Hong Kong vocalist Eric Chou (known familiarly as “Gigi”) recently unveiled his third single of the year, “Why Can’t I Measure Up to Him,” delivering a poignant ballad rooted in the classic Cantopop “K-song” style. The release is accompanied by a music video that frankly depicts intimate moments, including the singer resting his forehead against the lead actress, signifying a departure into traditional tear-jerker tunes after his previous releases.

Chou expressed enthusiasm for embracing the K-song genre, a staple of Hong Kong music popularized in karaoke lounges. “I have always loved Hong Kong K-songs, growing up listening to them,” Chou stated. “Two days after hearing the demo for this track, the melody was still firmly lodged in my mind. It was an instant decision; I knew I had to sing this song.” This choice signals a conscious effort to tap into the deeply nostalgic and widely beloved Cantopop soundscape.

For the production of this heart-rending track, Chou enlisted the expertise of producer Patrick Yip, known for crafting emotional hits such as “Singing Love Songs with My Back.” Chou noted that while they had collaborated on performances previously, this was their first time working together on a recording, describing the synergy as exceptional. “The producer has very high hopes for this song,” Chou remarked, “and we hope the audience will truly embrace it.”

The music video features Alison So, the lead vocalist of the independent female band Fiester. The video portrays a visibly close relationship between the two, showing them touching foreheads and affectionately feeding each other noodles. Chou shared a humorous anecdote from the shoot regarding the intimate head-touching scene. “That moment was quite awkward because of the intense heat,” he confessed. “I was sweating profusely, and I felt quite embarrassed about pressing my forehead against hers. We actually had to deploy two fans just to try and cool down the set.”

Lyrically, the song explores the devastating experience of losing a loved one to a third party. Chou disclosed that the emotional core of the song reflects similar feelings he experienced during his youth. He described the pain of unrequited love, realizing that his efforts were futile when the person simply didn’t reciprocate his feelings. “That moment was genuinely heartbreaking,” Chou reflected.

He offered a hopeful perspective derived from the painful experience. “It’s not that I wasn’t ‘good enough’ compared to the other person. It just meant that the person who truly loved me hadn’t appeared yet.” Chou concluded on a positive note, affirming his current happiness and fulfillment.

This latest single, “Why Can’t I Measure Up to Him,” is positioned to resonate with listeners who appreciate emotionally rich narrative storytelling intertwined with memorable melodies. By leaning into the legacy of the Cantopop sad song, Eric Chou is not only expanding his artistic range but also cementing his place within the tradition of Hong Kong’s signature musical form. The public reception to the track will be a strong indicator of the enduring appeal of the classic K-song format in the contemporary music market. The song is now available across major streaming platforms.

HONG KONG – A newly launched television variety show, “Bringing Sister Along to See the World” (literal translation), has generated significant conversation following its premiere on Monday, November 24th, surrounding the conspicuous editing of cast information on the network’s official website. The program, which features veteran actress Liza Wang (known affectionately as “Sister Wang” or Ah Jie) traveling to international destinations with a rotating cast of younger male hosts, inadvertently highlighted discrepancies in its listing, specifically concerning popular host Eric Chau.

The show pairs Wang with three up-and-coming male actors—Kalok Chow, Yik-Wei Chau (Eric Chau), and Hung-Chung Yuen—along with Wang’s husband, opera legend Kar-Ying Law, for excursions across Australia, Japan, Morocco, and Bhutan. The debut episode showcased Kalok Chow and Wang exploring Australia.

However, keen-eyed viewers quickly noticed that the official network listing for “Bringing Sister Along to See the World” seemed to omit Eric Chau’s involvement. Sources indicate that the description detailing his segment traveling with Wang to Japan vanished from the show’s webpage. Furthermore, his name was reportedly absent from the full list of participating actors and performers, raising questions among fans about his participation or the network’s promotional strategy.

Hosting Nominations Add to Conundrum

The confusion surrounding Eric Chau’s role in the travel series has been amplified by discrepancies observed in nominations for the network’s prestigious annual awards. Eric Chau, a previous winner of the Best Host award, received several nominations again this year.

However, scrutiny of his nominated programs revealed a pattern that excluded the new travelogue. His recognized programs for the hosting nomination include “New Year Charity Gala,”“Stay Strong Against Drugs,” and “Tung Chung Wanderer.” Notably absent from this list was “Bringing Sister Along to See the World,” despite the show being a major production this season.

In sharp contrast, his co-stars—Kalok Chow, Hung-Chung Yuen, and Kar-Ying Law—all secured nominations for Best Host specifically for their involvement in the “Bringing Sister Along to See the World” program. This disparity in recognition has fueled online speculation regarding the nature and extent of Eric Chau’s contribution to the series, or potential internal network decisions impacting credit assignment.

Transparency Concerns

The incident underscores the growing scrutiny applied by viewers and media watchdogs to online media crediting and digital promotion policies used by major broadcasters. In a competitive entertainment landscape, the acknowledged role of artists in flagship programming often directly impacts career trajectory and potential award recognition.

While the network has yet to issue an official statement addressing the omission, the situation highlights the importance of maintaining accurate and consistent public information, especially on official broadcast platforms. Accurate crediting not only respects the work of talent but also manages audience expectations regarding content delivery. The network’s swift correction of the website information, should it occur, will be closely monitored by entertainment commentators and dedicated fans awaiting clarification on Eric Chau’s segment in Japan.

A recently shuttered Hong Kong production company, Trial and Error, has filed two civil lawsuits in the District Court seeking over HK$1.3 million (approximately $166,400 USD) in cumulative unpaid service fees and interest from two public relations agencies. The lawsuits, filed on June 21st and 24th, allege that the PR companies defaulted on payments related to promotional campaigns featuring popular artist Kayan9896 (Ng Ka-yan) for international fashion brands, despite the company fulfilling its contractual obligations.

Trial and Error Company Limited, the plaintiff in both cases, is pursuing the outstanding balances, accrued interest, litigation costs, and damages from Smart Concept Communications Co., Ltd. and Boost PR Co. Ltd. Court records confirm that as of yet, no hearing dates have been scheduled for either legal action.

Detailed Claims Against Public Relations Agencies

The first lawsuit, filed against Smart Concept Communications, stems from a promotional agreement dated October 5, 2023, concerning a campaign for fashion brand Tommy Hilfiger. According to court documents, Trial and Error, utilizing its then-contracted artist Kayan9896, was required to provide five hours of shooting time, a collaboration with another artist, a media interview, and an Instagram post, all for a fee of HK$350,000.

The contract stipulated that Smart Concept was to pay a 30% deposit upon confirmation and the remaining balance by December 8, 2023. While the PR firm remitted the HK$105,000 deposit on December 6, 2023, Trial and Error alleges the remaining HK$245,000, plus interest, was never paid despite repeated demands. The production company had issued an invoice on October 28, 2023, detailing a monthly interest rate of 10% on overdue amounts. Trial and Error sent a final demand letter on May 20, 2024, which the PR firm allegedly ignored. Trial and Error is now seeking over HK$808,500 from Smart Concept, primarily reflecting the unpaid principal and substantial accumulated interest.

The second claim targets Boost PR Co. Ltd. and relates to a different promotional campaign for the fashion house Ferragamo, formalized on November 9, 2022. Under this agreement, Boost PR engaged Trial and Error for Kayan9896’s services for a campaign titled “Ferragamo 22 x kayan9896.” The agreed service fee was HK$110,000, payable by December 9, 2022, also subject to a 10% monthly interest rate on late payments.

Trial and Error claims Kayan9896 completed the required work for the campaign. However, the HK$110,000 fee was allegedly never paid by Boost PR, despite multiple requests over the ensuing years. A final warning letter was reportedly sent to Boost PR on September 22 of the current year. The production company is pursuing over HK$495,000 from Boost PR, encompassing the outstanding service fee and interest accumulated over nearly two years.

Contractual Disputes Highlight Industry Risks

The timing of these lawsuits is notable, following the recent announcement that Trial and Error would cease operations. This legal action underscores the inherent financial risks within the creative and public relations sectors, particularly concerning non-payment and the potential for substantial interest to accrue on overdue invoices.

Kayan9896, the artist at the center of the dispute, concluded her three-year contractual relationship with Trial and Error in October 2024 and subsequently established her own independent studio to continue her entertainment career.

These cases will test the enforcement of strict payment terms, including high interest clauses, within promotional agreements. The outcome is anticipated to set a precedent regarding the financial liabilities of PR firms when artist services are successfully rendered but payment obligations are neglected. Legal experts note that such complex disputes often lead to protracted judicial proceedings if settlements are not reached before trial.