By Staff Reporter Yuan Ye

The First Stadium Concert Since SARS

Beyond's 20 year anniversary concert. Photocom

In 1983, a band in Hong Kong named itself Beyond, and along with hundreds of other newly formed bands, tried to make their name in the world of music. Two decades later, in August 2003, they came to Beijing, on their BEYOND BEYOND BEYOND tour, marking the first stadium concert on China's mainland since SARS.

Beyond had been in Beijing once before -- in 1989, when they played a poorly attended stadium concert to whose northern audience their Cantonese songs were unintelligible. The 2003 concert was a stunning contrast to the one 14 years ago. Young parents with small kids as well as college and middle school students from all over China filled the stadium, waving, dancing, singing along and cheering in their own dialects, 60,000 people sharing 3 hours of revelry.

The First Decade of Struggle: 1983-1993

When they formed in 1983, Beyond was foremost an art rock band. Most of their early songs were written in English and incorporated various elements including heavy metal, new wave, post-punk, experimental and avant-garde music. Their first two songs in English appeared on the 1984 album Hong Kong featuring various artists. In 1985, they staged their own concert to promote their music. The concert was not as commercially successful as they hoped but did not dampen their passion for music. In 1986, Beyond rented a studio and produced their debut album So Long Ideal. They undertook all aspects of production -- composing, instrumental arrangement, recording, graphic design and distribution -- themselves. This album was the cornerstone of their body of work, bringing them a contract with Kinn's Music later that year.

"Wong Ka Kui had the knack of combining art and commerce.' Paul Wong said in an interview last August. The band with Huang Wong Ka Kui as main composer and lyricist, was a huge success. One song after another reached the top of the charts in Hong Kong, Taiwan, and major cities on the mainland. They also entered the Japanese music market in 1992.

The year 1993, when Beyond vocalist Wong Ka Kui said, "There is no music scene - only the entertainment industry in Hong Kong," can be considered a watershed for the band. Wong Ka Kui died in June of that year.

Death Didn't Stop Us: 1993-2003

Beyond's success and popularity was at its peak in 1993. The sudden death of Huang Jiaju brought everything to an abrupt halt. Millions of fans mourned Wong Ka Kui 's death and it was uncertain whether or not Beyond would go on. In December of that year, the three remaining members appeared in public as show of solidarity. That month they gave their fans an excellent concert, showing their fans they had every intention of carrying on.

The post-Ka Kui Beyond kept working and changing. In 1994, they released 2nd Floor Rear Block, the name of the band room they had used since 1983. The room was witness to their life and music for over ten years and the album was a tribute to Wong Ka Kui. It also marked a break with the past. Since then, they have released more than 20 albums, including solo efforts and re-releases. They have experimented with electronic, atmospheric, alternative and indy music. Critics speak of their waning splendor and popularity, but they still make the music they believe in. Steve Wong says their most successful music was commercial, but they now prefer a more experimental mode. "With Ka Kui, our music scored commercially in those years, proving that we were able to make our music as commercial and popular as any the best of them. Having proved that, we now make the music that we really like. I think that if Wong Ka Kui were still with us today, he would totally agree. We don't care about the market because we just want to make the music we believe in."

Their musical passion and sincerity has brought Beyond staunch fans. From April to June this year, they held eight successful stadium concerts in Hong Kong despite the still-present threat of SARS. This unprecedented success in Hong Kong proved the power of their music and gave Beijing good reason to bring them back.