12/12/2025

LYFE FRIDAY | DEC 12, 2025

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WHILE mega concerts and arena shows dominate headlines, industry insiders said Malaysia’s independent venues – especially small, consistent ones – play an equally crucial role in nurturing local talent and sustaining the performing arts ecosystem. For performers, such rooms offer a chance to hone their skills and build genuine connections with audiences. For audiences, the proximity creates an immersive experience – the kind usually reserved for front-row seats in larger halls. “Spaces like Bobo KL are crucial because they bridge the gap between cabaret and concert hall,” said Janet Lee, the founding member of Asia’s leading Chinese jazz trio, The Shang Sisters. The trio has performed there since its inception. Lee added that it is on small stages “you can experiment with form, collaborate across genres and grow with your audience. That continuity has been essential to the evolution of live performance in Kuala Lumpur.” Sharing similar views about how artistes hone their skills on small stages, The Frankie Sixes frontman Reza Salleh said: “It’s a level of intimacy that not every performer is used to. The dynamics give us the chance to hone our craft, especially when it comes to stage presence.” On the other hand, the singer known as Nani (Ezdianie Hayatie), who often performs with the local ronggeng musical group Aruel and The FaSoLa, believes these spaces also play a vital role in fostering community and cross-cultural appreciation. “This comes from the diversity of performances it presents, from stand-up comedy and music shows to discussions about Indian classical dance. Each type of performance attracts its own community and by coming to Bobo KL, audiences are introduced to a wider range of shows beyond the one they came for. They feel comfortable with the concept and the variety of what Bobo KL offers,” she said. How small stages build local art scenes

The Shang Sisters sprucing up the stage with a zest of Nyonya flavour.

From intimate roots to expanding horizons o Finding its niche by not having one

AFTER nearly 15 years without the release of an album, singer and composer Aizat Amdan returns with his latest work titled Simfoni Hati Beradu . Aizat, 36, said the mini album, built around a “KL City Pop” concept, features five tracks with new and unique musical arrangements. “This is my most personal project to date. Each song carries its own story and I want my fans to feel the emotions behind every melody. “These five tracks are a tribute to the collaborations that take them to national venues such as Istana Budaya and Zepp KL, collaborating with National Symphony Orchestra and the likes. In an ecosystem where cosy W HEN My Chemical R o m a n c e announced its first-ever Malaysian concert at Bukit Jalil Stadium, tickets vanished as fast as lightning and K-pop giants such as Seventeen and Twice were also packing stadiums. While stadium tours showcase the scale of Malaysia’s entertainment appetite, the country’s artistic heartbeat is sustained by stages that seat just a few dozen people. Few know this better than Sean Ghazi, the artistic director of Bobo KL, who has spent a decade curating shows in an intimate Bangsar room while also performing on international stages. Having performed on international and local stages, Sean said: “Small, intimate shows are harder. You’re so exposed, just a few feet away from the audience. A lot of headliners who are used to big venues come to Bobo KL and admit that it’s the hardest stage they have had to perform on. Bigger shows are grander and more theatrical, but you have help with lighting, sound, orchestra and a whole team.” Sean would know. Over the past decade, Bobo KL has grown from a 70-seat piano lounge to a space that hosts a wide spectrum of performances. The same team from Jalan Bangkung, Bangsar not only sustains a weekly calendar of live shows but also produces

cross paths in unexpected ways. Sean explained a jazz fan could come for a jazz show and end up experiencing their first taste of Chinese opera the following week. “In a conventional setting, this venue would not be something that a jazz fan would typically seek out. But once they realise their love for it, the venue opens doors for aesthetes and culture enthusiasts to make new artistic discoveries. That is the appeal of Bobo KL,” he said, elaborating that conventional entertainment is segmented by genre or language while at Bobo KL, people move easily between Malaysian traditions and beyond. “Our culture is layered and at Bobo KL, you see that plurality in practice. That breadth of programming helped Bobo KL build a following across different communities. Over 10 years, it has nurtured not just performers but also audiences willing to cross genres and discover new forms,” he added. Bobo KL has grown into a base that has made larger projects possible. What began as a 70-seat lounge, has expanded into a venue for collaborations with the National Symphony Orchestra and a lot of versatile productions and art forms to find representation in the local art scene.

The Frankie Sixes bringing its own flair to jazz on the stage at at Bobo KL.

usually reserved for front-row seats in larger halls. Over the years, Bobo KL has shared a path of growth with the artistes who took its stage. Many began with niche followings, some connecting with new audiences at Bobo KL. In turn, the venue strengthened its identity through the breadth of talent it hosted and community it has developed. If artistes thrive on the closeness, audiences gain from being part of a community where genres and traditions

independent venues were few, Bobo KL found its niche by not having one. Instead of specialising in jazz, comedy or theatre, its calendar blends them all: jazz one week, stand-up comedy the next, Chinese opera or Indian classical dance the following month. For performers, such rooms offer a chance to hone their skills and build genuine connections with audiences. For audiences, the proximity creates an immersive experience – the kind

era that has shaped our local music industry. It is an ode to Kuala Lumpur, the place where I was raised,” he told Bernama. He said the album draws inspiration from 1980s music, but with a local touch that reflects on Kuala Lumpur’s identity. Among the songs in the album are Tegap Berdiri , which speaks about rising again after repeated setbacks and through a Dari Studio podcast session. “This podcast session emphasised live songwriting, with the rule that each song had to be completed by the end of the session. The podcast also allowed listeners to experience the actual process of music creation and understand how ideas evolve into songs,” he said. All five tracks from the album are available on digital platforms. Aizat Amdan releases new album titled Simfoni Hati Beradu Sendiri Aku Ok! , which challenges the stigma that being single means being unhappy. “The title track Simfoni Hati Beradu tells the story of my own marriage. The track is about two different individuals coming together and embracing each other’s differences. The song Seperti Tak Pernah Engkau Bercinta serves as advice to a friend of mine recovering from heartbreak, while Jika Kau Ada Seseorang is about appreciating every moment and every person in your life,” he said. The former Akademi Fantasia 5 contestant said the album was produced by Izzy Musa, written by himself together with Mel Ramlan and Izzy, mastered by Jeson Huang. What makes the album more interesting is that each track, with an exception to the title song, was created