Deafheaven @ Beep Studios (3.05.14)

Never trust Google Maps.

It could lead to you wandering around for an hour in the heat, eventually abandoning all hope in technology. “Where could this place be?”, you’ll wonder. After stopping and thinking for a moment, you’ll remember that you are going to a Deafheaven show, and scan the area for black t-shirts.

Upon arrival at Beep Studios, we could sense the anticipation from the fans waiting around the courtyard; smoking on the steps, arguing over album superiority and gathering around one of the men they were all there to see. George Clarke‘s usual persona was surprisingly absent; out among the people his demeanour was the polar opposite of what we’d expect from the vocalist onstage. Polite, friendly and more than happy to stand for photo after photo with fans, he was signing anything they handed over. I instantly regretted leaving my copy of Sunbather back in Melbourne.

George eventually headed into the venue and the majority of the crowd followed, ready for their first taste of music for the night. Singapore locals Paris in the Making were up first and, with a few words from the band, they began their set. After a massive build up, the progressive hardcore group burst into a barrage of heavy hitting riffs and screams from the band’s frontman. They were tight, however their heavier moments were eclipsed by their “prettier” passages which illustrated the bands intricate instrumentals.

After the set came to a close, the fans scuttled out of the venue for another smoke and some air before the main event. “KittyWu are on a roll,” I heard someone say, and it’s true. In recent months the label/promoters have been doing everything right, bringing in Irish post-rockers And So I Watch You From Afar and Japanese math-rock girls Tricot for successful shows. Tonight was not going to be an exception.

wandered inside as the band was putting together the final touches before what was going to be a phenomenal set. The lights went down as the band (minus George) took to the stage, before bathing them in red. The band broke into ‘Dream House’ as George arrived on stage.  He commanded the stage entrancingly, and had all eyes squarely fixed on him. Part commander, part conductor, he flowed with the music, punched the air and gestured to the audience to creep forward. Once he opened his mouth, letting out a frighteningly high scream, the audience was putty in his hands.

What followed was a phenomenal assault on the senses as the band made their way through the rest of their highly acclaimed sophomore album Sunbather. It was great to see the somewhat timid crowd begin to loosen up, as they sang along to the melody of ‘Irresistible’. The band continued with extreme professionalism and energy, creating the most incredible wall of sound I have ever faced. With the band still playing, George jumped into the crowd and the devoted carried their “master”.

As George screamed the words “I am my father’s son” during ‘The Pecan Tree’, you could both hear the emotion in his voice and see it on his face. The power behind those words gave the whole audience a look inside the man in front of us. His veneer slightly cracked, and I was reminded of the guy I met outside before the show. Just a man, with incredible talent.

The room was still charged with energy when the band put down their instruments and waved thankfully to the crowd. It wasn’t the loudest cry for an encore I have ever heard, but you could tell the fans wanted more. After a quick “piss break” (in a beer can, apparently), the band returned to treat the dedicated fans to their 10-minute epic ‘Unrequited’, from their debut album Roads to Judah.

As the show came to an end, fans rushed to congratulate the band as they walked through the crowd to their dressing room. Deafheaven tore away all expectations, and hearing Sunbather in it’s entirety had left us drenched in the best way possible.

By Ale Launech

White Lies @ TAB (22.03.14)

British rock concerts are well known for their raucous and chaotic atmosphere, where bands like the Sex Pistols would thrash venues all in the name of anarchy and passion. This time however, it was a last minute change of location that created the sense of upheaval. Perhaps rather naively, promoters had booked White Lies to play at The Coliseum, one of Singapore’s larger music venues. Unsurprisingly, ticket sales never met their expectations and so to save the band from the embarrassment of playing to a scarce audience, the show was moved to TAB.

Against this backdrop of disorganisation and poor market research, we began to wonder: what would the attitude of White Lies be? Surely there must have been a certain level of disappointment that came with the relocation. No doubt their promotors had puffed them up with promises of multitudes of fans.

This was their second attempt at a show in Singapore. The first was unceremoniously cancelled at the last minute (a common theme to their shows) in 2011. The crowd, having waited three years to finally see them strut their stuff, were unfazed. At first glimpse of the band, the screams set tone for the rest of the set.

And it seemed like White Lies were equally unaffected. Stirring the crowd into a sea of clapping hands, lead singer Harry McVeigh revelled in our adoration. At one point he stood centre stage, arms aloft in messianic fashion, soaking up the raw passion of the audience.

The band never failed to please the crowd, injecting their well loved hits ‘There Goes Our Love Again’ and ‘First Time Caller’ in-between the album tracks such that even a casual listener would have had a good time.

However for all the punch and bite that their set possessed, White Lies suffered the usual mid-set fatigue that seems to plague most acts these days. There came a point when the songs seemed to meld together as one long post-punk jam, leaving us feeling somewhat as drowned as McVeigh’s reverb drenched vocals.

They made us wait until the very end for ‘Bigger Than Us’, but it was well worth it. The good showing more than made up for the build-up. However it begs the question, how well do the promotors really understand the landscape of Singapore’s music scene?

by Andrew Koay

Lucy Rose @ Esplanade Recital Studio (7:30pm, 16.03.14)

“This is so surreal,” Lucy Rose Parton says, adjusting the guitar strap over her shoulder and shaking her head as if trying to wake from a dream. “How do you guys even know who I am?”

She’s addressing the hundred or so people before her, but especially the ten in the front row who have worn their Lucy Rose merchandise tees to the gig.

It seems almost an odd question to ask after such an intimate gig — as if one had played songs written in a diary on the guitar to a bunch of friends then asked them what the hell they were doing in her living room. Never mind that these were friends who were half in love with her and who could sing along to every one of her songs, and scream ‘AAAHHH’ right on cue after that line in the refrain of ‘Bikes’.

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At one point, Lucy (we’re on first-name terms now, right?) also shares that she’s written a new song titled ‘Nebraska’, inspired by a book she’s read by Willa Cather, and we all feel as though we should ask her if we could borrow it for the weekend — we’d return it to her the next time we hang out.

Honest, fragile and personal, it was a set that made us all voyeurs to her emotions and insecurities. But as flawless as the set was, and as flawless as Lucy Rose was, and as flawless as her vocals were, one couldn’t help but yearn for a tad more bite in the music.

As one critic put it more aptly, Like I Used To creates “a hazy sound that leaves you feeling as if you’ve bathed in lavender oil – lovely, but lacking the acerbic touch that would elevate her to a leading role.” Lucy’s talent is quite apparent, and her rising fame quite unsurprising despite her own bewilderment at it; but if she were to shed the comparisons to Laura Marling (not that that’s not a compliment by any measure) there will need to be more elements of surprise — like that amazing version of ‘Shiver’ she played on electric guitar instead of an acoustic (“We were flying, so I couldn’t pack too many guitars”) that added a dream-like patina to heartache.

Nevertheless, it was an unquestionably beautiful performance made literally up-close-and-personal when the audience swarmed the stage within centimetres of her, in response to her quite misinterpreted invitation to ‘stand and boogie’.

“This is insane. Who knew?” She mutters into the mic but not to the audience. “Who would have known that my best show would be in Singapore?”

By Zixin Lin

Charlie Lim @ Esplanade Theatre Studio (10pm, 16.03.14)

You never leave a Charlie Lim show without feeling like your mind has been blown to pieces. It’s a phenomenon. Everyone who attended the show last Sunday stepped out of the Mosaic Club in somewhat of a collective daze, still trying to figure out what exactly happened in there, for that one-hour set. Suffice it to say, Charlie and his band members really know how to put on a good show.

Even before the show, the fact that tickets for the first show had been sold out, and another one had to be added afterwards, already hinted that this was not going to be an ordinary gig: as the Mosaic Club filled up, there was definitely some sense of expectation among the crowd.

Once the band emerged and settled into their places, it began with a short but intense prelude before seamlessly launching right into an old favourite ‘Pedestal’, off Charlie’s debut EP. There was little sign of lethargy from the band despite having played another set earlier that night – everything was right on cue, and the energy was irrepressible.

The Mothership, as Charlie’s band (Euntaek Kim, Jase Sng, Wen Ming Soh, Kerong Chok, Adam Shah and Mark John Hariman) is affectionately known, shared such a level of chemistry that only long-time collaborators are able to perfect. Clearly seasoned musicians in their own right, throughout the set they were able to support Charlie’s vocals and yet not overtop them.

‘Conspiracy’, a new single slated for release on the upcoming Time/Space EP, marked a departure from familiar territory: a swirling electronic haze of autotuned vocals, throbbing beats and a restless bassline. It was an invigorating change, with an observably darker mood beginning to set in for the rest of the show.

Compared to the confident and assured grooves of the earlier songs, following songs like ‘Bitter’ and the tentatively named ‘The Airport Song’ were far more controlled and considered; stripped down, the songs were laid bare to emotional honesty. The gently straining croon of, “But I won’t catch you if you let go, I’ll pick apart the things you let fold” evoked a bittersweet romance, the irony and ambivalence of love.

From full-on jazz to dreamy electronic tones, the versatility and musicianship of the band were again on display with the transition to a more alt-rock leaning Smashing Pumpkins cover, ‘1979’. The Mothership seemed happy enough to be playing along, taking a breather from the more musically challenging earlier songs and jamming easily to this classic tune.

The encore was, of course, a given: the crowd was hungry for more, chanting and shouting after Charlie disappeared backstage. Thankfully he came out again, obliging the audience with three more songs. ‘There Is No Love’ was perhaps the best song to end the set with, probably one of Charlie’s best songs and a crowd favourite.

The set had come full circle, from beginning with old songs off his EP, going on to explore new depths, new dimensions of sound, and then back to the well-loved favourites again. Alternating between the extremes of full-blown intensity and quiet restraint, Charlie and his band had traversed the entire spectrum in that one-hour set.

With the end of the show, the tenth Mosaic Music Festival was over – hard to believe, but nevertheless a deserving closure. Charlie’s upcoming double EP Time/Space will be highly anticipated, for sure, as he promised the audience that he would be back in Singapore at the end of the year with the launch of the new release. Till then we’ll be savouring the memory of this last night of the festival to tide us over.

By Li Shuen Lam

Atlas LP Launch @ Beep Studios (15.03.14)

Atlas launched their debut LP Here Be Dragons with an intimate performance supported by post-rockers Sphaeras and Paint The Sky Red on Saturday, 15 March 2014. Beep City Studios set the scene well with two softly lit Persian carpets that demarcated the stage and put the performers on the same plane as their audience. Perhaps it was this deconstruction, or simply the fact that many in attendance were family and friends, but it felt like you were slipping right into something comfortable and familiar.

Sphaeras opened the proceedings with a set that gave just the right taste of things to come. A recent addition to the scene, their sound tilted towards the textural, exploring emotions with urgency and filled with yearning to paint a landscape for the mind. This made for a nice contrast with the wordless narratives of Paint The Sky Red, who looked completely at ease delivering what felt like chapters of a tale well-told. Their set was composed and patient, revealing layers that spoke of the trials of experience. At the end of it, there was much anticipation for Atlas, who finally took to the carpets to belt out their unique brand of genre-bending music.

One of the most satisfying aspects of Atlas’ predisposition to combine elements across genres is that they have a keen understanding of how to make something coherent out of the fragments of their various influences — the carefully structured songs that made up their set all had a density of rich flavours that blended gently with each other.

The combination of acts for this LP launch – whether deliberate or by accident – provided a curious snapshot across time, with each band representing a different phase in their development. Atlas were marking new ground with the culmination of Here Be Dragons and at the same time sealing a memory of their present lineup. Sphaeras, still quite fresh from the cradle, were carving out their range and proving their mettle. Paint The Sky Red, on the other hand, displayed the quiet intensity that comes from playing together for years.

Highlights of the evening included the punishment that Sphaeras’ Zakhran Khan meted out to his drum kit, the eerily sampled fragments of conversation that framed the PTSR set. and the improv by Atlas’ keyboardist Zac Yeap. The venue and set-up was icing on the cake, and we hope that the success of this in-studio performance is the first of many to come at Beep City Studios.

By Manoj Harjani

The Big Pink @ Esplanade Concert Hall (14.03.14)

It would be too easy to write about The Big Pink’s gig at Esplanade Concert Hall in terms of size; too obvious to point out the irony in how everything about it was in fact small. Oh no, it would be artless journalism to dream up headlines like “The Big Pink Play To Tiniest Concert Hall Crowd Ever”, or “The Big Pink’s Short Set Disappoints, or “The Big Pink — Half The Band It Used To Be” (literally: they’re officially a duo now).

But it would also be wrong not to, because all of the above is embarrassingly true. The London electro fuzz-rockers were shockingly mediocre, putting on a show that felt more like a dress rehearsal than a proper concert. Where did it all go wrong?

Perhaps it was the poor attendance. It couldn’t have been very encouraging for frontman Robbie Furze, drummer Vicky Jean Smith and Furze’s wife-cum-sessionist Mary Charteris to be told they were booked at a world-class 1,800-seater venue, then walk onstage to see it less than a quarter full. Or for them to get only the first two rows on their feet, while the rest of the patchily-filled auditorium sat and looked on for the better part of seventy minutes.

Maybe the band was over-ambitious, debuting no less than four new songs. If The Big Pink were of — well, bigger — stature, like Radiohead or Arctic Monkeys, this would’ve been a defining moment, and the envy of fans worldwide. But they aren’t, and four new songs in a set of eleven seems more like an experiment by a band playing to a low-stakes audience they feel they can afford to alienate (especially considering how they aren’t currently touring, and the Singapore gig is a one-off). It wasn’t all bad, though. ‘Here I Am’ has a leather-clad badassery which The Raveonettes would be proud of, and signals a possible progression from the anthemic pomp of the first two albums. But there was a palpable hesitation in the way the new material was presented, with each song preceded by an uncomfortable silence, and marked by tense concentration.

Or it could be that The Big Pink is just one of those bands that sucks live. It’s clear enough from listening to A Brief History of Love on headphones that their massive sound is a contrivance of good production and electronic overdubs. This doesn’t always translate well in a live environment, least of all when you’ve lost two members, and you’re relying on the frontman’s model wife to pick up the considerable slack by triggering samples, sequences and vocal effects. Goodness knows what made The Big Pink decide not to bring along a bassist for the Singapore show, and relegate their low-end to a computer. The result was a really half-assed visual presence, and a noise which clearly aspired to be huge, but stopped short of it.

To be fair, Furze and Smith were most in their element with the older material like ‘Crystal Visions’ and ‘Too Young To Love’, slamming overfuzzed power chords and driving beats with full-on rock posturing. Alas, it was too little and too late, in a concert that simply lacked too much.

By Don Shiau

tricot @ Home Club (14.03.14)

tricot is a curious case. From the land of crazy fads and music (kawaii metal, anyone?), Japan has once again brought something out of the nary; a surprisingly punishing math-rock band formed by three girls in their mid-twenties and a lone dude.

tricot, fronted by the affable Ikkyu Nakajima (vocals, guitars), kicked off into hard-riffing numbers at Home Club with songs which were melodic, yet had a certain sense of frenetic, unbridled energy to it. This had obvious showing in the crowd, who responded unfalteringly with fervent cheering and applause every time a song went out.

Before that, local experimental/post-rock outfit 7nightsatsea opened for tricot, and performed to a largely stagnant crowd with songs from their new EP. Still fresh off their release of their debut Drift Easy, Heavy Hands EP last year, the band thrilled audiences with numbers such as soft-brimming track ‘Heralds’ and progressive track ‘Quiver (In Turmoil)’. The band was ethereal in their own right, building highly textured layers of guitars over rumbling beats.

tricot rocked hard, and sung mostly in their native Japanese tongue. The band was amiable towards the crowd, and divulged halfway that they’d “had pizza at Riverside Plaza” and “visited Marina Bay Sands” earlier that afternoon. Tricot was a furious amalgamation of styles; jazz, punk, rock, indie and even had an interesting post-rock complex to their music. Performing songs off their latest release, T.H.E, the band showcased complex rhythms and timings in songs such as ‘おもてなし, おちゃんせんすぅす’ and ‘99.974℃’. There was an interesting reminiscent to math-rock bands such as Don Caballero, Fall of Troy, Minus the Bear, and even Foals, who were seen performing here earlier this month.

The girls charmed throughly with their music, as well as with their adorable personality. The band would engage with the audience after every song, using their smattering of English to interact with the crowd. They were surprisingly down-to-earth, and took time to read notes thrown from the crowd and replying to random Japanese words called out. Vocalist Ikkyu took things up a notch when she got the crowd singing Happy Birthday to lead guitarist Motoko Kida. After that, the band kicked into the encore performance of their last song.

tricot’s music was purely transcendental, and it didn’t take a grasp of the Japanese language to understand where these girls (and guy) were coming from. tricot was the epitome of the age-old saying “don’t judge a book by it’s cover”; if three surburban-looking Japanese girls could rock harder than any seasoned rocker — and give a wildly entertaining show to boot — then so could you.

By Evan Woon

View the full photo gallery here.

Baths @ Home Club (9.03.14)

Will Wiesenfeld, a.k.a. Baths, breathes Twitter. He is the Internet’s busiest bird. Making his thoughts seen on Twitter 24/7, Wiesenfeld entertains his followers with strange humour, random facts about his encounters and very often, links his Instagram pictures with his tweets. Wiesenfeld does sound pretty quirky doesn’t he? In fact, his Facebook genre description shows “♥ ヽ(´ー`)ノ ♥”.

The man of such character and music was an interesting one to catch. Once again, after executing a well-organised show at Foals, Symmetry Entertainment was back within the walls of the music shelter along the Singapore River. Holding on to its recognition for great underground acts, Home Club was an excellent venue for Baths, so much that Wiesenfeld gave a commendation on the club’s outstanding sound.

Gathering the crowd in union with their gift for poetic-atmospheric music, [.gif] opened for Baths, warming the crowd with passionate vocals accompanied by synth-heavy ambience. The performance was tasteful and never did it neglect the captivating vocals that Weish had to offer. Expressing her gratitude and excitement at the end of [.gif]’s set, Weish revealed that they were “freaking honoured” to be opening for Baths, which impelled a hint of a smile on Greenwood’s face who was standing at the back of the club.

Not making too much of a scene, Wiesenfeld and his band partner, Morgan Greenwood, quietly prepared the equipment left scattered around the tiny stage. It almost felt like a routine, a step-by-step setup or maybe pre-gig habits of pulling cables and their instruments together in preparation to hit their first note. As the backtrack began, the audience that wasn’t moving just yet anticipated for the intensity of music to increase along with the mounting energy being developed by each synthetic beat. ‘Miasma Sky’ struck a certain level of excellence when the intended pause in the composition gradually created an upsurge to Wiesenfeld’s vocals. Unlike Wiesenfeld’s slightly insecure introduction at his Boiler Room set in 2012 and rigidness at the recent NPR’s Tiny Desk Concert, his comportment this time round displayed confidence.

With each band member having their drum machines facing one another, there was a sort of musical interplay with inserts of distortion and glitches between songs. Even though Greenwood’s Telecaster was rather unnoticeable in its volume, there was a definite interaction between both band members that staged great presence and creativity. ‘Lovely Bloodflow’ was performed with a minimal concept that focused a lot on Wiesenfeld’s vocals and the syncopated rhythm that was repeated in the electronically constructed composition.

There were instances in the gig where Wiesenfeld had decided to let loose and embrace improvisation. Whether people noticed it or not, he did admit that he was improvising at some point and apologised for the “mess” that to be honest, sounded amazing. The earnestness heard in his voice in ‘No Eyes’ was probably the most meaningful thing in his set. In the audio recording of ‘No Eyes’, Wiesenfeld gently sang in a tone that much signifies a vulnerable man in need for human touch. As far as vulnerability was identified during the gig, Wiesenfeld displayed a character enraged by these emotions as he shouted in a deeper voice “come and fuck me”. Moving in a circular motion with a haughty spirit leaping out of the stage, his presence emitted live to the audience and it was exactly this sort of honesty in a performance that many look for in a gig.

There were definitely moments of immense intensity and with such moments were the abrupt silence after many songs performed. It was somewhat strange to end a piece of music when it was at its peak but that was also a way of simply subverting the conventional standards of a gig. Without an encore or much to converse about, Wiesenfeld thanked the crowd in a genuine tone and went back to packing the equipment. Nothing more than the music, Baths had given a great performance. Thinking of it now…I would consider Wiesenfeld to be a lot more interactive compared to the other electronic acts I’ve caught!

By Shawn Ng

Hellogoodbye @ Esplanade Theatre Studio (7:30pm, 07.03.14)

Playing live is either the greatest blessing or the greatest curse on an artist’s music; one sometimes forgets which. As for Hellogoodbye, the answer to the question rests largely on how willing you are to listen beyond their high school pop hit ‘Here (In Your Arms)’, how willing you are to put down that shiny gadget and dance, and how loud you chant “one more song!”

Everybody loves a forthcoming frontman. Yet, not everyone has the capacity to turn talk on “that hotel with a boat on it” or trivial lyrics into crowd appeal. Frontman Forrest Kline charms like the antithesis of Dashboard Confessional’s Chris Carrabba; the former sings with less sugar, more syrup. He swoons unabashed, untroubled by the zeitgeist’s ventures into attaching more meaning, more complex lyrics to pop music.

Oh, Chelsea Lynn, I watched your hair grow from the root to tip” sounds honest and deeply yearning, and it is at these moments where Hellogoodbye truly achieves what (good) modern pop music is afraid of wanting – simple, heartfelt lyrics. Autotune and synths work their fullest in engaging the audience emotionally, not merely abiding by critics’ checklists. This band skips to the crux, reveling in the disoriented haze that is swirling stupefied love.

Something seems audacious about singing songs not very subtly named ‘When We First Met’ and ‘Thoughts’. No one finds it easy to forgive any ‘artist’ for such blatancy. That being said, big choruses do not need big songs; more aptly put, they make big songs out of the small. Throw in the cheesy, yet ridiculously catchy hook in ‘When We First Kissed’ and you’ll have an audience bouncing on its toes.

‘Here (In Your Arms)’ was played as the band’s fourth-last song and it did make a few wonder openly, “How are they going to play it this well again later?” Performing a hit song at every tour stop, much less, twice a night, tends to take its toll on a band with a rather brief discography. Nevertheless, the rich synth-laden delivery of slightly banal lines should by now be a crowd-pleasing formula well rehearsed by the band. And please the crowd it did.

By Edward E

Singapore Rock Festival Day 2 @ Fort Canning Park (6.03.14)

Day 2 of the Singapore Rock Festival was in session. With Newsted unfortunately cancelling his show it felt less like a festival and more of a double-bill. But there is no doubt that there were fans in the audience that were secretly happy that both Alter Bridge and Alice in Chains would get to play longer sets as a result.

Alter Bridge, first to take the stage, needs no introduction. More than ten years after their formation, they finally land on Singapore’s shores for the first time to play a show. One would think that ravenous fans would be going ballistic at this opportunity, but the crowd, for lack of a better word, was lifeless. Even the ininitially enthusiastic ones quickly went from jumping up and down to weakly pumping their fists in the air to the songs. Chalk it up to fatigue from the previous day. Myles Kennedy exclaimed to the audience that Singapore was “the best crowd (they) have played to (their) entire tour”. I had a hard time believing that somehow.

Now, there are good guitarists. And then there are great ones. And it often has nothing to do with technical skill. Look at Kirk Hammett of Metallica fame, king of sloppy solos but still one of the greatest guitarists of all time. Mark Tremonti falls solidly into the category of great and this was never as obvious as when he was trading solos with Kennedy. Tremonti’s solo sounded vibrant and full of soul and energy. Kennedy’s felt dead and generally just fell flat. Can I suggest he stick to what he does best, which is singing?

And who would miss Alice in Chains? A little later to the game then their predecessors of classic heavy metal, they have nontherless cemented their place in rock and roll history. Some would argue that the band would never be the same after the death of original vocalist Layne Staley. You can replicate the style of an instrument, but never another man’s voice. Still, though, William DuVall does a great job of living up to Staley’s legacy, no doubt thanks to the years of experience he has already had in the band. In fact, most of the songs the band played that night were pre-DuVall.

For a band whose members are all approaching the age of 50, Alice in Chains had an immense amount of energy. DuVall leaped around the stage as he belted out song after song, beads of sweat rolling off his face. Both Mike Inez and Jerry Cantrell were frequently swinging their long locks of hair back and forth, headbanging while ripping out killer guitar licks.

The crowd livened up significantly for Alice in Chains, even if it was nowhere near the intensity of the previous night. People were jumping up and down, pumping their fists, and singing along with the band, especially songs from their second and arguably most famous album, Dirt, like opening song ‘Them Bones’ and closing song ‘Rooster’. It did feel odd, though, not to be shouting for an encore throughout the festival, even if the songs that would otherwise have been played were incorporated directly into the set.

As the first multi-day festival outside of Baybeats comes to a close, we must ask a question. Is Singapore ready for more festivals spanning the course of several days with more than half a dozen bands brought in to play? If day 2 of the inaugural Singapore Rock Festival is any indicator, we still have quite some way to go in terms of concert stamina.

By Joel Teo