We meet the team behind Clockenflap

The final pulses of bass rippled through the skyscrapers as Wu-Tang Clan signed off their first Hong Kong appearance, simultaneously dropping the curtain on the 12th Clockenflap Music and Arts Festival . The three-day event in March was not only its return after a four-year absence, but the first time it had ever sold out. 

Pride washed over Toby Poon, the festival’s associate producer, as she watched. “Everyone was dancing all around me. We hadn’t seen that huge a crowd in Hong Kong for a long time.” She allowed herself to relish the moment – but an hour later her team scrambled into action again, dismantling the event to return the Central Harbourfront site to a bare patch of gravel. 

Most festivalgoers won’t see the work that goes into producing a music festival: Poon’s team handles everything that falls under event operations – from toilets to staging and security. While festivalgoers don flower crowns and neon paint, Poon wears a hard hat.  

For marketing manager Kelyn Yuen, the sell-out event was “the holy grail”. Having joined in 2016, she’s seen soaring highs as well as “some dark times”, when it was unclear whether the festival would ever be coming back. That Sunday night in March 2023 was an emotional experience – “it’s like magic seeing all your efforts come to fruition” – that signalled a new chapter for Clockenflap. 

Not long after March’s festival, two announcements were made: that the festival would return in its regular winter slot later in the year, and that live music behemoth Live Nation had acquired a controlling stake. 

This month sees headliners Pulp and Yoasobi top a bill that spans the musical spectrum, with Asian acts more centred than ever before. Cora Chan worked closely with music director Justin Sweeting to book them. Building the line-up, Chan says, is “more instinctive: gut feeling over data”, although streaming statistics and social media hype also ensure the bill reflects the diversity of the audience.  

Aside from this, Chan’s responsibilities are to make sure logistics run smoothly for bands and that they have a brilliant time in Hong Kong. “My job is about showing what the city and festival have to offer,” she says. “We don’t want acts to just come here, play their set then go; we want to make sure they have fun.” 

This festival, held on the first weekend of December, looks very different to the single-day event in 2008 that was conceived by founders Mike Hill, Justin Sweeting and Jay Hofmann-Forster. Clockenflap has grown into a cultural phenomenon with more than 80,000 attendees, many of whom fly in from overseas.  

Despite the new majority owners, it’s largely business as usual. The team is small, and deadlines are tight. But camaraderie and passion for music (not to mention a fridge of beers) keep tensions anchored as the event nears. “When you start getting emails at midnight, you know the festival is close,” says Chan, adding with a laugh: “When you start answering them at midnight, you know it’s only two weeks away.” 

“Live Nation saw the team’s capability in putting out great events,” says Yuen. “They kept our original operation and structure. We kept our autonomy, even in booking artists: it’s still Justin and Cora. What’s great is having a network of resources we can access if we need.” 

Poon adds, “We retained our autonomy in how we shape the festival as long as it’s world-class. But that’s always been our goal.” 

So, will December’s festival feel any different to the average punter? “If different, then better,” says Yuen. She calls out: “More water!” 

Chan: “Shorter queues!” 

Poon: “More toilets!” 

The three explode into laughter. “We’re a well-oiled machine,” adds Yuen. “We take on feedback after every event and try to do better.” 

As the gates of the 13th Clockenflap open this month, Yuen, Chan and Poon will be on-site making sure the event is safe and fun. But there’ll be moments when they let the magnitude of their achievements sink in. Poon’s mind drifts back to memories of March: “I was stood there thinking, ‘Oh my god, I make these people very happy. That’s why I’m here.’”