I think a negative review still has its own virtue. The undertone of 健吾’s review is the environment under this Kay’s latest album was produced; the priority is the consumption or reception rather than technicality. As I read along, Kay’s disappointing album was already out of my concern. I start to think about how her case represents in general the Hong Kong pop music industry .

以音樂論音樂? I don’t think we can expect this in mainstream paper in Hong Kong. I envy New Yorkers. They can enjoy New York Times’ wonderful section devoted to quality and in-depth (and very musical) reviews of music, be it classical or pop, theatres, movies, and the like. There are just not enough platforms for pop music criticism in Hong Kong.

健吾 positioned himself as an outsider; he relied on word articulations and apparent melodic structures, etc. Say for her Mandarin song, it brings forth the question who the target demographic this particular version is for, given her subpar Mandarin is not a matter in the recording. Have they brought in Taiwanese/Chinese producers to do the song? These small decisions reflect at least some aspects of the attitudes behind making a Mandarin version of the hit that made her a top Hong Kong female artist.

Anyway, I wonder if there is really a problem here. From the start the industry has not nurtured good listeners. Who really listen to the key changes or chord changes crafted carefully and beautifully by the writers/arrangers? It was lucky enough to have an artist like Kay who can deliver these to the point.

Kay is a happy outcome in this weird Karaoke-driven music scene. She was both an underdog and a warrior before she rose to fame; she questioned and did not compromise. Finally she reached the top but this unique brand of her didn’t seem to be registered in her new 主打歌. Yes I meant 主打歌. I know there are songs in her latest album that are so 謝安琪. But 主打歌 is what we wanted from her to strike a complete discord, now that she has assumed a mainstream position.