Going Underground

It’s curious, the number of people who bemoan Hong Kong’s independent-music scene. Critics (and expats in town for brief, superficial sojourns) adopt a default posture of digit-pointing, waving jaded index fingers at a concert calendar crammed with Cantopop and mainstream international acts. But even the most cursory probing reveals plenty of homegrown edge. Consider the Underground, a fortnightly indie-music night that takes place in venues across town, whose organizers have showcased more than 300 bands in its five years of existence. That’s irrefutable evidence that if you’re looking to tap into live, original music in Hong Kong, there’s an astonishing amount to be found.

(See Asia’s best bands.)

Two compilation albums give a taster of what’s on offer. The latest, The Underground #2: Straight Ahead … Back to Roots, is like its predecessor, a two-CD box set highlighting 11 local bands. And all of it — from the irrepressibly upbeat indie pop of Poubelle International to the zestful testosterone-fueled rock of the David Bowie Knives and the visceral emo stylings of all-girl band the Ember — is a laudable testament to the city’s musical diversity. Granted, some of the listening experience lacks polish, not least because, in their zeal to forward the cause of Hong Kong music, the promoters have included two tracks from each act; at 22 songs, the album cries out for editing. But that’s a secondary point. As on any Underground night, the bands are here to plug in and strut their stuff. The world may think of Hong Kong music as consisting of gaudily dressed balladeers, elfin starlets and jobbing jazz trios in hotel lobbies. The kids know better.

See pictures of the Rock and Roll Hall of Fame’s 2009 Nominees.