For many Cantopop lovers, it is all about whether a melody sticks; people want relatable and catchy tunes, the kind you sing at karaoke. But some up-and-coming songwriters are hoping to change that.
One of them is 25-year-old Gordon Wong Chun-yeung – known professionally as Gordon Flanders – whose work reminds us of late R&B star Khalil Fong. Wong studied at the Senzoku Gakuen College of Music in Japan and began releasing music in 2019 with soft melodies that blend R&B vocals with guitar.
After returning to Hong Kong, Wong worked as a producer and composer for local artists, composing viral tracks such as “Memento” (回憶半分鐘) for Cloud Wan and “Dirty” (污糟兒) for Kaho Hung. Now, he is ready to make his voice known through his own songs.
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What are your thoughts on Hong Kong’s music scene?
It feels like everyone wants to grow and explore more, especially listeners. They are keen to hear something new. But there is a sense of helplessness for artists. We want to try out different styles, but somehow, we always end up doing the most “typical” Cantopop tunes – probably because that style performs best commercially.
There is also a kind of limitation that is almost passed down. People have always loved classic Cantopop; that preference still dominates. It’s a bit of a pity.
How would you describe your musical style?
I would say my music is perfect for nighttime listening, especially in the winter. The mood I try to create is something warm, to help ease emotions and relieve stress. I don’t go for hard or aggressive sounds. I like using softer, delicate drums, mainly with guitar-based arrangements.
What change do you hope to see in Hong Kong’s music scene?
I want musicians to stop making music they don’t actually want to make. The most important thing is doing what you love. I have seen too many friends become unhappy because they cannot make the music they really want to – they have to chase numbers or popularity instead.
Since Hong Kong’s scene is not that big, most listeners only hear a few artists over and over. But if those artists were willing to make small changes and explore different styles, the audience would naturally be exposed to more variety. That way, both sides grow together.
Which three songs of yours would you recommend first to new listeners of your music?
I would start with my Cantonese song “Winter Alone” (冬天一個遊); you can get a feel for my vibe through it. Then the Mandarin track, “Half a Beat Slower” (慢半拍). When I started, I was based in Taiwan and released Mandarin tracks.
The third would be “First Class”. It is very different from the first two, which are groovy and chill. This one is more upbeat and has heavier drums. It is more intense overall and shows that I can do other styles.
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What are your musical influences?
When I studied in Japan, I was really influenced by jazz. Even if a song has a Cantopop structure, I like finding ways to make it my own. For example, I might swap loud, heavy drums for jazz brushes. That change makes everything sound much more soothing.
When I was younger, Khalil Fong was my first exposure to that style of R&B and soulful music. I did not like it initially because Chinese songs do not usually sound like that. But after listening for a second and a third time, I found it interesting and eventually enjoyed it. I started listening to more R&B.
South Korean singer-songwriter Crush was a big influence when I was studying. I also listen to artists like Lucky Daye and Daniel Caesar when I am stuck or need inspiration.
What is your most personal song?
An old song called “Let Me Be Alone” (讓我一個人過). The title might sound like it’s about wanting space or time to yourself, but actually, it’s the opposite.
I wrote it while I was in Japan. I lived there for four or five years and often felt homesick there. But every time my family or friends asked how I was doing, I would always say, “I’m doing great, just let me be on my own.”
Deep down, I was hoping someone would reach out. When you are studying abroad, you don’t want your family to worry, so you keep telling them you’re OK.
Can you walk us through your creative process?
I often start with the guitar, my main instrument. I strum a few chords, maybe come up with four, and keep looping them while humming melodies over them. If I find something that sounds good, I immediately record it on my phone.
Then I analyse it to see if the progression can be repeated and whether it still sounds good over time. If it holds up and does not get tiring, that becomes the foundation. I usually write each part separately.
Are there any artists you want to collaborate with?
A Japanese band called Suchmos. It’s a dream of mine. They are a jazz-fusion band that was a big part of my musical journey. I would love to work with them one day.
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Do you have any advice for young artists hoping to break into the industry?
Listen to others’ advice, but do not completely listen. Learn to figure out what is useful and what is not. For example, if someone very experienced or a close collaborator tells you that you might not be cut out for music, sometimes you need to hear that. This industry can be tough.
But don’t take everything at face value either. Supportive friends might tell you that you are perfect for the industry. But when you actually try walking that path, you might realise you’re not ready or cannot meet the demands. So whenever someone gives you feedback, reflect on it deeply.
Any other advice?
Try. Just go for it. If you really love music, don’t overthink it. Don’t worry about success or whether people will listen. You have to put the music out there first before you know if people connect with it. Just do it.
What are your long-term goals?
To release an album every year or two. Since I write songs myself, I need to keep pushing myself to create, keep improving and growing. Releasing albums regularly helps keep that momentum going.
Interview has been edited for brevity and clarity.
