Volume Zero: The Ancient Colossus

Leo Ku, the only male singer in Hong Kong in the 21st century who could stand shoulder to shoulder with Eason Chan. This statement is not made lightly!

He himself is immensely charismatic, as anyone who has seen his delightful and goofy persona on "I Am a Singer" would know. Yet, unlike Eason Chan, his works never managed to break out of the Cantonese music circle—a fact I find rather regrettable.

Let us now draw a circle of fans for him.

Leo Ku debuted as a singer in 1994, won the Silver Award for Best Male Singer at the Jade Solid Gold Awards in 1997, left to act in "Romance in the Rain" and "My Fair Princess" in 2001, and returned to the music scene in 2003. His very first song released upon his return won the Jade Solid Gold Most Beloved Song Award, where, crying onstage, he said, "I really love singing."

In 2004, songs like "Love and Honesty" and "Nobita" pervaded the streets, and for the first time, he claimed the Gold Award for Best Male Singer at the Jade Solid Gold Awards. In 2005, he held eleven concerts at the Hong Kong Coliseum with "Golden Melody Hits," so popular that they even added daytime shows. In 2006, "Love Too Late" won the Supreme Song award, and his album "Human: My Life" earned the Supreme Album award; yet, despite holding the Supreme Album, he missed out on the Best Male Singer Gold Award.

In 2007, he held six concerts at the Coliseum. In 2008, his song "Eyes Can't Be Without Tears" from the album "Guitar Fever" won TVB's Most Popular Male Singer award.

In terms of accolades, he was the first—and remains the only—male singer in Hong Kong history to win the Newcomer Award at all four major music award ceremonies. He has received more Silver Awards for Best Male Singer at the Jade Solid Gold Awards than anyone else. He is also the only male singer to have bested Eason Chan at the major award shows. After the Four Heavenly Kings, he was the fourth to receive TVB’s Most Popular Male Singer award (after Andy Hui, Hacken Lee, and Eason Chan). This TVB award is the ultimate recognition of a singer's stature in the Hong Kong music scene; only after years of effort and widespread acclaim can one attain it. Apart from the Lifetime Achievement Award, this is the ultimate goal for all Hong Kong singers.

Regarding his body of work, he has released over forty albums, exploring a wide range of styles and experimenting boldly. His albums prior to 2003 were known as "non-mainstream," and upon returning to the Hong Kong music scene, he began producing concept albums—every album in the last decade has been conceptualized by himself. In 2008 and 2009, he experimented with musical instruments as the central theme, producing two audiophile albums: "Guitar Fever" and "Strings Fever." He is deeply involved in every aspect of album production—from conceptualization and musical style selection to arrangement, lyric input, and even music video direction, he is hands-on. With his own music team, he has mentored many newcomers and maintains a close relationship with lyricist Lin Xi, who has penned many heart-wrenching lyrics for him (up to 110 songs for "To Youthful Times," the most for any singer).

His singing style is exquisitely nuanced. Zhang Jiantian once remarked, "The subtle fluctuations and treatments in his songs are unique among male singers."

He doesn't rely on a single signature style to sell records; he is versatile in every genre—gentle and delicate, or soaring and powerful, he masters them all. He is disciplined in his personal life, takes great care of his voice, holds himself to high standards, and is rarely seen making mistakes in live performances, always striving to improve his singing technique.

His covers always bear his unique touch.

Technically, he has no obvious weaknesses. His vocal range is wide, with no discernible break between registers. His falsetto and transitions between chest and head voice are skillful and seamless. His falsetto can be tender, even magnificent. Many of his songs, such as "Love and Honesty," "Genius and Idiot," and "Second Best Love," sound deceptively simple when he sings them, but when others attempt to cover them, they find them exceedingly difficult.

I still recall a singing competition where someone tried to cover his "Genius and Idiot" and almost ran out of breath on the first long phrase.

Personality-wise, he is cautious and extremely low-key, never resorting to hype, always humble and prudent. This is partly due to the hardships he has faced and partly his own nature. He is a loyal friend, forming bonds that last for years, though he is discerning in whom he befriends.

He is multi-talented, an excellent artist who has published two comic books; he owns a clothing store with seasonal designs of his own; he loves directing, and after 2006, all his music videos have been self-directed—with a feature film of his own in the works this year. A former TV host, he once hosted two seasons of "Is it Child's Play?" for TVB. As for the dessert shop he opened for his wife, that’s another story—he’s devoted and deeply loves his wife, needless to say.

A detailed introduction:

In 1991, Leo Ku joined the TVB artist training class and became a host of entertainment programs. At a party, he sang on a whim and was discovered by a record company, who saw his potential as a singer.

His debut single, "Explanation of Love," was an a cappella track—rare for a newcomer. The song attracted widespread attention upon release due to his soaring, bright vocals, earning him the nickname "Little Alan Tam."

His second single, "Blue Skies and White Clouds," was an original lyric of his own—a bold move at a time when singer-songwriters were rare—and met with unanimous praise. It remains a memorable piece even today.

After only a few songs, Leslie Cheung praised him on a radio program, saying Leo had style and would one day become an idol. It's worth noting that Leslie Cheung was not from the same company, nor did he have any obligation to promote Leo. Strangely enough, over the next twenty years, Leo's career would unfold almost exactly as Leslie predicted. (He also predicted the rise of Louis Koo and Leo Ku, as mentioned in "I Am a Singer.")

In that year, Leo Ku swept all four major Hong Kong newcomer awards—a record unprecedented before or since; no other male singer has done so to this day.

Background information: Hong Kong’s four major music awards are TVB’s Jade Solid Gold Awards, Commercial Radio’s Jade Solid Gold Awards, Metro Radio’s Hit Awards, and RTHK’s Top Ten Chinese Gold Songs Awards.

1995–1996:

Although Leo Ku started strong, in his second year he was sidelined by TVB due to contractual issues. That year, he met producer Zhang Jiantian of the band Blackbox, who discovered his distinctive voice and his talent for falsetto—a rare trait, as even today, few singers have a voice quite like his. This meeting sparked a nearly twenty-year collaboration and friendship. Despite being frozen out by TVB, his song "Actually, I, I, I" still won a Top Ten Song award at the Jade Solid Gold Awards, marking the beginning of a long and complicated relationship with the awards.

In 1996, after his contract with TVB ended, Leo Ku renewed with his original record company and released the album "Second Best Love," a collection of new and best-of tracks that sold 150,000 copies. The title track, with its unique head/chest voice transitions and folk style, was a rarity in the market at the time.

Later, Lorraine (yes, his wife) recalled promoting the song at various platforms, saying many DJs initially resisted its dramatic voice switches, but over time they came to appreciate its beauty.

Background: The Jade Solid Gold Awards are determined by the number of times DJs play an artist’s songs throughout the year, with the most played songs and singers receiving top honors.

(For many in Cantonese-speaking regions singing karaoke, Leo Ku was probably your first inspiration for falsetto, wasn’t he?)

1997: The First Career Peak

This year, he encountered "Pleasant Evening," with lyrics by Wyman Wong and music and arrangement by Dan Yu Huang (the talented pianist from his first "I Am a Singer" appearance!). The song, written for the film "A Date So Right," is ostensibly about a one-night stand, yet is hauntingly beautiful, with falsetto as its signature.

This song won the Hong Kong Film Award for Best Original Song, and its popularity earned Leo Ku the Silver Award for Best Male Singer at the Jade Solid Gold Awards—again, a Silver.

In 1997, the Four Heavenly Kings still dominated, leaving little room for other male singers to win awards or gain market traction. Yet Leo Ku broke into the nominations alongside the Kings, becoming the first to break through their barrier and claim second place in the male singer category. The dominance of the Four Heavenly Kings was overwhelming—even Eason Chan and Leo Ku struggled for recognition under their shadow.

1998–2001: New Choices

You may recall this era as the time when people stopped buying cassettes and CDs and started downloading MP3s. The global music industry was hit hard, and the influence of the Four Heavenly Kings made things worse for male singers in Hong Kong. Some, like Eric Suen, went to Taiwan to act, while others, like Christopher Wong, left the scene entirely.

Through these years, Leo Ku continued to release one to two albums a year, exploring various styles and collaborating with different musical teams, even daring to use unconventional styles for his lead singles—such as jazz in "Roman Holiday" and American gospel in 2001’s "Miracle." He wrote and composed many of his own songs and took on the role of producer. He also recorded Mandarin albums like "The Clock That Forgot Time," "Roadside Stall," and "Treasure Hunt." He adopted a "fresh and youthful" image, not unlike today's indie darlings. Personally, I love his music from this period—it remains fresh even after a decade, and he had a blast collaborating with Zhang Jiantian on many sidetracks.

At the time, his albums and music were seen as avant-garde in Hong Kong. Unfortunately, innovation without hit songs was not valued by record companies, and his opportunities in Hong Kong dwindled.

A word about Hong Kong’s entertainment ecosystem: In the mainland, a singer can live off one hit song for a lifetime. In Hong Kong, if you don’t have a hit in a year, people consider you "past it." Two or three years without a massively popular song, and your album releases slow down, your commercial value drops rapidly.

Moreover, the media is harsh, with pointed questions and biting commentary; the paparazzi culture is rampant. Ultimately, being an entertainer in Hong Kong is not as comfortable as it may seem. Unlike the mainland, where the title "artist" carries a certain prestige, in Hong Kong, it’s just a job.

At this time, Leo Ku stumbled upon an opportunity.

Qiong Yao, having seen his promotional materials in Taiwan, found him scholarly and invited him to star in "Romance in the Rain." Back then, it was assumed that only those who couldn’t make it in Hong Kong would go to the mainland to act, and singers were held in much higher regard than actors. After much hesitation, he accepted the invitation.

2001–2003: From Ho Shu-huan to "I Really Love Singing"

The events of this period are well known.

Ho Shu-huan became a household name.

In 2002, he filmed "My Fair Princess III," for which Leo Ku composed all the background music! Aside from the group numbers, all the male solos were sung by him—though few ever noticed this fact. I personally love "At This Moment of Parting."

After finishing promotion for "My Fair Princess III" in 2003, continuing as an actor seemed like a solid choice; he was recognized across the Chinese-speaking world, and his acting, fame, and appearance could have guaranteed a few more lucrative years.

Yet, he chose to return to the Hong Kong music scene!

By the way, in 2003, he published a comic book—"The Story of Kubi," featuring an adorably cute cartoon character!

In the documentary for "I Am a Singer," he said he chose "Love and Honesty" as his first song because it meant so much to him.

When he returned to the Hong Kong music scene, he heard whispers asking, "Why are you back?"

Over the years, he has rarely spoken of this, and even when he does, he downplays it, but at the time, he truly endured a great deal of scorn and pressure. Fellow singers pretended not to know him, and the media mocked his "mainland" fashion. He heard plenty of cold, sarcastic remarks.

After wrapping up promotion for "My Fair Princess III" in the summer of 2003, he signed with Paco and began recording and releasing music. His first single, "Killer Move," ranked second at the year-end Jade Solid Gold Awards.

DJ Sammy said, "Returning with such enthusiasm, the greatest fear is being met with a cold, 'Oh, you're back?' This singer, away from the awards stage for two years, has his first song back reach second place—I just want to say: Welcome back, Leo Ku!" And Leo, in tears, said, "I really love singing."

That phrase became his label for years to come.

Later, Leo Ku said, "I will devote all my time to making records, to making good music, to fulfilling my duty as a singer."

Truly, in the past ten years, he has kept his word, never forgetting his duty as a singer.

Background: Paco is a legendary manager in the Hong Kong music scene. Many famous Hong Kong artists rose to prominence under his guidance, including Danny Chan, Kelly Chen, Miriam Yeung, and Andy Hui. Paco described signing Leo Ku in 2003 as a "three visits to the thatched cottage" saga, and always admired Leo’s voice, believing he would become a representative artist in the music industry.

2004: A Year of Brilliance and the "Iron Triangle"—Leo Ku, Lin Xi, Mark Lui

After returning to the Hong Kong music scene and signing with Paco, Leo Ku, Lin Xi, and Mark Lui began working together on albums. Their first collaboration was the concept album "Game On." Leo is a gamer, and the album’s concept was inspired by him—every song title is the name of a game, with lyrics by Lin Xi and production by Mark Lui.

Lin Xi later recalled, "Mark called to say Leo Ku is back and we’re making an album. My first reaction was, 'Leo Ku is back from the Qing Dynasty? Will it be a hassle to write lyrics for him?' Mark assured me it wouldn’t, that we’d have full creative control. Who knew I’d been tricked!"

The album "My Story, My Song" sold very well, and as mentioned, "Killer Move" was a great success. The album contained many songs that received little promotion but still resonated with listeners, the most notable being "Heartbeat Memories."

But in 2004, it was the second concept album, "Nobita," and songs like "Love and Honesty," "Nobita," and "Wounded Chaser" that truly cemented Leo Ku’s position in the Hong Kong music scene. "Nobita" used comics as its concept, with all song titles based on comics, and was also produced by the Iron Triangle. In addition to mainstream ballads, the album explored Broadway, R&B, and other styles. In terms of collaborators, he worked not only with Zhang Jiantian and Mark Lui but also with new composers such as Cao Xuefen and Khalil Fong.

That year, "Wounded Chaser" was covered by Jacky Cheung at his 2004 "Live With Passion" concert, where he performed two songs by younger artists (the other being Miriam Yeung’s "Big City, Small Matter") and proclaimed them the most popular songs of the moment. "Love and Honesty" won many awards, and with this song and album, Leo Ku claimed his first-ever Jade Solid Gold Best Male Singer Gold Award and Most Popular Male Singer Award.

When Leo Ku first joined Weibo, one of his followed topics was #2004JadeSolidGoldBestMaleSingerGoldAward#. Regrettably, it remains his only Gold Award. Though a decade has passed and he has surely let go, one cannot help but say: Jade Solid Gold tormented Leo a hundred times, but Leo’s love for it remained as pure as first love. Indeed, one cannot deny that Jade Solid Gold encouraged and inspired Leo Ku immensely—whether when he was first frozen out by TVB in 1995, or when he returned to the Hong Kong music scene in 2003. To this day, he remains close friends with many DJs such as Vani, Ah Zhan, Sammy, Ah Nuo, and Lin Haifeng.

2005: The Fries and the Outstanding Youth/First Coliseum Concert

In the first half of this year, Leo Ku released the greatest hits album "Golden Melody Hits." The title song, "Golden Melody Hits," cleverly stitched together many classic Cantonese songs into a single melody. While the tradition of medleys began with George Lam, turning them into a formal song for broadcast and promotion was Leo’s own idea, and it proved to be a hit, especially in Guangdong karaoke bars.

In Hong Kong, a key indicator of a singer’s standing was whether they had held a solo concert at the Hong Kong Coliseum (though it is easier now than it once was). In 2005, after 11 years in the business, Leo Ku held his first concert there. The promotional slogan read, "Some can hold a concert after one year in the industry; some, after eleven years. Eleven years—just two ones overlapping—yet only through the long wait and patient endurance can the most refined artistry be forged. Not all good singers get to hold concerts; Leo Ku waited eleven years for his chance! The essence of those eleven years was distilled into a dazzling stage performance, giving all concertgoers an unforgettable night."

Tickets sold out within minutes, and demand was so high that daytime shows were added (imagine going to a concert in broad daylight...). Leo’s eleven shows broke the record for a debut solo Coliseum concert.

Leo Ku wears many colorful bracelets on his left wrist to commemorate each concert. Every Coliseum concert has its own theme color: gold in 2005, green in 2007, pink in 2009, white in 2011. It’s always moving to see them—he never forgot his duty as a singer.

That year, he also received a special honor: one of Hong Kong’s Ten Outstanding Young Persons of 2005. Thanks to the "I Am a Singer" documentary team, viewers finally saw the trophies his father lovingly wrapped in plastic and displayed at home.

He said, when telling his father of this award, that he choked up when assuring him he had not gone astray. More than just a sentimental man, his words reveal both bitterness and pride. In both high and low times, he never resorted to hype, never courted friendships for personal gain, always worked steadfastly. That year, he and his manager said they wanted to prove that in today’s Hong Kong music scene, honest singing can still make you a star.

In the latter half of 2005, he produced the album "Star Wars," a tribute to Cantonese classics. The song titles are all named after famous Cantonese songs, such as "Genius and Idiot," "Monica," and "Lifetime Pursuit," with new lyrics and compositions. "Genius and Idiot" won the Four Stations Joint Award and was runner-up for the Jade Solid Gold Professional Recommendation Award.

When it comes to Leo Ku, Eason Chan is always a topic that cannot be avoided. They are of similar age, both highly skilled vocalists, and debuted in roughly the same era. Both experienced being sidelined, both lived for years under the shadow of the Four Heavenly Kings, and only after years of perseverance did they finally succeed. Some questioned whether Leo’s stellar 2004 was only because Eason was sidelined by his label; yet few remember that in 2001 and 2002, when Eason was rising rapidly, reporters asked him if it was Leo’s absence that gave him the opportunity.

In 2005, with Eason’s return, both Leo Ku and producer Mark Lui said in interviews that Eason’s comeback was a good thing—the Hong Kong music industry needed more good singers to drive improvement in singing, record production, and concerts alike.

(Eason was nicknamed "Fries" for his McDonald’s ads at the time; Leo Ku "Outstanding Youth" for his Ten Outstanding Young Persons award.)

2006: "Love Too Late" and "Monster vs. Human"

If one had to name a signature, era-defining song in Leo Ku’s career, it would undoubtedly be 2006’s "Love Too Late."

Inspired by a friend’s story—on Mother’s Day, a friend bought his mother a gift. She said she’d open it after a shower, but tragically passed away while bathing—Leo asked Lin Xi to write the song.

As a non-love song, "Love Too Late" resonated immensely in Cantonese-speaking regions. Beyond the numerous awards it brought Leo Ku, its greater significance lay in two areas: first, it broadened the themes of mainstream pop music. While Cantonese pop had always explored topics beyond love, making a non-romantic theme a lead single and achieving massive success was a first. The popularity of "Love Too Late" paved the way for a wave of non-love main tracks in Hong Kong pop. Kay Tse’s 2008 hit "Wedding Invitation Street" is a prime example.

Second, it impacted society through music.

The song reminded many Hong Kongers, busy with life, to slow down and cherish their loved ones, not to love too late. The phrase "love too late" became a Cantonese proverb—even the Chief Executive of Hong Kong referenced the song on Weibo last year, urging people to care for those they love.

The album "Human: My Life" is an exceptionally cohesive concept album, exploring the human journey from birth ("My Life") to death ("Afterlife"), reflecting on mortality ("Why Not Stay," "Afterlife"), and confronting the struggles of life ("Bad Luck," "Suicide Squad"). Musically, it spans R&B, rock, and folk. Besides "Love Too Late," other hits included "My Life," "Shower," and "Repeat Mistakes."

It was deeply illogical that Leo Ku, who won Best Album, Best Song, and the Four Stations Joint Award that year, did not win the Best Male Singer Gold Award. How could someone who outperformed all others in album and song lose the title of Best Male Singer?

Eason Chan’s musical and commercial success is beyond doubt. Award shows are never perfectly fair—they reflect a balance of music, commerce, resources, and management. In that sense, they are fair. At the time, Leo’s label, Gold Label, was a newly formed, small company; resources were already stretched thin for its artists, let alone supporting Leo’s expansion into the mainland. Most of the time, Leo had to capitalize on his fame as Ho Shu-huan to do commercial shows in the mainland and earn money for the company—hence the many versions of "Longing for You." While reports often mention that the wife of Universal’s CEO was also the director at Jade Solid Gold, that too is a form of power and resources. I've often wondered if Leo Ku had switched to a better-resourced company in 2006, would his story have been different? But for Paco, his mentor, Leo would never have changed companies—that’s not who he is.

I don’t mean to criticize anyone. Time passes, and all is smoke and memories. Leo Ku himself has never uttered a word of complaint. After 2011, he chose to slow down, focus on life and family, and finally married his longtime partner in 2014. In some ways, I’m glad he did not ascend to the godlike pedestal.

It’s simply a reflection on fate’s arrangements. From Leslie Cheung and Anita Mui to the era of the Four Heavenly Kings, Hong Kong once exported Chinese-language entertainment to the world—even tongue-twisting Cantonese songs became national hits.

In this century, Hong Kong pop could still produce megastars like Eason Chan. Yet, as the mainland economy surged and the global music industry shrank, Hong Kong’s music circle grew too insular, with managers and musicians lacking vision, the media being harsh and factional, and the entire industry prioritizing power, money, and fame over quality work. The former glory of Hong Kong pop has inevitably faded.

A great singer like Leo Ku is still known to most mainlanders only as Ho Shu-huan. And behind him, many more talented Hong Kong singers and musicians go unrecognized. The lucky ones—like G.E.M., Liang Qiaobo, Hins Cheung, and Ellen Loo of at17—have caught the mainland’s attention through TV shows. The less fortunate simply vanish into the crowd.

...I won’t write any more.

There is often an illusion that the rivalry between Leo and Eason was the last glorious chapter of Hong Kong pop. It is no longer as pure as it once was—but no matter what, it remains a part of Chinese culture, worthy of affirmation, and we ought to regard it with an open heart.

In closing, Leo Ku is an outstanding singer.