How a new generation is reinventing Cantopop

Hong Kong’s Cantopop scene is experiencing a resurgence: large-scale pop concerts injected HK$2.2 billion (about $280.6 million) into the economy from 2023-24, grassroots Cantopop-focused events from DJ parties to cultural exhibitions continue to draw crowds, and local artists have dominated Spotify Hong Kong streams in recent years.

This boom is led by a new wave of homegrown artists seeking to reinvent Cantopop. Their take? Infusing new elements while keeping its distinct sound of Chinese and Western instrumentation. For the older generation, the genre is a nostalgic remnant of the past while younger fans embrace both its evolution and cultural significance. “The mainstream industry has changed a lot in recent years, and because of this, the meaning of Cantopop has also shifted over time,” says Bill Ng, a lecturer at Hong Kong Metropolitan University’s School of Arts and Social Sciences.

Cantopop began in the 1970s, with its heyday in the 1980s and 1990s. The popularity of singers such as Leslie Cheung, Faye Wong, Anita Mui, and the Four Heavenly Kings—Andy Lau, Aaron Kwok, Jack Cheung, and Leon Lai—as well as the group Beyond, soared beyond Hong Kong. “Those artists were working with music industry power structures, but ultimately they were revered because they had such a strong sense of self-identity and self-expression,” says Hong Kong indie singer-songwriter and composer cehryl. At its peak in 1998, annual record sales reached HK$1.6 billion (about $205 million) and became a cultural symbol of the city and its identity. Cantopop’s acclaim diminished after 1997 following the post-handover period, due to the decline of traditional media such as TV and radio, artists shedding the pop star image to lean into an indie approach, as well as the 1997 Asian Financial Crisis.

Today, the Cantopop market has shifted to streaming, digital platforms, and live concerts or performances. “The rise of personal media has created a new landscape for pop music. Nowadays, artists can promote themselves directly through social media,” explains Ng, whose research focuses on the new generation of Cantopop. With that came the revival, particularly during the COVID-19 pandemic, when online entertainment became more than just a pastime. 

This gave rise to local groups like Mirror and Collar, who dominated the local scene and became a source of local pride as pop groups that the city can call its own. “People in Hong Kong want to affirm their identity through Hong Kong’s own popular culture, and Cantopop has become an important way for them to connect with and express that local identity,” says Ng.

The renewed interest in Cantopop is part of a bigger story: a lasting symbol of Hong Kong identity, the desire to support homegrown talents, and “mass nostalgia” for Hong Kong’s golden age (mid 1980s to 1997). Most notably, it’s a shared interest that has united the city during geopolitical unrest as well as the pandemic. “A lot of people during that time looked within the local scene to support local acts and local music,” says Cehryl. “It’s correlated with seeking an identity that is our own.”

Now, a new generation of singers is bringing a modern flavor to the genre. It’s not a resurrection of the golden age; instead, the shift reflects the evolution of Cantopop itself. “The new generation (of artists) is trying to break free from the control of traditional music companies. They have stronger opinions and greater self-awareness regarding their performances and creativity,” notes Ng. From independent powerhouses to former social media sensations, here are the Hong Kong artists reshaping Cantopop today that deserve your attention.

Kayan9896