Day 1
Maneloren – Arena (DBS Foundation Outdoor Theatre at Esplanade)
Photo by Baybeats Photographer, Lee Jia Wen
Being the first act of the night to play the DBS Foundation Outdoor Theatre Arena stage, Baybeats Budding Band Maneloren was a burst of infectious energy and charm. During their set, the band showcased their repertoire of alt rock bangers that got the crowd swaying and clapping along. A few highlights include the songs Lost in Your Eyes and Silver Lining. With the former, which was introduced by frontman Norman Lee as “the band’s favourite song to play”, audiences got to see Maneloren fully embracing the stage and having fun with each other. The same can be said for the latter, where the band even broke out into a simple yet charming choreography of running on the spot. To finish the set, Lee teased some new unreleased material, including the song Perfect Getaway, a warm and cheerful tune about wanderlust and the urge to “yeet from this country”.
FUGŌ – Chill Out Stage (Esplanade Concourse)
Photo by Baybeats Budding Photographer 2024, Nur Emira Farihah
As the crowd waited for Malaysian indie pop darlings FUGŌ to perform their intimate set at the Chill Out Stage, there was a sense of excitement that filled the air. Strangers seated together were striking up impromptu conversations, and a few audience members in the first row had even prepared makeshift signs for FUGŌ on their Notes app (which upon noticing them, bassist Kayrol Ami bashfully remarked that he “fe(lt) like a K-pop idol”). The band performed a mix of unreleased material as well as songs from their latest album, 99. Whilst performing their soulful ballad Pentas Sandiwara, lead singer Hakim Kamal also surprised the audience with a beautiful trumpet solo. After a night of dreamy guitar melodies and catchy choruses, the band left the audience wanting more with an announcement that they will be releasing a new music video next month.
Day 2
LITE – Powerhouse2 (Singtel Waterfront Theatre at Esplanade)
While observing the Japanese math rock quartet LITE conduct their final rounds of sound check at the Powerhouse2 stage, you would assume that they were just another group of reserved musicians.
Photo by Baybeats Photographer, AlvieAlive
As soon as the stage lights went up, however, the band unleashed their effortlessly cool aura and wowed the crowd with their musical prowess. Bassist Atsushi Izawa dived into multiple extended bass solos in which his arms were swinging over and under the guitar neck in ways my simple mind could not fathom. Their performance of the song D, with its ending refrain addictively climbing up semitones, got the audience riled up and cheering the band on. In no time, it was an absolute party in the standing pit: audience members were moshing, a fan was fist-pumping while being passed around in the crowd, and at one point, a long conga line was snaking its way through the pit. Quite understandably, the crowd erupted into a final chant for one more song when the set came to an end, to which the band regathered to play an explosive rendition of Infinite Mirror.
Day 3
Sindo – Arena (DBS Foundation Outdoor Theatre at Esplanade)
In the heat of the late afternoon sun, Baybeats Budding Band Sindo made their official debut at the DBS Foundation Outdoor Theatre.
Photo by Baybeats Budding Photographer 2024, Hanim Yahman
For the past few days, I have been quietly thinking to myself that a fog machine operating in broad daylight feels incongruous—but as the band opened with the psychedelic and gritty track Super Secret AV Man, the rising fog only served to intensify the atmosphere. With the hazy combination of bassist Mingo’s strong harmonies, complex rhythms and guitar refrains that stick to your mind, the audience was transported into a dreamy soundscape. One should also give props to the striking graphic manipulations of the band’s newly unveiled logo that filled the stage’s LED screens. All of these elements came together to elevate the listening experience.
During their 30 minute set, Sindo gave the crowd a taste of their unreleased material while also performing the single Double Happiness, which had just been released on Spotify days prior. The band had a chemistry that was palpable not only in the music itself, but also in the stolen glances between members, and the knowing smiles they flash each other while announcing eccentric track titles such as 747 and Green Truck. Even though Mingo could not help but express his nervousness, there was no doubt that the band commanded the stage with their ability to—for lack of a better term—create a vibe.
monda(e) – Annexe (Esplanade Annexe Studio)
Despite their limited presence on most music streaming platforms, many fans had gathered at the Esplanade Annexe Studio to catch local band monda(e) perform. Even though this was the band’s Baybeats debut, monda(e) has been steadily establishing themselves within the local indie music scene for the past few years. It is no wonder that fans were eager to see them perform, with some even cheering and whooping as the band announced more popular titles such as Sun Day and Song 6 (which, we were informed, was recently retitled Umpteenth. Yes, the band knows it’s a funny word too).
Photo by Baybeats Budding Photographer 2024, Ang Wen Yang
The set was a masterclass in emotional and captivating instrumental rock. What made this performance stand out, however, was the four members behind the prolific displays of guitar tapping and clean rhythms. Expressing that they hoped to deliver an intimate performance and connect with the audience on a deeper level, the band peppered their set with funny banter and endearing moments of expressing their gratitude. While explaining their choice of making instrumental music, for instance, monda(e) joked that they are just “four introverts who could not sing”. As the set drew to a close, the band members also took the time to thank everyone in the audience, their loved ones and the Baybeats festival crew, thereby imbuing the performance with heart and earnesty.
CHS – Arena (DBS Foundation Outdoor Theatre at Esplanade)
If it wasn’t for the Singapore skyline crawling behind the Arena stage, you might just believe that South Korean indie band CHS was performing at a seaside resort where the water glistens with sparkles and there is a never-ending supply of brightly coloured cocktails. This mental imagery can be attributed to the eclectic assortment of instruments in the band—which ranged from cowbells and bongos to a slide guitar—as well as the laid-back disposition of the five members as they rock the stage with sunglasses on.
Photo by Baybeats Photographer, Danial Halim
Whether the band was playing groovy, mellow tunes like Lady or more upbeat ones like Shower, the sizeable number of fans that had gathered right in front of the Arena stage was dancing along, with some even waving their hands around in the air. To keep this informal dance party going, keyboardist and vocalist Park Moonchi even approached some fans with her mic, urging them to shout out the catchy chants in the triumphant HIGHWAY. This was just one of many wholesome interactions between the band and the crowd: at multiple points of the night, fans were shouting various Korean phrases like “Annyeonghaseyo” (hello) and “Gamsahabnida” (thank you) to the band, who would respond with laughter and surprise. One also cannot fail to mention the band’s cheeky tribute to K-pop group NewJeans, achieved by integrating the harmonies of the viral song Ditto into their opening of HIGHWAY.
It was difficult, of course, to leave behind that party atmosphere CHS had created. In an unplanned encore, the band finished with Too Much Sunshine—a song request repeatedly expressed by one passionate fan in the crowd. All in all, it was a fantastic way to close off the Arena stage for Baybeats 2024.
|
About Siobhan Siobhan is a Baybeats Budding Writer who enjoys consuming art, books, film, and music. Equipped with a non-essential degree in English Literature and Art History and a healthy dose of idealism, Siobhan hopes to continue talking and writing about all of these interests and how they might intersect with one another. |
Day 1
Maneloren – Arena (DBS Foundation Outdoor Theatre at Esplanade)
Photo by Baybeats Photographer, Lee Jia Wen
Being the first act of the night to play the DBS Foundation Outdoor Theatre Arena stage, Baybeats Budding Band Maneloren was a burst of infectious energy and charm. During their set, the band showcased their repertoire of alt rock bangers that got the crowd swaying and clapping along. A few highlights include the songs Lost in Your Eyes and Silver Lining. With the former, which was introduced by frontman Norman Lee as “the band’s favourite song to play”, audiences got to see Maneloren fully embracing the stage and having fun with each other. The same can be said for the latter, where the band even broke out into a simple yet charming choreography of running on the spot. To finish the set, Lee teased some new unreleased material, including the song Perfect Getaway, a warm and cheerful tune about wanderlust and the urge to “yeet from this country”.
FUGŌ – Chill Out Stage (Esplanade Concourse)
Photo by Baybeats Budding Photographer 2024, Nur Emira Farihah
As the crowd waited for Malaysian indie pop darlings FUGŌ to perform their intimate set at the Chill Out Stage, there was a sense of excitement that filled the air. Strangers seated together were striking up impromptu conversations, and a few audience members in the first row had even prepared makeshift signs for FUGŌ on their Notes app (which upon noticing them, bassist Kayrol Ami bashfully remarked that he “fe(lt) like a K-pop idol”). The band performed a mix of unreleased material as well as songs from their latest album, 99. Whilst performing their soulful ballad Pentas Sandiwara, lead singer Hakim Kamal also surprised the audience with a beautiful trumpet solo. After a night of dreamy guitar melodies and catchy choruses, the band left the audience wanting more with an announcement that they will be releasing a new music video next month.
Day 2
LITE – Powerhouse2 (Singtel Waterfront Theatre at Esplanade)
While observing the Japanese math rock quartet LITE conduct their final rounds of sound check at the Powerhouse2 stage, you would assume that they were just another group of reserved musicians.
Photo by Baybeats Photographer, AlvieAlive
As soon as the stage lights went up, however, the band unleashed their effortlessly cool aura and wowed the crowd with their musical prowess. Bassist Atsushi Izawa dived into multiple extended bass solos in which his arms were swinging over and under the guitar neck in ways my simple mind could not fathom. Their performance of the song D, with its ending refrain addictively climbing up semitones, got the audience riled up and cheering the band on. In no time, it was an absolute party in the standing pit: audience members were moshing, a fan was fist-pumping while being passed around in the crowd, and at one point, a long conga line was snaking its way through the pit. Quite understandably, the crowd erupted into a final chant for one more song when the set came to an end, to which the band regathered to play an explosive rendition of Infinite Mirror.
Day 3
Sindo – Arena (DBS Foundation Outdoor Theatre at Esplanade)
In the heat of the late afternoon sun, Baybeats Budding Band Sindo made their official debut at the DBS Foundation Outdoor Theatre.
Photo by Baybeats Budding Photographer 2024, Hanim Yahman
For the past few days, I have been quietly thinking to myself that a fog machine operating in broad daylight feels incongruous—but as the band opened with the psychedelic and gritty track Super Secret AV Man, the rising fog only served to intensify the atmosphere. With the hazy combination of bassist Mingo’s strong harmonies, complex rhythms and guitar refrains that stick to your mind, the audience was transported into a dreamy soundscape. One should also give props to the striking graphic manipulations of the band’s newly unveiled logo that filled the stage’s LED screens. All of these elements came together to elevate the listening experience.
During their 30 minute set, Sindo gave the crowd a taste of their unreleased material while also performing the single Double Happiness, which had just been released on Spotify days prior. The band had a chemistry that was palpable not only in the music itself, but also in the stolen glances between members, and the knowing smiles they flash each other while announcing eccentric track titles such as 747 and Green Truck. Even though Mingo could not help but express his nervousness, there was no doubt that the band commanded the stage with their ability to—for lack of a better term—create a vibe.
monda(e) – Annexe (Esplanade Annexe Studio)
Despite their limited presence on most music streaming platforms, many fans had gathered at the Esplanade Annexe Studio to catch local band monda(e) perform. Even though this was the band’s Baybeats debut, monda(e) has been steadily establishing themselves within the local indie music scene for the past few years. It is no wonder that fans were eager to see them perform, with some even cheering and whooping as the band announced more popular titles such as Sun Day and Song 6 (which, we were informed, was recently retitled Umpteenth. Yes, the band knows it’s a funny word too).
Photo by Baybeats Budding Photographer 2024, Ang Wen Yang
The set was a masterclass in emotional and captivating instrumental rock. What made this performance stand out, however, was the four members behind the prolific displays of guitar tapping and clean rhythms. Expressing that they hoped to deliver an intimate performance and connect with the audience on a deeper level, the band peppered their set with funny banter and endearing moments of expressing their gratitude. While explaining their choice of making instrumental music, for instance, monda(e) joked that they are just “four introverts who could not sing”. As the set drew to a close, the band members also took the time to thank everyone in the audience, their loved ones and the Baybeats festival crew, thereby imbuing the performance with heart and earnesty.
CHS – Arena (DBS Foundation Outdoor Theatre at Esplanade)
If it wasn’t for the Singapore skyline crawling behind the Arena stage, you might just believe that South Korean indie band CHS was performing at a seaside resort where the water glistens with sparkles and there is a never-ending supply of brightly coloured cocktails. This mental imagery can be attributed to the eclectic assortment of instruments in the band—which ranged from cowbells and bongos to a slide guitar—as well as the laid-back disposition of the five members as they rock the stage with sunglasses on.
Photo by Baybeats Photographer, Danial Halim
Whether the band was playing groovy, mellow tunes like Lady or more upbeat ones like Shower, the sizeable number of fans that had gathered right in front of the Arena stage was dancing along, with some even waving their hands around in the air. To keep this informal dance party going, keyboardist and vocalist Park Moonchi even approached some fans with her mic, urging them to shout out the catchy chants in the triumphant HIGHWAY. This was just one of many wholesome interactions between the band and the crowd: at multiple points of the night, fans were shouting various Korean phrases like “Annyeonghaseyo” (hello) and “Gamsahabnida” (thank you) to the band, who would respond with laughter and surprise. One also cannot fail to mention the band’s cheeky tribute to K-pop group NewJeans, achieved by integrating the harmonies of the viral song Ditto into their opening of HIGHWAY.
It was difficult, of course, to leave behind that party atmosphere CHS had created. In an unplanned encore, the band finished with Too Much Sunshine—a song request repeatedly expressed by one passionate fan in the crowd. All in all, it was a fantastic way to close off the Arena stage for Baybeats 2024.
|
About Siobhan Siobhan is a Baybeats Budding Writer who enjoys consuming art, books, film, and music. Equipped with a non-essential degree in English Literature and Art History and a healthy dose of idealism, Siobhan hopes to continue talking and writing about all of these interests and how they might intersect with one another. |
Day 1
Outlet Drift – Annexe (Esplanade Annexe Studio)
Outlet Drift “[brought] the ocean from Taiwan” to Annexe (Esplanade Annexe Studio) on the first day of Baybeats with their newly released EP Drifting in tow, landing fresh waves of indigenous Amis music onto our shores.
Notwithstanding technical delays, possibly due to a systemic SISTIC breakdown and show overruns, eager audiences remained steadfast in line under the sweltering heat outside the venue, patiently waiting for the house to open. Exactly half an hour after the indicated start time, the Taitung experimental rock trio finally opened with Tafokay A Kitakit (Desert Planet) from their Golden Melody Award-winning album O Fafahiyan No Riyar (Lady of the Ocean), fully decked in Amis-inspired attire and visually backed by “the blue of Taitung”.
Despite singing predominantly in Amis, the diverse audience seemed to connect well with their music, especially since it bears resemblance to musical elements central to our region due to commonalities between Taiwan and Singapore’s Austronesian communities.
Photo by Baybeats Photographer, Lee Jia Wen
Vocalist-bassist Putad’s nature-mimicking vocals stood out, while vocalist-guitarist Wushang strummed expressive lines (sometimes without a pick) and drummer Linken provided rhythmic beats. In between songs, they did attempt to banter in English, but shortly switched to Mandarin, suitably introducing the inspirations behind their music in true blue Taiwanese music festival fashion—Aka Sawadan (Don’t Abandon) is a reminder “not to forget the language and culture [their] ancestors left behind” and to forge “a new [Amis] tradition”.
As they completed their set with Milaklaw (Gathering), Outlet Drift led the audience in a simple Amis dance reminiscent of a harvest celebration, leaving everyone in high spirits on that humid Friday night.
Day 2
The Storms Upon Us – Arena (DBS Foundation Outdoor Theatre at Esplanade)
Making their Baybeats debut, The Storms Upon Us kickstarted the second day at the Arena (DBS Foundation Outdoor Theatre at Esplanade) with a high-voltage show. Not the least deterred by the gloomy skies and light drizzle, a considerable crowd amassed and held fort to witness them live.
Backed by electrifying visuals, the local garage rock band owned the stage with a high-octane seven-song set, which included originals such as Down Doom Blues, My Ramblin’ Twos and Hardbreak, as well as a bonus cover of Japanese punk rock band The Blue Hearts’ Linda Linda.
Photo by Baybeats Budding Photographer 2024, Cheryl Tan
Fresh from their Baybeats Budding Bands mentorship, the duo were more than eager to showcase their musical growth, confidently playing out the unparalleled chemistry between drummer Kai Wen’s hard-hitting precision and vocalist-guitarist Nathan’s amplified distortion throughout the performance. On occasion, they would tease the audience with time-tested antics—a short harmonica tune and a violin bow stringing the guitar—earning excited cheers from long-time supporters and curious newbies alike.
Everyone was obviously here to “enjoy the ride”, and The Storms Upon Us delivered their promise in what Nathan calls “just another jamming session”.
YONLAPA – Chill Out Stage (Esplanade Concourse)
Hot on the heels of their opening performance at Powerhouse2 (Singtel Waterfront Theatre at Esplanade) on the first day of Baybeats, YONLAPA received a warm welcome back the following evening as they took the Chillout Stage (Esplanade Concourse) to deliver a stripped-down, acoustic set which made for easy listening.
Photo by Baybeats Budding Photographer 2024, Ang Wen Yang
Bathed in dreamy hues, the Chiang Mai indie pop quartet lined up comfortably opposite the packed concourse, presenting an evenly curated mix of seven tracks from their two releases. The Saturday crowd clearly soaked in the vibes of YONLAPA, rocking along right from the start of their first song Last Trip. Here, drummer Fewchy must be duly credited for his mastery of the cajón, dishing relaxing rhythms with the slightest strokes of his palms, paving a steady base for the other three to layer upon.
While they round off the night with one of their first hits Let Me Go, the casual sit-ins realise that 30 minutes have just swayed by. “Thank you, bye bye,” vocalist-guitarist Noina chuckles as the final notes linger a little longer before they finally let go, and depart on the remainder of their 2024 Asia-Oceania Tour.
KIKI – Arena (DBS Foundation Outdoor Theatre at Esplanade)
Slightly more than a year since their last Esplanade outing, KIKI returned to the Arena (DBS Foundation Outdoor Theatre at Esplanade) on the second night of Baybeats with a feel-good, heart-thumping show. Fogged in colourful, flashy lights, the Bangkok synth pop trio was in the good company of three touring musicians, playing a series of six crowd-pleasing tracks non-stop, four of which hail from their second album Post-existential Crisis.
Photo by Baybeats Photographer, AlvieAlive
With their catchy visuals and auditory hooks, festival goers (and even children, well-protected with noise-cancelling headphones) thronged the Arena and gamely danced along to the beat—it was almost as if KIKI were DJ-ing at a massive outdoor nightclub. “Number one dancer”, synth player and bassist Bookiesh (TELELLAMA) was clearly the show-stealer, twerking hard so that everyone present would Get Up and groove.
While performing their then-unreleased single Baby, vocalist Helen rallied the crowd into chorus-chanting, “Baby, I want you”, as the atmosphere reached a fever-high. “You want to cry, cry, you want to laugh, laugh,” KIKI spurred on the crowd to invest all their calorie-burning and emotions in their final song of the night aptly-titled—Alive.
Day 3
Barasuara – Powerhouse2 (Singtel Waterfront Theatre at Esplanade)
Last spotted at Baybeats in 2017, Barasuara made a comeback at Powerhouse2 (Singtel Waterfront Theatre at Esplanade) on the third day of Baybeats, putting up a spectacular show expected of these multi-talented musicians. The Indonesian alternative rock sextet commanded the stage in full force, pulling popular material from across their three albums Taifun (Typhoon), Pikiran Dan Perjalanan (Thoughts and Journeys), and Jalaran Sadrah (Path of Sadrah).
The predominantly Malay-speaking audience, which includes fellow countrymen from Indonesia, were mostly well-versed with the band’s anthemic lyricism and pulsating melodies, singing along song after song. Even those who may not understand Bahasa Indonesia, such as myself, could pry out overarching themes with the aid of stage visuals—melting icebergs during Guna Manusia (Human Use) hint at mankind’s [mis]use of the Earth—and immerse in the music.
Photo by Baybeats Photographer, Anaqi Anzari
Barasuara’s carefully curated setlist maximised room for virtuosity, with vocalists Puti Chitara and Asteriska given the chance to shine during belty numbers such as Biyang (Mother) and Terbuang Dalam Waktu (Wasted in Time)
The band ended the night with two hits from their first album—the penultimate Bahas Bahasa (Discourse and Language) had fans replicating Asteriska’s signature tambourine tapping move to a T, while the finale Api Dan Lentera (Fire and Lantern) saw vocalist-guitarist Iga Massardi getting into the pit for one last high-jump with their Singapore fans—satisfying the crowd with their immaculate showmanship as they had always done before.
|
About Yee Kiat Yee Kiat is a Baybeats Budding Writer who listens to anything the Apple Music algorithm throws at him. He is also a theatre translator, critic and playwright. His guilty pleasure is blasting 80s Cantopop at 3AM while attempting to read poetry. |
Day 1
Outlet Drift – Annexe (Esplanade Annexe Studio)
Outlet Drift “[brought] the ocean from Taiwan” to Annexe (Esplanade Annexe Studio) on the first day of Baybeats with their newly released EP Drifting in tow, landing fresh waves of indigenous Amis music onto our shores.
Notwithstanding technical delays, possibly due to a systemic SISTIC breakdown and show overruns, eager audiences remained steadfast in line under the sweltering heat outside the venue, patiently waiting for the house to open. Exactly half an hour after the indicated start time, the Taitung experimental rock trio finally opened with Tafokay A Kitakit (Desert Planet) from their Golden Melody Award-winning album O Fafahiyan No Riyar (Lady of the Ocean), fully decked in Amis-inspired attire and visually backed by “the blue of Taitung”.
Despite singing predominantly in Amis, the diverse audience seemed to connect well with their music, especially since it bears resemblance to musical elements central to our region due to commonalities between Taiwan and Singapore’s Austronesian communities.
Photo by Baybeats Photographer, Lee Jia Wen
Vocalist-bassist Putad’s nature-mimicking vocals stood out, while vocalist-guitarist Wushang strummed expressive lines (sometimes without a pick) and drummer Linken provided rhythmic beats. In between songs, they did attempt to banter in English, but shortly switched to Mandarin, suitably introducing the inspirations behind their music in true blue Taiwanese music festival fashion—Aka Sawadan (Don’t Abandon) is a reminder “not to forget the language and culture [their] ancestors left behind” and to forge “a new [Amis] tradition”.
As they completed their set with Milaklaw (Gathering), Outlet Drift led the audience in a simple Amis dance reminiscent of a harvest celebration, leaving everyone in high spirits on that humid Friday night.
Day 2
The Storms Upon Us – Arena (DBS Foundation Outdoor Theatre at Esplanade)
Making their Baybeats debut, The Storms Upon Us kickstarted the second day at the Arena (DBS Foundation Outdoor Theatre at Esplanade) with a high-voltage show. Not the least deterred by the gloomy skies and light drizzle, a considerable crowd amassed and held fort to witness them live.
Backed by electrifying visuals, the local garage rock band owned the stage with a high-octane seven-song set, which included originals such as Down Doom Blues, My Ramblin’ Twos and Hardbreak, as well as a bonus cover of Japanese punk rock band The Blue Hearts’ Linda Linda.
Photo by Baybeats Budding Photographer 2024, Cheryl Tan
Fresh from their Baybeats Budding Bands mentorship, the duo were more than eager to showcase their musical growth, confidently playing out the unparalleled chemistry between drummer Kai Wen’s hard-hitting precision and vocalist-guitarist Nathan’s amplified distortion throughout the performance. On occasion, they would tease the audience with time-tested antics—a short harmonica tune and a violin bow stringing the guitar—earning excited cheers from long-time supporters and curious newbies alike.
Everyone was obviously here to “enjoy the ride”, and The Storms Upon Us delivered their promise in what Nathan calls “just another jamming session”.
YONLAPA – Chill Out Stage (Esplanade Concourse)
Hot on the heels of their opening performance at Powerhouse2 (Singtel Waterfront Theatre at Esplanade) on the first day of Baybeats, YONLAPA received a warm welcome back the following evening as they took the Chillout Stage (Esplanade Concourse) to deliver a stripped-down, acoustic set which made for easy listening.
Photo by Baybeats Budding Photographer 2024, Ang Wen Yang
Bathed in dreamy hues, the Chiang Mai indie pop quartet lined up comfortably opposite the packed concourse, presenting an evenly curated mix of seven tracks from their two releases. The Saturday crowd clearly soaked in the vibes of YONLAPA, rocking along right from the start of their first song Last Trip. Here, drummer Fewchy must be duly credited for his mastery of the cajón, dishing relaxing rhythms with the slightest strokes of his palms, paving a steady base for the other three to layer upon.
While they round off the night with one of their first hits Let Me Go, the casual sit-ins realise that 30 minutes have just swayed by. “Thank you, bye bye,” vocalist-guitarist Noina chuckles as the final notes linger a little longer before they finally let go, and depart on the remainder of their 2024 Asia-Oceania Tour.
KIKI – Arena (DBS Foundation Outdoor Theatre at Esplanade)
Slightly more than a year since their last Esplanade outing, KIKI returned to the Arena (DBS Foundation Outdoor Theatre at Esplanade) on the second night of Baybeats with a feel-good, heart-thumping show. Fogged in colourful, flashy lights, the Bangkok synth pop trio was in the good company of three touring musicians, playing a series of six crowd-pleasing tracks non-stop, four of which hail from their second album Post-existential Crisis.
Photo by Baybeats Photographer, AlvieAlive
With their catchy visuals and auditory hooks, festival goers (and even children, well-protected with noise-cancelling headphones) thronged the Arena and gamely danced along to the beat—it was almost as if KIKI were DJ-ing at a massive outdoor nightclub. “Number one dancer”, synth player and bassist Bookiesh (TELELLAMA) was clearly the show-stealer, twerking hard so that everyone present would Get Up and groove.
While performing their then-unreleased single Baby, vocalist Helen rallied the crowd into chorus-chanting, “Baby, I want you”, as the atmosphere reached a fever-high. “You want to cry, cry, you want to laugh, laugh,” KIKI spurred on the crowd to invest all their calorie-burning and emotions in their final song of the night aptly-titled—Alive.
Day 3
Barasuara – Powerhouse2 (Singtel Waterfront Theatre at Esplanade)
Last spotted at Baybeats in 2017, Barasuara made a comeback at Powerhouse2 (Singtel Waterfront Theatre at Esplanade) on the third day of Baybeats, putting up a spectacular show expected of these multi-talented musicians. The Indonesian alternative rock sextet commanded the stage in full force, pulling popular material from across their three albums Taifun (Typhoon), Pikiran Dan Perjalanan (Thoughts and Journeys), and Jalaran Sadrah (Path of Sadrah).
The predominantly Malay-speaking audience, which includes fellow countrymen from Indonesia, were mostly well-versed with the band’s anthemic lyricism and pulsating melodies, singing along song after song. Even those who may not understand Bahasa Indonesia, such as myself, could pry out overarching themes with the aid of stage visuals—melting icebergs during Guna Manusia (Human Use) hint at mankind’s [mis]use of the Earth—and immerse in the music.
Photo by Baybeats Photographer, Anaqi Anzari
Barasuara’s carefully curated setlist maximised room for virtuosity, with vocalists Puti Chitara and Asteriska given the chance to shine during belty numbers such as Biyang (Mother) and Terbuang Dalam Waktu (Wasted in Time)
The band ended the night with two hits from their first album—the penultimate Bahas Bahasa (Discourse and Language) had fans replicating Asteriska’s signature tambourine tapping move to a T, while the finale Api Dan Lentera (Fire and Lantern) saw vocalist-guitarist Iga Massardi getting into the pit for one last high-jump with their Singapore fans—satisfying the crowd with their immaculate showmanship as they had always done before.
|
About Yee Kiat Yee Kiat is a Baybeats Budding Writer who listens to anything the Apple Music algorithm throws at him. He is also a theatre translator, critic and playwright. His guilty pleasure is blasting 80s Cantopop at 3AM while attempting to read poetry. |
Day 1
Hands Like Houses – Chill Out Stage (Esplanade Concourse)
For most punk and rock bands, acoustic performances are a rarity – often seen as exiguous or incomplete without the familiar cloak of heavy guitars and pounding drums.
And yet, such performances lay testament to a band’s true potential, offering fans a deeper emotional connection to the music.
Photo by Baybeats Photographer, Anaqi Anzari
Such was the case with Australian modern stadium rock band Hands Like Houses, who regaled audiences with acoustic renditions of hits from their latest EPs, including The Devil of Decisions, 24 Hours, and Heaven. Their set also featured their fan-favourite cover of Natalie Imbruglia’s Torn, which was met with loud cheers and applause.
That said, it was their performance of Introduced Species that truly captured the magic of the Chillout Stage.
For most of the song, frontman Josh Raven stood slumped to one side, clinging onto the microphone stand as though his life depended on it. As he belted out the chorus—“we’re invaders from the inside, we’re survivors in silver skin”—his face was a mask of pure agony, his voice teetering on the edge of breaking. From afar, it seemed as though he was pleading with the audience for some form of respite.
And as though reading his mind, the audience gave him exactly that, singing the background vocals to the chorus–“we don’t belong here”. Sensing this unity, Raven quickly releases his grip on the microphone stand, raising the microphone towards the crowd. In that moment, it was as if both band and audience were united in mutual understanding, as if to say, “it’s okay, we’re in this together”.
I still get goosebumps when I think back to that moment. Man, I love acoustic sets.
7nightsatsea – Arena (DBS Foundation Outdoor Theatre at Esplanade)
It has been 10 minutes since experimental instrumental band 7nightsatsea took to the Arena. And yet, not a single word has been uttered.
But to say that the band is quiet would be an understatement. What they lack in words, they make up for in sound.
Drawing from their past releases and this year’s singles, the quartet delivered an electrifying performance, effortlessly ripping through intricate, uptempo, and melodic riffs as though it were second nature.
Commanding the stage with their trance-inducing instrumental prowess, it’s hard to believe that this was one of the band’s first few performances since their seven-year hiatus.
Photo by Baybeats Photographer, Lee Jia Wen
“It feels surreal to be back on stage again”, guitarist Keith chimed, thanking Baybeats for giving the band a platform to perform. As a token of gratitude, the band performed a new song, still untitled, created specially for the festival.
“This is just for you guys, Baybeats. Enjoy!”, Keith quipped, before the stage erupted into a frantic flurry of energetic tempos. Loud whoops could be heard from the crowd, as fans nodded their heads to the beat of the song.
Playing with passion and precision, 7nightsatsea seemed completely at home on stage. Later, they revealed that they had previously performed at Baybeats as a Budding Band in 2013. Paying homage to their roots, the band closed their set with a re-imagined version of Quiver, the very song they played during their Budding Band debut 11 years ago.
What better way to end a show than by coming full circle.
Day 2
Heaven Brought Me Hell – Arena (DBS Foundation Outdoor Theatre at Esplanade)
While it is Budding Band Heaven Brought Me Hell’s first time taking to the Arena, their commanding stage presence suggests otherwise.
It was a full house during the progressive technical death metal band’s sound-check, with some audience members shouting out the band members’ stage names. Given the high-strung energy, you would think the band had already started.
Fresh off the release of their new album 33, the band unleashed a mix of new tracks such as Enter Player, 33, Inversion Illusion and Midnight Sun, alongside older fan favourites such as Life of Creation and Memento Mori.
A natural performer, frontman and lead singer Hairee expressed heartfelt gratitude to the crowd, thanking them for showing up despite the rainy weather. “If you’re not present and you’re not aware, life can move by very fast”, he declared, motioning with his hands for a circle pit to be formed.
Photo by Baybeats Budding Photographer 2024, Nur Emira Farihah
Spurred by his words to seize the moment, fans started rushing toward the stage. Before long, half the arena was packed at the front, with fans moshing and crowd surfing to Inversion Illusion. Moved by the songs, fans reached out toward the stage, as though attempting to physically connect with the music.
Closing their set with Life of Creation and Memento Mori, the band expressed their interest in performing at Powerhouse2 in the future.
If this is the energy at the Arena, there’s no telling what the band will bring to Powerhouse2. Rock on, boys!
sub:shaman – Powerhouse2 (Singtel Waterfront Theatre at Esplanade)
“Tonight with these boys it feels like nothing has changed at all”, proclaims sub:shaman lead singer weish, during sub:shaman’s first performance after a five-year hiatus.
Photo by Baybeats Photographer, AlvieAlive
The indie alternative band kicked off their set with a strong performance of fan-favourite A Hole, where weish delivered a powerful vocal performance that reverberated through Powerhouse2 . Meanwhile, band members Isa (vocals, guitar), Hanis (bass), and Syadie (drums) held the stage with their funky beats and riffs, layered with hints of jazz and electronic elements.
Their setlist spanned songs from their 2017 album Apnea, including To the Bone, Quiver and Maraschino Mist, alongside newer tracks like “Cheshire (for now)”, with weish humorously adding that the song’s name is still up for debate.
Describing themselves as “sound-makers who continue to reinvent and redefine the structure and boundaries of their music”, there’s no telling what sub:shaman might deliver in a single song. But if there’s one thing they constantly deliver, it’s their ability to captivate the crowd.
Ending their set with fan-favourite Apnea, one might even go so far as to say that attending a sub:shaman performance is akin to experiencing sleep apnea. Moments of pin-drop silence are almost always abruptly interrupted by jaw-dropping melodies, sending the crowd into a frenzy. At times, it feels as though the audience is collectively holding its breath, waiting for the next unexpected beat that will leave them gasping for air.
Given their performance at Baybeats, I have no doubt that sub:shaman’s new releases will be a breath of fresh air (pun intended).
Day 3
Fader – Annexe (Esplanade Annexe Studio)
Here’s a list of items lost in the mosh pit during Fader’s performance: an iPhone, a DSLR camera, the right side of a black shoe, and a cap. At some point, even frontman Hanirusyaidi Subhan briefly lost his microphone to an overzealous fan.
Despite a six-year hiatus, it felt like no time had passed for the beloved alternative pop-punk band. Fans wasted no time surging toward the stage, bodies piling atop one another as the band delivered fan favourites such as December Weather, Broken Ship // Empty Vessel and Dead Weight.
Yet, amidst the raw intensity of the atmosphere and the never-ending stage dives, a closer look at the mosh pit would reveal pockets of genuine connection.
Photo by Baybeats Budding Photographer 2024, Cheryl Tan
Moved by lyrics steeped in heartfelt authenticity and vulnerability, friends were spotted with arms slung around each other, passionately singing along to tracks from the band’s latest EP, I’m sorry this took a while, I haven’t been myself lately.
Later, couples shared quick, intimate glances while holding hands during Constellation, a tender anthem of young love. But through it all, a sense of brotherhood permeated the performance, as fans lifted each other to crowd surf and lent a hand to those who lost their footing mid-mosh.
For all the items lost in the frenzy, far greater moments were found. Many bands aspire to create a moment like this, but Fader? They’ve perfected the art.
|
About Cherie Cherie is a Baybeats Budding Writer whose life revolves around music—except, you know, playing it. Beyond her day job, her life is segmented into three parts: listening to music on the MRT to work, attending gigs after work, and reading music-related articles at work. Ask her for the lore on any band and she’ll give it to you. Just don’t ask her to sight-read. |
Day 1
Hands Like Houses – Chill Out Stage (Esplanade Concourse)
For most punk and rock bands, acoustic performances are a rarity – often seen as exiguous or incomplete without the familiar cloak of heavy guitars and pounding drums.
And yet, such performances lay testament to a band’s true potential, offering fans a deeper emotional connection to the music.
Photo by Baybeats Photographer, Anaqi Anzari
Such was the case with Australian modern stadium rock band Hands Like Houses, who regaled audiences with acoustic renditions of hits from their latest EPs, including The Devil of Decisions, 24 Hours, and Heaven. Their set also featured their fan-favourite cover of Natalie Imbruglia’s Torn, which was met with loud cheers and applause.
That said, it was their performance of Introduced Species that truly captured the magic of the Chillout Stage.
For most of the song, frontman Josh Raven stood slumped to one side, clinging onto the microphone stand as though his life depended on it. As he belted out the chorus—“we’re invaders from the inside, we’re survivors in silver skin”—his face was a mask of pure agony, his voice teetering on the edge of breaking. From afar, it seemed as though he was pleading with the audience for some form of respite.
And as though reading his mind, the audience gave him exactly that, singing the background vocals to the chorus–“we don’t belong here”. Sensing this unity, Raven quickly releases his grip on the microphone stand, raising the microphone towards the crowd. In that moment, it was as if both band and audience were united in mutual understanding, as if to say, “it’s okay, we’re in this together”.
I still get goosebumps when I think back to that moment. Man, I love acoustic sets.
7nightsatsea – Arena (DBS Foundation Outdoor Theatre at Esplanade)
It has been 10 minutes since experimental instrumental band 7nightsatsea took to the Arena. And yet, not a single word has been uttered.
But to say that the band is quiet would be an understatement. What they lack in words, they make up for in sound.
Drawing from their past releases and this year’s singles, the quartet delivered an electrifying performance, effortlessly ripping through intricate, uptempo, and melodic riffs as though it were second nature.
Commanding the stage with their trance-inducing instrumental prowess, it’s hard to believe that this was one of the band’s first few performances since their seven-year hiatus.
Photo by Baybeats Photographer, Lee Jia Wen
“It feels surreal to be back on stage again”, guitarist Keith chimed, thanking Baybeats for giving the band a platform to perform. As a token of gratitude, the band performed a new song, still untitled, created specially for the festival.
“This is just for you guys, Baybeats. Enjoy!”, Keith quipped, before the stage erupted into a frantic flurry of energetic tempos. Loud whoops could be heard from the crowd, as fans nodded their heads to the beat of the song.
Playing with passion and precision, 7nightsatsea seemed completely at home on stage. Later, they revealed that they had previously performed at Baybeats as a Budding Band in 2013. Paying homage to their roots, the band closed their set with a re-imagined version of Quiver, the very song they played during their Budding Band debut 11 years ago.
What better way to end a show than by coming full circle.
Day 2
Heaven Brought Me Hell – Arena (DBS Foundation Outdoor Theatre at Esplanade)
While it is Budding Band Heaven Brought Me Hell’s first time taking to the Arena, their commanding stage presence suggests otherwise.
It was a full house during the progressive technical death metal band’s sound-check, with some audience members shouting out the band members’ stage names. Given the high-strung energy, you would think the band had already started.
Fresh off the release of their new album 33, the band unleashed a mix of new tracks such as Enter Player, 33, Inversion Illusion and Midnight Sun, alongside older fan favourites such as Life of Creation and Memento Mori.
A natural performer, frontman and lead singer Hairee expressed heartfelt gratitude to the crowd, thanking them for showing up despite the rainy weather. “If you’re not present and you’re not aware, life can move by very fast”, he declared, motioning with his hands for a circle pit to be formed.
Photo by Baybeats Budding Photographer 2024, Nur Emira Farihah
Spurred by his words to seize the moment, fans started rushing toward the stage. Before long, half the arena was packed at the front, with fans moshing and crowd surfing to Inversion Illusion. Moved by the songs, fans reached out toward the stage, as though attempting to physically connect with the music.
Closing their set with Life of Creation and Memento Mori, the band expressed their interest in performing at Powerhouse2 in the future.
If this is the energy at the Arena, there’s no telling what the band will bring to Powerhouse2. Rock on, boys!
sub:shaman – Powerhouse2 (Singtel Waterfront Theatre at Esplanade)
“Tonight with these boys it feels like nothing has changed at all”, proclaims sub:shaman lead singer weish, during sub:shaman’s first performance after a five-year hiatus.
Photo by Baybeats Photographer, AlvieAlive
The indie alternative band kicked off their set with a strong performance of fan-favourite A Hole, where weish delivered a powerful vocal performance that reverberated through Powerhouse2 . Meanwhile, band members Isa (vocals, guitar), Hanis (bass), and Syadie (drums) held the stage with their funky beats and riffs, layered with hints of jazz and electronic elements.
Their setlist spanned songs from their 2017 album Apnea, including To the Bone, Quiver and Maraschino Mist, alongside newer tracks like “Cheshire (for now)”, with weish humorously adding that the song’s name is still up for debate.
Describing themselves as “sound-makers who continue to reinvent and redefine the structure and boundaries of their music”, there’s no telling what sub:shaman might deliver in a single song. But if there’s one thing they constantly deliver, it’s their ability to captivate the crowd.
Ending their set with fan-favourite Apnea, one might even go so far as to say that attending a sub:shaman performance is akin to experiencing sleep apnea. Moments of pin-drop silence are almost always abruptly interrupted by jaw-dropping melodies, sending the crowd into a frenzy. At times, it feels as though the audience is collectively holding its breath, waiting for the next unexpected beat that will leave them gasping for air.
Given their performance at Baybeats, I have no doubt that sub:shaman’s new releases will be a breath of fresh air (pun intended).
Day 3
Fader – Annexe (Esplanade Annexe Studio)
Here’s a list of items lost in the mosh pit during Fader’s performance: an iPhone, a DSLR camera, the right side of a black shoe, and a cap. At some point, even frontman Hanirusyaidi Subhan briefly lost his microphone to an overzealous fan.
Despite a six-year hiatus, it felt like no time had passed for the beloved alternative pop-punk band. Fans wasted no time surging toward the stage, bodies piling atop one another as the band delivered fan favourites such as December Weather, Broken Ship // Empty Vessel and Dead Weight.
Yet, amidst the raw intensity of the atmosphere and the never-ending stage dives, a closer look at the mosh pit would reveal pockets of genuine connection.
Photo by Baybeats Budding Photographer 2024, Cheryl Tan
Moved by lyrics steeped in heartfelt authenticity and vulnerability, friends were spotted with arms slung around each other, passionately singing along to tracks from the band’s latest EP, I’m sorry this took a while, I haven’t been myself lately.
Later, couples shared quick, intimate glances while holding hands during Constellation, a tender anthem of young love. But through it all, a sense of brotherhood permeated the performance, as fans lifted each other to crowd surf and lent a hand to those who lost their footing mid-mosh.
For all the items lost in the frenzy, far greater moments were found. Many bands aspire to create a moment like this, but Fader? They’ve perfected the art.
|
About Cherie Cherie is a Baybeats Budding Writer whose life revolves around music—except, you know, playing it. Beyond her day job, her life is segmented into three parts: listening to music on the MRT to work, attending gigs after work, and reading music-related articles at work. Ask her for the lore on any band and she’ll give it to you. Just don’t ask her to sight-read. |
Day 1
Caracal – Powerhouse2 (Singtel Waterfront Theatre at Esplanade)
Caracal is no stranger to the Baybeats stage. After three years, they have returned to perform tracks from their new album, Effigies, which was released just this August.
Photo by Baybeats Photographer, AlvieAlive
They opened the set with Dive. Despite some technical difficulties midway through the first song, the band took it in their stride and proceeded to deliver a polished performance, taking the stage with the ease and confidence to be expected from a veteran band. It was a nice surprise when frontwoman Rachel revealed that the graphics were designed by the band’s very own bassist, Trent. An even nicer surprise, however, was when the band brought on Jabacat, a trio consisting of Joanna (saxophone), Aldwyn (trombone), and Christopher (trumpet), to join them for the rest of the set. The horns definitely elevated Caracal’s performance, adding an additional contrasting layer of texture to their heavy distorted sound.
Fractures was a standout track, with the slow beginning carried only by clean guitar parts and vocals building up into a cathartic release in the second half of the song. Other songs in the setlist included Let Us Prey, Deserters, and of course, the album’s lead single Burn—and burn the house down they did.
Day 2
Science Noodles – Annexe (Esplanade Annexe Studio)
Judging from the crowd queued up to enter the Esplanade Annexe Studio ahead of time, Science Noodles was evidently a popular act despite being in Singapore for the first time.
Decked out in Hawaiian shirts with quirky patterns, the Hong Kong-Taiwanese band were the epitome of carefreeness. Not one for flashy showmanship or many words, their members seemed like they were in their own dreamy world—and they took the audience along with them. Drummer Haang kept his touches extremely light, while guitarists Yuet and Martin’s glassy tones reverberated with a slight wobble that perfectly suited the band’s style. Keyboardist Kitman had her moments as well, delving into tasteful licks and beautiful solos. Bassist Long shone with his walking bass lines in the jazzy song Stuck in my dream. In addition, the unique use of an old telephone as a microphone gave Yuet’s vocals a tinny, lo-fi quality which only served to complement their vintage sound.
Photo by Baybeats Budding Photographer 2024, Nur Emira Farihah
Altogether, it felt as if the band had transformed the Annexe Studio into a quaint little island sanctuary where nothing else mattered but the music. Closing the set with Tainan, they left the audience lingering in a reverie, as though the studio had truly become a portal to a tranquil, faraway place.
Day 3
deførmed – Chill Out Stage (Esplanade Concourse)
Introduced as the “most Singaporean act you will ever see”, deførmed had the crowd full of anticipation when he was seemingly late to his set and did not show up on stage. As chants of his name began, he emerged from within the crowd to cheers from audience members. It was evident that people were there to watch his act—he had the Chillout stage at full capacity with more people crowding around just as he began his first song of the night, the fan favourite PISS PEEPEEPOOPOO. Undoubtedly, he was one of the most humorous and unique acts at Baybeats this year. His set combined electronic music, electric guitar, and instruments like the recorder to create experimental pieces that incorporated unconventional elements as well as traditional Malay music, all while carrying a uniquely Singaporean flavour. Audience members had a lot of fun watching his antics during the set, and were able to engage with deførmed through an ask-me-anything QR code stuck to his keyboard. One was even invited on stage to play a song together with him.
Photo by Baybeats Budding Photographer 2024, Hanim Yahman
This was also his fifth time playing at the Esplanade Concourse, and he made it abundantly clear on his second song—”This is my fifth time playing at the Esplanade Concourse,” he sang the lines repeatedly before his voice morphed into a metal scream.
Other songs in the set included latest release crushing is anxiety, as well as the defiant I AM NOT A UNIVERSITY STUDENT.
He ended with a simple statement: “You love music, I love music. Thank you Baybeats for keeping music alive.”
B-Quartet – Powerhouse2 (Singtel Waterfront Theatre at Esplanade)
Welcome home, B-Quartet. After having bid farewell to the public in 2011 and having played only one reunion show way back in 2017, the legendary six-piece’s performance on the last day of Baybeats 2024 was a highly anticipated one.
Photo by Baybeats Photographer, AlvieAlive
The crowd certainly did not hold back in showing their love to the band. “It feels like a really chaotic house,” quipped frontman Bani Haykal, and he wasn’t wrong—the show was brimming with audience banter. His joking question of whether anyone had to catch the last bus or train was met with defiant responses of “No need”, “Tomorrow MC!” and “Play until first bus!”, all of which drew laughter from the rest of the crowd.
Photo by Baybeats Photographer, 760Coremedia
Though there were moments in their set that were charged with raw intensity, it was curious to see that there was no moshing at all, unlike many other acts at the festival—it seemed almost as though the audience together acknowledged the weight of the legendary band’s reunion and wanted to soak it all in. It was evident that they knew the works intimately as well—in a chilling moment during Alphanumeric, the crowd immediately jumped in to help the band sing the backing vocals that can be heard on the original track, unprompted.
After repeated calls for an encore, the band returned to play Beautiful Crash, with Bani Haykal delivering a powerful vocal performance that imbued the song with a depth and vulnerability that transcended the studio recording. As the track built from a quiet resolve to a sweeping, cathartic release, the emotional weight was overwhelming—by the end, it left many in the audience visibly moved, some even in tears.
The night was a testament to the band’s lasting impact. Seven years may have passed since they last graced the stage, but in that moment, it was almost like they never left at all.
|
About Cyan Cyan is a Baybeats Budding Writer who lives for music, pop culture and the New York Times crossword. When she isn’t rocking out on the guitar or crafting another Spotify playlist, she hopes to tell authentic stories through her many creative endeavours. (And no, she does not have a sibling named Magenta. Yes, her favourite colour is blue.) |
Day 1
Caracal – Powerhouse2 (Singtel Waterfront Theatre at Esplanade)
Caracal is no stranger to the Baybeats stage. After three years, they have returned to perform tracks from their new album, Effigies, which was released just this August.
Photo by Baybeats Photographer, AlvieAlive
They opened the set with Dive. Despite some technical difficulties midway through the first song, the band took it in their stride and proceeded to deliver a polished performance, taking the stage with the ease and confidence to be expected from a veteran band. It was a nice surprise when frontwoman Rachel revealed that the graphics were designed by the band’s very own bassist, Trent. An even nicer surprise, however, was when the band brought on Jabacat, a trio consisting of Joanna (saxophone), Aldwyn (trombone), and Christopher (trumpet), to join them for the rest of the set. The horns definitely elevated Caracal’s performance, adding an additional contrasting layer of texture to their heavy distorted sound.
Fractures was a standout track, with the slow beginning carried only by clean guitar parts and vocals building up into a cathartic release in the second half of the song. Other songs in the setlist included Let Us Prey, Deserters, and of course, the album’s lead single Burn—and burn the house down they did.
Day 2
Science Noodles – Annexe (Esplanade Annexe Studio)
Judging from the crowd queued up to enter the Esplanade Annexe Studio ahead of time, Science Noodles was evidently a popular act despite being in Singapore for the first time.
Decked out in Hawaiian shirts with quirky patterns, the Hong Kong-Taiwanese band were the epitome of carefreeness. Not one for flashy showmanship or many words, their members seemed like they were in their own dreamy world—and they took the audience along with them. Drummer Haang kept his touches extremely light, while guitarists Yuet and Martin’s glassy tones reverberated with a slight wobble that perfectly suited the band’s style. Keyboardist Kitman had her moments as well, delving into tasteful licks and beautiful solos. Bassist Long shone with his walking bass lines in the jazzy song Stuck in my dream. In addition, the unique use of an old telephone as a microphone gave Yuet’s vocals a tinny, lo-fi quality which only served to complement their vintage sound.
Photo by Baybeats Budding Photographer 2024, Nur Emira Farihah
Altogether, it felt as if the band had transformed the Annexe Studio into a quaint little island sanctuary where nothing else mattered but the music. Closing the set with Tainan, they left the audience lingering in a reverie, as though the studio had truly become a portal to a tranquil, faraway place.
Day 3
deførmed – Chill Out Stage (Esplanade Concourse)
Introduced as the “most Singaporean act you will ever see”, deførmed had the crowd full of anticipation when he was seemingly late to his set and did not show up on stage. As chants of his name began, he emerged from within the crowd to cheers from audience members. It was evident that people were there to watch his act—he had the Chillout stage at full capacity with more people crowding around just as he began his first song of the night, the fan favourite PISS PEEPEEPOOPOO. Undoubtedly, he was one of the most humorous and unique acts at Baybeats this year. His set combined electronic music, electric guitar, and instruments like the recorder to create experimental pieces that incorporated unconventional elements as well as traditional Malay music, all while carrying a uniquely Singaporean flavour. Audience members had a lot of fun watching his antics during the set, and were able to engage with deførmed through an ask-me-anything QR code stuck to his keyboard. One was even invited on stage to play a song together with him.
Photo by Baybeats Budding Photographer 2024, Hanim Yahman
This was also his fifth time playing at the Esplanade Concourse, and he made it abundantly clear on his second song—”This is my fifth time playing at the Esplanade Concourse,” he sang the lines repeatedly before his voice morphed into a metal scream.
Other songs in the set included latest release crushing is anxiety, as well as the defiant I AM NOT A UNIVERSITY STUDENT.
He ended with a simple statement: “You love music, I love music. Thank you Baybeats for keeping music alive.”
B-Quartet – Powerhouse2 (Singtel Waterfront Theatre at Esplanade)
Welcome home, B-Quartet. After having bid farewell to the public in 2011 and having played only one reunion show way back in 2017, the legendary six-piece’s performance on the last day of Baybeats 2024 was a highly anticipated one.
Photo by Baybeats Photographer, AlvieAlive
The crowd certainly did not hold back in showing their love to the band. “It feels like a really chaotic house,” quipped frontman Bani Haykal, and he wasn’t wrong—the show was brimming with audience banter. His joking question of whether anyone had to catch the last bus or train was met with defiant responses of “No need”, “Tomorrow MC!” and “Play until first bus!”, all of which drew laughter from the rest of the crowd.
Photo by Baybeats Photographer, 760Coremedia
Though there were moments in their set that were charged with raw intensity, it was curious to see that there was no moshing at all, unlike many other acts at the festival—it seemed almost as though the audience together acknowledged the weight of the legendary band’s reunion and wanted to soak it all in. It was evident that they knew the works intimately as well—in a chilling moment during Alphanumeric, the crowd immediately jumped in to help the band sing the backing vocals that can be heard on the original track, unprompted.
After repeated calls for an encore, the band returned to play Beautiful Crash, with Bani Haykal delivering a powerful vocal performance that imbued the song with a depth and vulnerability that transcended the studio recording. As the track built from a quiet resolve to a sweeping, cathartic release, the emotional weight was overwhelming—by the end, it left many in the audience visibly moved, some even in tears.
The night was a testament to the band’s lasting impact. Seven years may have passed since they last graced the stage, but in that moment, it was almost like they never left at all.
|
About Cyan Cyan is a Baybeats Budding Writer who lives for music, pop culture and the New York Times crossword. When she isn’t rocking out on the guitar or crafting another Spotify playlist, she hopes to tell authentic stories through her many creative endeavours. (And no, she does not have a sibling named Magenta. Yes, her favourite colour is blue.) |
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