Thursday, 2 December 2010
2010.12.01 關淑怡中環Shopping塞住對耳
【on.cc 東方互動 專訊】 關淑怡（Shirley）早前被指欠債，頻頻向友人「撲水」應急，但她已否認此事，心情也未受影響。日前Shirley邊聽歌邊行街，出巡到中環為愛子置新裝，可惜連逛多間時裝店仍未找到心頭好，最後只好乘的士離去。
戴黑超的Shirley聽著音樂在中環時裝店Shopping。
Friday, 5 November 2010
2010.11.04 關淑怡想搵圈外男交心
[蘋果日報]
關淑怡深居簡出，早前接受無綫娛樂新聞台節目訪問，自爆鍾意遊車河，因為喺車程中可以見到唔同嘅新事物，引發佢嘅音樂靈感。講完音樂講感情，佢話唔抗拒拍拖，只係自己唔心急，佢又話自己可能喺娛樂圈太耐，見慣靚仔，所以唔會特別要求伴侶靚仔，反而想搵個同佢思維相近，可以交心嘅圈外人喎。
關淑怡深居簡出，早前接受無綫娛樂新聞台節目訪問，自爆鍾意遊車河，因為喺車程中可以見到唔同嘅新事物，引發佢嘅音樂靈感。講完音樂講感情，佢話唔抗拒拍拖，只係自己唔心急，佢又話自己可能喺娛樂圈太耐，見慣靚仔，所以唔會特別要求伴侶靚仔，反而想搵個同佢思維相近，可以交心嘅圈外人喎。
2010.11.04 關淑怡遊車河保持熱情
關淑怡遊車河保持熱情
無線娛樂新聞台節目《系Friend至講》最後一集，主持人Mini請來關淑怡（Shirley）作嘉賓。再戰樂壇的Shirley表示現時心態和歌曲路線上都改變了，鬥心不再，但唱歌的熱情卻倍增。她指歌唱事業中，遊車河是她的獨門秘方，除了可紓壓外，每當看到新事物，總會給予新的音樂靈感，讓歌唱熱情永不「滑牙」，更享受踏上舞臺唱歌的那一刻。關淑怡都讚揚新一代的歌手對音樂的熱情。
坦言對靚仔無感覺
談到感情事，Shirley表示不抗拒拍拖，但亦不著急，她笑指自己可能在娛樂圈太久，對靚仔已無感覺。反而，她希望能找到一位與她思維相近，能交心的圈外伴侶。節目中，她們更相約了與Shirley合作無間的著名音樂總監Terry Chan，回味大家初期合作的趣事。Terry大爆Shirley在一次慈善音樂會中因嗓子欠佳，突然要求轉調，嚇到他要即席降調，驚險非常。Terry更戲言與Shirley合作必須預備八個調子，以備她隨時轉調的可能。Mini為了表揚關淑怡的天籟之音，故與Terry即席寫了一首名為《劍》的歌曲予Shirley，意思是她的聲線像劍一樣，揮灑自如。
【明報專訊】關淑怡 接受無線娛樂新聞台《係Friend至講》節目訪問，坦言不抗拒拍拖，只是她毫不著急，還笑言可能在娛樂圈太久，對靚仔沒有感覺，反而想找到一個與她思維相近，能交心的圈外伴侶。
關淑怡近年復出樂壇，雖然鬥心不再，但對歌唱熱情不減。她說遊車河是她的獨門秘方，可以紓壓及透過看到的新事物，給她新的音樂靈感，令歌唱熱情永不退減，享受在舞台唱歌的一刻。她讚揚新一代歌手對音樂的熱情，期待自己能把舊歌稍作修飾，以獨有的風格，把當年的音樂文化與他們分享。
無線娛樂新聞台節目《系Friend至講》最後一集，主持人Mini請來關淑怡（Shirley）作嘉賓。再戰樂壇的Shirley表示現時心態和歌曲路線上都改變了，鬥心不再，但唱歌的熱情卻倍增。她指歌唱事業中，遊車河是她的獨門秘方，除了可紓壓外，每當看到新事物，總會給予新的音樂靈感，讓歌唱熱情永不「滑牙」，更享受踏上舞臺唱歌的那一刻。關淑怡都讚揚新一代的歌手對音樂的熱情。
坦言對靚仔無感覺
談到感情事，Shirley表示不抗拒拍拖，但亦不著急，她笑指自己可能在娛樂圈太久，對靚仔已無感覺。反而，她希望能找到一位與她思維相近，能交心的圈外伴侶。節目中，她們更相約了與Shirley合作無間的著名音樂總監Terry Chan，回味大家初期合作的趣事。Terry大爆Shirley在一次慈善音樂會中因嗓子欠佳，突然要求轉調，嚇到他要即席降調，驚險非常。Terry更戲言與Shirley合作必須預備八個調子，以備她隨時轉調的可能。Mini為了表揚關淑怡的天籟之音，故與Terry即席寫了一首名為《劍》的歌曲予Shirley，意思是她的聲線像劍一樣，揮灑自如。
【明報專訊】關淑怡 接受無線娛樂新聞台《係Friend至講》節目訪問，坦言不抗拒拍拖，只是她毫不著急，還笑言可能在娛樂圈太久，對靚仔沒有感覺，反而想找到一個與她思維相近，能交心的圈外伴侶。
關淑怡近年復出樂壇，雖然鬥心不再，但對歌唱熱情不減。她說遊車河是她的獨門秘方，可以紓壓及透過看到的新事物，給她新的音樂靈感，令歌唱熱情永不退減，享受在舞台唱歌的一刻。她讚揚新一代歌手對音樂的熱情，期待自己能把舊歌稍作修飾，以獨有的風格，把當年的音樂文化與他們分享。
Monday, 18 October 2010
2010.10.17 闗淑怡．如詩的歌
打開娛樂﹕關淑怡，如詩的歌
【明報專訊】近年，澳門威尼斯人請了不少中外知名的歌手表演，實在是好點子。香港人愛玩、愛聽演唱會，過澳門吃過夠，聽歌賭錢住上一晚也就是周末好節目。每場的收入不知能否抵消成本，但如意算盤是打響了，聽眾成千上萬，周邊的收入不容小覷。
能叫我頻撲坐船過大海聽歌的有兩位，一是林憶蓮，另一位就是關淑怡了。
9 號晚，Shirley開了一場《One Starry Night——An Evening with Shirley Kwan》演唱會。梳覑一頭型格短髮的她，由《幻影》開始，獻唱多首悅耳的、別人的金曲。那全是她的個人喜愛，包括《情人》、《這是愛》、《藍月亮》、 《明知故犯》等。最感動我的是《失樂園》（草蜢原唱），由電子結他伴覑她柔美的歌聲，如泣如訴，一字一詞震盪心靈，像06年《關於我 關淑怡演唱會》中的《明年今日》一樣，她給歌曲賦與新的生命，成為獨一無二的「Shirley's version」。
換過單袖上衣及熱 褲皮靴，關淑怡接連唱出一串快歌，新歌《天規》、大熱的《叛逆漢子》、《Dela》、《午夜狂奔》都有了。這部分有點瑕疵﹕音樂蓋過她的歌 聲，Shirley也忘記部分歌詞，情形雖沒08年《Unexpected關淑怡演唱會》般嚴重，但我認為她應該可以唱得更好的。
唱出虛幻出塵的意境
壓 軸是首本名曲——《假的戀愛》、《一首獨唱的歌》、《繾綣星光下》，當然少不了《難得有情人》（為何每次都唱這些大路歌？Shirley的聽眾應該容得下 更多冷門歌的）。當唱《地盡頭》時，她把短髮熨貼梳一邊，一襲黑色緞子墊膊高釵長裙，讓玲瓏身段在超貼身的剪裁下，展現出若隱若現的性感（Shirley 讀時裝設計出身，品味不俗）。林夕的詞襯上她如詩般的嗓音，絕對是一次優美的演繹。關淑怡唱的往往是一種意境，她是歌曲的領航員，能帶領你的耳朵到天際， 飄落到虛幻出塵的境界。
以為出道超過二十年的歌手都「韌晒皮」嗎？當唱至《人生可有知己》時，Shirley感觸落淚了。她哭得很好看，無論外表如何前衛，淚水在眼眶流轉就是楚楚動人。感性的伊，和年前的國語歌一樣，其實外冷內熱，十足一團《冷火》。
關淑怡在樂壇多次去了又來，喜歡她的人，也要「抵得」她飄忽的性格。傳媒愛追蹤她的私生活，又說這次演唱會她和男dancer如何火辣跳舞云云，這些報道其實十分無謂，讀來也多餘。
這幾年，香港樂壇已失去太多的舞台王者，Shirley，你偶爾「潛水」不打緊，千萬不要消失，愛聽愛看你的人還是會在默默守候的。
【明報專訊】近年，澳門威尼斯人請了不少中外知名的歌手表演，實在是好點子。香港人愛玩、愛聽演唱會，過澳門吃過夠，聽歌賭錢住上一晚也就是周末好節目。每場的收入不知能否抵消成本，但如意算盤是打響了，聽眾成千上萬，周邊的收入不容小覷。
能叫我頻撲坐船過大海聽歌的有兩位，一是林憶蓮，另一位就是關淑怡了。
9 號晚，Shirley開了一場《One Starry Night——An Evening with Shirley Kwan》演唱會。梳覑一頭型格短髮的她，由《幻影》開始，獻唱多首悅耳的、別人的金曲。那全是她的個人喜愛，包括《情人》、《這是愛》、《藍月亮》、 《明知故犯》等。最感動我的是《失樂園》（草蜢原唱），由電子結他伴覑她柔美的歌聲，如泣如訴，一字一詞震盪心靈，像06年《關於我 關淑怡演唱會》中的《明年今日》一樣，她給歌曲賦與新的生命，成為獨一無二的「Shirley's version」。
換過單袖上衣及熱 褲皮靴，關淑怡接連唱出一串快歌，新歌《天規》、大熱的《叛逆漢子》、《Dela》、《午夜狂奔》都有了。這部分有點瑕疵﹕音樂蓋過她的歌 聲，Shirley也忘記部分歌詞，情形雖沒08年《Unexpected關淑怡演唱會》般嚴重，但我認為她應該可以唱得更好的。
唱出虛幻出塵的意境
壓 軸是首本名曲——《假的戀愛》、《一首獨唱的歌》、《繾綣星光下》，當然少不了《難得有情人》（為何每次都唱這些大路歌？Shirley的聽眾應該容得下 更多冷門歌的）。當唱《地盡頭》時，她把短髮熨貼梳一邊，一襲黑色緞子墊膊高釵長裙，讓玲瓏身段在超貼身的剪裁下，展現出若隱若現的性感（Shirley 讀時裝設計出身，品味不俗）。林夕的詞襯上她如詩般的嗓音，絕對是一次優美的演繹。關淑怡唱的往往是一種意境，她是歌曲的領航員，能帶領你的耳朵到天際， 飄落到虛幻出塵的境界。
以為出道超過二十年的歌手都「韌晒皮」嗎？當唱至《人生可有知己》時，Shirley感觸落淚了。她哭得很好看，無論外表如何前衛，淚水在眼眶流轉就是楚楚動人。感性的伊，和年前的國語歌一樣，其實外冷內熱，十足一團《冷火》。
關淑怡在樂壇多次去了又來，喜歡她的人，也要「抵得」她飄忽的性格。傳媒愛追蹤她的私生活，又說這次演唱會她和男dancer如何火辣跳舞云云，這些報道其實十分無謂，讀來也多餘。
這幾年，香港樂壇已失去太多的舞台王者，Shirley，你偶爾「潛水」不打緊，千萬不要消失，愛聽愛看你的人還是會在默默守候的。
Friday, 15 October 2010
2010.10.14 張錦滿專欄：關淑怡在澳門再戰一場
[亞洲時報]
關淑怡兩年前在香港紅館舉行演唱會，難得她不捨不棄，在這2010年10月於澳門金光綜藝館再戰一 場。有戰未為輸，任何人可以站起來再鬥，都是戰士，就算不一定是勝利者。事實上，人生不敗便已是勝利。她今回在唱到“人生可有知己”的最後幾句：“……唯 有盡本份，哪管路彎風狂嘯，有你共我一起闖，心已樂極了，人生路有知心一起共勉……”關淑怡便開始唱不下去了，要等那突然湧上喉頭的心結鬆一鬆，停了好一 會，她才可以繼續唱完最後的一句：“伴我一起闖，不再寂寞--了。”
她又唱王菲的《我願意》。上一次她在香港紅館演唱會唱同一首歌，雖同 是感情迴盪，但也只需要壓一壓氣，便可忍住激烈情緒，把最後那一個“了”字呼出來。隔了兩年，這一次她站在澳門威尼斯人金光綜藝館的舞台，感觸似乎是更 深。有報道說她落淚是因為入場率欠佳，但這是半杯水的道理，我可感受到她看見有心人為她站起來，並揮動螢光棒與螢光牌。她唱到“……唯獨是你，你待我真以 心，相處共對以真，你令我積極繼續前行……”，流出的淚水絕對自然，是的，需要經過年月的洗禮，那種味道才慢慢變得實在，這一首歌，又醇了一點。
有報道登出一張空位甚多的照片，說知音者稀，然而我人在現場，也曾環目四顧，認為雖然座位沒有填滿，但也沒怎般冷清。該張照片是甚麼時候拍的？是否在開始進場、觀眾還沒有全進來時？關淑怡有哭的道理。為甚麼有些人心腸不可以好一點呢？
在 傷感歌曲之後，還要再推一陣高潮，把壓箱的作品演出來。《難得有情人》 之後有《繾綣星光下》，但都未是Encore之前的壓軸。演唱會最關鍵時間，她唱的竟是別人的歌，是否沒有足夠的膽量與信心呢？她不挑戰自己。她選唱王菲 的《我願意》，前奏一響起，我便閉起眼來，焚一炷心香，預備接受穿透靈魂的感動。關淑怡以她的氣腔，其實要表達其中的空靈與深情，可說是勝任如魚得水的， 而她這一次演繹，應該算是不失禮，這已夠厲害，因為她可與最佳演繹者相比。
除了挑別人的歌來壓軸，她在開場時就連唱了八首別人的歌，在Encore時她又唱多了兩首，按比例，別人的歌幾乎佔了她整個演唱會的一半。關淑怡自己並非不夠歌，她只是想與喜歡她的歌迷分享她的喜愛，譬如她近期唱的《鑽禧》，我便沒法聽到了。
她 喜愛唱別人的甚麼歌呢？我只記住其中的廣東歌，包括譚詠麟的《幻影》、BEYOND的《情人》、許美靜的《明知故犯》、泰迪羅賓的《這是愛》、草蜢的《失 樂園》、李克勤的《藍月亮》、梅豔芳的《夢伴》，以及Encore時段的最後一首--郭富城的《我為何讓你走》。她在這次演唱會中唱的《失樂園》與《我為 何讓你走》很出色，經她楚楚動人的歌聲詮釋，就像在《走佬俏公主》中的安妮夏菲維，由一個普通人忽然變作金枝玉葉，頓時華麗起來，而她唱《明知故犯》，也 把許美靜的音色、腔調變亮了。她有幾首歌，值得找來重聽。
聽關淑怡，要有安靜的心，所以她唱快歌那一環節，我就不說了。
關淑怡兩年前在香港紅館舉行演唱會，難得她不捨不棄，在這2010年10月於澳門金光綜藝館再戰一 場。有戰未為輸，任何人可以站起來再鬥，都是戰士，就算不一定是勝利者。事實上，人生不敗便已是勝利。她今回在唱到“人生可有知己”的最後幾句：“……唯 有盡本份，哪管路彎風狂嘯，有你共我一起闖，心已樂極了，人生路有知心一起共勉……”關淑怡便開始唱不下去了，要等那突然湧上喉頭的心結鬆一鬆，停了好一 會，她才可以繼續唱完最後的一句：“伴我一起闖，不再寂寞--了。”
她又唱王菲的《我願意》。上一次她在香港紅館演唱會唱同一首歌，雖同 是感情迴盪，但也只需要壓一壓氣，便可忍住激烈情緒，把最後那一個“了”字呼出來。隔了兩年，這一次她站在澳門威尼斯人金光綜藝館的舞台，感觸似乎是更 深。有報道說她落淚是因為入場率欠佳，但這是半杯水的道理，我可感受到她看見有心人為她站起來，並揮動螢光棒與螢光牌。她唱到“……唯獨是你，你待我真以 心，相處共對以真，你令我積極繼續前行……”，流出的淚水絕對自然，是的，需要經過年月的洗禮，那種味道才慢慢變得實在，這一首歌，又醇了一點。
有報道登出一張空位甚多的照片，說知音者稀，然而我人在現場，也曾環目四顧，認為雖然座位沒有填滿，但也沒怎般冷清。該張照片是甚麼時候拍的？是否在開始進場、觀眾還沒有全進來時？關淑怡有哭的道理。為甚麼有些人心腸不可以好一點呢？
在 傷感歌曲之後，還要再推一陣高潮，把壓箱的作品演出來。《難得有情人》 之後有《繾綣星光下》，但都未是Encore之前的壓軸。演唱會最關鍵時間，她唱的竟是別人的歌，是否沒有足夠的膽量與信心呢？她不挑戰自己。她選唱王菲 的《我願意》，前奏一響起，我便閉起眼來，焚一炷心香，預備接受穿透靈魂的感動。關淑怡以她的氣腔，其實要表達其中的空靈與深情，可說是勝任如魚得水的， 而她這一次演繹，應該算是不失禮，這已夠厲害，因為她可與最佳演繹者相比。
除了挑別人的歌來壓軸，她在開場時就連唱了八首別人的歌，在Encore時她又唱多了兩首，按比例，別人的歌幾乎佔了她整個演唱會的一半。關淑怡自己並非不夠歌，她只是想與喜歡她的歌迷分享她的喜愛，譬如她近期唱的《鑽禧》，我便沒法聽到了。
她 喜愛唱別人的甚麼歌呢？我只記住其中的廣東歌，包括譚詠麟的《幻影》、BEYOND的《情人》、許美靜的《明知故犯》、泰迪羅賓的《這是愛》、草蜢的《失 樂園》、李克勤的《藍月亮》、梅豔芳的《夢伴》，以及Encore時段的最後一首--郭富城的《我為何讓你走》。她在這次演唱會中唱的《失樂園》與《我為 何讓你走》很出色，經她楚楚動人的歌聲詮釋，就像在《走佬俏公主》中的安妮夏菲維，由一個普通人忽然變作金枝玉葉，頓時華麗起來，而她唱《明知故犯》，也 把許美靜的音色、腔調變亮了。她有幾首歌，值得找來重聽。
聽關淑怡，要有安靜的心，所以她唱快歌那一環節，我就不說了。
Tuesday, 12 October 2010
2010.10.11 關淑怡最後一騷感觸落淚
[東方日報]
關淑怡（Shirley）在澳門演唱會上為負面報道而感觸落淚，視每次演出為最後一次，又坦言不願工作、不想推出大碟，似萌引退之意，但她轉頭又話心急傾新唱片公司及舉行巡迴演唱會，令人摸不着頭腦。
出道多年的Shirley，前晚首度在澳門舉行演唱會，約有七成入座率，先後穿上四套最新秋冬裝的她，開場時歌聲略嫌細聲及有點脷，但經過五首歌「熱身」後，狀態回勇。Shirley除演繹多首經典金曲外，又翻唱了其至愛的王菲、草蜢、Beyond、米高積遜、譚詠麟、郭富城及許美靜的歌曲。雖已為人母，但專業的她仍和外籍型男互摸身軀，大跳辣身舞。
無意出翻唱碟
Shirley唱《人生可有知己》時，突然眼泛淚光：「啲人成日話我寸、黑面，其實我好易喊，真係多謝你哋（歌迷）。」她吐心底話指世事無常，故視每次站在台上的演出為最後一次。她又說不少歌迷要求她再翻唱其他歌手的作品，但迄下無意再推出同類型的唱片。
Shirley接受訪問時，否認為負面新聞落淚，自言是感性的人，加上又受歌詞牽動了情緒，她說：「第一次聽呢首歌嘅demo時已感動到喊，歌詞係講人生經歷，每個人都好易有共鳴。」
工作並非樂意
問她可會簽唱片公司？她即叫工作人員「快啲搵啦」，是否有十間八間公司傾她？她反問：「香港有十間、八間公司咁多咩？」Shirley稱現時「有啲嘢做緊」，但簽公司是另一回事，其意願是：「唔係出大碟，我鍾意做演唱會、live show，唔會為錄音而做十首歌。」問她何時再舉行巡迴演唱會？她再叫工作人員安排，但問她可樂意工作時，Shirley卻老實說：「唔係！」
關淑怡和外籍型男互摸，大跳辣身舞。
關淑怡開場時表現失準，要經過５首歌才撻起狀態。
關淑怡（Shirley）在澳門演唱會上為負面報道而感觸落淚，視每次演出為最後一次，又坦言不願工作、不想推出大碟，似萌引退之意，但她轉頭又話心急傾新唱片公司及舉行巡迴演唱會，令人摸不着頭腦。
出道多年的Shirley，前晚首度在澳門舉行演唱會，約有七成入座率，先後穿上四套最新秋冬裝的她，開場時歌聲略嫌細聲及有點脷，但經過五首歌「熱身」後，狀態回勇。Shirley除演繹多首經典金曲外，又翻唱了其至愛的王菲、草蜢、Beyond、米高積遜、譚詠麟、郭富城及許美靜的歌曲。雖已為人母，但專業的她仍和外籍型男互摸身軀，大跳辣身舞。
無意出翻唱碟
Shirley唱《人生可有知己》時，突然眼泛淚光：「啲人成日話我寸、黑面，其實我好易喊，真係多謝你哋（歌迷）。」她吐心底話指世事無常，故視每次站在台上的演出為最後一次。她又說不少歌迷要求她再翻唱其他歌手的作品，但迄下無意再推出同類型的唱片。
Shirley接受訪問時，否認為負面新聞落淚，自言是感性的人，加上又受歌詞牽動了情緒，她說：「第一次聽呢首歌嘅demo時已感動到喊，歌詞係講人生經歷，每個人都好易有共鳴。」
工作並非樂意
問她可會簽唱片公司？她即叫工作人員「快啲搵啦」，是否有十間八間公司傾她？她反問：「香港有十間、八間公司咁多咩？」Shirley稱現時「有啲嘢做緊」，但簽公司是另一回事，其意願是：「唔係出大碟，我鍾意做演唱會、live show，唔會為錄音而做十首歌。」問她何時再舉行巡迴演唱會？她再叫工作人員安排，但問她可樂意工作時，Shirley卻老實說：「唔係！」
Monday, 11 October 2010
2010.10.10 關淑怡慨嘆被誤會常黑面
[明報]
【明報專訊】關淑怡前晚首度於澳門舉行演唱會，在台上一時與男舞蹈員互摸表現風騷，一時又感觸落淚哭至連眼線也弄花，大嘆常被人指黑面很酷，其實她很易哭，常感到世事無常，故每次演出都以為是最後一次。為何那麼感觸？她卻說不知，該是因《人生可有知己》是她最喜歡的歌，所以一想到歌詞便觸動了感覺。是否介意被指黑面？她說：「其實我不是，時間可證明一切，我只是較感性不喜歡便不出聲不瞅不睬，對朋友又可交個心出來。」
不太樂意工作
她又直言自己不太樂意工作，問可有打算再簽約唱片公司？關淑怡說：「香港有多少間唱片公司我也不知道，我現在有些東西在腦入面諗緊做緊，簽唱片公司不是一件什麼的事，我亦不打算再出個人大碟，不想為出碟做十首歌出來，希望可以逐首歌出，有自己的風格。」
關淑怡很易哭，常感到世事無常。
關淑怡演繹別人的歌，但她卻揚言除了前晚，以後也沒有這個機會。
關淑怡自認感性 對空凳唱到喊
[蘋果日報]
關淑怡前晚首次在澳門舉行演唱會，雖然只得七成入座率，但她落力演出，更唱出多首別人的歌。關淑怡在台上為自己平反，自言是一個易流淚的人，並非外間所指又寸及易黑面，她演繹《人生可有知己》時更一度感觸哽咽。
久未舉行個唱的關淑怡前晚在澳門金光綜藝館開騷，雖然今次是關淑怡首次在澳門開騷，但因宣傳不足，入座率僅得七成，不過一向有性格的關淑怡對空凳視若無睹，在台上落力獻唱，先後換了三套 Versace服裝，又與男 dancer大跳辣身舞，擁抱、摸臀兼摸胸邊，即時令全場氣溫升高。
罕談內心感受
今次關淑怡主打獻唱別人的歌，當中包括梅艷芳的《夢伴》、 Beyond的《情人》、譚詠麟的《幻影》、草蜢的《失樂園》、王菲的《我願意》等，令人聽出耳油。關淑怡在台上表示今次個唱不算是正式的演唱會，反而是令她有機會與觀眾近距離接觸，當她演繹到《人生可有知己》時一度感觸哽咽，搞到變花面貓，喊到眼線都甩色。
平日甚少流露心中情的關淑怡難得向觀眾分享感受，她說：「啲人成日話我寸同黑面，其實我好易喊，多謝你哋嘅支持。其實好多人都成日叫我唱其他人嘅歌，我個人意願就唔想，因為十幾年前已經出過碟，我間唔中唱啲我鍾意嘅歌手嘅歌，係因為我尊重原唱者、作曲作詞人，點解唔俾我唱（指《我願意》），呢首歌好有意思，我送畀一路以來睇住我出道，鍾意聽我唱歌同好憎我嘅人。」
懶理被指黑面
事後關淑怡接受訪問時坦言十分喜歡《人生可有知己》，她說：「當年聽呢首歌已聽到喊，呢首歌代表好多人包括我，代表好多人生經歷，我唔介意俾人話黑面，係我個人較感性，如果我唔鍾意就唔會睬你，如果我鍾意就同你交個心。」
關淑怡含淚自白：我唔寸
[太陽報]
前晚關淑怡首次在澳門威尼斯人金光綜藝館舉行演唱會，已有兩年沒有開演唱會的她愈唱愈好，還和外籍男Dancer大跳貼身舞。
自言感性的她演繹《人生可有知己》時，帶淚說：「啲人成日話我寸、黑面，其實我好易喊。」但關淑怡接受訪問時，否認為負面新聞而喊，只是被歌詞打動。問她可會再簽唱片公司出碟及舉行巡迴演唱會？她即叫工作人員趕緊為她傾工作，但又自言只愛做Live Show，不想推出大碟，也不會為錄音而做歌。問她是否樂意投入工作？她說：「唔係。」並慨嘆現今唱片公司沒有雄厚資本力捧歌手，故戥樂壇新人辛苦。
關淑怡與男Dancer激情纏綿
[星島日報]
(星島日報報道)關淑怡前晚首次於澳門舉行演唱會，有7成入座率，但她大部分時間都在唱別人的歌，當中包括梅艷芳、王菲、草蜢、許美靜及郭富城的經典金曲，結尾則以米高積遜的《You are not alone》為演唱會畫上句號。其間一大隻男舞蹈員跟關淑怡有貼身舞步，最後還抱她，但她卻一點也不介意，還輕摸男方的面呢。
一向予人脾氣臭又難相處的關淑怡，前晚獻唱《人生可有知己》時感觸落淚，Fans則大叫不要哭來安慰她。關淑怡自言是很容易感動落淚之人。她坦言暫時不會推出大碟，就算推出也只是單曲形式，還是較喜歡在演唱會或音樂騷表演的現場感覺，而她的巡迴演唱會則還在安排中。
感觸《人生可有知己》關淑怡澳門演唱灑淚
[文匯報]
香港文匯報訊（記者 李思穎）關淑怡前晚於澳門舉行演唱會，除了跟男舞蹈員有火辣動作，當演繹《人生可有知己》一曲時，感觸得哭成淚人，又為自己經常被指「黑面」解畫，稱只是感性而已。
關淑怡一身黑衣打扮登上舞台，可能不習慣澳門場地，最初時歌聲較薄弱，唱到第五首歌時已經回勇，贏得不少掌聲，外表冷酷的關淑怡在演唱《人生可有知己》時，感觸落淚，淚水把眼線都溶化了，她感觸說：「有人成日話我寸、黑面，其實我好易喊。」
全晚關淑怡表現投入，當中又和男舞蹈員跳「辣身舞」，她被對方從後緊緊攬抱，又被對方的手在胸前掃過，相當誘人；她還演繹其他歌手包括王菲、梅艷芳、草蜢等人歌曲，尾聲時獻唱米高積遜的《You are not alone》。
對於被指「黑面」，她表示自己是一個感性的人，在情緒低落時會對不熟稔的記者不理睬，事實上自己的性格在相處過後可視之為交心友。（為何在台上感觸落淚？）她說：「這首歌的歌詞很好，當初聽到這首歌的歌詞便已喊出來了，令人很感動。」
關淑怡展露感性一面
[成報]
關淑怡前晚首次在澳門威尼斯人開騷，入座率達七成，整晚大唱梅艷芳、王菲、草蜢、許美靜的經典歌曲，安歌部分則以MJ的《You are not alone》作結，全場掌聲雷動。
開騷初時關淑怡歌聲聲線不太穩定，後來愈唱愈勇，又與男舞蹈員大跳貼身舞。唱到《人生可有知己》時，更一度感觸落淚，連眼線都溶化。Fans大為心痛，高呼叫她不要哭。關淑怡又透露心聲：「成日有人話我黑面、好寸，其實我好易喊。」
事後，關淑怡指喊是因為歌詞正，加上她最喜歡這首歌，當初一聽到這歌的初稿已哭了出來。問她是否很介意被指黑面？她自言較感性，又認為新的記者或會聽得多其他消息，對她有先入為主的感覺，但認為時間會證明一切。關淑怡又直言不希望為出碟而做十首歌，自己較喜歡做具現場感的演唱會。問她會否巡迴演出？她表示安排中。
關淑怡黑面因為人感性
[AM730]
關淑怡前晚於澳門首度舉行演唱會，當唱到《人生可有知己》一曲時，突然感觸落淚，抹眼淚時連眼線也抹花，她慨嘆常被指黑面，但其實本身很易哭，又常感世事無常，每次開show都覺得是最後一次。不過她亦表現得十分落力，唱自己的歌之餘，亦安排了獻唱別人的經典舊歌，當中包括譚詠麟、梅艷芳、王菲及郭富城的金曲，更揚言這個編排就算以後開show亦可一不可再。
關淑怡表示，一直有很多唱片公司想找她唱別人的歌，難得今次開show，內容安排比平時開演唱會自由，故決定今次一次過唱給大家聽。問她是否介意被指黑面才這麼感觸，她說：「唔係，只係唱到自己最喜歡嘅歌，一時被歌詞觸動，自己唔會介意被指黑面，我個人比較感性，時間可以證明一切。」
[on.cc 東方互動 專訊] 關淑怡（Shirley）假澳門舉行演唱會，雖然開場時歌聲較弱，但唱到第五首歌時已經回勇，又和型男舞蹈員跳辣身舞，意態撩人！當演繹《人生可有知己》時，Shirley感觸落淚，並聲音沙啞說：「有人成日話我寸、黑面，其實我好易喊。」
Shirley在完騷後接受訪問，被問是否介意被指黑面？她認為自己是一個感性的人，在情緒低落時會對不熟稔的記者不理睬，相識後可視之為交心友。
【明報專訊】關淑怡前晚首度於澳門舉行演唱會，在台上一時與男舞蹈員互摸表現風騷，一時又感觸落淚哭至連眼線也弄花，大嘆常被人指黑面很酷，其實她很易哭，常感到世事無常，故每次演出都以為是最後一次。為何那麼感觸？她卻說不知，該是因《人生可有知己》是她最喜歡的歌，所以一想到歌詞便觸動了感覺。是否介意被指黑面？她說：「其實我不是，時間可證明一切，我只是較感性不喜歡便不出聲不瞅不睬，對朋友又可交個心出來。」
不太樂意工作
她又直言自己不太樂意工作，問可有打算再簽約唱片公司？關淑怡說：「香港有多少間唱片公司我也不知道，我現在有些東西在腦入面諗緊做緊，簽唱片公司不是一件什麼的事，我亦不打算再出個人大碟，不想為出碟做十首歌出來，希望可以逐首歌出，有自己的風格。」
關淑怡自認感性 對空凳唱到喊
[蘋果日報]
關淑怡前晚首次在澳門舉行演唱會，雖然只得七成入座率，但她落力演出，更唱出多首別人的歌。關淑怡在台上為自己平反，自言是一個易流淚的人，並非外間所指又寸及易黑面，她演繹《人生可有知己》時更一度感觸哽咽。
久未舉行個唱的關淑怡前晚在澳門金光綜藝館開騷，雖然今次是關淑怡首次在澳門開騷，但因宣傳不足，入座率僅得七成，不過一向有性格的關淑怡對空凳視若無睹，在台上落力獻唱，先後換了三套 Versace服裝，又與男 dancer大跳辣身舞，擁抱、摸臀兼摸胸邊，即時令全場氣溫升高。
罕談內心感受
今次關淑怡主打獻唱別人的歌，當中包括梅艷芳的《夢伴》、 Beyond的《情人》、譚詠麟的《幻影》、草蜢的《失樂園》、王菲的《我願意》等，令人聽出耳油。關淑怡在台上表示今次個唱不算是正式的演唱會，反而是令她有機會與觀眾近距離接觸，當她演繹到《人生可有知己》時一度感觸哽咽，搞到變花面貓，喊到眼線都甩色。
平日甚少流露心中情的關淑怡難得向觀眾分享感受，她說：「啲人成日話我寸同黑面，其實我好易喊，多謝你哋嘅支持。其實好多人都成日叫我唱其他人嘅歌，我個人意願就唔想，因為十幾年前已經出過碟，我間唔中唱啲我鍾意嘅歌手嘅歌，係因為我尊重原唱者、作曲作詞人，點解唔俾我唱（指《我願意》），呢首歌好有意思，我送畀一路以來睇住我出道，鍾意聽我唱歌同好憎我嘅人。」
懶理被指黑面
事後關淑怡接受訪問時坦言十分喜歡《人生可有知己》，她說：「當年聽呢首歌已聽到喊，呢首歌代表好多人包括我，代表好多人生經歷，我唔介意俾人話黑面，係我個人較感性，如果我唔鍾意就唔會睬你，如果我鍾意就同你交個心。」
關淑怡含淚自白：我唔寸
[太陽報]
前晚關淑怡首次在澳門威尼斯人金光綜藝館舉行演唱會，已有兩年沒有開演唱會的她愈唱愈好，還和外籍男Dancer大跳貼身舞。
自言感性的她演繹《人生可有知己》時，帶淚說：「啲人成日話我寸、黑面，其實我好易喊。」但關淑怡接受訪問時，否認為負面新聞而喊，只是被歌詞打動。問她可會再簽唱片公司出碟及舉行巡迴演唱會？她即叫工作人員趕緊為她傾工作，但又自言只愛做Live Show，不想推出大碟，也不會為錄音而做歌。問她是否樂意投入工作？她說：「唔係。」並慨嘆現今唱片公司沒有雄厚資本力捧歌手，故戥樂壇新人辛苦。
關淑怡與男Dancer激情纏綿
[星島日報]
(星島日報報道)關淑怡前晚首次於澳門舉行演唱會，有7成入座率，但她大部分時間都在唱別人的歌，當中包括梅艷芳、王菲、草蜢、許美靜及郭富城的經典金曲，結尾則以米高積遜的《You are not alone》為演唱會畫上句號。其間一大隻男舞蹈員跟關淑怡有貼身舞步，最後還抱她，但她卻一點也不介意，還輕摸男方的面呢。
一向予人脾氣臭又難相處的關淑怡，前晚獻唱《人生可有知己》時感觸落淚，Fans則大叫不要哭來安慰她。關淑怡自言是很容易感動落淚之人。她坦言暫時不會推出大碟，就算推出也只是單曲形式，還是較喜歡在演唱會或音樂騷表演的現場感覺，而她的巡迴演唱會則還在安排中。
感觸《人生可有知己》關淑怡澳門演唱灑淚
[文匯報]
香港文匯報訊（記者 李思穎）關淑怡前晚於澳門舉行演唱會，除了跟男舞蹈員有火辣動作，當演繹《人生可有知己》一曲時，感觸得哭成淚人，又為自己經常被指「黑面」解畫，稱只是感性而已。
關淑怡一身黑衣打扮登上舞台，可能不習慣澳門場地，最初時歌聲較薄弱，唱到第五首歌時已經回勇，贏得不少掌聲，外表冷酷的關淑怡在演唱《人生可有知己》時，感觸落淚，淚水把眼線都溶化了，她感觸說：「有人成日話我寸、黑面，其實我好易喊。」
全晚關淑怡表現投入，當中又和男舞蹈員跳「辣身舞」，她被對方從後緊緊攬抱，又被對方的手在胸前掃過，相當誘人；她還演繹其他歌手包括王菲、梅艷芳、草蜢等人歌曲，尾聲時獻唱米高積遜的《You are not alone》。
對於被指「黑面」，她表示自己是一個感性的人，在情緒低落時會對不熟稔的記者不理睬，事實上自己的性格在相處過後可視之為交心友。（為何在台上感觸落淚？）她說：「這首歌的歌詞很好，當初聽到這首歌的歌詞便已喊出來了，令人很感動。」
關淑怡展露感性一面
[成報]
關淑怡前晚首次在澳門威尼斯人開騷，入座率達七成，整晚大唱梅艷芳、王菲、草蜢、許美靜的經典歌曲，安歌部分則以MJ的《You are not alone》作結，全場掌聲雷動。
開騷初時關淑怡歌聲聲線不太穩定，後來愈唱愈勇，又與男舞蹈員大跳貼身舞。唱到《人生可有知己》時，更一度感觸落淚，連眼線都溶化。Fans大為心痛，高呼叫她不要哭。關淑怡又透露心聲：「成日有人話我黑面、好寸，其實我好易喊。」
事後，關淑怡指喊是因為歌詞正，加上她最喜歡這首歌，當初一聽到這歌的初稿已哭了出來。問她是否很介意被指黑面？她自言較感性，又認為新的記者或會聽得多其他消息，對她有先入為主的感覺，但認為時間會證明一切。關淑怡又直言不希望為出碟而做十首歌，自己較喜歡做具現場感的演唱會。問她會否巡迴演出？她表示安排中。
關淑怡黑面因為人感性
[AM730]
關淑怡前晚於澳門首度舉行演唱會，當唱到《人生可有知己》一曲時，突然感觸落淚，抹眼淚時連眼線也抹花，她慨嘆常被指黑面，但其實本身很易哭，又常感世事無常，每次開show都覺得是最後一次。不過她亦表現得十分落力，唱自己的歌之餘，亦安排了獻唱別人的經典舊歌，當中包括譚詠麟、梅艷芳、王菲及郭富城的金曲，更揚言這個編排就算以後開show亦可一不可再。
關淑怡表示，一直有很多唱片公司想找她唱別人的歌，難得今次開show，內容安排比平時開演唱會自由，故決定今次一次過唱給大家聽。問她是否介意被指黑面才這麼感觸，她說：「唔係，只係唱到自己最喜歡嘅歌，一時被歌詞觸動，自己唔會介意被指黑面，我個人比較感性，時間可以證明一切。」
[on.cc 東方互動 專訊] 關淑怡（Shirley）假澳門舉行演唱會，雖然開場時歌聲較弱，但唱到第五首歌時已經回勇，又和型男舞蹈員跳辣身舞，意態撩人！當演繹《人生可有知己》時，Shirley感觸落淚，並聲音沙啞說：「有人成日話我寸、黑面，其實我好易喊。」
Shirley在完騷後接受訪問，被問是否介意被指黑面？她認為自己是一個感性的人，在情緒低落時會對不熟稔的記者不理睬，相識後可視之為交心友。
Sunday, 10 October 2010
2010.10.11 關淑怡澳門演唱會 One Starry Night An Evening with Shirley Kwan
關淑怡澳門演唱會 One Starry Night An Evening with Shirley Kwan
地點:威尼斯人金光綜藝館
日期: 2010年10月9日
今次真係好正，唱方面係好過香港unexpected演唱會。今次唱左過10首人地o既歌，超正！到快個個part，我跳到顛呀，好high!!!!全場都好high，氣氛好好！！！到唱自己慢歌時，係全晚狀態最fit，首首金曲，感情滿瀉，“人生可有知己”時喊到失控，好感動。我都有眼濕濕。到最後一首歌，竟然唱“我為何讓你走”，正到爆！無可能唱到o甘感人，o甘有感情。唱歌有細膩有感情一向都係SKo既強項，同原唱根本無得比！！！我睇完今次SK concert真係好滿足，好warm!多謝Shirley比我地一個如此難以忘記得晚上。
P.S.我錄左成粒鐘video呀，正呀，哈哈！！！！
Rundown:
1. 幻影
2. 情人
3. 畫心
4. 明知故犯
5. 這是愛
6. 失樂園
7. 藍月亮
8. 夢伴
9. 天規(Remix)
10. 叛逆漢子
11. Dela
12. 夜迷宮
13. 午夜狂奔
14. 關於我(Remix)
15. 山水
16. 眾生花
17. Imagine (MV)
18. 地盡頭
19. 忘記他
20. 假的戀愛
21. 一首獨唱的歌
22. 人生可有知己
23. 只得一次
24. 難得有情人
25. 繢綣星光下
26. 我願意
Encore:
27. You are not Alone
28. 我為何讓你走
Video
Friday, 24 September 2010
2010.09.23 關淑怡憶舊情 忘了「他」是誰
【世界日報╱娛樂新聞組香港22日電】
關淑怡和唱片公司約滿後，回復自由身的她開唱賺錢，下月將到澳門舉行演唱會。她說：「十幾年沒去過澳門，對上一次在黑沙灣海灘漫步，風景真是好優美。」問她是和哪個人漫步沙灘？她笑說：「舊事不需記，連我都不記得和哪個人一起去。」
好友譚詠麟和李克勤得知關淑怡開唱，即錄片段為她打氣，她感動說：「沒想到他們那麼支持我，好想公開和他們道謝。」製作單位特別請了俄羅斯著名男舞蹈員跟她合作，問到會否跳辣身舞？她笑說：「我們會跳《夜迷宮》，大家幻想一下啦。」
關淑怡和唱片公司約滿後，回復自由身的她開唱賺錢，下月將到澳門舉行演唱會。她說：「十幾年沒去過澳門，對上一次在黑沙灣海灘漫步，風景真是好優美。」問她是和哪個人漫步沙灘？她笑說：「舊事不需記，連我都不記得和哪個人一起去。」
好友譚詠麟和李克勤得知關淑怡開唱，即錄片段為她打氣，她感動說：「沒想到他們那麼支持我，好想公開和他們道謝。」製作單位特別請了俄羅斯著名男舞蹈員跟她合作，問到會否跳辣身舞？她笑說：「我們會跳《夜迷宮》，大家幻想一下啦。」
Tuesday, 21 September 2010
2010.09.20 關淑怡澳門開騷憶浪漫舊事
【on.cc專訊】 關淑怡（Shirley）將於下月9日在澳門開騷，入行20多年的她首次跟澳門樂迷見面，感到十分興奮，Shirley說：「十幾年冇去過澳門，對上一次記憶係喺黑沙海灘漫步，覺得環境十分幽靜美麗。（同邊個漫步沙灘？）哈哈！舊事不需記，連自己都唔記得同邊個一齊去！」對於譚詠麟與李克勤得知她開騷後即錄片段打氣，Shirley感動地說：「冇諗過佢哋會咁支持，好想公開多謝佢哋！」
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Sunday, 19 September 2010
2010.09.21 關淑怡舞戰俄羅斯男
關淑怡（ Shirley）下月9號會喺澳門威尼斯人金光綜藝館舉行演唱會，都係佢入行二十幾年嚟第一次喺澳門演出。今次演唱會， Shirley除咗會唱出自己嘅經典名曲之外，仲會同俄羅斯男舞蹈員大跳勁舞，問佢會唔會有辣身舞？ Shirley話：「乜家啲人淨係鍾意睇辣身舞？我會同呢位舞男跳夜迷宮，你哋自己幻想吓囉！」
【明報專訊】關淑怡 （Shirely）將於10月9日在澳門 威尼斯人金光綜藝館舉行《關淑怡ONE STARRY NIGHT澳門演唱會》，這是Shirely入行20多年首次在澳門演出，有Fans知道她開騷的消息已集體訂票捧場。
今次到澳門演出對Shirely而言有新鮮感，她已十多年沒到過澳門，對上一次的記憶是在黑沙環海灘漫步，但已忘記當時跟誰在一起了。演唱會中，她唱個人的經典歌外，也唱別人的歌，更邀請了一位俄羅斯 的男舞蹈員合作。問會否有辣身舞？她反問是否現在的觀眾皆愛看辣身舞，暫時仍未開始綵排，但屆時她跟對方跳《夜迷宮》，大家要幻想是否會迷倒眾生了。
【明報專訊】關淑怡 （Shirely）將於10月9日在澳門 威尼斯人金光綜藝館舉行《關淑怡ONE STARRY NIGHT澳門演唱會》，這是Shirely入行20多年首次在澳門演出，有Fans知道她開騷的消息已集體訂票捧場。
今次到澳門演出對Shirely而言有新鮮感，她已十多年沒到過澳門，對上一次的記憶是在黑沙環海灘漫步，但已忘記當時跟誰在一起了。演唱會中，她唱個人的經典歌外，也唱別人的歌，更邀請了一位俄羅斯 的男舞蹈員合作。問會否有辣身舞？她反問是否現在的觀眾皆愛看辣身舞，暫時仍未開始綵排，但屆時她跟對方跳《夜迷宮》，大家要幻想是否會迷倒眾生了。
Thursday, 2 September 2010
2010.09.01 知道百年孤寂的王菲奈何不了千年魅声的关淑怡
纵横唱片堆十多年，发现有三张唱片是被发烧界版了再版，被各种最新格式的CD格式，几乎一有新的唱片格式，必拿这三张唱片试刀，他们是邓丽君《淡淡幽情》，王菲《天空》以及关淑怡《Ex All Time Favourites》，能享受如此圣品级待遇的唱片不仅仅是因为唱片质量，歌者的个人地位也同样重要。前两人若称为歌坛超级天后没人会反对，前两张专辑在问世之初就已犹如惊雷响彻乐坛，被世人传唱。而关的专辑在问世之初其实是作为另类之选，十余年醉人香气的撩动还是悄悄打开了大众之耳，堪称无冕的传世之作。94年到95年的歌坛，林忆莲身与心都开始交予彼岸李宗盛同时花开，梅艳芳的地位也无需用天后之词再来加冕，一朝天子一朝后，歌坛的风向已经从玉女心经的审美疲劳走向更为广阔的个性天地，并与世界联动。王菲和关淑怡都是其中翘楚，只是前者更懂得变通并占了天时，94年一股做气将歌坛风向标完全改换，奠定天后地位。而更加自我的关淑怡甩下一句“la得长，不一定是唱得好。。。。”（坊间传言），从此二人冷面。
不知道是不是因为王菲的引退早就了一个没有天后的时代还是关淑怡的前卫气质到了如今才称才情。总之，2005年关淑怡的复出来得是雷声大雨点更大，好像万众期待之势迎接一位曾经的天后归来，可谁曾想到95年4场红馆处女唱之后因与王菲的天后之争被挑落战马的唏嘘，走得也是义无反顾，好像普罗大众也并无留恋之感。其实那时的关才刚刚确立独特的自我风格，绝尘而去却留下一张神品（我们都称认《EZONE》），竟然和菲其年的《玩具》一样，被拆分了之后精选又精选，榨干琼浆。首先，作为《EZONE》的EP 97年问世，6首歌曲不多，但是也足以窥到整张专辑的风情原貌，标志性气声，呓语般的唱腔，歌名包括歌词逐渐仙化，宿命感沉沦感妖魅感排山倒海。其实这样的风格已是关自我创造上的巅峰，即使在后来的《冷火》和最近的《sheirley's era》中仍然一脉相承，只是今日之时，佳人复出占天时，终堪称港乐最后的天后（王菲早已是亚洲天后），昔日仙音十年人间修炼终得众生仰慕。同一年，专辑中另四首包括（月光曲传染云上舞自言自语）随着心灵相通精选搭售发行，风情各有不同，但是有着一样的EZONE血统，显然区别了里面的其他精选歌曲。虽然《自言自语》从来未在其他专辑发售过，但是就其风格而言，仍可被EZONE所招安。其实除却这两张专辑的，95年的关已经有过EZONE般的浅尝，那就是叫做《世途上》精选里的《他需要你，她需要你》，开头的迷音缭绕，到后来沉沦纠结到不行的副歌，已是心结歌曲的极致。关的歌普遍节奏线迷乱，一般人无从发现歌曲的头尾停顿和换气点。。。。甚至听不清歌词，只能说整曲都如吐气如兰，妖艳荼毒的美女蛇一条，让人笼罩于宿命的氛围中，感天悟地。这时候关的歌词和曲子已经达到了高度统一，笃信佛教的她在《大地之母》，《月光曲》，《传染》等歌曲中表达的那种对于人世和自然意象的关注才是关的飘渺声线最契合的标签。其实当时的关每每出现都已经有无心恋战的感觉，《世途上》里的另一首歌《人生可有知己》就是心声表达，此时音乐已达自我的巅峰，彼时却在市场上越显小众，再加上王菲的登峰造极，名利之外，还是归隐至上。00年的《冷火》选错时间选错地点，5年之后的香港歌坛真空亟待一个如王菲般的圣女拯救。不知关者只视其王菲时代真空期的替代品，知其者知道百年孤寂的王菲奈何不了千年魅声的关淑怡。不信，且听EZONE....再过十年仍是新鲜异常。。。。
不知道是不是因为王菲的引退早就了一个没有天后的时代还是关淑怡的前卫气质到了如今才称才情。总之，2005年关淑怡的复出来得是雷声大雨点更大，好像万众期待之势迎接一位曾经的天后归来，可谁曾想到95年4场红馆处女唱之后因与王菲的天后之争被挑落战马的唏嘘，走得也是义无反顾，好像普罗大众也并无留恋之感。其实那时的关才刚刚确立独特的自我风格，绝尘而去却留下一张神品（我们都称认《EZONE》），竟然和菲其年的《玩具》一样，被拆分了之后精选又精选，榨干琼浆。首先，作为《EZONE》的EP 97年问世，6首歌曲不多，但是也足以窥到整张专辑的风情原貌，标志性气声，呓语般的唱腔，歌名包括歌词逐渐仙化，宿命感沉沦感妖魅感排山倒海。其实这样的风格已是关自我创造上的巅峰，即使在后来的《冷火》和最近的《sheirley's era》中仍然一脉相承，只是今日之时，佳人复出占天时，终堪称港乐最后的天后（王菲早已是亚洲天后），昔日仙音十年人间修炼终得众生仰慕。同一年，专辑中另四首包括（月光曲传染云上舞自言自语）随着心灵相通精选搭售发行，风情各有不同，但是有着一样的EZONE血统，显然区别了里面的其他精选歌曲。虽然《自言自语》从来未在其他专辑发售过，但是就其风格而言，仍可被EZONE所招安。其实除却这两张专辑的，95年的关已经有过EZONE般的浅尝，那就是叫做《世途上》精选里的《他需要你，她需要你》，开头的迷音缭绕，到后来沉沦纠结到不行的副歌，已是心结歌曲的极致。关的歌普遍节奏线迷乱，一般人无从发现歌曲的头尾停顿和换气点。。。。甚至听不清歌词，只能说整曲都如吐气如兰，妖艳荼毒的美女蛇一条，让人笼罩于宿命的氛围中，感天悟地。这时候关的歌词和曲子已经达到了高度统一，笃信佛教的她在《大地之母》，《月光曲》，《传染》等歌曲中表达的那种对于人世和自然意象的关注才是关的飘渺声线最契合的标签。其实当时的关每每出现都已经有无心恋战的感觉，《世途上》里的另一首歌《人生可有知己》就是心声表达，此时音乐已达自我的巅峰，彼时却在市场上越显小众，再加上王菲的登峰造极，名利之外，还是归隐至上。00年的《冷火》选错时间选错地点，5年之后的香港歌坛真空亟待一个如王菲般的圣女拯救。不知关者只视其王菲时代真空期的替代品，知其者知道百年孤寂的王菲奈何不了千年魅声的关淑怡。不信，且听EZONE....再过十年仍是新鲜异常。。。。
Wednesday, 23 June 2010
My favourite singer, Shirley Kwan
Shirley Kwan Suk Yee is an influential Canto-pop singer from Hong Kong. She first shot to fame in 1989 as a pop sensation with the hit, "Happy Are Those In Love" (难得有情人) and was popular throughout the early to mid-90s. She is noted for her distinct, breathy vocal style, and known equally for singing ballads and for more alternative pop fare.
After a decade-long hiatus in the late 90s, she made a successful comeback in 2005 and is among the most acclaimed singers currently active in the Hong Kong music scene.
Early Years (1986-1988)
Kwan was born in Hong Kong, the middle-child to an affluent family. At age 15, she moved to Los Angeles, where she later studied fashion design in college. Kwan had her first taste of the limelight in 1986 when she became one of twelve finalists in TVB's New Talent Singing Awards, along with Andy Hui and Leon Lai, but lost to both. Two years later, with the encouragement of a friend, she recorded a demo tape for the prestigious “Marine Blue” singing competition in Japan and won. She caught the eyes of record executives at Apollon and signed a contract, releasing two Japanese pop albums in two years. Kwan sang in both Japanese and English for these releases, and notably made her first and only rap vocals in the song “Borderless”.
PolyGram Period (1989-1995)
Kwan’s Marine Blue success in Japan quickly led to her discovery by PolyGram. In March 1989, Kwan released her debut Cantonese album “Winter Love” (冬恋), with its R&B-influenced first single, “The Rebel” (叛逆汉子).
Her sophomore album, “Happy Are those in Love” (难得有情人), would produce her first major hit with its title track, which immediately propelled Kwan into Hong Kong stardom, and became the theme song to a popular day-time drama series on TVB. It was a No. 1 hit in various radio charts and a frequent request in Karaoke bars, making Shirley Kwan a household name, and its title becoming synonymous with Kwan's name for years to come. The album spawned four other hit singles such as the up-tempo “Lovers Underneath the Stars” (星空下的恋人), and had huge chart success. Being tipped as the next big thing in Cantopop, Kwan swept all the best-newcomer awards that year.
The following two years saw the release of four albums, in which Kwan started to develop a more individualistic style, incorporating elements from various musical genres. Though she scored another major pop hit in 1990 with 爱恨缠绵, she grew dissatisfied with only singing standard Cantopop fare, and wished to explore and diversify her own sound. Also evolving was her public persona, which matured from the early teen pop icon into a more sophisticated and mysterious artiste, noted for being fashion-forward with subtle hints of sex appeal. It is during this period that Kwan started covering New Age music, such as the work of Gregorian and Michael Cretu. Kwan’s 1991 version of “Once In A Life Time”, renamed “Love Is Forever” (恋一世的爱) was presented back to back with the Gregorian original on the promo CD sent out to DJs, as a promotional strategy by PolyGram.
From the same album, Kwan struck critics and audiences with her cover of Amina’s 1991 Eurovision winner, “Le dernier qui a parle”, renamed “Buddhist Chant” (梵音). With words written by legendary veteran lyricist, Andrew Lam (林敏驄), the original Tunisian adventure was given an Eastern spin. Originally a sidetrack, “Buddhist” became a surprise hit as well as a memorable hit in Alternative Cantopop. It also represented her first struggles in artistic control, as she had had to fight long and hard with her production team to have the song included in the album.
Towards the end of 1992, the tabloid’s reception of Kwan has shifted dramatically. Years of relentless invasion into her private life has taken its toll, making Kwan increasingly indifferent towards the press. This unfortunately triggered even more media hostility as well as negative publicity. Disillusioned about her future as a public figure, Kwan took some time off to recover, only to return with yet another transformation.
In November 1993, Kwan released “The Story of Shirley” (真假情話), with the lead single “Solo” (一首独唱的歌), followed by the minor hit “Fabricated Love Stories” (假的恋爱). This was another artistic breakthrough for Kwan, who was garnering increasing attention for her talents as a vocalist, pleasing critics who were surprised with a new and more polished sound.
Kwan further established her place as a critics' darling with her next album, “My Way” released in the summer of 1994, which would be the last album containing all original Cantonese material until Shirley's Era in 2009. Singles included the acid-jazz influenced “Lost Legend” (逝去的传奇) which sampled a riff from the Digable Planets' 1993 single "Rebirth of Slick," and the immensely popular ballad “Cuddling Underneath the Stars” (缱绻星光下), which won numerous song awards at the ceremonies that year. Other songs included the traditional Chinese melody, “Arrow to the Heart” (心箭), the more techno influenced techno-influenced “Anxiety” (紧张) and “Out of This World” (惊世感觉), and another popular ballad “Farewell” (告别恋曲). The album, together with a new crew-cut look which has now become iconic, was one of the most celebrated albums in 1994, enjoying both commercial and critical success.
With increasing confidence in her musical style, Kwan had wanted to produce something musically coherent for her next album and asked producer Joseph Ip (叶广权) and eight different sound engineers to rearrange ten of her favourite Cantopop songs which she handpicked for her new tribute album. The result, was “'EX' All Time Favourites,” released to much anticipation in February 1995. Familiar classics of Cantopop icons such as Anita Mui (梅艳芳), Leslie Cheung (张国荣) and Alan Tam (谭咏麟) were reworked with psychedlic and electro influences, with Kwan singing in her trademark tone punctuated with breathy whispers. Much to Donald Ashley’s credit, the innovative reworking of Teresa Teng(邓丽君)’s “Forget Him” (忘记他), released as the lead single, elevated Kwan to a new level of recognition in the industry. It was featured in Wong Kar-Wai(王家卫)’s 1995 arthouse feature “Fallen Angels” (墮落天使). Interestingly, the same tune was reworked yet again in “What a Pity” (可惜), sung with new Mandarin lyrics and to spare acoustic accompaniment for the Taiwanese release of 'EX'. Achieving critical acclaim as well as commercial success, 'EX' is widely regarded to be one of the best Cantopop albums ever produced, and set off a wave of tribute album fever in Hong Kong.
In the summer of 1995, Kwan released her third compilation album, "Journey of Life" (世途上 新曲＋精选), containing two new singles, "He needs you, She needs You" (他需要你, 她需要你), a dreampop track which incorporated the traditional Chinese instrument Erhu (二胡), and the minor hit, "Are There Real Friends in Life" (人生可有知己), a pop ballad which has since became a concert favourite.
Six years after her debut, Kwan finally held her first large scale solo concert in July 1995 at the Hong Kong Coliseum (红磡香港体育馆). Presenting a balanced mix of hits and album tracks, "The One and Only Shirley Kwan In Concert" (难得有一个关淑怡演唱会) was enthusiastically received and capped the most successful year in her career. Kwan had to encore for an unprecedented four times in the last show, as fans refused to leave.
After 7 years at PolyGram, Kwan’s contract came to an end in 1996. A final PolyGram studio album was initially scheduled for release in summer 1996, containing three American collaborations, “Infectious” (传染) and “Elusive Love” (爱难寻) written by Andy Goldmark, and “Mumbling” (自言自语 ) by Suzanne Fountain, along with seven other tracks. However, due to Kwan's departure, PolyGram released the material separately in 1997’s compilation “Connection” (心灵相通) and 1998’s EP “eZone”.
Kwan spent the second half of the 90s mostly away from the public eye, but managed to strike up some significant collaborations with friends and fellow contemporaries Lau Yee Tat (刘以达) and Anthony Wong Yiu Ming (黄耀明), formerly of the legendary Tat Ming Pair (达明一派). The first of these included “Blessed Mary” (万福玛利亚), a duet with Wong satirising Hong Kong's materialism; “Cuddle 28800BPS” (缱绻28800BPS), a collaboration with Lau, a song dealing with cyber love; and “Forget If It’s Him or Her” (忘记他是她) - a remake of the gender ambiguous Tat Ming classic, at their request. In 1997, Kwan lent her vocals to the theme song of a radio drama produced by Commercial Radio Hong Kong, “Take Me to a Dance” (帶我去跳舞) which featured a soprano backing vocal mixed in with a thumping dance beat. In 1999, she held a “Music Is Live” concert organized by Commercial Radio, sparking rumours of a possible come back, but to no avail.
BMG Period (2001)
In 2001, Kwan signed a contract with BMG in Taiwan, and published the critically acclaimed Mandarin album, Freezing Flame. However, after the extravagant press conference announcing Kwan's partnership, BMG soon ran out of money for promotion and the album sold poorly. Kwan was already pregnant at the time and left for America shortly after on an indefinite break.
[edit] Music Nation Period (2005-2006)
In fall 2005, Kwan stepped into the recording studio once again and duet with music veteran Alan Tam (谭咏麟) in “Rekindle The Flame” (旧情复炽), a Cantonese remake of the French ballad “J'ai murmure va-t-en”. The news of Kwan making a comeback sent excitement through Hong Kong’s airwaves, and “Rekindle” took the charts by storm, reaching number 1 on TVB, RTHK and Metro Radio.
Two months later, Kwan was signed to a contract with Music Nation Group (大国文化) by the famous producer, Frankie Lee Chun. The first single “About Me” (关於我) saw Kwan reunited with lyrist Wyman Wong and long-time collaborators Joseph Ip and John Laudon. Bluntly autobiographical, it is an uncompromising account of her struggle against the paparazzi and hostility from the media in Hong Kong. Supported by extensive airplay, “About Me” steadily climbed to the top of various radio charts, and its limited-release special edition CD sold out within a day.
In early February 2006, the eponymous EP "Shirley Kwan" was released, introducing the second brand new single, “Evolution” (进化伦). This coincided with the release of a 3CD-Karaoke plus DVD compilation by Universal Music (formally PolyGram), entitled “All About Shirley,” which to fans' delight, containied side projects and rare tracks dating back to the very beginning of her career in Japan.
2006 Being Shirley On Stage
To much anticipation, three comeback concerts, “Being Shirley On Stage” (关于我 关淑怡演唱会) were held in late February, at the legendary Hong Kong Coliseum. Performing her biggest hits in reverse chronological order, Kwan garnered positive reviews for the performance, which dominated entertainment headlines for a week.[1] In the final encore, Kwan famously covered Eason Chan (陈奕迅)’s “Today Next Year” (明年今日) to a standing ovation, and a sing-a-long audience of 30, 000.
As her work for Music Nation drew to a close, Shirley released two new songs in 2007 as an independent artist for songwriter Keith Chan (陈辉阳)’s multimedia musical “12 faces of woman” (十二金钗众生花) at the 2007 Hong Kong Arts Festival.[2] This included the theme song “All Living Flowers” (众生花), released in February, which featured traditional Chinese and Western string instruments.
In March 2007, Shirley released the single “Just Once” (只得一次), which was the theme song to the primetime TVB sitcom series “Best Selling Secrets” (同事三分亲), and which went onto reach No. 1 on the TVB music charts.
Star Entertainment Period (2007- 2009)
In June 2007, longtime friend and veteran producer Herman Ho (何哲图) recruited Shirley to his the new company “Star Entertainment Ltd.” (星娱乐有限公司), which is financed by Neway Karaoke Box (Neway卡拉OK).
2008 saw a new concert series, "Unexpected Shirley Kwan in Concert," held at the Hong Kong Coliseum on 24–25 April 2008.
2009 saw the long-anticipated release of a full-length studio album, "Shirley's Era," which contains all radio singles released in 2007-2008, and newly recorded material. This marks her first Cantonese studio album since 1994's All Time Favourites.
After a decade-long hiatus in the late 90s, she made a successful comeback in 2005 and is among the most acclaimed singers currently active in the Hong Kong music scene.
Early Years (1986-1988)
Kwan was born in Hong Kong, the middle-child to an affluent family. At age 15, she moved to Los Angeles, where she later studied fashion design in college. Kwan had her first taste of the limelight in 1986 when she became one of twelve finalists in TVB's New Talent Singing Awards, along with Andy Hui and Leon Lai, but lost to both. Two years later, with the encouragement of a friend, she recorded a demo tape for the prestigious “Marine Blue” singing competition in Japan and won. She caught the eyes of record executives at Apollon and signed a contract, releasing two Japanese pop albums in two years. Kwan sang in both Japanese and English for these releases, and notably made her first and only rap vocals in the song “Borderless”.
PolyGram Period (1989-1995)
Kwan’s Marine Blue success in Japan quickly led to her discovery by PolyGram. In March 1989, Kwan released her debut Cantonese album “Winter Love” (冬恋), with its R&B-influenced first single, “The Rebel” (叛逆汉子).
Her sophomore album, “Happy Are those in Love” (难得有情人), would produce her first major hit with its title track, which immediately propelled Kwan into Hong Kong stardom, and became the theme song to a popular day-time drama series on TVB. It was a No. 1 hit in various radio charts and a frequent request in Karaoke bars, making Shirley Kwan a household name, and its title becoming synonymous with Kwan's name for years to come. The album spawned four other hit singles such as the up-tempo “Lovers Underneath the Stars” (星空下的恋人), and had huge chart success. Being tipped as the next big thing in Cantopop, Kwan swept all the best-newcomer awards that year.
The following two years saw the release of four albums, in which Kwan started to develop a more individualistic style, incorporating elements from various musical genres. Though she scored another major pop hit in 1990 with 爱恨缠绵, she grew dissatisfied with only singing standard Cantopop fare, and wished to explore and diversify her own sound. Also evolving was her public persona, which matured from the early teen pop icon into a more sophisticated and mysterious artiste, noted for being fashion-forward with subtle hints of sex appeal. It is during this period that Kwan started covering New Age music, such as the work of Gregorian and Michael Cretu. Kwan’s 1991 version of “Once In A Life Time”, renamed “Love Is Forever” (恋一世的爱) was presented back to back with the Gregorian original on the promo CD sent out to DJs, as a promotional strategy by PolyGram.
From the same album, Kwan struck critics and audiences with her cover of Amina’s 1991 Eurovision winner, “Le dernier qui a parle”, renamed “Buddhist Chant” (梵音). With words written by legendary veteran lyricist, Andrew Lam (林敏驄), the original Tunisian adventure was given an Eastern spin. Originally a sidetrack, “Buddhist” became a surprise hit as well as a memorable hit in Alternative Cantopop. It also represented her first struggles in artistic control, as she had had to fight long and hard with her production team to have the song included in the album.
Towards the end of 1992, the tabloid’s reception of Kwan has shifted dramatically. Years of relentless invasion into her private life has taken its toll, making Kwan increasingly indifferent towards the press. This unfortunately triggered even more media hostility as well as negative publicity. Disillusioned about her future as a public figure, Kwan took some time off to recover, only to return with yet another transformation.
In November 1993, Kwan released “The Story of Shirley” (真假情話), with the lead single “Solo” (一首独唱的歌), followed by the minor hit “Fabricated Love Stories” (假的恋爱). This was another artistic breakthrough for Kwan, who was garnering increasing attention for her talents as a vocalist, pleasing critics who were surprised with a new and more polished sound.
Kwan further established her place as a critics' darling with her next album, “My Way” released in the summer of 1994, which would be the last album containing all original Cantonese material until Shirley's Era in 2009. Singles included the acid-jazz influenced “Lost Legend” (逝去的传奇) which sampled a riff from the Digable Planets' 1993 single "Rebirth of Slick," and the immensely popular ballad “Cuddling Underneath the Stars” (缱绻星光下), which won numerous song awards at the ceremonies that year. Other songs included the traditional Chinese melody, “Arrow to the Heart” (心箭), the more techno influenced techno-influenced “Anxiety” (紧张) and “Out of This World” (惊世感觉), and another popular ballad “Farewell” (告别恋曲). The album, together with a new crew-cut look which has now become iconic, was one of the most celebrated albums in 1994, enjoying both commercial and critical success.
With increasing confidence in her musical style, Kwan had wanted to produce something musically coherent for her next album and asked producer Joseph Ip (叶广权) and eight different sound engineers to rearrange ten of her favourite Cantopop songs which she handpicked for her new tribute album. The result, was “'EX' All Time Favourites,” released to much anticipation in February 1995. Familiar classics of Cantopop icons such as Anita Mui (梅艳芳), Leslie Cheung (张国荣) and Alan Tam (谭咏麟) were reworked with psychedlic and electro influences, with Kwan singing in her trademark tone punctuated with breathy whispers. Much to Donald Ashley’s credit, the innovative reworking of Teresa Teng(邓丽君)’s “Forget Him” (忘记他), released as the lead single, elevated Kwan to a new level of recognition in the industry. It was featured in Wong Kar-Wai(王家卫)’s 1995 arthouse feature “Fallen Angels” (墮落天使). Interestingly, the same tune was reworked yet again in “What a Pity” (可惜), sung with new Mandarin lyrics and to spare acoustic accompaniment for the Taiwanese release of 'EX'. Achieving critical acclaim as well as commercial success, 'EX' is widely regarded to be one of the best Cantopop albums ever produced, and set off a wave of tribute album fever in Hong Kong.
In the summer of 1995, Kwan released her third compilation album, "Journey of Life" (世途上 新曲＋精选), containing two new singles, "He needs you, She needs You" (他需要你, 她需要你), a dreampop track which incorporated the traditional Chinese instrument Erhu (二胡), and the minor hit, "Are There Real Friends in Life" (人生可有知己), a pop ballad which has since became a concert favourite.
Six years after her debut, Kwan finally held her first large scale solo concert in July 1995 at the Hong Kong Coliseum (红磡香港体育馆). Presenting a balanced mix of hits and album tracks, "The One and Only Shirley Kwan In Concert" (难得有一个关淑怡演唱会) was enthusiastically received and capped the most successful year in her career. Kwan had to encore for an unprecedented four times in the last show, as fans refused to leave.
After 7 years at PolyGram, Kwan’s contract came to an end in 1996. A final PolyGram studio album was initially scheduled for release in summer 1996, containing three American collaborations, “Infectious” (传染) and “Elusive Love” (爱难寻) written by Andy Goldmark, and “Mumbling” (自言自语 ) by Suzanne Fountain, along with seven other tracks. However, due to Kwan's departure, PolyGram released the material separately in 1997’s compilation “Connection” (心灵相通) and 1998’s EP “eZone”.
Kwan spent the second half of the 90s mostly away from the public eye, but managed to strike up some significant collaborations with friends and fellow contemporaries Lau Yee Tat (刘以达) and Anthony Wong Yiu Ming (黄耀明), formerly of the legendary Tat Ming Pair (达明一派). The first of these included “Blessed Mary” (万福玛利亚), a duet with Wong satirising Hong Kong's materialism; “Cuddle 28800BPS” (缱绻28800BPS), a collaboration with Lau, a song dealing with cyber love; and “Forget If It’s Him or Her” (忘记他是她) - a remake of the gender ambiguous Tat Ming classic, at their request. In 1997, Kwan lent her vocals to the theme song of a radio drama produced by Commercial Radio Hong Kong, “Take Me to a Dance” (帶我去跳舞) which featured a soprano backing vocal mixed in with a thumping dance beat. In 1999, she held a “Music Is Live” concert organized by Commercial Radio, sparking rumours of a possible come back, but to no avail.
BMG Period (2001)
In 2001, Kwan signed a contract with BMG in Taiwan, and published the critically acclaimed Mandarin album, Freezing Flame. However, after the extravagant press conference announcing Kwan's partnership, BMG soon ran out of money for promotion and the album sold poorly. Kwan was already pregnant at the time and left for America shortly after on an indefinite break.
[edit] Music Nation Period (2005-2006)
In fall 2005, Kwan stepped into the recording studio once again and duet with music veteran Alan Tam (谭咏麟) in “Rekindle The Flame” (旧情复炽), a Cantonese remake of the French ballad “J'ai murmure va-t-en”. The news of Kwan making a comeback sent excitement through Hong Kong’s airwaves, and “Rekindle” took the charts by storm, reaching number 1 on TVB, RTHK and Metro Radio.
Two months later, Kwan was signed to a contract with Music Nation Group (大国文化) by the famous producer, Frankie Lee Chun. The first single “About Me” (关於我) saw Kwan reunited with lyrist Wyman Wong and long-time collaborators Joseph Ip and John Laudon. Bluntly autobiographical, it is an uncompromising account of her struggle against the paparazzi and hostility from the media in Hong Kong. Supported by extensive airplay, “About Me” steadily climbed to the top of various radio charts, and its limited-release special edition CD sold out within a day.
In early February 2006, the eponymous EP "Shirley Kwan" was released, introducing the second brand new single, “Evolution” (进化伦). This coincided with the release of a 3CD-Karaoke plus DVD compilation by Universal Music (formally PolyGram), entitled “All About Shirley,” which to fans' delight, containied side projects and rare tracks dating back to the very beginning of her career in Japan.
2006 Being Shirley On Stage
To much anticipation, three comeback concerts, “Being Shirley On Stage” (关于我 关淑怡演唱会) were held in late February, at the legendary Hong Kong Coliseum. Performing her biggest hits in reverse chronological order, Kwan garnered positive reviews for the performance, which dominated entertainment headlines for a week.[1] In the final encore, Kwan famously covered Eason Chan (陈奕迅)’s “Today Next Year” (明年今日) to a standing ovation, and a sing-a-long audience of 30, 000.
As her work for Music Nation drew to a close, Shirley released two new songs in 2007 as an independent artist for songwriter Keith Chan (陈辉阳)’s multimedia musical “12 faces of woman” (十二金钗众生花) at the 2007 Hong Kong Arts Festival.[2] This included the theme song “All Living Flowers” (众生花), released in February, which featured traditional Chinese and Western string instruments.
In March 2007, Shirley released the single “Just Once” (只得一次), which was the theme song to the primetime TVB sitcom series “Best Selling Secrets” (同事三分亲), and which went onto reach No. 1 on the TVB music charts.
Star Entertainment Period (2007- 2009)
In June 2007, longtime friend and veteran producer Herman Ho (何哲图) recruited Shirley to his the new company “Star Entertainment Ltd.” (星娱乐有限公司), which is financed by Neway Karaoke Box (Neway卡拉OK).
2008 saw a new concert series, "Unexpected Shirley Kwan in Concert," held at the Hong Kong Coliseum on 24–25 April 2008.
2009 saw the long-anticipated release of a full-length studio album, "Shirley's Era," which contains all radio singles released in 2007-2008, and newly recorded material. This marks her first Cantonese studio album since 1994's All Time Favourites.
