Hong Kong witnessed the culmination of its annual music celebration recently as the Metro Radio Hits Awards 2025 ceremony distributed 73 accolades, cementing the year’s most impactful artists and tracks. Held this afternoon at the Convention and Exhibition Centre in Wan Chai, the event saw veteran and emerging talents alike honored, with Terence Lam securing the prestigious Metro Hits Male Singer of the Year and Gareth T.’s hit “Singing Love Songs with My Back” taking home the coveted Metro Hits Song of the Year title.
The distribution of awards highlighted shifting dynamics among the city’s major record labels. Emperor Entertainment Group (EEG) emerged as the undisputed frontrunner, accumulating an impressive 15 total awards. Close behind was Warner Music, which secured 14.5 awards, signaling a possible reconciliation or “thaw” in its relationship with the organizing media group, a development closely watched by industry insiders. Sony Music earned 8 awards, while Culture Entertainment secured one significant win, specifically for Anson Lo, who was named the Metro Hits Most Popular Male Singer Online.
In terms of individual artist recognition, several high-profile performers achieved multiple wins, underscoring their dominance in the past year. Terence Lam, with his consistent output and commercial success, alongside Gin Lee and MC Cheung Tinfu, each secured three awards. Other notable multiple award winners included Joey Yung, Jeffrey Ngai, Hung Kaho, and Jason Chan, each of whom walked away with 2.5 awards, reflecting recognition across various categories such as performance, production, and public vote.
The Metro Radio Hits Awards, known for recognizing commercial success and mainstream popularity in Cantonese music, serves as a significant barometer for the industry’s health and direction. The sheer volume of awards distributed—73 in total—reflects the vibrant and highly competitive nature of the Hong Kong music scene, which continues to evolve and embrace both traditional and digital platforms.
The strong showing by certain labels and specific artists provides crucial insights into market trends. EEG’s success reaffirms its longstanding influence and talent pipeline, while Warner Music’s nearly parallel success points to a renewed aggressive strategy in promoting its roster. For independent artists and smaller labels, the concentrated wins among the major players highlight the ongoing challenge of breaking through the mainstream barrier, although the success of online-voted categories indicates new avenues for fan engagement and recognition.
As the industry moves forward, the results of the 2025 awards confirm the star power of artists who deftly balance critical acclaim with massive public appeal, setting the stage for the next cycle of creativity and competition in Cantopop. Industry analysts will now use these results to forecast future investment and promotional strategies across the region.
