Renowned Hong Kong music producer Tony Wi, known for shaping the careers of artists like Nicholas Tse and Joey Yung, recently unveiled his journey from classical music training to becoming a powerhouse in the Canto-pop industry. In a candid radio interview on Commercial Radio’s Starlight Behind, Wi detailed his challenging path, the serendipitous moments defining his career, and his current project: launching a new six-member girl group, Honey Punch.
Wi’s latest endeavor involves molding Honey Punch, composed of young women aged 13 to 16, into the next sensation. Following the release of their debut singles, “Butterfly Stroke” and “Sliding Into the Heart,” the group is aiming for the coveted annual Best New Artist award. This initiative reflects Wi’s enduring influence and his knack for spotting emerging talent, a skill honed over decades in the demanding Hong Kong music scene.
Early Struggles and Berklee Education
Growing up in the modest Ngau Tau Kok Lower Estate, Wi began learning piano at age nine. His ambition led him to the prestigious Berklee College of Music in the United States in 1990 to study music production and film scoring. This period was marked by significant financial strain, forcing him to extend his five-year program, taking longer to complete his degree.
“Every course was a financial decision,” Wi recalled, explaining that while a full semester allowed for six courses, insufficient funds meant he could sometimes only enroll in two or three at a time. To cover tuition, Wi took on various part-time roles, including working as a waiter, deejaying at a Chinatown karaoke venue, and even ushering at the Berklee performance hall. Although the usher job was physically tiring, its exposure to diverse genres—from musicals and jazz to heavy metal and a spectacular Celine Dion concert—proved invaluable. He noted how this period shattered his preconceptions, revealing unexpected brilliance in different musical forms.
Hitting the Big Time with Nicholas Tse
Returning to Hong Kong in 1995, Wi joined Star Factory, initially scoring the film The Wedding Days. This brought him into contact with key mentors like Wong Wai-nin and Chiu Tsang-hei. His breakthrough came while working with Chiu on an album for Edmond Leung, resulting in the massive hit “The Man in the Closet.”
This success caught the attention of Emperor Entertainment Group (EEG), which tapped Wi to produce hits for Nicholas Tse, including classics like “Sound of Silence,” “Afterlife,” and “Runaway.” Debunking Tse’s reputation for being volatile and uncommunicative, Wi described their working relationship as “simple and direct.” He highlighted the creation of the song “Runaway,” where he conceived the title during the recording session. The record company initially deemed the title inauspicious, but Tse strongly advocated for its use, cementing it as a signature track.
Nurturing the Phenomenon of Twins
Tse’s success quickly led EEG to entrust Wi with developing the nascent duo, Twins (Gillian Chung and Charlene Choi), even before their official debut. Wi deliberately crafted their early image around wholesome, nostalgic campus themes, propelling them to immediate idol status. He credited EEG for granting both him and the lyricist substantial creative freedom.
Witnessing their grueling schedule firsthand, Wi observed the pair mature rapidly. “They were intensely busy, the equivalent of five or six years for someone else,” he noted. Their schedule was often chaotic, requiring them to suddenly release entire albums, not just singles. Utilizing the duo format, he established an efficient routine: one member would rest while the other recorded or ate, demanding constant vigilance from Wi. “It trained me to solve any problem,” he stated.
A Career Defining Collaboration: Infernal Affairs
Wi’s influence extended to collaborations with the “Four Heavenly Kings” of Canto-pop. A highlight was producing the theme song for the iconic film Infernal Affairs, sung by Andy Lau and Tony Leung Chiu-wai. The track secured the 2003 Hong Kong Film Award for Best Original Film Song.
Recalling the spontaneous origin of the song, Wi revealed that much of his prolific output resulted from casual conversations. He was dining with producer Chan Tak-kin, who managed Lau’s film projects, when he casually asked if a song was needed. Chan briefly provided the central plot—”the cop is the thief, the thief is the cop”—which instantly sparked Wi’s inspiration. He immediately grabbed a napkin and jotted down the initial intro melody.
His contribution was selected along with one other submission. Wi recalled the anxiety waiting for the final decision. “Mr. [Chan] congratulated me, saying they chose two songs, and mine was one of them. That made me even more nervous,” he joked. The final victory was a profound moment, underscoring the accidental brilliance that often fuels Canto-pop’s most memorable anthems.
