THAT WAS THEN (Vol. 2)

When Hong Kong Fell Under The Spell Of British Act The XX...

(The XX performing in Kowloon Bay one hot night in July, 2013).

A few times a decade, Hong Kong audiences suddenly have an intense devotion to an unlikely Western group, seemingly out of nowhere. That UK act The XX, devoid of any noticeable hit (or even poppy) singles, could sell out a formidable cavern like KITEC in Kowloon Bay, is definitely a case in point.

And live, the Mercury Prize winning trio were just as mystifying, though undeniably mesmerizing. With a stage shrouded in darkness, save for some white spotlights and lasers that sent precise shards of light out into the audience, the group was also predictably clad in black. Guitarist Romy Madley-Croft and bassist Oliver Sim are the backbone of the outfit, but the mad professor-like movements of Jamie XX were a welcome distraction. Set on a level above the duo, he would play precise drum beats one moment, before scurrying to mix a sound collage or tinkle the ivories in a precise manner. It was most impressive.

(The XX performing live in Hong Kong at KITEC Hall in 2013).

During a set dominated by a virtual run through of the group’s only two albums, it was clear that the equally divided expat and local crowd responded to vastly different aspects of the group’s sound. In one area, squeals rang out over the New Order-styled mechanized synth drums on “Swept Away”. In another, Croft’s sparse guitar chiming invoked inexplicable rapturous screams.

The whispery male-female vocal interplay between Croft and Sim was slightly more powerful live. Croft’s feathery appeal for love during “Angels” had more of a reaching emotional quality than it did on the group’s second release “Co-Exist”. At another point, the male-female vocal dynamics on “Chained” had several females in the audience mouthing “we used to be closer than this” like a mantra, as if reminded of their own romantic shortcomings.

(Getting to know the group, interspersed with live footage, courtesy of The South China Morning Post).

There was a minimum of stage patter. There was a whole lot of darkness. People were lost in their own reverie. Perhaps that’s why The XX are the ultimate band for a fast paced modern city. Amidst the perfectly executed, cold sound veneer, everyone attaches their own meaning to vague lyrics and distant vocal expressions, in a bid to find some kind of connection without getting too close…

WHO: THE XX

WHERE: KITEC Hall, Kowloon Bay, Hong Kong

WHEN: July 31st, 2013

(POST SCRIPT: It would be five years before The XX would return to Hong Kong. In 2018, fresh off their third album, the group performed at the much bigger Asia-World Arena — a clear indication of the city’s devotion to the group. Since then, the band have been relatively quiet as all of them released solo projects, though Jamie XX did return once again to perform on his own at Hong Kong’s Clockenflap Festival in 2024. While the band could practically live off the proceeds of their mysterious instrumental “Intro” alone — used in countless TV episodes, sports breaks and promos — a fourth album is promised in 2026, along with an appearance at famed California festival Coachella.

As for KITEC, the venue was bought by a consortium for US$1.4 billion and closed its doors in 2024. It’s currently being transformed into three office buildings.)

(The best intro to a band that certainly helped their debut release win the Mercury Prize. Billboard Magazine even called it one of the greatest songs ever.)