Okay, this is a fun fact. I've always kept it to myself.
Okay.
I've never really shared it with anyone, but recently I've realized that this story that I have
could maybe, you know, inspire people.
So, tell me, tell me, tell me man.
Finally getting to terms with it and right now I'm gonna share it for the first time ever.
Inspire me, come on.
Ooh. Hi everybody. You might notice right now on the corner of my screen there is a spinning record.
Just so you know, that we've decided here at the, at CCB TV for the Chris Hansen conversation
to have series, different different series, to be dedicated for different reasons.
Today, as usual, one of the things I'm really very very excited to do all the time and very
happy to do so is to give tribute to our musicians, to our local musicians.
So far it's been people who've been around a long time, who've made the music institution
in Singapore an institution, but I also have to give honor and tribute to those who are current,
who are much younger and taking the stage by storm.
And with me today I have that kind of special guest.
My tribute to SG's music icon in my studio today is Kyru Afuon from the band Supersonic.
Welcome to the Chris Hansen conversation, Afuon.
Thank you for having me.
No, no, pleasure is all mine my friend. I'm so glad to have you here.
Let me tell you the reason why you're here.
I've seen you perform, I don't know whether you remember, for the very first time
it was at the Botanical Gardens.
It was for the Singapore Kindness Movement.
I think it was for that movement.
Somebody hired me to do something about kindness for that day and there was an
a cappella singing concert.
Oh yes.
Now that band you were with, what's it called?
Just B.
Just B, there you go, with Highzad, right?
Yes.
And I saw you for the first time and where was I?
I was the emcee.
So I was backstage watching everyone perform, right?
And I watched you and you did something extraordinary.
You did something that I completely approve of.
You did something that made me want to ask other people about you.
What you did, my friend, was you took the mic and as an a cappella set, my goodness,
you ran off that stage in Botanical Gardens, that stage that's surrounded by a small little lake.
Yeah.
And you ran out to the audience who were picnicking.
And you just didn't give a hell.
You just went out there, man.
Yeah.
And you continued to perform like a true frontman.
I even asked people, who's that guy, man?
And they told me, oh, this guy, this guy's life wire.
He is today.
He is today, right?
So and I couldn't agree more because you know what?
I mean, I was thinking to myself, I've always liked frontmen who get into the crowd.
Don't just stick around on stage and be a boss.
Yeah.
And you got into the crowd.
And that really got me going.
And then I saw you again at Timbre Plus with your band Supersonic.
And I said, that's that guy again.
You know?
And I just had to stay back and I watched you perform.
You know how to work your crowd.
Your stage craft is great.
You are a frontman and a very worthy one.
So thank you for being on my show.
Thanks for having me.
I like to start the show this way.
Can you tell everyone who, in your own words, is Kairo Afuan?
Wow.
This is a conversation.
Don't be so, don't be stiff with me, man.
Drink your coffee if you have to.
Yeah, yeah, yeah.
Coffee pokes you up.
So who are you, man?
Okay, Kairo Afuan.
I think I'm just someone who just loves attention.
To be honest, I love the attention.
So when I'm on stage, that's why you see me work with the crowd.
Because I love it when I make people smile, I make people happy.
Like you said, if you're just on stage, it just doesn't feel the same.
It's just not the same.
Like you said, if you're just on stage, it just doesn't feel the same.
You know, it's just, to me, there's always a thin boundary.
Or should I say there's a wall that you need to break.
Right.
You know, because if you're on stage and they're down there, they enjoy the show.
But it's different if you could engage them in their face.
Maybe some of them won't like it, but not most of them do so far, I think.
So I don't think about what I do, I just do it.
And then at the end of the day, I will look back at it.
And so far, the past few years, when I go into the crowd, they love it so much.
So it just became something natural, I guess.
I want to work on a word you said just now.
You said you love the attention.
I love the attention.
So are you attention seeking or are you an attention grabber?
Which one?
I guess it started as attention seeking, maybe because people don't know about me.
But now, I don't seek attention, I grab your attention.
So it just comes with experience.
Ciao, man.
Yeah, alright.
You go ahead, man.
Say what you want to say.
I'm cool with it.
Yeah, because when I started out, you know, it's like, you know, when people don't know
about you, you really need to seek the attention.
Sure.
Because you need the attention to survive, I guess, in my perspective, it's like, I want
you guys to know that we are there.
Whether I'm singing with Just Be, an a cappella group, or if I'm singing with Supersonic,
or anyone for that matter, if I'm singing with a band, I want them to take notice.
Like, hey, we're here, you know?
And so I guess initially, when you're unknown, you have to seek the attention.
But I guess once they know who you are, once they're familiar, it's this guy, you know,
when you see this guy, you know, he's always gonna go far and beyond.
And then it turns from attention seeking to grabbing their attention.
I think that's what I think happened between me from the past until where I am now.
So it's seeking attention first, and now I just grab your attention whether you like it or not.
So what you're saying is that frontmen have got to be able to build a brand around you,
especially when you're an unknown.
Yeah, you need to just do what you think is right.
And for me, it's to get the attention.
Because I've been to a few establishments when I was young.
I've seen good musicians, and they're good, musically tight.
But some bands, which I see from my own eyes, it's like there's something missing.
It's like the music is amazing, but I don't feel engaged.
I don't feel like I'm in it.
Right.
You know, it's like I'm down here and you're up there.
And then there was one band, I forgot who it was.
They actually came out and I'm like, wow, this is fun.
This is like, I feel like I'm in it.
I'm like, yeah, he asked us to sing along and all that.
And also, when I was younger, before I started to sing in bands,
or even before I was in jazz B, I auditioned.
And this was a very good life lesson for me.
It changed.
It really sculpted how I think what is important in a live performance.
And that is engagement.
Because I think it was when I was 17 or when I was 18, I went to this small pub in,
I think it was near Paya Lebar.
It was called Honeycomb or something like that.
So I got an audition notice and I went there alone with my guitar.
Okay.
And before that, I was singing in schools and all that.
How old were you then?
I was 17 or 18.
And then in school when I was singing, and then when I went to ITE,
I found out that I actually won a few competitions.
So I thought I'm there.
I won't say I'm good, but I'm there.
I have something.
So when I went there, I'm very confident.
I'm going to get this.
I'm going to get the first resident night ever in my life as a solo performer with a guitar.
And when I sang, I knew I sang really well because the club were really clapping and clapping
and they enjoyed it.
And I'm like, okay, I think I sang about eight songs.
And then after me, there was this duo.
Okay.
Just a bassist.
Right.
And a guy who plays the guitar and sing.
Right.
I'll be very honest, they were not that good.
Okay.
Musically, the guy couldn't sing that well because I know I had him.
Okay.
I could sing much better.
But a few weeks later, I just waited and we took four calls.
He didn't come.
And then I actually kind of dropped him a text.
I'm like, hey, so any news?
Oh, we've already gotten the guys.
And then I asked, is it that particular duo?
And he was like, yeah, it's them.
And then I realized the only reason why they got it is because the only difference between
them and me, they had interaction.
The guy knew how to talk.
But I was still shy then.
Right.
I wasn't what I am now.
I was shy.
I just sang.
I thought that just being able to sing well is enough.
Right.
And then I realized when, because he spoke, he couldn't sing that well.
The music was not really tight, but he really like, hey, how you guys doing?
And I'm like, why is he talking so much?
Like this is an audition for music, right?
So it should be about the music.
And then when I realized, but something just bugged me when I went home.
Then I'm like, that guy has been interacting with the audience.
Damn, I didn't do that.
Why didn't I do that?
Like, I know I could do it even though I'm not that, you know, still shy, still-
Not too forward.
Yeah.
Not too forward yet.
And then when he got it, that really clicked in my head.
Right.
This is it.
You have to not only be a good singer.
If you can sing well, that's not enough.
You need to be an entertainer.
You need to engage the crowd.
I guess that's what it's all about.
So from that point onwards, this is the beast that I've made myself.
Okay.
How do you, I'm curious, man, because I teach the subject.
Yeah.
Through the years, we've been teaching things like, I've been teaching things like stagecraft, right?
So I want to hear it from you.
As a front- I mean, you had that realization.
Yeah.
And you go, fuck that.
You know what I mean?
I've got to be able to engage the crowd.
Exactly.
I'm more than just a musician.
I have to be a fucking entertainer, right?
So what did you plan?
How do you strategize your way?
And how you're going to at least engage and remain relatable to your audiences?
That's a very good question.
I've had help because before I decided to become a singer, I was also doing theater.
I was doing English theater.
Interesting.
For a long time.
I was doing shows for Wild Rise, for Singapore Repertory Theater.
I was doing the Little Company Show.
So basically in a nutshell, my English theater background helped me.
How?
I've never done theater, so I'm curious to understand.
Oh, okay.
How did the lessons you've had through theater?
And I cannot imagine that because theater is scripted.
Yep.
You've got audience, no doubt, but it's scripted.
You don't really engage the audience, do you?
And when you have a piece of drama, show, okay.
Am I wrong there?
No, you're not.
You're not.
If you haven't gone through theater games or there's even an Olympics,
an Olympics in Australia, which I found out because of English theater,
because what you do is improv, improvisation.
So what you see when you see a play, it's scripted, definitely.
It's scripted, you have a script.
But of course you learn, but to be an actor, there's so many things that you need to do.
There's training.
So the trainings are all the trainings that you go through to become an actor
before you get a script for a show.
You need to do improvisation.
You need to do so much.
There's so many theater games.
Let me guess, let me guess.
Is this thing about, this is your cup?
Yeah, yeah, something like that.
And feel your cup.
But the best thing that helped me towards my craft on stage when I'm singing
is the improvisation part.
So for example, okay, if there's a group of us, maybe a group of four.
I want you guys to, for example, the four of you will create a story.
I'll give you what, when, when, and then all you need to do.
I'm not going to give you a script.
This is all improv and everybody has to bounce off each other.
So if I say, okay, so what, where, and where.
So if I start with a sentence or maybe if you start with a sentence,
oh, today it's a very great day, but it's raining.
Next.
Oh, and it's so hot today.
So you don't have anything.
You don't have any materials to read off from.
So this improvisation helps.
So this is, to me, there's so many games, but I think the improvisation part
really makes you think quick.
So that helped me a lot when I'm on stage.
So what do you think? What do you think?
Now that you've mentioned this, it's really interesting that you've mentioned this
because in our module, I mean, in the past, when, when, you know, we had the MC Academy
and what we taught was we had an improvisation module as well.
Now I'm in agreement with you.
How would you then, if you were to reach out to the younger lot today,
starting out on stage and you had the front men there on the hypothesis
that they come to you and say, fuck bro, I got to learn how to be like you.
Would you actually, let's say on a hypothetical, bring improv
to these guys to learn how to be good front men?
Would you do that?
I would actually, because I think it really helps.
But do you think these, these guys today will be able to stomach something like that?
I think to be very honest, error or whichever.
Whichever, yeah.
Or the category that you belong to because now they like to put
error in categories like millennials and whatever.
To me, an error doesn't define who you are.
There's still people, young people now who have different mindsets, same mindsets as,
for example, people like me who's born in the eighties, early eighties.
And yet there are those who, you know, so I don't think it's defined by when you were born,
but some people have it, some people don't.
So your question is, will they be able to stomach something like this?
Maybe some can, maybe some can't.
If we go back to say, not that you've mentioned that, we go back to say musicians of old.
These guys didn't have improv lessons.
They didn't.
But these guys were high energy.
Most of them were.
I think it's innate.
If you have it, you have it, you know?
And for example, if you see bands like rock bands in the past, they jumped off stage.
So I guess this is where they learn it from.
It's like you don't necessarily, yes, you're right.
There's no improv.
Maybe they were improv then, but it doesn't relate to each other yet.
Not all of them has a theatre background and became a singer.
Let's talk about music.
Yeah.
Because I know you're pressed for time.
So I'm going to talk about music now in case I miss out things I want to ask.
This is actually very fun.
I just want to tell them, no, no.
Bro, you got to make some money, bro.
Okay.
Music, man.
When do you realize that you actually have something musical inside of you?
You sing, you play the guitar.
You write music?
Yeah, but I'm never really...
Now what's going on, man?
That's a nice song, but where is it coming from?
Where is it coming from?
Yeah.
Is it mine?
Yeah, it is yours.
Why did it play a song on its own?
I didn't touch it.
It's cool.
We're going to leave that in shot anyway.
We're not going to edit that out.
Oh my God.
Okay, you're right.
It's that time of the year.
For some strange reason, your phone started playing on its own, man.
Yeah.
I didn't even see it.
So musical journey, man.
I mean, you can sing.
We're your friends, man. We talked about that.
Let's talk about your singing prowess.
When did you discover that you could do that?
First and foremost is thanks to my mom.
Okay.
I was singing in the bathroom.
So my mom told me...
This is a fun fact.
I've always kept it to myself.
I've never really shared it with anyone, but recently I've realized that this story that I have
could maybe inspire people.
Inspire.
So...
Tell me, man.
I'm finally getting to terms with it.
Right now I'm going to share it for the first time ever.
Inspire me, come on.
When I was young, when I was in primary school,
my school friends, to all my Malay friends,
or to all those who understand Malay, they call me a gagap.
What's that?
A gagap.
Okay. What does that mean?
Gagap. In English, it means to stammer.
Someone who stammers.
Get the fuck out of here, man.
No, no. I'm not joking.
This is...
You don't fucking stammer, bro.
You haven't been stammering at all.
I have.
I'll get to that in a bit.
Okay.
But when I was in primary school, from primary one all the way to primary six,
all my friends, they call me a gagap simply because I stammer.
And when I say stammer, I'm not saying just a bit of a stammer.
Like, hey, how are you doing?
No.
When my mom tells me to go to the shop to buy a prata,
I will line up and queue.
You know how long the queue can get to get prata, right?
Yes. Okay.
The moment I get to the second guy,
the second from the first of line,
I'll go all the way to the back.
Just because I'm so, so afraid because I won't be able to get my words out.
Because until the prata guy knew me so well,
it's okay, it's okay.
Slowly, slowly.
What do you want to say?
Slowly, slowly.
I'll be like...
That bad?
That bad.
Wow.
And my dad, his way of trying to help me is,
Abang, every time you stammer, I will smack you in the back.
Okay?
So try not to stammer.
I'm like, what the hell?
I'm in a house.
That's how we say, smack you in the back of the head,
everything will be fine.
Exactly. I'm like, no, that doesn't help.
So I'm trying to find a way to get out of being slapped in the back
every single time I stammer.
So at home, I'll just keep my mouth shut.
I won't say a thing unless I have to.
So when my mom said to me, she calls me Abang,
she'll say, Abang, when you speak, you stammer.
But I realize when you sing in the shower, you don't stammer.
Yeah.
And I'm like, eh, that's a realization, which I didn't realize.
My mom did.
So she said, there has to be a reason why you don't stammer when you sing.
I'm like, that's true, mom.
I'm like, so it took me a while.
And then I found out there's something that I could use
to not stop my stammering.
Actually, as a matter of fact, you said that you didn't see me stammer at all
just now.
I am still stammering.
Mm-hmm.
No.
I don't hear it.
Yeah, but I'm covering it.
I've learned how to live with it.
OK.
And the only reason is this.
I use rhythm when I talk.
Because I realize when I sing, there's a rhythm, right?
There's a tempo, right?
So there's a one, two, three, four, or one and two and three and four.
So I realized, what if I counted in my head or I counted with my fingers
before I talk?
So I tried, I tried.
So when I was younger, I was like, one, two, three, four.
But everything was physical.
I was using my fingers, I was using my head, I was using my legs, and it worked.
So before I speak, I'll go like, one, two, three, four.
Hey, Chris, how are you doing today?
So I'm speaking with a rhythm, with a rhythm, with a tempo.
If I don't count, OK, let's OK, don't count and try to speak.
Mm.
Yeah, I can't.
Really.
I can't.
It's so hard to get it out if I don't have an inner rhythm or an inner tempo.
That's me.
So when I found out that I could use rhythm to help me out with my stammering, so it worked.
So and when I'm doing English theater, for example, I know this is not about music,
but when I do English theater, I also found out that if I go all out, if I have a persona,
also I don't stammer.
So it's like I'm using the rhythm plus a persona like, hey, ladies and gentlemen,
welcome down to this wonderful day.
So it's like it's a rhythm plus.
But if I'm like very relaxed and I don't count, it's kind of hard to go.
And I've learned that sometimes even when I count in my head, now I don't try to make it as obvious.
I'll count with my toes in my shoes or I'll just count in my head.
Hey, Chris, how are you doing today?
Yeah, today is good.
Oh, what a wonderful day.
Sometimes I still stammer.
And when that happens, even though when I count, I do stammer a bit,
I'll try to make it look like I'm thinking.
Wow, man.
I try to incorporate, like make it look like seamless, but it's not.
It's actually me stammering.
So I'm like, you know, actually I'm not thinking.
I know what I want to say, but I'm just using that to cover, you know,
so that you won't know that I'm stammering.
So that's what I've been doing all my life.
So your mom made you realize that you don't stammer when you sing in the bathroom.
But the question is, how did you discover that you could sing,
obviously as a front man and as a lead male vocal,
you've got to be dead damn good to be there.
So you've got to be musically inclined.
You've got to have that in you.
Not just singing in melody, but there's got to be groove in it as well.
Right?
I mean, it just can't be technical.
You've got to be musical.
When did you discover you could do all that?
I think I just sang in the bathroom or whenever I could,
because I think I love music.
My mom told me when I was younger,
I actually stole a cassette from a shop without knowing.
Without knowing.
I just took the cassette and I went out.
And then when we read show mom, it's like,
you took a cassette from the music shop?
So I think I was drawn to music.
And she said that the first music that I sang to was Ray Charles.
Was it Ray Charles or was it Stevie Wonder?
I just called.
Oh, Stevie Wonder.
Stevie Wonder.
Yeah.
So she said that was the first song that I sang when I was younger.
So I think I gravitated toward music.
It's so strange, man, because most Singaporean musicians I know,
or singers I know, male singers, seem to tell me the same story.
Somehow it started with Stevie Wonder and I keep wondering.
Yeah.
I keep wondering about that.
That's why it's a wonder.
Well, yeah, it didn't do it for me.
Stevie Wonder didn't do it for me.
It was more older than that.
So yeah, so going back to your question, that's how I got,
I mean, I ran into, because my dad doesn't sing.
My dad is not a musician.
He likes music, but he likes to listen to music, but he's not a singer.
He doesn't.
So I don't think there's anyone in my generation or in my lineage
of anyone being a musician.
So I think I'm the first.
But my mom can sing though.
She sings in school.
She was from Malaysia.
And she sang for like a talent time when she was in school.
And she got second.
So I think I've got my talent from her.
The DNA came from her.
Yeah.
So the DNA came from her.
So yeah, but what you see now is honestly years of hard work, years of hard work, years of
tuning and honing my craft.
I mean, I didn't just sing well, because to be very honest, the first time my mom
forced me on stage to sing, it was very embarrassing.
It was my dad's dinner and dance at a boat called King Ho.
Oh, King Ho.
Yeah, I did a gig there.
Yeah.
Shit.
You might have been the host.
I don't know, because I don't remember much.
All I remember was this.
It was a birthday party at King Ho.
My dad was a DND and there was I think 100 people or...
Wait a second.
I did do a DND at King Ho as well.
I don't know where this is going.
This might be fate.
But anyway, what happened was my mom said, join it, join it.
I'm like, okay, sure.
There was someone there that I kind of had a crush on.
It was my dad's friend's daughter.
I was like, okay, I'm going to take this as an opportunity to impress everybody, including her.
So I chose a song and I regretted it until this day.
The song that I chose was From Boys to Men.
Okay.
For God's sake, of all bands, you had to take Boys to Men.
You know how amazing they are.
End of the road.
On bended knee.
Fortunately, it wasn't I'll make love to you.
Exactly.
And then what happened was I went up.
Okay, all right.
Right now, we're going to call upon the next contestant, Kyro Afuon.
Oh, it was a contest.
It was a contest.
Right, right. Okay.
It was like a talent time.
Right.
So I went up, confident, held the mic and then the song played.
The song played.
I held the mic to my mouth.
Guess what?
What?
The song went all the way to the chorus, not even a peep.
Why?
I couldn't get my voice out.
I was like...
Too nervous.
It was my first, like my mom just said, go do it because you haven't performed in front
of an audience before and I can hear you sing in the bathroom so you could do it.
You know, you can do it.
I got confidence and I got confidence in my father.
Why does this scene sound so familiar to me, man?
I don't know.
So what happened was...
What year was that?
I...
Probably...
90...
1995, 96.
Holy shit balls, dude.
It could have been me, though.
It could have been you because the MC said this, all right.
All right, stop the music.
Stop the music.
All right, good try.
A better luck next time.
Okay, next better player.
So that's what happened.
So that was my first public performance.
Somehow this is striking a chord with me somewhere.
I'm sorry if it was me.
No, no, no.
It was a great lesson to learn.
So yeah, so that was my first time, first public performance that didn't even happen at all
because I was so nervous.
So yeah, so that's how I started but I guess I'm very stubborn
because when things like this happen, instead of, you know...
Running away, you fall.
I'm like, damn, no, no, this is not...
This doesn't sit well with me.
So I'm like, I'm gonna do it again.
I'm gonna do it again.
So I kept going.
So if I can work with my stammer, I can do anything
because I've asked, you know, how do you work with stammer?
Some of them say they don't know, have to like smack yourself or something.
I've heard a thousand advices from people that doesn't make sense.
So I'm very glad I found it out my way.
Yeah, yeah.
And some of them say you have to like drink cold water and try to cough or whatever.
Man, so yeah.
I just, I found something interesting online.
I mean, of course I would do my due diligence and check out my guests before they come.
Otherwise, it's disrespectful if I don't find out, right?
Oh my God, what did you find out?
How were you in school, man?
Shy.
Okay.
Naughty, mischievous, but shy.
How, why were your grades, man?
Oh, bad.
My grades, primary school were good for some reason.
I've got a good grade.
So I went to Express Stream.
But when I went to Express Stream, I think, I don't know whether they're still doing it now,
but you could go through the next level by two ways.
Like you pass everything or if you can't pass everything,
you just need to pass English and two other subjects.
Back then when I was in school.
So you have an option of you pass everything, even if you fail English or something like that.
Or you can pass English, Art and Malay and you can go to the next one.
I can't really remember how it works right now even.
So that was how it worked when I was in school.
So I think that was actually, I don't know, it just doesn't make sense.
But you said that you worked as a sales assistant in the metro department store
and a bartender in the pub while you were in school.
Oh man.
Yeah.
And then you also worked as a workman to make tentages alongside workmen.
Alongside workers in Bangladesh.
Yeah, yeah.
Why were you doing all that man?
Wow.
Your teacher said you had no hope.
Yep.
Yeah.
They had no hope.
Yeah.
They had no hope in you, but you had hope right?
Yeah, because a lot of them say the same thing.
You're smart, but you're very playful.
You're too playful.
But why were you working during your school years?
Oh, wow, this is quite a personal question.
Well, it's on the public sphere here.
Yeah, it is.
But then again, that's all right.
My dad needed help.
OK.
Yeah, he needed help.
And my mom wasn't working then.
She was working for a while, but then she stopped.
So you worked for the family then?
Worked for the family.
Nothing shameful in that, bro.
Yeah.
Not that, just cape.
So for reasons unknown, I had to help my dad out.
So I had to work so that I could help
to contribute to the family.
So that's why I worked early.
And that's why I worked all the different jobs.
My first job was for Metro when I was in sec 3.
Which Metro was this?
It was at, I think it was the Metro at Far East Plaza.
I was working in the Metro in Lucky Plaza.
Yeah.
Hey, wait, is it Lucky Plaza?
But I was, no, I think I'm a lot older than you.
I was working there for my O-level holidays.
Yeah, because I'm-
Security guard, yeah.
Wow, guard.
Yeah.
I work at the ladies shoes department.
No shit, dude.
No shit.
At first I was like, what?
Ladies shoes department?
But then I realized, hey, this is not bad.
Yeah.
Because you help the ladies to wear their shoes on.
So yeah.
So the teachers who said that you come to no good.
There's zero hope for you.
But did you ever go back to that school to prove them wrong?
I've never, OK, I think I don't really
have a vindictive nature.
I don't think so.
OK.
For those who think I have, by all means.
But I don't think I do.
OK.
I don't have that vindictive nature to like,
I want to prove them wrong.
But it's more for me to prove to myself that I can be better.
Yep.
But there were a few opportunities
where I had to go back because I was doing English theater.
Right?
Right.
So because of English theater, I learned about how to teach as
well.
So I went back to a lot of schools.
I was teaching for about, I think, eight years, eight,
10 years.
So I go to all the schools.
And then I teach for like a drama.
They call it in-curriculum lesson.
So I'll go into the schools and teach drama.
And Boon Lay Secondary, which is where I was from,
was one of the schools that I went back at.
OK.
So that was probably like 12 years later.
And the best thing was, some teachers were still there.
And the best part was one of the teachers
that said I couldn't make it was there still.
So when I came back, I didn't make it a point to find her.
But I just walked.
And then, yeah, I saw her.
I'm like, hey, hello.
And she's like, you know, she looked at me once.
She's like, hello.
Do I know you?
I'm not, yeah, I'm so and so.
Oh.
She's like, what are you doing here?
You know, you have your kid here or something.
Oh, no.
I'm teaching.
I'm teaching drama.
I'm teaching them about confidence,
about stage etiquette, about, yeah, so yeah,
I'm going to be here for the next probably eight months
because I'll be in charge of your drama club.
And she's like, oh, OK, wow, you've changed.
You have turned your life around.
And then I just told her this.
No, I'm still the same person as I was when you first saw me.
Yeah, I'm still the same mischievous.
Yeah, no good.
But I guess some people have faith in me, unlike you.
But it's OK.
It's all right.
I wish you all the best.
And then I just walked off.
She was like, ah.
You know, this is a story that's all too familiar for me, man.
You know, my son, when he was, I'm not going to mention
the school, I love the schools that he's been in.
Both my alma maters.
When he went over to primary one to my old primary school,
lo and behold, when the parents had the orientation thing that
happened in the school then, these years ago,
my primary one teacher, who had an issue with me,
way back when in 1977.
Primary one?
Yeah, she was still teaching.
Apparently, that was her last year.
And she just had to bump to me.
And she looked at me.
She recognized me from freaking 77, man.
And this was like eight years ago.
And she said my full name, Christopher Henson.
Oh my god.
And she's like, oh, don't tell me.
We're going to have another one of you here.
Oh my god.
As it came, you got a memory of an elephant.
Yeah.
Crazy.
She couldn't let it go.
I mean, my goodness.
Because of her, I got my first two strokes of the principal,
man.
Oh, man.
Yeah, primary one.
Some people don't forget.
Well, there's some tinge of familiarity.
I was also told the same thing.
You amounted to nothing in life when I was in secondary school.
Yeah.
We both got canes from school.
Yeah.
Yeah, yeah, yeah.
Me too.
Nice.
So as a full time musician, you're full time.
You're doing this completely full time, right?
Yeah.
OK.
Can you tell everyone, with all true honesty, hand to heart,
this profession today, does it help
put bread on the table and a roof over the head of your family?
Yes, it does.
Let's rate this.
Let's rate this this way, OK?
Not enough, just enough, a little more than enough,
more than I can expect.
From my experience, a little more than enough.
It goes between both.
Just nice and more than enough.
OK.
So which means you're comfortable.
Very comfortable.
As a full time musician.
Yes, very comfortable.
But you have to work your ass off.
Yes, you have to work your ass off.
OK.
And how hard do you work?
I mean, how many days a week do you perform?
Right now?
Right now, it's five days a week.
Well, that's not so bad.
Not so bad.
But there was a point in time before COVID,
I was singing seven nights a week.
And the worst, not say the worst,
but I think I'm thinking back, I was actually very surprised
that I could go through it and still have
my voice every single day.
Exactly.
There was a point in time I was singing seven nights
a week, and not only that, six nights a week,
from Monday to Saturday, I was playing at two venues.
Because the bosses that I play for own both venues.
So they made me sing at both venues.
And what happened is I will sing one set at their first venue
in Clark Key, and then they will even hire a van for me
to go in between during the break.
So when I end my first set at Clark Key,
the van will bring me to Marina Square for their next venue
for the first set there.
And then I go back to Clark Key for the second set.
You're shitting me, right?
So I did that for three years.
Oh.
And I was singing as a three piece band.
And I was the only singer, I was the main singer.
None of my band members could sing a lot.
So maybe one or two songs per night.
But I was singing probably about.
So the two venues combined, I think
I sang about 60, 50 over songs per night on my own.
And me being me, and those people who knew me,
they would ask for songs like Sweet Child of Mine.
Oh gosh.
You know, cause they know I have quite a high range.
So you know how people would like to ask
for songs to test you?
Yeah.
So every single night for three whole years,
I was singing like that.
And then on Sunday I was singing at Acronova.
Yeah, oh boy.
When A-List was having a break.
So the vibe sings there.
So I sing with the vibes on Sunday.
So seven nights a week, 50, 60 over songs per day
for three years without break.
How do you survive that?
I ask myself the same question.
How did I do that?
So when you ask me how many things,
how many nights I'm singing,
now five compared to that, that was,
but the thing was I enjoyed it.
I'm sure you did, yeah.
I loved it, but how did I do it?
I don't know.
Probably age, really, really probably age.
Cause now I'm past my 40s
and I'm slowly feeling the difference.
What I could do then and what I'm doing
like maybe three quarter right now,
is I'm feeling the pain, I'm feeling,
I need more time to recuperate.
There's so many differences in my body now,
like years later, especially when you pass your 40s.
So I could feel it, but then I'm like Superman, man.
Yeah, I know.
I mean, it's different when we're younger, man.
Before when I was younger,
I could do Bee Gees in falsetto, sure.
But effortlessly, I didn't really have to even try.
I can't do it anymore.
So I'll always remember this,
that, you know, look at Elton John.
When he was, you know, when he had,
when he had, in the early years,
he had Yellow Big Road, song like Yellow Big Road,
Goodbye Yellow Big Road.
Yeah, songs like Rocket Man, right?
But you listen to him in recent years,
his tone has completely changed.
We change as we age, for sure.
Vocal strands all start to change,
it all depends on how much we've been bashing it.
I've also noticed, I will not mention names
out of respect for them,
singers, you know, that have really live wires on stage
for years and years and years.
And as the years go by, it's just gone.
Yeah, the technique is very important.
But unfortunately though,
unfortunately people in the past,
they don't really go for like music lessons or,
you know, like for example, me,
a lot of people ask me, so where do you learn how to sing?
I didn't, I couldn't afford to go for classes
because I was, you know, helping my family out.
So I think the lucky thing about me is when,
for example, when I sing and if it hurts,
I'll immediately try to find a way to sing
in a way where it doesn't hurt.
So I'll try to find like a way
where I could sing without hurting.
And then years later, when I met a friend of mine
who teaches singing for a living,
she's like, wow, you've got good technique.
I'm like, oh really?
Because I didn't go for school.
So I guess it was just luck.
So some people's like, you know it hurts,
but because you know it's what you need to do,
so you just go through it and just force it.
So I think that's where some singers as they grow older,
it's like you damage your vocal cords.
But for me, I think even though I'm past my 40s,
I could, to be honest, I could,
I think I can sing effortlessly now
at some of the high range than I was when I was younger.
I think it's a development how I do things,
which is very different.
So now I could sing the high notes
without feeling any strain at all.
So what I'm trying to say is, yes, some people do change,
their voices change as they grow older,
but I think if you do know your technique,
for me I'm lucky, but if someone really learns a technique,
I think you could still go beyond 50
and yet still maintain that range if the technique is right.
I'll tell you a funny story.
About three weeks ago, I hardly go on stage these days.
But when I do is because I want to,
and of course if they can pay me.
But I hardly go on stage.
I'm in a private show circuit, right, in private gigs
and stuff, so this was a kind of big show, you know,
and I was sweating buckets over it, man.
Nervous?
Well, nervous not because I'm not having stage nerves.
Worried because I have this very bad sinus
that is a back drip sinus, and I'm also having,
I always have bad reflux as well, so it burns my throat.
And I've been fighting that shit for a while,
and then I had to go on stage and I had to sing.
So I had prepped about seven songs,
but in the end I ended up doing three,
because on that day I knew I couldn't hold it.
Oh my.
Yeah, it went well, it went well.
It was very, very well received.
It's hardly getting me on stage to perform and sing anymore.
But I hosted and sang.
Yeah.
So, you know, and it's something that I find
kind of terrifying because as we age
and we lose that one thing we love,
oh, it's painful, man.
Now watch yourself, you gotta look after yourself.
Definitely.
Yeah.
Is there a future for musicians in Singapore?
What do you think for the young people
who have a passion for music?
What do you think?
Well, this question has been around for a long time.
Okay, I'm asking boring questions,
but I'm gonna ask it anyway.
It's a very good question, but I'll be very honest.
Please do.
I'll be very honest.
Please do.
To put this in the nicest way.
Don't have to be nice, just go for it.
Fuck that, go for it.
The thing is, to me, in my opinion, in my honest opinion,
in any field, you can make it.
You can make any field work for you,
but whether you are meant for the field.
Right.
A lot of people ask the question,
can you make it in music?
But I think the right question to ask is,
are you made for music?
Because first and foremost, you need to have it.
Secondly, you need to have that hard work.
So if you have all these things and you have something,
you have the talent for it,
you might be able to do it.
Like for example, when I started music,
a lot of people say you can't, it's hard.
My mom worried.
Get a proper job.
Yeah, yeah.
But my dad was like, do what you want.
Wow.
Yeah, you do what you want.
He's never ever told me to,
even if I had bad grades in school,
he'll just, all right, you don't like to study?
Okay, whatever you do in life, the consequence you face.
Coming from a guy that would say,
smack him across the back of his head,
his temper goes away, I mean, that's pretty cool, right?
Yeah, yeah, like he's like, he's my biggest fan,
and yet he's like cool about it.
He doesn't go to any of my shows.
Oh, that's awesome.
He just, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah,
I call him bapak.
Bapak, ah, I did it.
Very good, son, very good.
You enjoy yourself?
Yes, yes, bapak, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah,
all right, very good.
That's all, as long as you're happy.
You do whatever you want.
Just one thing, okay?
Don't ever disrespect your mom.
And that's it.
Everything else is like, I can do whatever I want.
You know?
But, yeah, so, so, so it's like, when I,
when I choose music, my mom was a bit,
bang, sure not, because she, she was from Malaysia.
Right.
She wasn't doing well.
Her family wasn't well to do.
Right.
She had to quit university,
because her parents were not able to pay for it.
Okay.
So she worked at the field.
Okay.
All right, so when she didn't, because she was smart,
I think if they had, they had,
if they had the money to, you know,
to let her finish her university,
she would have passed with flying colors.
Right.
That's how smart my mom was.
Right.
But because she couldn't, she's now
putting her hopes on her kids.
Right.
To get a degree.
Yeah.
Because she couldn't do it.
Yeah.
So I have a younger sister and a younger brother.
Yeah.
So it's like, and I was the, and I am the eldest.
Right.
So she put hopes on me, right?
Right.
But I didn't like to study.
I hated to study.
I hated school.
So I went to ITE simply because she still wanted me
to study.
Okay.
So that was how much she wanted me to.
So when I told her I want to go to singing,
she was kind of worried.
But when I was performing on TV with Just B and all that,
and then after that, all her cousins and whatever,
so she was like, slowly she's like,
oh, maybe my son does have something.
You know?
So it's like, so it's like, I kind of proved to her
that I have something special.
Right.
And it's helping.
Right.
So after a while she got used to it
and now she's very proud of me.
But back to your question.
Yeah.
Can you make it in music?
Yeah.
Honest, you can, but you need to have something.
Yeah.
And you need to have, first you need to have the discipline
and you need to have something.
For example, what I mean something, something.
X-Factor.
If you don't have it, maybe you can't,
as with any other fields, you can't make it
because no matter how hard you work,
but if you don't have it, you can't.
So I would say you can make it music,
but you need to work really hard
and you need to be very honest with yourself.
Do you think you have an X-Factor
or do you think you can, you can-
Grow one.
Grow one, exactly.
Because if you don't, you can't.
You know?
If like, I'm not trying to brag here,
but my experience, this is real life experiences.
I've been singing since 2000.
I started night music really late.
I was doing acapella with Jazz B and while I was,
I was working as a bartender and I saw this duo
in a club called Vogue at, I think it was,
it was just in front of
Ministry of Sound, Ministry of Music.
MOS, okay.
Central Mall.
Okay.
Yeah, so I worked as a bartender
and then I saw this duo from the Philippines
and they just sat there and just sang three sets, right?
Right.
And then I was like, I just asked the manager,
hey, how much are they getting paid for like two sets
like that, they just sit down and break time,
get smoke, chill and go up there, sing again, like,
what, $50 per night?
Oh, they got $150.
$150 for the both of them?
No, each.
What?
Like, $150, to me that was a lot.
Right.
Because I was earning about $8, $9 an hour.
Right.
So even if I work 10 hours, I only get $90, right?
Yeah.
They're just there for like, what, three sets of 45?
Three sets, yeah.
And I'm like, wow, that's a lot of money.
So that was when I was 16.
That was 17, I was working there illegally
because I was supposed to be 18, right?
Yeah.
So yeah, so from 18, I've always had this in my mind,
I want to be a night musician.
Right.
But for some reason, I had no friends that was in the scene.
Right.
So it was hard for me to break through it.
I've always wanted to be one,
but it took me from 18 until I'm 27, 10 years, 28,
then I met someone who's singing in the night circuit.
I'm like, can you help me?
I've always wanted to be in the night circuit.
Okay, you come follow me, I'll teach you.
And I have to say props to somebody by the name of Nana.
Okay.
Oh.
Nana Cantik.
There's a few Nana's.
Nana Karya, Nana Cantik.
Oh, it's not Nana Karya, okay.
So it's not Nana Karya.
They call her Nana Cantik.
So she, we were, Just B was doing a TV show,
and she was one of, the TV show is basically,
I love their concept, they highlighted all the musicians
like who are not popular, who's not in mainstream,
but they want to show that this are what we do.
So one of them was a night singer.
So I talked to her, blah, blah, blah.
So she helped me out.
So from, I think I was 28, 27, 28, that's when I started.
So I started really late.
Okay.
But I created, I think I created waves when I started,
because when I joined Raw Energy, my first ever band,
suddenly when I go around, hi, Afuan.
Oh, you Afuan, Afuan Raw Energy.
Like, wow, okay.
Like my name was moving around.
How did you get into Raw Energy?
Okay, wow.
Nana introduced me to Rosalina.
Okay.
Rosalina, which is the Danduk Queen of Singapore.
Okay.
She was then singing at Orchard Towers.
So when I, she, when Nana introduced me to her,
she asked me if I could sub for her band,
which was called Skin Puppets at Ipanema,
for her singer who's going to Rezervist for two weeks.
I went there.
I was supposed to sing for two weeks.
After two days, Rosalina came to me,
I'm sorry Afuan, this is your money for two days.
You don't have to come already.
My bossy, you got no X-Factor, you very fat.
Back then I was 127 kg, no chin, nothing.
So she was like, yeah, here's your money for two days.
Don't come anymore, sorry.
I know you can sing very well,
but my bossy, you got no X-Factor, you very fat.
So I'm like, okay.
So I took that as another form of motivation.
Okay.
So from there, Rosalina felt so bad,
she introduced me to Saad.
Right.
From Raw Energy.
Okay.
So that's how.
So Saad called me, hello Afuan.
Hey, call Afuan, call Afuan.
This is Saad, Saad from Raw Energy.
I got your number from Rosalina.
You can sing for my band.
Okay, you audition for me at China Jump.
So I went there and then I audition and then I got it.
So that was then after I played with them for a year.
Right.
For a year plus.
So that's my first band.
So that's how I got to play with Raw Energy.
Right, okay.
Yeah.
Wow, wow, wow, wee.
What do you think is missing in the music business?
Oh, give me a wish list, man.
What do you wish the music business in Singapore to be?
Like we talked about something innate.
We talked about people.
I asked you a question about whether the young musicians
today will have a future.
You talked about something more innate,
whether you have the axe factor or not.
But right now, something more extenuating, more external.
Yeah.
What is your wish list for the music business in Singapore
for musicians that would impact musicians?
That's a very good question, but to be very precise,
are you talking about night music
or are you talking about original music being an artist?
Like the Sam Willows, Benjamin King,
or more towards the night?
Let's talk about the night music first
because it would be a walk to the recording room.
Yeah, to the artists, recording artists.
Night, okay.
How do I put this?
Okay, if you want to sing at night,
you have to put a lot of things aside.
You have to be professional.
Like for example, I believe this is what I would do
and what I've been doing.
There are a lot of songs that, for example,
there's a lot of songs that you're gonna be singing
every single day.
For example, there'll be one song
that you'll be singing every day
for the next 10 or 20 years.
Evergreen songs.
Why am I highlighting this?
It's because this is where your professionalism
will come into play.
If you're gonna be someone that,
I'm not gonna play this song anymore because I hate it.
Because at the end of the day, it's not about you.
You gotta give the people what they want.
It's about the people what they want.
At the end of the day, they are your paymasters
and this is for those who have chosen to sing at night.
So these are one of the things that you need to ask yourself.
If you wanna go into that, can you do this?
That's one.
To me, that's one of the most important things.
Secondly, you have to have, if you're gonna be a singer,
if you're gonna be a musician,
can you play the same riff, the same solo?
Can you sing the same way from A to Z all the way and not?
Because some people just can't.
They can't sing the same thing from A to Z.
They'll try to change it.
Be like, come on guys, let's jazz it up.
Or let's change it.
I mean, it's okay to do it once in a while,
but there's some songs that you just can't change.
Because people identify with the song in order for-
Without re-orchestration and rearrangement.
Because they need to dance with it,
they need to sing along with it.
But if you change it, you might feel good about yourself.
But what about them?
They'll be like, that's not how it's supposed to be.
So even then, give the people what they want.
Yeah, so at the end of the day, that's one.
Can you have that responsibility?
Because I think there's always this debate
or there's always this talk about,
if you're a night musician, you're not really a musician,
you're not really an artist.
There are some people who don't sing nights,
they do, this is what I've been hearing.
I'm not sure if it's true or how true it is,
but I think it should be true.
I'm like, oh, I wanna be an artist.
I don't wanna be a night musician.
A night musician is something that's looked down upon.
It's like same shit every day.
So I wanna do an artist, I wanna do me.
So I think first things first,
you need to identify what kind of musician you wanna be.
What kind of line you wanna, what kind of path
you wanna follow.
So once you've made that decision to be a night musician,
you need to have a lot of patience.
Professionalism has to be there.
And I guess you have to have a clear direction
where you want your band to go.
Cause I think some bands, they just wanna play at night.
And once they play at night, oh, okay,
let's just play every single day, get money,
go home and relax.
But that's why I think I'm a bit different
cause even though I'm playing at night,
I want people to know who we are.
I want people to stand up and take notice.
Shit, when this band comes up, it's all about energy.
It's all about, not just about them.
I go down to the crowd, give them fist bumps,
get them to sing along, get them up on stage.
I make it something that-
They can be a part of.
They can be a part of and something
that they can take away, you know?
So-
You know, you rattled my foundation a little bit.
When you actually asked me,
which one are you referring to, Chris?
Night, the night music guys or those in the recording
studios, the recording artists.
You know why I felt a little rattled?
I felt rattled simply because I'm used to the old days
when the people who played at night were invited
to perform on TV.
And they were-
Yes.
And then we had labels back then that looked
towards these guys.
Labels like Polygram.
Yeah, yeah.
Labels like EMI, right?
And these guys come out there and they write original stuff
and they put it out.
And when you tell me that there is a differentiation
between the two and I go, this is so not that,
to me, it's not palatable.
Yeah.
Because it's a rite of passage.
If you want to be a recording artist,
you got to do the night.
That's just my take.
Don't call me a boomer, I don't give a flying fuck.
But I would just think that, come on man, pay the price.
Yep.
Learn how to give to people first.
And then when you give to people that,
you know what to write for the people.
In your original stuff.
And then you can become whoever the fuck you want to be.
But you got to give it to the people first.
And that's all ego talking.
I totally agree.
I don't want to be night music.
I mean, get the fuck out of here, man.
I don't like that personally.
They rattled me a bit because,
is this really what it is about today?
No, you're a seasoned musician, right?
I mean, I believe that first of all,
I've said this to a few people on this series,
the tribute series to HD local musicians,
that I don't think our local businesses
are doing any much justice to both club DJs and musicians.
There's not this, there isn't this drive to get bands
and music out there anymore than the way it used to be
in the past with the likes of good people like Dennis Fu,
Europa, the Europa group.
And I mean, that man, in my opinion,
brought in music and made Singapore such a haven
for musicians and music.
We don't have that anymore.
That's my opinion.
Your season, your current in our scene,
is there any band you used to admire?
I mean, in Singapore is music history, any band.
Okay, before I answer that question,
this is something I need to-
Please, please, plug it in, plug it in.
I totally agree with what you said.
Because I believe,
and I've seen some artists out there, original artists,
like you said, they have to go through the rite of passage.
You don't know how to give it to the people.
So many times I see when they perform, it feels so empty.
Yeah.
You know?
Oh God, yeah.
It's like so self-absorbed.
And it's like, is this it?
That's the word.
Thank you, self-absorbed.
Yes, like is this it?
But it's so sad that I don't know when this happened.
When did this separation begin?
I don't know how it happened, who started it,
or why this mentality is here now.
I won't say names.
Over the past few years, there was one show we did.
It was a neighborhood show, right?
Right.
A neighborhood show for a local,
it's not even an event company or a corporate event.
It's for-
Community.
It's for community, right?
Right.
So we performed.
Right.
Everybody had a great time.
Right.
Everybody got up on their feet.
Everybody went crazy.
Even the MP, like saw me the day after
and said you guys were amazing, blah, blah, blah.
But guess what?
Right.
On their Facebook page, somebody said,
why do we have these nightclub bands
playing for our show?
But if it was a Singapore idol or whatever,
just because they're on TV and they're artists.
Celebrities, yeah.
Celebrities, it's okay.
But they called us-
Nightclub bands.
So I think this is where it's sad to say
people do think this way, like there's a separation.
No, for fuck's sake, you know,
to these people, I don't give a flying fuck.
If you're watching my show,
you happen to be one of those assholes.
I just wanna tell you,
can you stop fucking stereotyping people?
Yeah.
People have got a living to do
and these people are talented.
You have no damn right to stereotype.
Look at the fricking mirror first.
Oh, that makes me really angry.
Yeah.
But you know, when it comes to,
I asked you a question, who do you admire most?
Just a quick answer.
Because I know we're running out of time,
but who do you admire in Singapore's music history?
Wow, definitely Jav Talking.
Oh wow, Rafi.
Yeah.
Okay.
Jav Talking, Shaggyz.
Shaggyz, okay.
Which is very sad, because I started late.
I wanted, when I heard all the stories about how Sayuti-
Sayuti, yeah.
I heard amazing stories about him,
how he could control the crowd with the song choices.
He could literally just say, okay, watch this.
They're calling out to you, Sayuti.
Yeah, it's like I heard,
I couldn't witness it with my own eyes.
I heard he could do things like, okay,
now you see all the Chinese, watch this, I'm gonna change.
The demographic changed with the songs that he-
he could literally tell you, okay, next, after this,
Ang Mo.
He says, all the Chinese go, Ang Mo, come.
And it's still like packed, you know.
He could bring them in at a snap of his fingers
with the song choices and the way he so eloquently just-
He reads the crowd.
Yeah, I would love to see him in action, but this is-
Sorry, so Shaggy, Jeff talking, who else?
I think these are the ones.
These are the ones, okay.
I just wanna show you some, because we talked about,
we were talking about this, about which band you admire,
Singapore's music history.
We were talking about how much commitment you need to put in
into this business, and the craft.
And we were also talking about, you know,
I was saying way back when,
if you're in the night business, you're a band, you're good.
You get on TV, might even get into, you know,
write an original number.
I just wanna show something for you,
for all of yous at home.
Kai, can you put up that one, please?
My favorite people, you know, here we go.
["Wish Me a Merry Christmas"]
Look at that, look at that, look at that.
So you can imagine, man, that was taken
at the old Paramount Hotel in 1984.
Why?
In 1984, very, very young, super talented.
I respected the Bits and Hussein, this can only be one.
And, you know, and the rest of the gingerbread band.
Moses was there, and...
Whoa, whoa!
Back by poppin' the band.
Didn't have enough, didn't have enough.
Ha ha ha ha.
So anyway, so you know, so if you take a look at that,
look at the energy there.
Yeah.
And that was how hard these people work.
Yep, yep.
Every song, every night, and I used to watch these guys.
They're not the only band that were doing that.
So many, there were so many, look at Douglas, Duggie.
Duggie with Culture Shock, you know, in early years.
That guy was super live wire, man.
You know, and I just, to me, we don't have,
well, there's you now, thank God for that.
And that's the reason why you are here.
Thank you.
Because I don't see anyone else doing this.
Because the rest are so fucking self-absorbed,
and you're right using that term.
And I don't know what to do with this shit.
I really, really don't.
So just before we say goodnight,
give a plug in about Supersonic Man.
Well, um.
Has it become a business?
Oh yes, um, you remember when you said,
take good care of yourself?
Yep.
Yeah, so I'm kinda at that part where I'm like thinking,
what if God decides to take my voice away,
or something happens?
So I've been doing things on the side.
So yeah, what I've been doing is,
I haven't even put it out there yet.
I'm doing things like sound equipment rental.
Yeah, and I'm trying to be an event.
Organizer?
Event organizer.
Holy shit balls.
Okay, maybe not to that extent.
Probably just, you know, audio equipment and stuff.
But yeah, so far so good.
And here's a plug in.
If you guys wanna know more,
you can log into our website.
That's www.supersonicsg.com.
And of course you guys can follow us on social media,
on Instagram, just look for supersonic SG,
and Facebook as well, that's supersonic SG one word.
And yeah, that's about it I guess.
Can we put up Supersonics logo please, Kai?
And the band picture.
Hey?
I'm coming up.
You can't bring it up?
Yeah, it's all right.
Really?
Okay, okay, okay.
But once again, Chris, thanks for having me.
No, no, the pleasure's all mine, man.
Thank you for being here, man.
Really, really, I wish you and the band the best.
Thank you.
And I really hope that Danny, Danny Long of Timber Plus,
it can continue to really build upon
the music scene in Singapore.
I think we need it very, very badly.
And I think it's also a matter of how
we can educate people in our communities that hey,
musicians are really good people.
And they bring a lot of joy to our ears and our hearts, man.
I mean, we gotta do our part in doing that.
Anyway, everyone, thank you so very much.
I've had Afwan from Supersonic with me
for this episode of the CHC's tribute to SG's music icons.
And thank you for watching, and we are now probably
just a little bit past the half of the season for season two.
My time flies, huh?
Make sure you come back and watch some more of our episodes.
We still have a few more to go,
and a few more interesting ones as well.
Interesting guests will be on my show.
Remember to please subscribe to CCB TV podcasts on YouTube
and catch more of the Chris Hansen conversation.
There we are also on Facebook.
Follow us there, CCB TV.
And on Instagram at CCB.TV underscore.
Comment please, even if you need to fuck me over,
please just go ahead and write everything you want to do.
Everything you want to to comment, please do so.
I look forward to it.
This is Chris Hansen together with Afwan.
Thank you so very, very much.
I'll see you guys again soon and rock on.
sz
Sorry
I'm sorry
Yes, my name is, no, my sign is, no, my number is, no
You need to let it go, you need to let it go, you need to let it go
Now to the house, to the road, let it go
Put your hands up, put your hands up
Jump, jump, jump
Let it go, let it go, let it go
Never repeat, don't you ever return
You can never have the love of your life
So I'm a black person, but I'm not a race
I just want you to love me, and then I'll be fine
It's fun to stay at the YMCA
Cause you like the way, you like the way, you like the way
I got all I need but I've got you alive
Will you always sing with me?
So ya
Oh yeah, oh yeah
Thank you so much
Here we go
Put your hands up, put your fucking hands up
Jump, jump, jump
Let's go, let's go, let's go, let's go
Put your hands up, put your hands up
Jump, jump, jump
Lights will guide you home
Every night you're born
Thank you guys, thank you
And I will try
Let's go crazy
Thank you for watching!