I walked across an empty land
I knew the pathway like the back of my hand
I felt the earth beneath my feet
Sat by the river, and it made me complete
Oh, simple thing, where have you gone?
I'm getting old, and I need something to rely on
So tell me when you're gonna let me in
I'm getting tired, and I need somewhere to begin
I came across a fallen tree
I felt the branches of it looking at me
Is this the place we used to love?
Is this the place that I've been dreaming of?
Oh, simple thing, where have you gone?
I'm getting old, and I need something to rely on
So tell me when you're gonna let me in
I'm getting tired, and I need somewhere to begin
And if you have a minute, why don't we go
Talk about it somewhere only we know?
This could be the end of everything
So why don't we go
Somewhere only we know?
Oh, simple thing, where have you gone?
I'm getting old, and I need something to rely on
So tell me when you're gonna let me in
I'm getting tired, and I need somewhere to begin
And if you have a minute, why don't we go
Talk about it somewhere only we know?
This could be the end of everything
So why don't we go?
So why don't we go?
This could be the end of everything
So why don't we go
Somewhere only we know
Somewhere only we know
Somewhere only we know?
Lily Allen - Somewhere Only We Know
****
You play a number of instruments. Which did you learn first and how did you end up playing more?
I started learning piano and violin first. Like any Asian household (in Hong Kong at least), doing classical music and graded exams, from a very young age, were pretty standard procedures. I have always liked to improvise on my instrument ever since I was a kid. Although, I wanted to quit playing instruments at one point because I felt very restrained by the structure and musical atmosphere in Hong Kong. It felt like if you were passionate about music or wanted to pursue a career in music, there is a certain pigeonhole you [have to] fit in, like you gotta go the academic route or win a lot of music competitions [or] whatnot. I felt very restrained because I am a pretty freestyle [and] expressive person in nature. Also I was a little burnt out after doing years and years of music exams and chasing medals.
However, I rediscovered my passion in music after watching a pop musical in Hong Kong when I was 12. Something about that musical clicked with me and triggered my songwriting urge. I ended up playing more because I wanted to create music and be able to present the songs I wrote. So I got into playing guitar, production, singing and got really serious in perfecting my craft in music.
You’re originally from Hong Kong. What’s the music scene like there? And how did the city influence your own music?
I have very mixed feelings about the music scene in Hong Kong. The general vibe of the music scene (actually, East Asia in general… I am painting a really broad brush here) is largely very commercial and standardized, not so much about individuality. [It’s] very much about entertainment (movies, soap operas, commercials, variety shows) and lots of social conformity and gender stereotypes. But like I said, I am painting a very broad brush. There are certainly a lot of beautiful artists and musicians around Hong Kong who are doing really well. If you dig deep enough and keep an ear to the ground. This community is pretty small but definitely growing, and I can see a lot of musicians and artists now want to make a positive change in the scene.
I am very grateful about Hong Kong, though. I got my first publishing deal in Hong Kong when I was fourteen, and that’s how I got into serious songwriting and into the music [business]. It was a life-changing experience because, at the time, I was signed to an artist, Denise Ho/HOCC, who was my hero at the same time. Actually, she’s the one who created the pop musical I mentioned. She gave me a lot of opportunities, and she was the one who inspired me to express myself through music and artistry. She is a very inspiring figure to me because knowing how repressive of an atmosphere it is doing art Hong Kong, and her being able to do her to the fullest, was like a shine of hope to a lot of people.
Coming from Hong Kong [and having] an Asian background, the biggest influence it had on me would be the language. Cantonese and Mandarin lyrics are very poetic and the Asian sensibility in general helps me to look at lyric writing through a different lens. Also, moving base from one side of the ocean to another really helps you to look at things differently. You start to think of yourself as a global citizen and having experienced different cultures made me appreciate things more, be aware of more cultural subtleties and not take certain things for granted. [Something] which immensely inspired my lyric writing.
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