Life & Arts

The festival attracts more than 60,000 visitors ahead of Aidilfitri 

by AZALEA AZUAR 

RIUH returned for its Aidilfitri edition this year with Riuh Raya Baik-Baik, a one-stop hub for shopping, local food, arts and entertainment at The Exchange TRX, Kuala Lumpur. 

It was organised by MyCreative Ventures Sdn Bhd (MyCV) with support from the Communications Ministry. 

Themed Kampung Kita, the 12-hour event was held at Raintree Plaza at TRX from Feb 25 to March 1 with more than 110 local brands. 

A total of 23 performers appeared throughout the four-day event, including singer-songwriter Aisha Retno, neo-psychedelic band Ramayan and urban-jazz group Langkasuka. 

Riuh also curated 16 free workshops and creative activities for festival-goers. 

The Employees Provident Fund (EPF) served as a strategic partner, aiming to connect with the creative community while promoting financial literacy and retirement savings. 

Communications Minister Datuk Fahmi Fadzil expressed pride at the local products showcased at the event. 

“This time, more than 20 brands joined Riuh for the first time. I have asked the Riuh team to identify new brands for us to introduce to the public,” he told reporters while touring Riuh Raya Baik-Baik booths. 

Fahmi (centre) and Zainol Haqim (second from right) express pride for the local products showcased at the event

The festival attracted more than 60,000 visitors ahead of Aidilfitri. 

MyCV acting CEO Zainol Haqim Zainol Rashid said Riuh aspired to become a key platform in Malaysia’s creative economy. 

“Our lineup of live performances and cultural workshops help to cultivate the identity of our festival and transform it from a marketplace to a cultural experience where audiences do not just consume, but actively participate. 

Performances brought energy, storytelling and a sense of shared celebration, while workshops invite people to learn, create and connect directly with local talent,” he told The Malaysian Reserve (TMR). 

Riuh has helped many small brands grow from online businesses into established retail ventures. 

“We have seen brands that started with just an Instagram shop, started taking part with Riuh festivals and now some even started to have their own fanbase and have their own brick and mortar shops,” he said. 

Furthermore, Zainol Haqim said the “Riuh” nationwide tour brings the Riuh experience to other states and provides creative entrepreneurs equal exposure. 

“We are currently in the midst of planning to have Riuh expanded beyond Malaysian borders. 

Ultimately, the goal is for Riuh to evolve into a global showcase of Malaysian creativity — one that not only celebrates local talent but also places Malaysia firmly on the international creative map,” he said. 

Aidilfitri edition Riuh Raya Baik-Baik this year is Kampung Kita theme

Kebaya Steals the Spotlight 

The timeless charm of the classic baju kebaya has made it the crown jewel of the creative Riuh Raya Baik-Baik festival, emerging as the most sought-after apparel among shoppers and the fastest-selling item for vendors this year. 

Among the vendors at the event was homegrown brand Eninabeth, which is known for its batik and denim apparel. 

Its founder Irfanina Ikhwan told TMR that baju kebaya were selling out fast. 

“Even when they are sold out, people keep asking about it. We have released new products that aren’t baju kebaya, but people still keep asking about it,” she said. 

With the Chinese New Year (CNY) and Ramadhan celebrations overlapping this year, Irfanina also took the opportunity to fuse Chinese and Malay design elements in her clothing. One example is a loose-fitting baju kebaya featuring cheongsam-inspired details. 

She also said vendors felt closer to their customers at Riuh Raya Baik-Baik because their target market was mostly there, compared to shopping malls or online shopping. 

“So we feel that everyone who comes to us seems to like and already know our products, and they even keep making repeat purchases,” she added. 

Meleur Studio’s modern baju kebaya also frequently sells out. 

Its co-founder Amirah Farhana Shamsul said the brand’s loose kebaya is highly popular as there is strong demand for relaxed cuts. 

She observed that Gen Z shoppers are influencing this year’s trends, preferring Aidilfitri attire that looks delicate and lightweight while maintaining a comfortable and elegant fit. 

Shopper Syarafina Azwin Rahmat, 26, noticed that classic and traditional styles are making a comeback. 

“Despite that, I personally prefer modern looks because traditional outfits such as the kebaya do not suit everyone and that modern designs feel more timeless,” she told TMR. 

Meanwhile, Nuraliaa Diyana, 27, opined that the biggest trend this year is the traditional kebaya with a modern indie twist. 

She prefers heritage-inspired fashion over minimalist modern designs, saying she is drawn to “traditional looks.” 

Appreciation for classic kebaya styles is gaining strong interest among younger shoppers, added Nuraliaa Diyana. 

Irfanina said pastel tones remain popular, with earthy shades shifting towards softer hues while bold colours are less common, although they still appeal to a smaller group of customers. 

“In terms of fabric, I can also see that people tend to choose cotton because it is more comfortable compared to other materials like polyester are not that good for the skin,” she said. 

Amirah Farhana also said her customers are increasingly drawn to pastel shades and flowy designs, particularly for modern baju kurung and kebaya styles. 

Meleur Studio’s collection features lace detailing with pastel colours such as matcha strawberry tones emerging as a clear favourite among buyers. 

Festival-style bazaars such as Riuh Raya Baik-Baik also encourage more purposeful shopping, as attendees often arrive ready to buy rather than simply browse. 

Nurul Hanis Badrul, 25, came to the event hoping to find a pair of Aidilfitri shoes and had her eye on local brand Snuglier because it felt more comfortable than others. 

Although it was her first visit, she saw Riuh Raya Baik-Baik as more than just a shopping trip. 

“It is a lifestyle event which gives us workshops, food and beverage (F&B) and performances,” she said, adding that she discovered many local products not found elsewhere at Riuh Raya Baik-Baik. 

Attendees enjoying iftar session in traditional kampung-style setting

Modernised Batik, Linen Kurtas a Hit With Men

Tuan by Tengku Kery, part-time salesperson Mohamad Aliff Haeyqal Ishak said Aidilfitri 2026 fashion blends nostalgic traditional styles with modern trends to appeal to multiple generations. 

“Some generations like tailored sizes while some like stylish cuts so we cater to all. But we still maintain traditional selling points while introducing new designs according to current trends,” he told TMR. 

For customers, colour choice is also important. Mohamad Aliff noted that while preferences differ by age, moderate and pastel shades are generally preferred among his customers who come from diverse backgrounds and age groups. 

He said batik remains a cornerstone of Aidilfitri attire, but local designers are updating it for everyday wear. 

“Our batik designs have been modernised and can be worn every day, not just for formal occasions,” he added. 

Linen kurtas have also become increasingly popular this year because of their comfort and versatility. 

Mohamad Aliff’s store offers both linen and cotton kurtas, although they are placing greater emphasis on linen as it feels cooler and more comfortable. This reflects the appeal of the fabric during festivities 

Despite the rise of e-commerce, he said traditional sales channels remain important during Aidilfitri shopping. 

This allows face-to-face interactions where customers can feel the fabrics and ask questions directly. 

While not all designs are immediately accepted, customers are more likely to buy once they understand the materials, details and purpose behind the pieces. 

“Nowadays, customers prefer simplicity. For instance, after the first day of Aidilfitri, I just wear the top with jeans. 

“Some wear kurtas with jeans, some once they understand the materials, details and purpose behind the pieces. 

“Nowadays, customers prefer simplicity. For instance, after the first day of Aidilfitri, I just wear the top with jeans. 

“Some wear kurtas with jeans, some “People come here for the daging salai if they want a rice dish for iftar while laksa Sarawak is a rare dish in Ramadhan bazaars compared to more common items like nasi lemak,” he told TMR. 

Despite modern and fusion dishes becoming popular trends, Mohammad Ikmal believed that the younger generation still enjoy traditional meals. 

“While trendy snacks such as churros and ice cream goreng have gained popularity in recent years, I expect interest to gradually shift back towards more traditional foods such as classic dishes and kuih-muih,” he added. 

Nerrys is one of the booths selling kerepek and traditional kuih for Aidilfitri

Recipe to Success is Simplicity 

Sausage Sizzle’s menu includes hot dogs, bangers and mash, loaded fries and other sausage-based creations. 

Its owner and co-founder Nazri Adam Abdul Kassim said the brand uses sausages with natural casings imported from Australia, focusing on quality ingredients and craftsmanship. 

“Our basic item, called the New Yorker, is basically a New York hot dog, tomato ketchup, mustard, some pickled onion, bun and sausage. 

We also try our best to do specials every couple of months at the outlet, so that we can provide something to attract new customers and keep regular customers excited,” he told TMR. 

Nazri Adam said the brand’s bestseller during Riuh Raya Baik-Baik was the Sloppy Sizzle, a deconstructed coney dog. 

He said it pays homage to A&W’s coney dog, which Malaysians are deeply connected to from the first outlet in Petaling Jaya, the first fast food restaurant in the country back in 1963. “We try to bring that nostalgic feel back for Malaysians,” Nazri Adam said, adding that they prefer to perfect simple and familiar dishes rather than creating extravagant or overly complicated items. Participating in such events is also valuable for F&B brands as they provide exposure through well-established platforms with loyal audiences. This makes it beneficial for both new and experienced businesses. 

Riuh Raya Baik-Baik also helps vendors test new menu items while ensuring product quality and operational efficiency.

Ekha is a social enterprise that upcycles waste materials into sustainable fashion accessories

Creative Festivals as Social Integration Platforms

Ekha is a Langkawi-based social enterprise that upcycles waste materials into sustainable fashion accessories. 

It conducted a workshop at Riuh Raya Baik-Baik to teach participants to menganyam, a traditional ketupat weaving technique, repurposed into bags using recycled materials. 

Ekha director and co-founder Benjamin Ang said hands-on learning is key, particularly for participants with no prior knowledge of upcycling. 

“It is much better that they do hands-on experience if they have zero knowledge on upcycling,” he told TMR. 

Ang believes creative platforms like Riuh Raya Baik-Baik help boost visibility for brands

Interest in the workshops spanned demographics. While younger participants were drawn by curiosity, corporate attendees were motivated by environmental, social and governance (ESG) considerations. 

“Seeking new activities is also a good way to keep our minds active,” Ang added. 

Despite challenges such as costs and public awareness, he believes creative platforms like Riuh Raya Baik-Baik help boost visibility for brands. 

As crowds browsed kebaya racks, sampled nostalgic dishes and joined hands-on workshops, Riuh Raya Baik-Baik demonstrated how creative festivals can evolve beyond seasonal bazaars into cultural meeting points. 

By bringing together local brands, artists and communities under one roof, the event not only celebrated the spirit of Aidilfitri but also reinforced the growing influence of Malaysia’s creative economy that blends heritage, entrepreneurship and shared experiences.

• This article first appeared in The Malaysian Reserve weekly print edition

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The artist’s 1st solo presentation in 9 years moves steadily between figuration and abstraction, while remaining deeply personal in tone 

by AKMAR ANNUAR 

SOME exhibitions are easy to read from the moment you step into the room, but Gan Tee Sheng’s Lucid is not one of them. 

Its strength lies in the way it resists immediate clarity, drawing viewers instead into a quieter, more personal encounter with memory, feeling and form. 

Showing at Galeri Sasha from Feb 28 to March 22, the exhibition marks the Malaysian artist’s first solo presentation in nine years and the gallery’s first collaboration with him. 

The new body of work, developed over the past year, continues a practice that has been shaped over more than two decades, moving steadily between figuration and abstraction while remaining deeply personal in tone. 

What makes Lucid arresting is not that it offers easy answers, but that it stays with uncertainty. 

The paintings feel as though they have emerged from a place beyond straightforward recollection. 

They suggest bodies, fragments, moods and sensations, yet they stop short of becoming fully fixed images. 

Nothing is entirely named or fully explained. Instead, viewers are left to linger in that in-between state, where memory is no longer a clear story but something softer, stranger and harder to pin down. 

That approach is very much in line with how Gan sees the series. 

When asked whether any personal memories resurfaced while he was painting these works, he told this writer that what returned was not a specific scene or event, but something more atmospheric and elusive. 

“For me, memory in these works is not about storytelling. It is more like residue — something that remains after the clarity of the event has already disappeared,” Gan said. 

States of Emotional Matter stays the longest in this writer’s mind (Pics source: Galeri Sasha)

That idea of residue runs through the exhibition in a way that feels thoughtful rather than overly cerebral. 

One does not need to stand in front of the paintings trying to solve them like visual puzzles. Their effect is more immediate than that. 

They work on feeling first, and only later perhaps on thought. There is a sense of pressure in them, but also softness. 

Some forms appear almost bodily, while others melt into one another as if the canvas itself is trying to remember something and failing, beautifully, in the attempt. 

Gan, who was born in Kluang, Johor, in 1984, has largely maintained his studio practice outside institutional structures for over 20 years. 

His works have previously been shown at Taksu Singapore and Taksu Kuala Lumpur, and are held in the collection of ILHAM Gallery as well as private collections around the region. 

That long and steady path perhaps explains why Lucid feels so assured in its restraint. 

There is no rush in these works, and no sense that they are trying to perform for the room. Instead, they carry the mark of an artist who has spent time listening closely to his own process. 

In his nine years away from solo exhibition-making, Gan said his relationship with painting became slower and more introspective. 

He was less concerned with producing work for public consumption and more focused on understanding what painting meant to him on a personal level. 

This writer found that one of the most compelling things about the exhibition was the way it allowed for intimacy without slipping into over-explanation. 

Even at their most suggestive, the works do not impose a single reading. 

A viewer may see bodily fragments, organic shapes or emotional states made visible, but the paintings never insist that one interpretation must override another. 

That openness makes the experience more generous. It creates room for each visitor to bring their own associations into the gallery. 

Gan acknowledged that dual possibility in the interview, saying some viewers may begin by searching for recognisable forms, but that the real experience lies elsewhere. 

“What matters more to me is the emotional encounter,” he said. 

That emotional encounter is perhaps most strongly concentrated in Body Without a Name, which Gan told this writer is his favourite work in the exhibition. 

It is not difficult to understand why he singled it out, though the reason goes beyond simple attachment. 

Hearing the Inner Echo. All the works featured were produced this year

What seems to draw him to the painting is the way it gathers the exhibition’s central concerns into one canvas without making them too neat or too declarative. 

It embodies the instability he has been pursuing in Lucid — the space where bodily suggestion, subconscious memory and emotional residue overlap, but never settle into something final. 

Rather than offering a fully resolved image, Body Without a Name stays suspended in uncertainty, and that appears to be precisely what makes it so important to him. 

It is the work that most fully reflects his instinctive way of painting, where forms emerge through the process rather than being locked in from the start. 

He said the human body is rarely an intentional starting point in his work, but that bodily suggestions often appear because perception itself is always mediated through the body. 

That thought adds another layer to the painting. It is not a literal body, but an echo of one: Felt, half-remembered and always shifting. 

That also makes it one of the exhibition’s more challenging works, though not in a forbidding way. 

As for this writer, the painting that lingered most after leaving the gallery was States of Emotional Matter.

There is something quietly magnetic about it. The painting feels emotionally charged without becoming theatrical and that balance is perhaps what makes it so memorable. 

Of all the works in the room, it was the one that stayed in the mind the longest, not because it shouted the loudest, but because it seemed to carry its feeling so naturally. 

Still, one of Lucid’s greatest strengths is that it does not ask everyone to fall in love with the same painting. 

Different works will likely stay with different viewers, depending on what they bring into the room. 

When asked what he hoped viewers would carry with them after spending a few quiet minutes with the works, Gan gave an answer that felt true to the spirit of the exhibition itself. 

“Not necessarily a clear understanding, but a pause — a moment where the viewer becomes aware of their own thoughts, emotions, or inner sensations. If someone leaves the exhibition with a lingering feeling that they cannot fully explain, I think the work has already done something meaningful,” he explained. 

That is perhaps the clearest way to understand what Lucid sets out to do. 

It does not ask for a grand revelation, nor does it push viewers towards a tidy interpretation. Instead, it offers a moment of stillness. 

Within that pause, the paintings seem to sharpen one’s awareness of mood, memory and sensation — not only on the canvas, but within oneself. 

In a time when so much visual culture is geared towards immediacy, Lucid feels refreshing in its slowness, trusting viewers enough to leave certain things unresolved.

• This article first appeared in The Malaysian Reserve weekly print edition

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SEOUL — K-pop megastars BTS still see themselves as “country kids from South Korea”, according to a trailer for a new documentary released Tuesday ahead of their huge comeback concert this weekend.

More than a quarter of a million fans are expected to throng central Seoul on Saturday for BTS’s open-air gig, the first performance in almost four years by the boy band seen as the biggest in the world.

A day before, the group’s fifth studio album, “ARIRANG” — named after a beloved folk song about longing and separation, something of an unofficial national anthem of South Korea — will be released.

The documentary, “BTS: The RETURN”, will be released on Netflix on March 27, chronicling the seven-member group’s comeback after completing their military service, widely seen as a gruelling experience for young conscripts.

“We are still just country kids from South Korea,” the group’s leader RM says in the trailer.

“We are trying to find out what makes us BTS,” the 31-year-old added.

At the height of their fame prior to their hiatus, BTS frequently ranked among the most popular artists on music streaming platform Spotify, mixing with the likes of Taylor Swift and Justin Bieber.

After visiting the White House, releasing hugely successful English-language albums and performing at famous venues around the world, the group has chosen a historic stage at home for the grand comeback this weekend.

The concert will be staged at Seoul’s sweeping Gwanghwamun Square, near the historic Gyeongbokgung Palace.

The area is also where many of South Korea’s political protests have taken place, including those following former president Yoon Suk Yeol’s declaration of martial law in December 2024.

The trailer featured the melody from “Arirang” the folk song, which is associated by many with themes of resilience and enduring longing.

“Arirang is a song imbued with han,” an unidentified BTS member says in the trailer, referring to the Korean term for an unresolved grief rooted in the country’s history, including war, division and family separation. — AFP

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by AKMAR ANNUAR

THERE is something undeniably charming about stumbling upon a little Hogwarts magic during an ordinary coffee run, and Starbucks Malaysia is leaning into that fantasy with a new Harry Potter collaboration made for fans who never quite stopped waiting for their letter.

In partnership with Warner Bros. Discovery Global Consumer Products, Starbucks is bringing a Harry Potter-themed experience to its coffeehouses across Malaysia, featuring limited-edition drinks, collectibles and lifestyle accessories inspired by the worlds of Hogwarts, Hogsmeade and Honeydukes.

At the centre of the launch is the Honeydukes Bursting Bonbons series, featuring three themed drinks: the Iced Honeydukes Bursting Bonbons Latte, Honeydukes Bursting Bonbons Frozen Tea and the Honeydukes Bursting Bonbons Frappuccino® Blended Beverage.

Each drink comes with Honey Bergamot Flavoured Bubble Bursts, delivering a citrusy pop that adds a playful, slightly theatrical edge.

For fans who have long imagined what Honeydukes might taste like, that detail alone is enough to spark curiosity.

For this Potterhead, however, the biggest temptation is impossible to miss.

The Honeydukes Bursting Bonbons Frappuccino® is already calling, and yes, this writer is fully prepared to bring along her Gryffindor mug and imagine, if only for a moment, a sip between classes at Hogwarts.

There is a quiet sweetness to the whole campaign.

Rather than treating Harry Potter as mere merchandise, the collaboration taps in the heart of fandom — the comfort of familiar symbols, the joy of collecting house-themed items and the simple pleasure of turning an everyday coffee break into a small moment of magic.

That is where the collection is likely to resonate most.

Beyond the drinks, Starbucks is rolling out more than 20 drinkware and lifestyle accessories featuring spellbinding motifs, constellation accents and nods to the wizarding world’s core values: Friendship, courage and community.

Among the standouts are the Hogwarts House mugs, which change colour with hot beverages, giving fans yet another reason to linger over a warm drink.

There range also includes themed cold cups, tumblers and other drinkware in rich shades of green, blue and purple, alongside accessories such as Bearista® keychains in Hogwarts-inspired robes, a carrier bag and a Hogwarts House pin set.

In other words, this is not a small nod to the franchise.

It is a full-fledged lifestyle drop for those who like their fandom woven into everyday rituals, whether that means arriving at work with a Slytherin tumbler, clipping a tiny robed Bearista® onto a bag or quietly judging a friend’s house choice over coffee.

The drinks themselves also seem carefully crafted to suit different moods.

The latte leans into cosy indulgence with espresso, milk and vanilla notes, while the Frappuccino® blends coffee, milk and vanilla, finished with whipped cream, caramel drizzle and jewel-toned sprinkles. The frozen tea, meanwhile, offers a lighter, icier option with citrus black tea and bright, candy-like accents.

What makes the launch especially appealing is that it does not ask fans to choose between nostalgia and novelty.

It offers both: References familiar enough to spark instant recognition, alongside beverages playful enough to feel new rather than purely decorative.

That balance matters, especially with a franchise as beloved and widely interpreted as Harry Potter, where fans quickly notice when a collaboration feels lazy or overly commercial.

In this case, the effort seems focused on building an atmosphere rather than simply stamping logos onto cups.

The Honeydukes Bursting Bonbons series and Harry Potter x Starbucks® collection will pre-launch on March 23 for Starbucks Rewards members, before rolling out fully on March 24 across Starbucks stores in Malaysia, with selected items reserved exclusively for Rewards members and all products available only while stocks last.

For Malaysian fans, that likely means one thing: Queues, quick sell-outs and plenty of house pride at the counter.

For this writer, it means one thing, too — showing up with a Gryffindor mug in hand and order the Honeydukes Bursting Bonbons Frappuccino®.

Accio*, Gryffindor mug!

*Accio is a Summoning Spell

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KUALA LUMPUR — Perbadanan Kota Buku (PKB) chief executive officer (CEO) Adibah Omar (picture) has become the first figure from the Southeast Asian book industry to be shortlisted as a finalist for the PublisHer Excellence Awards 2026.

PKB said Adibah was shortlisted in the “Innovation” category alongside Monique Leite, founder and director of PlenaVoz from Brazil, and Kinga Jentetics, CEO and co-founder of PublishDrive from the United States.

“This nomination makes Adibah the first individual from the Southeast Asian publishing industry to be shortlisted for the award, reflecting the international community’s growing attention to the development of Malaysia’s book industry,” PKB said in a statement today.

PKB also said that Adibah’s nomination was an honour for Malaysia and its publishing industry, and expressed hope that it would encourage all industry players to continue strengthening the national book ecosystem.

Meanwhile, Adibah said the recognition is an honour for the collective efforts of many parties involved in developing the country’s book industry ecosystem.

“This nomination does not only represent PKB; but the joint efforts of Malaysia’s book industry players in strengthening the culture of knowledge and expanding access to reading materials,” she said.

She added that the development of Malaysia’s book industry has also been strengthened through various government innovation initiatives, including the MADANI Book Voucher 2024 and the MADANI Teacher Book Voucher 2025 implemented by the government through the Education Ministry, aimed at expanding access to books and promoting a reading culture. — BERNAMA

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by AKMAR ANNUAR

SOME bands do not simply belong to a particular moment in music history, but to a particular feeling, and Vertical Horizon is one of them. 

The American alternative rock band is set to return to Malaysia this May for a one-night show at Zepp Kuala Lumpur, in what is likely to be a warmly received comeback for listeners who grew up with its music in the late 1990s and early 2000s.

Organised by Hitman Solutions, the concert will be held on May 22 and marks the band’s return to Malaysia after 12 years. 

More than just another international tour stop, the show carries the appeal of a long-awaited reunion between a band and the audience that once made its songs part of their everyday lives.

That sound helped define a certain strain of turn-of-the-millennium alternative rock, where sincerity mattered and songs often stayed with listeners far longer than their chart runs might suggest.

That is also what makes this concert especially appealing. It is not simply about revisiting an old band for the sake of nostalgia, but about hearing songs that have continued to hold emotional weight over the years. 

For many listeners, Vertical Horizon’s music was never just background noise. 

It was the kind of music people attached to specific seasons of life, whether that meant heartbreak, growing up, quiet late-night reflection, or simply the comfort of a familiar chorus on the radio.

For this writer, the announcement already comes with its own soundtrack. 

It is hard not to start singing You’re a God almost immediately and even harder not to feel excited at the thought of finally hearing it performed live.

Vertical Horizon rose to international fame through its multi-platinum album Everything You Want, with the title track becoming one of the most-played songs on radio in 2000 and remaining one of the band’s most recognisable signatures to this day. 

The song’s staying power says something important about the group’s wider catalogue, which has always relied less on trend and spectacle than on strong melody and emotional clarity.

Led by vocalist and guitarist Matt Scannell, the current line-up also features John Wesley on rhythm guitar and backing vocals, Ron LaVella on drums, and Mark Pacificar on bass guitar and backing vocals. 

Together, they have continued to preserve the band’s melodic rock identity, bringing a live presence that feels rooted in emotion rather than spectacle.

That quality is especially important for a concert like this, where the appeal has never depended on flashy production or grand theatrics. 

What fans are really returning for is the feeling of recognition that comes with hearing music that once meant something deeply personal. 

They are returning for the opening notes of a song they have not experienced live in years, for a chorus that still lands with the same emotional pull, and for the rare pleasure of hearing a familiar soundtrack from another chapter of life take shape again in the present.

It is that sense of emotional continuity, more than nostalgia alone, that gives a concert like this its lasting appeal. 

In an era when so much music is consumed quickly and forgotten just as quickly, there is still something deeply satisfying about songs that have remained intact in memory and feeling.

Hitman Group CEO and founder Rohit Rampal said the organiser was honoured to be bringing the band back to Malaysia, after its previous performance here in 2014.

“At Hitman Group, we always strive to bring in varying talent from far and wide and set up an international experience worthy of their names,” he said.

His remarks reflect the wider appeal of a concert such as this. Vertical Horizon may not belong to the current wave of viral revival acts, but that almost works in its favour. 

The band’s connection with its audience has always felt more organic than manufactured, built on songs that endured because people kept returning to them rather than because they were constantly being pushed back into view.

The choice of Zepp KL also feels fitting for this kind of show. It is a venue that allows artists to feel both substantial and close, which suits a band whose music has always depended more on mood and emotional immediacy than sheer scale. 

According to the press release, the concert promises a set filled with fan favourites and beloved classics, offering audiences the chance to revisit the soundtrack of the late 1990s and early 2000s. 

Tickets will go on sale on March 26 at 12pm through Hitman Live, with four categories priced from RM199 to RM309. 

The concert is also supported by official radio partners Mix FM, Lite FM and Sinar, while Astro Gempak serves as the official media partner.

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HOLLYWOOD — Paul Thomas Anderson’s “One Battle After Another” — a wild tale of leftist revolutionaries, white supremacists and immigrant detention centers — felt to many filmgoers like it offered a window on modern America.

But the zany political satire — chock full of heart-pounding car chases, gunfights and harrowing escapes — also features romance, offbeat humor, and a touching story of a father’s unconditional love for his daughter.

That potent mix earned the movie a best picture Oscar on Sunday — and overall top honors with a total of six golden statuettes.

“The thing that gets me really excited about making films is collaborating with people,” Anderson told reporters backstage.

The director rallied a cast of megawatt A-listers including past Oscar winners Leonardo DiCaprio, Sean Penn (who won again on Sunday) and Benicio Del Toro. He also got a searing breakthrough turn from Oscar nominee Teyana Taylor.

The film’s Oscar success seemed preordained.

Despite Ryan Coogler’s “Sinners” leading the nomination tally with a record-setting 16, “One Battle” racked up the precursor awards, from the Critics Choice Awards to the Golden Globes to the BAFTAs.

Loosely based on Thomas Pynchon’s novel “Vineland,” the movie follows the story of the fictional French 75, a radical leftist revolutionary group staging a series of bombings in support of liberal causes.

Their work starts to go off the rails when they rescue a group of immigrants from a facility on the US-Mexico border, and group firebrand Perfidia Beverly Hills (Taylor) makes an enemy of the fantastically named Colonel Steve Lockjaw (Penn).

Perfidia vanishes, and her explosives expert lover Pat (DiCaprio) goes into hiding with their daughter Willa (newcomer Chase Infiniti).

Lockjaw meanwhile slowly picks off each member of the French 75, and gets involved with a group of white supremacists called the Christmas Adventurers.

Cut to 16 years later, and Pat, known now as Bob Ferguson, is off the grid and in a constant state of paranoia. Lockjaw however locates him — and isn’t afraid to stage bogus immigration crackdowns to catch him.

Willa, now a teen, vanishes, but Bob, his brain addled by years of alcohol and drug use, struggles to reconnect with his revolutionary pals to find her. DiCaprio goes on a journey — in his bathrobe and an unfortunate man bun — to salvage his family.

“I love the idea that you expect this character’s going to use massive espionage skills, but he cannot remember the password,” DiCaprio told reporters in September when the film opened.

‘It’s not going away’

Car chases in the desert haze, a teen hidden by an order of nuns called the Sisters of the Brave Beaver, Del Toro chewing the scenery as karate dojo owner (and part-time savior of immigrants) Sensei Sergio: the film is relentless, leaving the viewer on edge.

The movie dissects “how we have stopped listening to one another, and how these characters thinking or acting in these extremes can bring a lot of hurt,” DiCaprio told The New York Times.

It is the first movie in two decades directed by Anderson that is set in the present day, after “There Will Be Blood,” “The Master,” “Inherent Vice,” “Phantom Thread” and “Licorice Pizza.”

But Anderson insists his statement is not particular for this moment in time.

“The biggest mistake I could make in a story like this is to put politics up in the front,” the filmmaker told the Los Angeles Times last year.

“You have to care about the characters and take those big swings in terms of the emotional arcs of people… That’s not a thing that ever goes out of fashion. But neither does fascism.”

“I’m not trying to diminish what’s happening right now,” he told the paper. “But I’m also trying to say that what’s worse is that it’s not going away.” — AFP

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HOLLYWOOD — Netflix’s smash hit “KPop Demon Hunters” — a tale of good and evil incorporating traditional Korean mythology and set to a thumping soundtrack — on Sunday won the Oscar for best animated feature.

“Golden,” the film’s infectious anthem about empowerment, self-reliance and personal growth, is up for an Oscar later in the night for best original song.

The movie — co-produced with Sony Pictures Animation — premiered on Netflix in June 2025, but quickly found a massive global following and is currently the streaming giant’s most-watched original film of all time.

When a special singalong version was released in North American theaters for one weekend only, it easily topped the box office chart.

“This is for Korea and Koreans everywhere,” co-director Maggie Kang told the audience, with co-director Chris Applehans and producer Michelle Wong at her side.

The movie tells the tale of HUNTR/X, a popular K-pop girl group whose members live double lives as weapons-wielding demon slayers. Their songs help create a magical barrier called the Honmoon that protects humanity.

The role of demon hunter is passed down over the generations.

The current trio — Rumi, Mira and Zoey — are sassy women who dress well but also are goofy and wolf down Korean food between performances and hunting missions.

They must square off against a demon boy band, the Saja Boys, who are sent by the demon lord Gwi-ma to weaken the Honmoon. A battle for humanity ensues.

The film borrows from the idea of shamanism — the tradition of having intermediaries to interact with the spiritual world, and features sweeping recreations of Seoul’s skyline.

Kang has explained the project was years in the making.

“This silly K-pop movie idea could represent so many aspects of my culture. Once I realized that, it was full force, making the most Korean movie I could make,” she told The New York Times in an interview published in January.

“I wrote a lot of things in Korean first, in my head, and thought about, what is the best way to translate this emotion or dialogue into English?”

The main cast is made up of mostly Korean actors.

‘Golden’

Developing the music was a years-long process.

“This concept is so wackadoo, the songs had to be fantastic for it to be accepted,” Kang told the Times.

“Golden” — which topped the charts in more than two dozen countries — is the movie’s musical centerpiece, featuring lyrics in English and Korean.

It is Rumi’s battle cry, as she reveals to the world that she is also a half-demon.

“I’m done hidin’, now I’m shinin’ like I’m born to be,” says the song, which was written by a team including Korean-American singer EJAE, who is Rumi’s singing voice.

“We’re goin’ up, up, up, it’s our moment / You know together we’re glowin’ / Gonna be, gonna be golden.”

The tune has won a Golden Globe and a Critics Choice Award for best original song in a motion picture, and a Grammy for best song written for visual media.

EJAE has said in multiple interviews that her dreams of being a K-pop star were dashed after a decade of training when she was told she wouldn’t cut it.

“Rejection is redirection. And so never give up. It’s never too late to shine like you were born to be,” EJAE said in January as she accepted her Golden Globe, borrowing from her own lyrics. — AFP

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SEOUL – Streaming giant Netflix announced on Friday it would release a sequel to “Kpop Demon Hunters”, its most popular film of all time and a two-time Oscar nominee.

The animated film, about a K-pop girl group descended from demon slayers, is the latest Korean tale to enjoy global recognition.

“KPOP DEMON HUNTERS will return for a sequel written and directed by Maggie Kang and Chris Appelhans,” Netflix posted on X.

The film is nominated for two Academy Awards this Sunday — Best Animated Feature and Best Original Song.

Its hit track “Golden”, which dominated music charts worldwide, also won Best Song Written for Visual Media, becoming the first K-pop song to win a Grammy.

Korean-Canadian director and writer Maggie Kang, who created the original and will also be in charge of the sequel, previously said that she wanted to “portray Korean culture authentically”.

“I feel immense pride as a Korean filmmaker that the audience wants more from this Korean story and our Korean characters,” Kang said, according to Netflix.

Launched in June last year, the film followed the critical success of other works exploring Korean and diasporic experiences, such as “Parasite”, “Squid Game” and “Pachinko”. –AFP

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The hottest place for a caffeine buzz are high-design cafes with specialities like green tea lattes, salt bread and corn dogs 

by JOEL HART 

KPOP Demon Hunters BTS Kimchi. For the past dozen years a cultural force known as hallyu (Korean wave) has engulfed the world. What began as a modest export of South Korean soap operas to other parts of East Asia in the late 90s (hallyu 1) metamorphosed into a transnational obsession with K-pop, K-dramas and Korean cinema, skin care, fashion and food. 

In its latest soft-power incarnation, the wave is manifesting in London’s Korean cafes, where high-concept design meets casual, gochujang-laced dishes and innovative hot drinks. The model has proven popular, fuelled by TikTok and the appeal of all-day hangouts that invite frequent visits. These places aren’t exact replicas of their Seoul counterparts; instead, they’ve got their own identity, subtly influenced by their owners’ experiences in the UK. 

In December, Tokkia opened in Covent Garden as London’s first Korean-style matcha house, specialising in green tea lattes and Korean salt bread. What distinguishes it from Japanese matcha places is its playful lack of ceremony. 

The intimate space has three terra-cotta-hued marble matcha stations, decorated with dried bunny tails, an ornamental grass, that’s been tied with knotted straws. (Tokkia roughly translates to “Hey, bunny” in Korean, a nod to owner Sooji Im’s two pet rabbits.) An Instagram post documenting the making of a persimmon matcha latte quickly garnered thousands of likes. “It’s just been kind of crazy,” said Im. 

Im owns Tokkia in covent Garden

Also new in London are Angel Dabang, where the specialties are dabang coffee (made creamy with condensed milk) and kkwabaegi (twisted doughnuts) and Look Left by Yugu, which focuses on mugwort lattes and Korean fusion plates. Both spots draw crowds and Angel Dabang is already looking to relocate to a bigger space. 

Im told me the Korean cafe trend isn’t new to the UK. It’s been active for a few years, cemented by the arrival of Bunsik, the street food chain serving Korean corn dogs that opened in the capital in spring 2021 and quickly went viral. Other popular, affordable snacks include tteokbokki (chewy cylindrical rice cakes). Bunsik now occupies seven sites in London and can be found farther afield in Manchester and Bristol. 

Another of London’s foundational Korean cafes is Compose Coffee shop, an outpost of the South Korean chain that launched in 2014 in Busan and now has more than 2,600 shops across the country. It opened in central London, next to the National Gallery, in Spring 2024. 

Now renamed First Korean Cafe M, the shop beckons with a bright yellow awning and specialties like mozzarella coin bread (a thick, melted-cheese-filled round waffle), egg-drop sandwiches and bulgogi avocado toast. There’s also the shaved ice dessert bingsoo and Korean brews like dalgona latte, a whipped instant coffee dolloped over milk, which got social-media-famous during the pandemic.

A selection of snacks at the new Korean cafe Angel Dabang

The Rising Profile of Korean Food, Drinks Hasn’t Happened in a Vacuum 

In 2009, the South Korean government initiated a gastro-diplomacy campaign. “Global Hansik” was created by the South Korean Ministry of Food, Agriculture, Forestry and Fisheries to raise the profile of Korean food abroad and make it one of the world’s top five cuisines by 2017, built on the success of the first hallyu. It followed a blueprint created by Thailand — which, in 2002, launched a US$15 million (RM58.5 million) programme to expand the country’s culinary profile — and invested 50 billion won (RM134.8 billion) in restaurant promotion, chef training and overseas marketing. 

In the UK, that trickled down to independent, family-run restaurants that became occasional dinner spots for Londoners. The rapid expansion and social media reach of Bunsik has spurned a fresh influx of casual Korean eateries, as cafes represent a shift to mass, replicable all-day businesses that customers return to almost daily. 

The latest from The Mishal Husain Show: Maggie Kang on co-directing Kpop Demon Hunters, blending korean culture with storytelling and communal power of music

Korean Casual Food, Drink Trend Is Part of a Broader Shift in British Consumption Patterns Too

In her latest book, All Consuming: Why We Eat the Way We Eat Now, food writer Ruby Tandoh points out how in 2010, London opened its first bubble tea shop and now a dozen others are within a 10-minute walk of her favourite place. The subsequent appetite for what’s known as “QQ texture” — a dense bounciness like firm mochi, that also manifests as tteokbokki and the noodle soup sujebi —positioned bubble tea as “a genuine challenge to the supremacy of coffee shops,” she wrote. “It’s a generational shift.”

It’s ascendency is also indicative of a wider, more multifaceted cultural shift in which Bunsik is able to quickly expand. The emerging K-cafe subculture isn’t mere brand expansion, but rather different models sprouting up. Angel Dabang is a minuscule cafe with traditional Korean furniture. Named after old-style coffee houses known as dabangs, the shop sells green tea from Boseong and Jeju Island, dabang-style coffee (laced with condensed milk), misugaru (a hot roasted grain drink) and ssang whacha, a flavourful herbal tea made from medicinal roots and herbs like cinnamon, ginger, jujube and licorice. 

There’s a modestly priced rotating menu of bunsik (casual Korean comfort food), from sandwiches filled with fried chicken, bulgogi or egg for £4.50 to £5.50 (RM23.67 to RM28.93) to the heartier tteokbokki topped with sausage roll, mozzarella or gimmari (deep-fried seaweed rolls) for £9.50. For dessert, the kkwabaegi have flavours like cinnamon sugar, injeolmi (roasted bean powder) and matcha chocolate cream. 

Hot mugwort latte at Look Left by Yugu

Co-owner Ben Kim said they get a lot of locals as well as Koreans from around the UK. Kim opened London’s Din Tai Fung before launching his business with partner Joseph Ahn. The British public’s greater familiarity with Korean culture and flavours has “opened up an entire new segment, including the cafes,” Kim said. “Korean food and beverage (F&B) people know how to capture an authentic kind of flavour and they know how to adapt to the market.” 

Look Left by Yugu, which opened in October in London Fields, is a case in point. In November 2024, fashion designer Seulbi Oh launched a boutique, where she sometimes served matcha to customers. But the beverage was so popular, she renovated the space and added food service as the main feature. “Many of the Korean customers say it’s like Seoul,” she said. 

Named after the Korean city where Oh was born, Look Left by Yugu focuses on matcha and what she called “Korean-fusion food.” At brunch there’s kimchi and sweet potato cheese toasties, then black sesame tiramisu. “If you go to the Korean restaurants in London, all of them are serving the same food,” she said. 

To introduce customers to new flavours, she’s been serving mugwort (sook) lattes, made from the earthy and grassy herb. Their popularity has been boosted by Korean food influencer Rollin Lee, whose Instagram posts have expanded the audience beyond Koreans. 

While Look Left by Yugu offers a substantial savoury menu alongside teas, Tokkia’s menu is, like the matcha houses of Seoul, simpler. You can order Korean matcha or hojicha — the tea is nuttier with less umami than the Japanese counterpart — or a seasonal special such as the viral persimmon matcha or peanut hojicha. There’s also Korean salt bread: A savoury, buttery pastry that emerged from the Japanese shio pan. 

Before she opened Tokkia, Im had a Korean specialty tea house, Be-oom, that she closed last year. She believed her new spot meets the moment: “It’s more appealing to the masses instead of a very niche crowd of people.” At the same time, she knew that the landscape will keep evolving. In her native country, “everything changes so quickly, especially the cafe culture,” she said. “Koreans are very sensitive to trends.” 

That cultural agility is one reason the world is obsessed with just about everything from Korea. And why, before long, you’ll probably be drinking a mugwort latte with your salt bread — if you aren’t already. — Bloomberg

• This article first appeared in The Malaysian Reserve weekly print edition

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