of the hip hop group Urban Xchange and Parking Lot Pimp. Cheating Sons’ mix of eclectic tunes using a myriad of instruments ranging from the banjo to the very simple tambourine was enticing. The crowd was very welcoming with their applause as they did covers from the likes of Pink Floyd, as well as their own singles. The Pinholes certain lived up to their reputation of being much better live than their studio tracks. The amount of enthusiasm and candidness shown on stage personified their stage presence, which they are popular for. Besides their defining antics, they played a good set that managed to get the crowd tapping their feet and moving to the beat.
The amazing crowd during Poptart's set!
Poptart on the decks of Zouk!
After their final night at Butter Factory in July, they bid to their regular punters a farewell.. but not goodbye. The illustrious trio, better known as Poptart, came back for a 2-hour set on Zouk’s make-shift stage. If the bands didn’t manage to get the crowd dancing, they certainly managed to. They put the P in op.. operation Pop that is! Dishing tunes from the likes of Arcade Fire, The XX, MGMT, Two Door Cinema Club and The Drums, the crew from Fever Avenue and their guests were jumping off walls and climbing stages as they hopped around in glee. It would’ve been deemed utterly blasphemous if you just stood there like a fool.
Being an avid supporter of all things local – brand, music, short films, art, and more – it was only right to have them at the party to end it off on a high note. Their first gig in Zouk dates the prehistoric times circa 2006. Ever since then, they have been knocking the shoes off every party goer with their well-rounded, head bobbing choice of music during their residency at Butter Factory for three years (2008 – 2011). Although they are well-versed at what they do best, they still felt a little nervous on stage that night. Adrian Wee, who is one-third of the group, added, “That meant that people could see me if I scratched my nether regions, so I had to be conscious of that during the set.”
They feel that this movement has been a good platform for local musicians to showcase their talent and that every act that has been featured that night and before (this is the fourth installment of Subculture) has “always been top notch”. Despite the stigma of homegrown music, there was still a considerable number that attended the event that night, which proves that the local indie scene can be a force to be reckoned with. However, it would be much better if this could be brought to the next level with more venues and events opening up with original live music. The media also needs to play a part in spreading the good word of the community.
Adrian was the marketing manager at Butter Factory. When he decided to leave and pursue his own business last month, he brought Poptart along with him. At the moment, no venue has been confirmed for the next Poptart night, so their options are still open. Fans can expect them to return before the end of the year, and for those who didn’t manage to catch them at Zouk, just remember to “never lose that feeling”.
Images courtesy of Amnesty.
