Show Picks: Gigs by The Chainsmokers, Ayumi Hamasaki, Irene and Seulgi
The Chainsmokers In Singapore
American electronic dance duo The Chainsmokers are frequent visitors to the Lion City. The duo, consisting of Drew Taggart and Alex Pall, last performed here at the inaugural LIV Golf Singapore tournament at Sentosa's Palawan Green in 2023.
In May 2024, they released their fifth EP No Hard Feelings, which has six tracks. These include Addicted, a collaboration with Brazilian DJ and record producer Zerb, and featuring American singer Ink, who sings about hitting the clubs and flirting with danger.
It is among the new songs expected to feature on the set list of The Chainsmokers' June 27 solo show. Over the years, Taggart has become known for his dynamic vocals during live performances, while Pall has impressed with his virtuosic piano playing.
Where: Arena @ Expo, 9 Somapah Road
MRT: Expo
When: June 27, 8pm
Admission: From $148 via Ticketmaster (go to ticketmaster.sg or call 6018-7645)
2025 Irene & Seulgi Concert Tour Balance In Singapore
South Korean singers Irene (left) and Seulgi (right) will soon make a stop here on their first solo concert tour.
PHOTO: FRIEDRICE ENTERTAINMENT
It has been more than two years since South Korean girl group Red Velvet last graced Singapore's shores.
While a return is not yet in the works, two of the members – Irene and Seulgi – will soon make a stop here on their first concert tour. They are Red Velvet's first sub-unit and debuted as a duo in 2020 with the EP Monster.
While the Covid-19 pandemic posed significant challenges to them releasing new material after that, their second EP Tilt finally came out in May 2025. The comeback work has six tracks, including the dance-pop title track, which explores the notion of growing together in a relationship, complete with an electronic beat and R&B feel.
Another track, Irresistible, describes falling for a captivating presence, backed by an acoustic guitar, while What's Your Problem? reinterprets a 1990s hip-hop R&B sound for today.
Where: The Star Theatre, 04-01 The Star Performing Arts Centre, 1 Vista Exchange Green
MRT: Buona Vista
When: July 4, 7pm
Admission: $128 to $288 via Ticketmaster (go to ticketmaster.sg or call 6018-7645)
Ayumi Hamasaki Asia Tour 2025 I Am Ayu -Ep.II- Singapore
Japanese singer Ayumi Hamasaki is billed the 'Queen of J-pop'.
PHOTO: UNUSUAL ENTERTAINMENT
It might surprise some to know that Ayumi Hamasaki, who made her debut in 1998, has never held a solo concert here.
That is going to change when the Japanese diva, billed the 'Queen of J-pop', brings her large-scale arena tour, titled I Am Ayu -Ep.II- to Singapore. The show will be performed on a four-sided stage and feature state-of-the-art visual effects.
With a large repertoire of hits, such as pop ballad Seasons (2000), alternative rock number M (2000) and electronic rock song Blue Bird (2006), there will be no shortage of earworms for the audience to croon along to.
Where: Singapore Indoor Stadium, 2 Stadium Walk
MRT: Stadium
When: July 5, 7.30pm
Admission: $188 to $368 via Ticketmaster (go to ticketmaster.sg or call 6018-7645)
Join ST's Telegram channel and get the latest breaking news delivered to you.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Vogue Singapore
6 hours ago
- Vogue Singapore
Tasha Low on culture, craft and chasing her own rhythm
There's a certain je ne sais quoi about Tasha Low, one that has carried her through many renditions of her creative career, with a spark that has captivated fans all over the world. And it's no wonder. At 31 years old—she turns 32 in October—the starlet, known for her doe eyes, signature locks and cherub-like visage, has showbiz in her blood, having started dancing at the tender age of two. On the beauty front, fermented rice water was traditionally used to cool the skin. Known as Bedak Sejuk or 'cold powder', it is believed to have brightening and smoothing qualities. Bee de Chaumet earrings and L'Épi de Blé de Chaumet necklace; Laichan dress. Zantz Han 'Dance was my first language of expression,' she notes. 'My father taught me ballroom dancing when I was a toddler and it became our way of bonding. That foundation gave me confidence in movement and stage presence, which later became crucial for both singing and acting.' It was this early start that led Low to debut in the K-pop group Skarf, a chapter she credits with shaping much of who she is today, from instilling discipline and resilience to refining her craft. Still, she felt a strong pull to return to Singapore and delve into local stories. 'I've always been drawn to a more holistic form of performance, where music, movement and story all come together.' Floral motifs were a familiar sight in Peranakan design, often found on vases, tiles, and everyday objects around the home. Zantz Han It's this very pull that has brought her to our screens. In Emerald Hill – The Little Nyonya Story —the sequel to Channel 8's 2008 series The Little Nyonya —Low stars in the role of Zhang Xin Niang, in a drama that traces the lives of the Zhang family, a Peranakan household living at Emerald Hill. 'Zhang Xin Niang is strong-willed, passionate and deeply loyal to her family, yet she's constantly torn between duty and desire,' reflects Low. 'What I love about her is that she's flawed and real. She's not just a product of her time, but someone trying to break free from it.' Apart from drawing 1.35 million viewers on Mediacorp platforms as well as holding on to Netflix's top 10 streamed shows, it's clear that Low's trajectory has been set for her. As for what's in store? She hopes to release more music soon, something close to her heart, and she'll be diving into a new drama project in the second half of the year. Here, she talks about her K-pop start, honing her craft and what lies on the horizon. Songket is a decorative weaving technique that uses gold or silver threads to form intricate motifs. Drawing inspiration from this heritage craft, Malaysian fashion designer Behati created a custom jacket, reinterpreting the tradition for the present day. Bee de Chaumet earrings, necklace and bracelets; Behati jacket. Zantz Han Hi Tasha, thank you so much for joining us today. Tell us more about your beginnings in K-pop. The K-pop industry is extremely regimented; everything is planned down to the second. Coming back to Singapore, I had to adjust to a different rhythm where there was more space to contribute creatively. At first, the lack of structure felt unfamiliar, but I eventually found it refreshing. What felt familiar was the community; it's small here, and that closeness brings a different kind of warmth and support. Emerald Hill – The Little Nyonya Story has been a massive success and a significant milestone in your acting career. What initially drew you to this project and how did you prepare? I was immediately drawn to the emotional depth of Emerald Hill – The Little Nyonya Story , and the role of Zhang Xin Niang was such a layered, complex character. It felt like a rare opportunity to explore heritage and identity in a way that was both personal and universal. To prepare, I dove deep into the culture: learning traditional practices, the language nuances and even some nyonya cooking. It wasn't just about playing a role; it was about honouring a legacy. Costumes were such a big part of stepping into Xin Niang's world. The intricate kebayas and accessories weren't just beautiful; they told a story of tradition, class and emotional nuance. Each piece helped me understand her status, her constraints and her quiet acts of rebellion. Another creation by Behati offers a playful twist on the peony, this time in a translucent, peekaboo style. It experiments with proportion and perspective, imagining the motif in a bolder, more daring way. Bee de Chaumet earrings, necklace and rings; Behati bolero, coat and dress; Christian Louboutin shoes; socks, stylist's own. Zantz Han Working alongside your former Skarf bandmate, Ferlyn Wong, must have been a special experience. It was surreal and so special. Ferlyn and I have shared such a unique chapter of our lives together, so stepping onto set with her again felt both familiar and fresh. There was an unspoken trust between us, which made our scenes more intuitive. But we also had to remind ourselves that we were no longer bandmates onstage, we were actors telling a new story. Beyond Emerald Hill – The Little Nyonya Story , you've taken on a diverse range of acting projects. Is there a particular role or genre that you've enjoyed the most? I've loved exploring roles that sit in the grey areas; characters who are emotionally complex and morally conflicted. Those roles teach me a lot about empathy and about not judging people too quickly. Emerald Hill – The Little Nyonya Story challenged me the most in terms of emotional stamina and cultural responsibility. I'd love to dive into psychological thrillers or period dramas with a modern lens. There's so much depth to explore in characters grappling with identity, history and desire. I also hope to work with directors who challenge their actors; people like Anthony Chen or even international voices like Park Chan-wook. Indonesian designer Toton reimagines the kebaya, merging the juxtaposition of fabrics and shape. Bee de Chaumet earrings, necklace, bracelets and ring; Toton top and skirt. Zantz Han What has been the biggest accomplishment or milestone in your career so far? Emerald Hill – The Little Nyonya Story was definitely a turning point. Not just because of the recognition, but because I felt like I poured my heart into it. It was a full-circle moment when all the parts of my journey—dance, performance, language, culture—came together. My loved ones and my cats keep me grounded. I try to create pockets of quiet in a very loud industry, whether it's journalling, cuddling with my cats or just being in nature. Staying connected to my 'why' helps. I do this because I love stories, not because I want to chase perfection. How do you maintain your physical and mental well-being with such a demanding schedule? When I'm filming, the days are long and immersive. I wake early, head to set and stay focused until wrap. On my off days, I try to slow down. A perfect Sunday for me is sleeping in, playing with my cats, journalling and being near nature. Mentally, I give myself permission to rest. Physically, I keep active by hiking or playing badminton with friends, which are fun activities and keep me feeling strong. The use of flowers was thoughtful and intentional, with different blooms chosen for the meanings they held. Zantz Han If you could give your younger self one piece of advice, what would it be? Don't rush to become someone else's version of success. Trust your timing. And rest is not a weakness. What do you hope fans take away from your work? I hope they feel seen. Whether it's joy, heartbreak or growth, I want my work to make people feel less alone. That's the magic of performance to me. What are your long-term aspirations for your career in the entertainment industry, both locally and internationally? I hope to keep creating work that feels honest and grounded, whether that's in Singapore or beyond. I'd love to collaborate across cultures and languages, especially in projects that bring Asian stories to the global stage. There's a growing appreciation for local stories and talent, which is encouraging. But there's still room for risk-taking and deeper investment in the arts. I hope we continue to create space for nuanced storytelling and diverse voices. The richness of Peranakan culture can be found even in the intricate details of dishware—quietly emblematic of a heritage built on care and tradition. Zantz Han Tell us about your experience on our Vogue Singapore shoot, which was inspired by Peranakan culture as well. It was such a dream! Fashion is another way I get to express different sides of myself. The Vogue team made me feel bold and elegant, while still being me. I loved playing with textures and silhouettes I wouldn't normally wear. It was liberating. This issue is themed 'Home'. What does the word, in the context of Singapore and SG60, mean to you? Home is where the heart is, a safe space where my loved ones are. After spending years overseas, I've come to treasure the small things here: the smell of local food, the sound of Singlish, the familiarity of faces. Home is comfort. It's identity. SG60 is a moment to reflect on how far we've come as a nation and how much more we can grow, especially creatively. I hope the next chapter includes even more support for the arts and for stories that speak to the heart of who we are. Toton also draws inspiration from white lace kebayas, which gained popularity in the early 20th century among Peranakan, European and Eurasian women. Bee de Chaumet earrings, bracelets and ring, and L'Épi de Bléde Chaumet necklace; Toton top, corset and pants. Zantz Han What were some of your favourite memories growing up? Playing block catching with my cousins and running around void decks barefoot. Life felt simple and joy was everywhere. Those were the days before smartphones and they were magic. What's next? I'll be releasing more music soon—something close to my heart—and diving into a new drama project in the second half of the year. Personally, I'm learning to say yes to things that spark joy and no to things that don't. Photographer Zantz Han Stylists Desmond Lim and Nicholas See Hair stylist Ryan Yap/Passion Hair Salon Make-up artist Kim Manicurist Filicia Takahashi/Nail Bliss Producer David Bay Set design Abegail Loreno Arendayen Florist Fawn World Photographer's assistants Sin Yean Yam, RQ and Michelle Yap Manicurist's assistants Celine Tan and Summer Chong/Nail Bliss Set designer's assistant Clarice Teh Florist's assistant Rachel Ng Stylist's assistants Lance Aeron and Kuan Special thanks to True Blue Cuisine Vogue Singapore's July/August 'Home' issue will be out on newsstands from 13 July and available to preorder online.
Straits Times
7 hours ago
- Straits Times
Theatre review: Singapore, Michigan a confident debut about adulting and privilege
Singapore, Michigan cast (from left) Zane Haney, Shrey Bhargava and Ching Shu Yi give real depth to their trio of characters on a road trip in search of the titular American town. PHOTO: PANGDEMONIUM Singapore, Michigan Pangdemonium Lasalle College of the Arts – Singapore Airlines Theatre June 28, 8pm A Singaporean couple and their American classmate drive through a Michigan winter in pursuit of a silly quirk of history – an American ghost town called, perplexingly, Singapore. Over a blustery weekend, the trio realise that the rest of their lives will not so much be a frivolous jaunt, but a series of calculated choices. Playwright Ong Chong An's first professional script is an elegant snow globe of a road trip story. It is a finely crafted drama of young adulthood, as the trio, encased in a dingy motel, trade ghost stories, bad takeaway Chinese food and secrets. Ong's talky script draws out the heightened emotional state that young adults on the cusp of graduation often feel, when every decision appears life-altering. Carol's (Ching Shu Yi) parents own an oil corporation but she wants to work for a non-profit, which annoys her pragmatic boyfriend Manish (Shrey Bhargava), who is tied to a hefty scholarship bond. Jesse (Zane Haney), an English major who comes from money, sides with Carol, but antagonises Manish, who in turn rubs Jesse the wrong way when he calls America a Third World country. Like three volatile elements dropped into a confined space, the trio's biographies and traits play off one another well. Class, gender, nationality and race come to inflect a slow-burn argument about responsibility and desire, choice and circumstance. Under Timothy Koh's direction, the three characters are furnished with a complexity that allows them to be a goofy trio when together, then markedly different in their respective pairs when one steps out into the snow for air or, well, better Wi-Fi. The actors give each of their not-quite-adult characters real depth – Janus-faced Jesse, micro-managing Manish and Carol, adrift between two worlds. Fortunately, the destination of Singapore, Michigan, is kept to a lean five-minute exposition early on – so the ghost town does not become too overt an allegory for the play's themes. That restraint allows Singapore, Michigan, to be the blank canvas on which the characters project their disappointments and hopes. Set designer Eucien Chia's set is as lovely to marvel at as a beautiful winter diorama. The drivable open-topped car prop is the mesmerising centrepiece of the opening winter drive scene and the alabaster forest landscape subtly suggested through what looks like a hand-painted curtain background. In the motel, a brilliant white blizzard at the window is rendered convincingly by light designer James Tan. It is a well-paced story until the play's final act, which is bogged down by an inelegant excess of plot twists and abrupt revelations that try to tie up its complex threads too tightly. Its final act builds up too quickly and risks melodrama in an otherwise assuredly realistic direction. Although equatorial heat is endemic to Singapore arts, winter has not been completely absent, and Ong's 'Singaporean students abroad' play has echoes of writer Carissa Foo's university road trip novel What We Learned From Driving In Winter (2022). It joins the likes of film-maker Anthony Chen's The Breaking Ice (2023) and writer Daryl Qilin Yam's Shantih Shantih Shantih (2021) in Singaporean depictions of winter. More than a coming-of-age story, the play is also about growing up with the burden and allure of privilege, comfort and templates. Writ large, it interrogates a Singaporean brand of exceptionalism – heightened perhaps when one is young and abroad, beneficiary of an imperfect system, and certainly played up in the age of a more insular America. Singapore, Michigan is a confident debut with substantial complexity. The snow falls differently each time you give the globe a little shake. Book It/Singapore, Michigan Where: Lasalle College of the Arts – Singapore Airlines Theatre, 1 McNally Street When: Till July 11; Tuesdays to Fridays, 8pm; Saturdays and Sundays, 3 and 8pm Admission: From $35 Info: Join ST's WhatsApp Channel and get the latest news and must-reads.
Straits Times
8 hours ago
- Straits Times
Short-story dispensers to appear around Japan to encourage people to read books
Multiple stories will be made available at each dispenser. PHOTO: ST FILE Short-story dispensers to appear around Japan to encourage people to read books TOKYO - Short-story dispensers set to be installed at train stations, tourist information centres, event venues and the like will make their debut in Japan as early as this summer. At the push of a button, short stories that can be read in a few minutes will be printed out on a long receipt-like strip of paper. Although the machines are called 'dispensers', the content is delivered free of charge. This service, to be launched as part of an initiative to revitalise Japan's characters and print culture, will be implemented by Tohan Corp, a leading book wholesaler, with the support of the Cultural Affairs Agency. The aim is to get people who usually do not read books to discover the joy of reading them. Launched by a French company, the machines, called short-story dispensers, have been installed at train stations, airports, hospitals and companies in Europe, the United States and elsewhere. In Japan, several dispensers are scheduled to be installed in various locations, starting in or around August. The development of Japan-version dispensers is also being considered. It is envisaged that the stories printed out will be the beginning or part of a story that takes place in the location where the dispenser is installed. Standing in the spot where a memorable scene was created will enable people to feel close to the world of the story. Another idea under consideration is an excerpt from a fine piece of literature written by a great author who has some connection with the locations. The number of stories will be increased one by one, with poems, such as the Japanese haiku, and even newly published works to be added to the list in future. Multiple stories will be made available at each dispenser. As the content printed out will be chosen at random, people can enjoy an unexpected encounter with a story. The scheme is also an attempt to encourage people to read the rest of the story in an actual book. This initiative has recently been selected as a new project implemented by the Cultural Affairs Agency to revitalise Japan's print culture, to which end the agency is supporting collaborations among book stores, literary museums and local governments. The agency will provide approximately 6.5 million yen (S$57,330) in support. As the relevant expenses are to be borne by local municipalities and the companies that install the dispensers, the service is to be offered free of charge. Why take the trouble to install dispensers with stories printed on paper at a time when many stories can be read for free just by searching on a smartphone? Mr Koichi Saito, manager in charge of new businesses at Tohan, said: 'We believe that holding a story that comes out by coincidence and reading it at that particular location will create a different value for readers. We want to increase the points of contact between people and books.' THE JAPAN NEWS/ASIA NEWS NETWORK Join ST's Telegram channel and get the latest breaking news delivered to you.
