Power Slaves – Up The Tempo  
The statement on the Power Slaves website, that the band indulge in '100% rock n roll' is certainly no empty boast. Check out the clip of their track 'Indonesia'.
This bears all the hallmarks of a classic rock video, with close-ups of the various instruments are they are introduced to the track. There are jump cuts to a sea of youthful hands brandishing the national red and white halved flag, and at 0:30 this is expanded to silhouettes defiantly punching the air along with the rousing music. As enemy airplanes cruise past threateningly, the hands grasp larger flags to wave in defiance.
The intimacy of the video transforms at 0:49, as the cameras introduce a clip of Power Slaves performing before a crowd of adoring fans, hands (and Indonesian flags) thrust into the air. The song progresses, gaining in power, and the silhouettes seem to grow ever more prepared to defend their country, producing weapons which are waved menacingly.
While all this makes for an effective backdrop, it is the live clips that really bring home the band's latent power. The vocalist continually gestures to the adoring audience, imploring them to hang on to his words, with the band producing suitably strident chords. At one point there is an effective shot of a guitar, with the camera clipped to the head, focussing on the fretboard. The keyboard player, face masked by ubiquitous cool shades, layers the track with melodies, while the guitarist thrashes out his licks beneath a white stetson (managing to look far cooler than when U2's The Edge used to wear one!)
The vocals alternate dramatically between atmospheric crooning, rising to a powerful crescendo at 2:12. Heydie Ibrahim certainly has a full range, conveying all the atmosphere that is required. Guitarist Kolem kicks into a soaring solo, while the rhythm section of drummer Vidi, second guitarist Randy and bassist Anwar Fatahillah, together with keyboard player Mandy, ensure that each aspect of the song gathers momentum.
By 2:45 the thunderous crescendo has died down to a gentle verse, allowing the crowds to join in. Heydie is seen amongst the fans at the front, bravely continuing with the song as the adulating spectators clamour for the microphone.
The climax of the song occurs with the musicians taking theirfoot off the throttle for a moment, allowing the baying crowds to take the lead (which prompts Mandy to cup a palm to his left ear, goading them that they are not singing nearly loud enough). As the music faded, only the drums remain, tapping out a military tattoo.
This is a terrific example of how Power Slaves are able to whip up their fans by employing a mixture of melody and amplification. Unlike a lot of rock music, where volume seems to be the be all and end all, this Indonesian band can certainly rock, but they can also carry their fans along by producing excellent songs that are also atmospheric.
Shorthand Phonetics – Music and Film  
Most rock bands are content to live up to a certain set of expectations. This often follows a well-worn pattern: the first album is packed full of punchy material designed to gain maximum attention. By the second album, the emphasis might be on taking things down a gear, with many outfits displaying tendencies of getting introspective and moody. Indonesian band Shorthand Phonetics don't follow any of those rules. They simply focus on producing great, original rock music, whether that's for release through the usual channels, or as the atmospheric backdrop to a film.
Although Shorthand Phonetics are most known for their lo-fi indie guitar sound, they are no strangers to mainstream success. In fact, their film score album 'Score No. 1 (Dream Chase) in A major, Op. 17 for Three Electric Guitars, One Bass Guitar and One Drum Kit', made the number one spot in the 'Top Indonesian Albums of 09', produced by the influential Jakarta Globe newspaper. Never a band to scrimp on the somewhat poetic (indeed outlandish) album titles, this was followed two years later with 'Cantata No. 6 (Assistants of Assistants) in Varying Keys, Op. 25 for Three Electric Guitars, One Bass Guitar, One Drum Kit, One Tenor and Additional Voices Where Appropriate.
In fact, these highly literal descriptions of their album contents is one of Shorthand Phonetics' most instantly recognisable attributes. It conveys a quirky mix of serious intent coupled with a zany sense of humour. But when it comes to actually delivering the goods, the Bandung group is focussed on creating original music that will live on in their listeners' memories (long after most other indie bands have been superseded by the latest hyped-up indie bands).
The defining feature of Shorthand Phonetics is their instantly recognisable guitar sound – or should that be 'three guitars' sound? These are often played in a choppy or 'staccato' style that allows the guitar line to dictate a certain amount of rhythm for any song. This is frequently counterbalanced with a more gentle but insistent strumming, allowing layers of melody to be injected into the piece. As for the rhythm section, very often anything goes, with madcap drumming competing with nihilistic bass lines.
On top of all this, the vocal performances are often dead-pan, or deliberately understated. Shorthand Phonetics are not known for huge, anthemic choruses sung in cod-operatic style. Instead they paint little vignettes that describe the nuances and irritations of everyday life. The equipment used captures this lo-fi technique to perfection, with webcam microphones or a laptop taking the place of the arsenal of marshall stacks that have been the rock band staple for decades.
The band itself was formery a five-piece, consisting of bassist Alfonsus Tanoto, guitarists Kevin Yapsir and Daniel Sastro, drummer Alvin Lasmana and guitarist, vocalist and programmer Ababi Ashari. Established in 2003 or 2004 (the exact date has been open to debate for a while), they were eventually signed to Yes No Wave Music in 2007. Their debut album was another ditty that didn't exactly roll off the tongue – Fanfiction: From the Seriously Absurd to the Absurdly Serious.
Following the album's release, the bulk of the Shorthand Phonetics departed to pursue academic careers, leaving driving force Ababail Ashari to continue writing material under the band's name.
The colourful world of Indo rock  

The Indonesia music scene is incredibly rich and varied, benefiting from a range of influences, historic and cultural. Its location on the Pacific rim is ideal for soaking up many of the musical styles which are prevalent amongst other Far Eastern nations.
But one form of music that seems to have been embraced by enthusiastic young Indonesians is rock. Known locally as 'rock indo', there are many aspects of the genre that are fairly unique to Indonesia. One thing that is typical to Indonesian rock is a sense of passion and individuality. All those clichés that can infest western rock, such as singing about drugs, fast cars or faster women, are completely redundant in Indonesia. Instead the songs are far more likely to concentrate on subjects such as modernism, environmental awareness, or sensitive personal politics.
The music itself varies considerably, covering all the different strand of rock n roll. There is a place for the darker side of the genre, with gothic bands and death metal exponents. But the most successful groups manage to blend the edge of loud guitar-driven rock with the popular, radio and download-friendly sensibilities of pop. This is reflected in YouTube videos, which reveal the sensitive side of Indonesian bands.
While the music might display the traditional attributes of rock – strident guitars, pulsating bass rhythms, driving drumbeats, heartfelt vocals – there are invariably strong narratives in the accompanying videos. Stories can vary, but they will tend to mirror the dramatic undercurrents in the music. Subtle verses might be reflected in introspective footage, with the video protagonists gazing wistfully into the distance, perhaps contemplating relationships that are under stress. Then a crashing chorus or soaring guitar solo will elevate the song to new heights.
That there is a huge audience for Indo rock is reflected in the many annual festivals which are organised. These events draw thousands of enthusiastic punters to events such as the three-day Jakarta Rock Parade. The most recent example of this get-together saw over 100 bands being hosted in the Indonesian capital city. A fantastic range of talent was on display, treating rock fans to music covering the full spectrum of rock n roll, from loud to atmospheric, jazz-tinged to out and out metal.
Bands such as J-Rocks are famed well beyond their Indonesian locale. The very fact that they are clearly influenced by Japanese rock n roll and street styles is reflected in their dress sense, and their raucous, almost cartoon-like enthusiasm for presentation. They have a wide fan base, and have played in Japan, where they have garnered a lot of followers.
Another colourful young Indo band is Superman Is Dead. Adopting punk rock thrash and strong pop melodies, they are clearly influenced by American exponents such as Green Day. In fact, they have toured extensively in the USA.
Pop-rock outfits such as Gigi have commanded a lot of local success. Their debut album 'Angan' shifted 150,000 copies, while their follow-up, 'Dunia', sold almost half a million.
Old hands, such as God Bless, who have been churning out rock n roll since 1973, are still flying the flag for no-nonsense, original, passionate, rock indo!


The wonderful cocktail of Dangdut  

There are many wonderful forms of indigenous music which continue to inspire generations of music lovers throughout the world. In Indonesia one particular form of music that has endured has been Dangdut.
The term itself derives from the Javanese word conveying the literal sound of a drum (known as the table or gendang). Although there is a certain amount of confusion as to how the expression was first used – some claiming that Dangdut was originally a derogatory term used by the rich to describe music favoured by the island's poor, there is no doubt that the music it inspired came to have a universal appeal.
Is in a foreign the widespread popularity of this type of music is the fact that it is extremely rich and vocals, melodies and harmonies. In addition, Indonesians love to dance to this type of music because of its strong rhythmic content.
Typically, the musicians performing this type of music will consist of a lead singer who is backed by several musicians. The actual instruments employed can vary considerably. As well as traditional bamboo flutes, or drums made from cow skins, their may be guitars mandolins and even synthesizers. It is this latter aspect that makes this music particularly appealing because it is able to transcend genres and traverse cultures. There will never be any danger of this form of indigenous music ever dying out because it has proved itself to be highly resilient in its ability to adapt to modern styles.
While traditional Dangdut is music that may have an echo of the past, in its modern setting it can embrace a whole load of eclectic influences, from house and R&B to reggae and hip-hop. The guitars can even be cranked up to incorporate aspects of western rock music.
If you should find yourself in a city on the island of Java, then the chances are there will be a venue somewhere in the vicinity that will be offering regular Dangdut performances. Even if you don't feel like making your way out to these venues, the events are so popular that they are very often broadcast on TV. And just because it Dangdut is based on very traditional music forms is no reason why it should be considered somewhat dull and old-fashioned. In fact, a fair amount of controversy has sometimes centred around the music form.
Over a decade ago Dangdut musicians found themselves at the centre of a media frenzy. A certain singer, Inul Daratista, was singled out by religious groups for her rather racy style of performing and dancing. Naturally this form of publicity has only helped raise the status of the music form, rather than having the opposite effect, as curious concert-goers flock to the shows to see what all the fuss is about.
Whatever the thoughts of conservative commentators, there can be no denying the enduring appeal of Dangdut. It has become a core aspect of Indonesian culture, and the fact that it brings so many people together in the spirit of shared joy and the love of music is something that should be celebrated rather than denigrated.


Powerful stories from dMassiv  

The YouTube video for the song by Indonesian band d'Massiv, 'Sudahi Perih Ini' has been seen by 8 million viewers. One reason for its popularity is that rather than simply being an accompaniment to the music, the footage tells a story. As the track unfolds, there is a moment of drama that contrasts very well with the delicate nature of the instrumentation. It seems obvious that we are witnessing the demise of a relationship, with a girl shrugging off the advances of her partner.

Be slow but consistent drumbeat keeps a regular rhythm while the guitar picks out some simple, sustained notes. Against this plaintive backdrop vocal comes in with a wistful melody. While the story of regret continues, we see the female again, this time obviously packing her personal belongings away. As she heads for the exit, bag nonchalantly slung over her shoulder, the despondent man perched at the end of the bed reaches out one last time. For a little longer this time, but eventually breaks away to continue her escape. The video is perfectly synchronized with the band footage, because at that precise moment when he lets go of her, the music begins gathering momentum, the action switching from the storyline to footage of d'Masiv.
The walls that have somehow been constructed in this relationship are given a metaphorical twist. As the accompanying melody becomes ever stronger, we see the male protagonist again, this time dressed in a crash helmet and uniform, and surrounded by riot police shields deployed for some civil disturbance. As clouds of tear gas part we see his former girlfriend materializing, surrounded by various fellow demonstrators brandishing placards. Amongst their banners are ecological slogans about saving the planet and resisting climate change, as well as messages about stopping cruelty to animals and general abuse of the environment. The girl marches right up to the row of shields while the riot policeman can only watch her, torn between his duty and his feelings.
There is another flashback to their previous life, where they are obviously having issues. This cuts back to the faces of both, from either side of the wall of riot shields, their expressions consumed with regret. An effective tool here is that the vocals of the song are spoken by the man in riot police gear. While the girl gazes on, someone amongst the other demonstrators wraps his arm around her shoulder – although she is obviously still pining a little for her former boyfriend?
Eventually the stand-off reaches a point where the police must have received orders to clear the streets. Visors are flipped down and they charge into action, truncheons at the ready, while fire and smoke fill the screen. While the action gets messy, with people milling around barbed wire, the music reaches a crescendo, soaring into a powerful guitar solo.
The male protagonist removes his helmet and rushes to the girl's aide as she is roughed up by another policeman. But he can only watch from the ground as she is led away.
The fact the story does not have a happy ending is one of its strengths. d'Massiv are all about making passionate music, with strong lyrical statements, not clichéd rock videos that are merely a tool for selling a band's music. If you need more head over to The bands official site.
Rock in Solo  

While some people love to relax to soothing music, for others the whole point of listening to their favourite bands is to do so loudly. Forget chart-friendly pop or trendy dance vibes – if you are ever visiting Indonesia's capital Jakarta during 'Rock in Solo' time, prepare to have your ear-drums assaulted!

Every year since 2004, between May and November, festival-goers will be subjected to a diverse range of bands sharing one thing in common: extreme volume. The types of music on offer falls into various genres, but none of it would be particularly welcome blaring from an apartment in a crowded residential area. Rock in Solo boasts thrash metal, gothic music, death metal, heavy metal, metalcore and stoner rock. While the very mention of these genres is enough to have the uninitiated running to their pharmacist for a supply of anti-headache tablets, for the devotees of an event that attracted 37 bands in 2012, this festival is wildly popular.
The festival's beginnings were fairly humble. A decade ago, seven local bands gathered together to entertain a small but enthusiastic audience on a single stage. The second event was launched three years later, with festival number three occurring in 2009 – the first to include international bands in the line-up. Ever since that third festival these rock n' roll parties have been held on an annual basis. By the fourth festival seven bands had expanded to three times that number, spreading over two stages. A year after that, for festival number five in 2011, four stages were utilised to accommodate the 33 bands who congregated to wow the mostly black-clad audiences in Jakarta.
As well as the number of musicians who can now been seen at this annual rock event, the size of the audiences attracted has expanded at a similarly ferocious rate. For that debut festival back in 2004, the total of appreciative fans numbered around 1,500. By 2012 this had rocketed to over 8,000.
Rock bands are notoriously short-lived phenomena. For every Rolling Stones notching up several decades in the business, there is a Nirvana, whose career was notoriously short-lived (amounting to albums that, for all they were acclaimed, could be counted on the fingers of one hand). How many of the bands who first graced the stage for 2004's Rock in Solo are still with us? The bands were Tengkorak, Seringai, Down For Life, Sporadic Bliss, Automatic, Russian Roulette and The Brandals. By the following year only two of those made it back to the stage: Seringai and Down For Life.
The most recent event, held at the Kota Barat football field in Surakarta over November 2nd and 3rd 2013, attracted an eclectic mix of raucous rock exponents. Their names, including Behemoth, Noxa, Outright, Psychonaut and Djiwo, may not necessarily be household names in every corner of the globe, nevertheless the enthusiasm and dedication of these bands for providing hours of gloriously passionate rock n' roll noise for their devotees is unparalleled. If you happen to find yourself holidaying in Indonesia later this year, why not visit Jakarta and take in this fabulous array of headbanging entertainment?!


Gigi – their greatest moments   

Ya Ya Ya
The video for their single ‘Ya Ya Ya' has attracted around 1 million hits in YouTube. It illustrates their perfect blend of hard-edged guitars and fluid melodies. The film itself is very arresting, featuring the band playing live on the banks of some suitably industrial-looking docks. The typical ‘band being filmed' scenario is counterbalanced with a short film, containing unnerving images of a mysterious woman, her first appearance a striking high heel and slender ankle slithering out of a car door.
Gigi run through their infectious melodies against a backdrop of towering cranes. The track is powered by strong riffs, a solid rhythm section, and an extremely catchy chorus, and it pounds towards its climax, leaving the listener in no doubt they have been thoroughly entertained.
Gigi live at Java Rockin' Land 2013
Gigi's appearance at the open-air festival is captured here in its sun-soaked brilliance. Armand Maulana demonstrates his impressive vocal range, giving a heartfelt performance over Gigi's customary power rock base. The opening track benefits from a mix of solid Marshall stack-driven rhythm guitar, which allows Dewa Budjana to alternate between raucous chords and more delicate flanger-inspired melodies. Like many of their tracks, it slowly builds to a thundering climax. At various points the vocals dip out, leaving the crowd to supply the words they know so well.
The second track starts as more of a soft ballad, capturing Gigi's ability to create beautiful soundscapes, as well as gritty rock n' roll. However, it soon begins to gather momentum, keeping those thousands of expectant feet tapping. Dewa Budjana provides one of his memorable guitar solos, to give the tune a pleasant high point, before all the instruments come in to collide as the track accelerates to its powerful finale, stopping dead on one note.
Track three is more of an upbeat rocker, and if anyone in the crowd isn't bopping along by that point, they must have serious taste issues! The entire gig last for just under an hour, all faithfully captured here in the official Rockin' Land video. The concert has already gathered 81,000 hits and counting.
This song has been a sizeable hit for the Indonesian rockers. The video weaves images of the band performing the insanely catchy tune, featuring strident acoustic guitar and layers of strings, with suitably shots of seriously attractive young women who appear either seductive or threatening – sometimes both! When the guitar solo kicks in two-thirds of the way through, rather than a standard electric guitar job, we are treated to some sublte mandolin-style plucking by the maestro Dewa Budjana. This YouTube clip has inspired over a quarter of a million hits.
Bisa Saja
Sultry models in monochrome outfits strutting along a catwalk introduce Gigi's Bisa Saja number. As champagne flows into slick glasses and some playboy tempts his targets with trinkets and jewellery, Gigi play their ultra-catchy up-tempo rock classic, grooving to the sounds from a catwalk. Bassist Thomas Ramdhan is clearly relishing being back in the Gigi fold after a short three-year hiatus when the founding member departed. He bops to the groove in a white t-shirt emblazoned with ‘Stayin' Alive', which is exactly what this brilliant Indonesian band have been doing, despite various ups and downs, since their inception in 1994. So far Bisa Saja has accumulated half a million hits.


Afgan Syahreza  

Afgan Syahreza has won many plaudits for his talents. Amongst the various awards that already clutter the shelves are Best Male Vocalist (at the 2009 Indonesian Music Awards) and Best Male Artist (at the 2009 Planet Muzik Wards, celebrating engaging artists in Malaysia, Indonesia and Singapore). As well as his immense musical talents, he is currently looking to gain some exam success while he studies at the Monash University, Malaysia.
One thing about Afgan is that he is no ‘one-trick pony'. He consistently demonstrates his versatility in various musical genres. As well as pop, he excels in R&B, soul and jazz.
Malaysians like to identify with the young singer because, unlike some Far Eastern performers who have found fame in reality shows or cheesy talent-spotting contests, his talent is natural. This makes his meteoric rise to international fame all the more surprising. Afghan never received any formal vocal training as he was growing up. The second of four children, Afgan's family was of Minangkabau extraction. They describe themselves as reasonably musical, but when it came to exercising his vocal chords it seems Afgan was self-taught.
He set out on his artistic journey after getting together with a bunch of friends to record a private album. This was performed at the appropriately titled WannaB Instant Recording Studio. As soon as the resident studio producers heard him singing, they offered him a contract on the spot.
This led to his debut album, Confession #1. Amongst the eclectic range of tracks recorded for this smooth meld of jazz and pop were ‘Terima Kasih Cinta', ‘Sadis', ‘Tanpa Batas Waktu' and ‘Klise'. A music video of the former was recorded, produced by Thalita Latief, and directed by Jose Purnomo. His performance on this album led to his award at the 2009 Indonesian Music Awards. That same year he cemented his arrival in the Indonesian public eye by acting in the movie Bukan Cinta Biasa, alongside Olivia Lubis Jensen. As well as performing before the cameras, he sang the title track for the film's soundtrack album.
In 2010 Afgan made another acting appearance, this time in the film Cinta 2 Hati, as well as providing vocals for the soundtrack. Following on from the critical and audience acclaim for Confession #1, his second album was released the same year. Entitled The One, this was received with equal enthusiasm. Afgan performed the theme for the 2011 Southeast Asian Games, the biennial sporting event involving 11 Asian participant nations. That year it was held in Bangkok, Thailand.
One of the keys to Afgan's enduring success has been the way he can dip between different sounds. Check out his single ‘Sadis', from his first album. This allows him to spread his range over a soft piano refrain, which soon builds up with full-blown orchestration and a strident guitar solo. This song has the same vocal hooks and bombastic delivery that would fit extremely well into theatre productions, or even a Disney musical.
Known for his cheeky grin, handsome features and slightly ‘nerdy' image, Afgan is no dumb pop performer: far from it. As well as possessing an excellent vocal range, we hear he was studying Economics at the Monash University Malaysia. He is obviously aware that fame and success can be incredibly fickle concepts, especially where pop music is concerned.
God Bless – greatest YouTube moments  

God Bless, one of Indonesia's most consistent and influential rock bands, have accumulated an army of followers – over different generations, too. Founding member Ahmad Albar has presided over a band that first formed in 1973, and has released several popular albums since their eponymous debut in 1975.
To save you the trouble of sifting through piles of 70s progressive rock in dusty second-hand shops we've compiled some of the band's most eye-catching moments which can be easily tapped into via the wonders of YouTube.
Semut Hitam
A total of 606k viewers have tapped into this video, the title track of their third album, released in 1988. There are no actual visuals, but the music is strong enough to speak volumes. The riffing guitars punch out a strident melody, while the echoing vocals, together with backing harmonies, take the song to new heights. There is excellent keyboard accompaniment as well. At 3:11 the lead guitar hits some fluent licks – typical with a lot of 80s guitar music elsewhere in the world, it was aimed as much at pop audiences as the ‘serious rock fan'.
Ahmad Albar, Godbless, Gong 2000
This video showcase the music's trademark blend of dynamic instrumentation with upbeat, melodic rock. The driving guitars and full-on vocals carry the song along nicely, while the keyboard in the background, especially at 3:00, produces some menacingly deep bass chords. The chorus is infectiously catchy, and no-one could possibly listen to this joyous music without feeling their feet starting to tap along.
This is a slightly more progressive track than the former two videos. It is heavily keyboard and guitar-orientated, with some powerful licks and hammer-ons bursting through the Marshall stacks within the first two minutes. At 2:11 the song breaks down into an instrumental ‘middle eight' where the guitarist really gets to showcase his perfect command of his fretboard, as he scales up and down, reaching screeching high notes that carry the rest of the song. The longer the melody progresses, the more insistent these breaks become, until a key change launches the tune towards a powerful climax.
Maret 89/ayat setan romika
This features a montage of stills of the band, set against a particularly grinding hard rock tune. The guitar skills are exemplary – around 2:20 a solo kicks in, that by 2:40 merges with a dexterous keyboard solo. The main riff that keeps recurring in the song puts the listener in mind of some stadium band like Guns n' Roses at the peak of their swaggering fame. Indeed, the choruses are just crying out to be repeated back at the band by an arena packed with adoring fans.
Accompanying the music are various stills of gigs, ranging from close-ups of the Marshall stacks that produce such a fabulous rock n'roll noise, to shots of the many festivals the band have played at.
Syair kehidupan
Over 1m YouTube viewers have tuned in to this piece. It is a slow, heartfelt ballad, full of flowing acoustic guitar lines and plaintive lead guitar carrying the tuneful melody, before splitting into harmonizing parts. The vocals are particularly strong, with choir-like multi voices being applied during the powerful choruses.


Indonesian music to cement diplomatic ties  

With the imminent arrival of the 40th anniversary of the moment when diplomatic ties were established between Indonesia and Korea, music has rightly become centre-stage. More than any other form of artistic expression, music is capable of crossing international borders and creating harmony. For that reason, music is going to be used has enhanced the relationship between the Indonesian and Korean people.
Last November, a concert took place at the Ansan Sangnosku Gymnasium in Gyeonggi-do, South Korea. Under the title ‘Woorinen Hana Kita Bersatu!' which translates as “we are one” in the respective languages of Korean and Indonesian. The event drew large audiences together, both in person and via digital images. Amongst the artists featured in the show were Indonesia's Ridho Rhoma and Amir, and the Korean singers Wheesung, Ailee, Koyote, Tae Jin-ah and Eru.
The US-born Korean singer Ailee was a particular favourite with the bustling crowds. A mere 24-years old, she has been wowing audiences in Korean and beyond for some time, ever since her debut single Heaven was released in February 2012. When her second mini album A's Doll House was released last July, nearly all music stores in South Korea were sold out of physical copies within 24 hours. Her management company clearly had other markets in their sights, too. A version of Heaven was released by Warner Music Japan, propelling her into the spotlight of the potentially vast music devouring Japanese youth market.
Ailee's music, which typically blends a wonderfully irresistible pop vocal technique with some harder rock balladry, was an easy choice for an invitee for those organizing the special anniversary gig.
Eru Entertainment, a Korean agency and the Indonesian national broadcaster Trans TV, co-hosted the event. It was also sponsored by South Korean Ministry of culture, sports and tourism, and the Indonesian Embassy in Seoul, as well as Ansan City Hall.
Amongst the audience who packed into the gymnasium to listen to the music there were many Indonesians. The organisers have specifically invited visitors from that country currently residing in Korea to attend, in particular those who happened to travel northwards for economic reasons.
As the music one particularly arresting moment came right in the middle of the proceedings. Five workers from Indonesia, who had been specially selected by the Indonesian Embassy, got to be re-united with the families they have not actually seen for a considerable period of time. As the Korean singer and event co-host Eru stated: “I thought that now was the time to give back to my Indonesian fans who have given me so much love and support. I hope this will give at least a small but heartwarming present to all of them who have long been here in Korea, far away from their families back home”.


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