Cover Magic Room founders Remy Kerstens and Leo Arbez (Photo: courtesy of Magic Room)
Magic Room founders Remy Kerstens and Leo Arbez (Photo: courtesy of Magic Room)
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In our 10 Minutes With ... Magic Room founders Remy Kerstens and Leo Arbez share how they hope Hong Kong’s music scene will evolve and the challenges that need to be overcome to fulfil that vision
In Hong Kong’s rapidly changing music scene, Magic Room has emerged as a beacon of creativity and cultural exchange since its inception in 2020. Founded by music industry veterans and French producers Remy Kerstens and Leo Arbez, this innovative initiative, featuring multifaceted music concepts such as large-scale music parties, live-streaming of events from iconic locations across Asia, the launch of a music label called Nodes Rec. and a recording studio in partnership with Soho House, took root during the pandemic period, driven by a profound desire to reconnect individuals through the universal language of music.
What began as a modest celebration of house music with just a few dozen people rapidly transformed into a vibrant community drawing over 20,000 attendees to some of the city’s most iconic venues, such as the Peak.
As they prepare for their upcoming events, including a highly anticipated show featuring world-renowned artists Bedouin and Nandu on March 22, the duo reflects on the authenticity that underpins their approach, the aspirations they hold for the future of Hong Kong’s cultural landscape and the challenges that come with scaling this artistic vision.
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Let’s start from the beginning: how did the challenges of the pandemic influence the founding of Magic Room?
Remy Kerstens: The pandemic was one of the hardest moments our generation has had to live through recently. While the world seems more and more connected through technology, we realised that real physical connection can vanish in a split second. Magic Room was born from that time, from the desire to find this connection again.
Leo Arbez: Our events revolve around connection and disconnection: connection with music, culture and people, and disconnection from our society’s expectations. Through this, Magic Room was born into a community of people that together aim not only to represent but to actively push the Asian culture they are so proud of. It is a space for expression, exchange, difference and evolution.
Magic Room bridges eastern and western influences. How do you approach this fusion in your events?
Kerstens: The collaboration between the east and the weest is at the core of everything we believe in and do, from bringing international artists to Hong Kong to highlighting local ones signed under our label Nodes Rec. to using local artisans to decorate the venues we party at. But I think our Hong Kong recording studio 22Systm is the real node in all of this. We are aiming for it to become a safe haven to foster local creativity, encourage exchange and contribute to the evolving music landscape.
Above ‘No strategy, just authenticity’ is Magic Room’s motto (Photo: courtesy of Magic Room)
‘No strategy, just authenticity’ is Magic Room’s motto (Photo: courtesy of Magic Room)
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Building a vibrant community seems to be a core value for Magic Room. What strategy have you found most effective in fostering this sense of belonging among the attendees?
Arbez: There is no strategy, just authenticity. Since the start, we have tried to lead by example, always be respectful and create an environment with “no bad vibes”. We believe that this is what has really been effective over the years, especially in a world increasingly driven by social media and trends. We’ve always approached things differently and put our community at the centre, wanting more than anything to push boundaries and share the best experience possible in every city we go to.
What do you think of the fast-evolving electronic music scene in Hong Kong and Asia?
Kerstens: Electronic music is undergoing a great mutation in Asia now, as tastes are shifting and interest in local artists is rising fast. We truly believe that the rising figures in the industry are those who distinguish themselves from western standards and seek inspiration from their Asian roots. Much like the city of Hong Kong, which has seamlessly blended the different cultures. The world of tomorrow, including music and art, will be about constantly evolving and adapting.
Above Magic Room will launch its biggest event up to date on March 22 at the AIA Carnival (Photo: courtesy of Magic Room)
Magic Room will launch its biggest event up to date on March 22 at the AIA Carnival (Photo: courtesy of Magic Room)
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As you expand Magic Room and its initiatives, what are your hopes for Hong Kong’s music scene in the next five years? And how do you envision your role in shaping that?
Arbez: Hong Kong has been going through a significant shift these past few years, and all the industries, including the music industry, have been trying to figure out how best to adapt and move forward. While we aren’t yet sure how the music scene in the city will evolve, we focus on what we are building here: an ecosystem aiming to help foster creativity, shape culture and export music from Asia. We hope to create a safe environment and authentically contribute to Hong Kong’s cultural landscape.
How are you embodying this vision in your upcoming event on March 22?
Kerstens: Ahead of all of our events, we feel positively stressed. Just like an artist that can feel stage fright before a show, we feel the same. We are delighted to receive one of the top artists in our style of music, Bedouin, as well as the upcoming talent and a friend, Nandu (supported by Nodes Rec. crew and the release of their album). Thanks to the support of our partner GEG, we face less challenges today when preparing for these events. They bring significant experience and know-how, thanks to their great track record. But they are just as driven as we are to keep learning from our events and improve the following, which really turns this into a positive experience. We always try to avoid having too many expectations and simply focus on the [music] preparation.
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Salomé Grouard was Digital Editor and Front & Female Content Lead at Tatler Hong Kong. Primarily focused on managing Tatler Hong Kong’s digital platform and content, she also covers gender equality, the music scene and sports through interviews with industry leaders, experts and trendsetters.
Interview highlights include renowned conservationist Dr Jane Goodall, Korean actor Park Seo Jun, singer Jorja Smith, Chinese TV host Yue-Sai Kan, YouTuber Kimono Mom, Japanese rapper Awich, and Brazilian jiu-jitsu fighter Mikey Musumeci.
She has also produced stories on revolutionising sexual wellness in Asia, activism within the surfing community, Asian trans musicians reclaiming their narratives through music and looked at the toxicity of gym culture through the lens of the plus-size community. She also covers music festivals, such as Hong Kong’s Clockenflap and Bali’s Suara.
