- Band’s management company MakerVille has hired independent engineering consultants to ensure all regulations are met
- Venue provider Asia-World Expo to review of all necessary documents, engineer to inspect all equipment
Hong Kong boy band Mirror’s concerts return with enhanced safety protocols. Photo: InstagramSafety is the top priority for the organisers of Hong Kong boy band Mirror’s series of sold-out concerts that kick off today who say they have engaged independent engineering consultants to ensure this.
MakerVille, the band’s management company, told the SCMP it had done everything possible to avoid a repeat of what happened at the group’s concert in July 2022, when a giant LED screen fell and hit two dancers, injuring one critically.
“The company has engaged reputable companies, contractors and producers with vast experience and a high standard of qualifications to take part in the production,” its spokeswoman said.
It brought in independent engineering consultants and worked closely with contractors to ensure that all work met industrial safety requirements and government regulations.
Venue provider Asia-World Expo said the organisers had to submit documents with details on the stage design, set-up and use of mechanical devices to authorities such as the departments for buildings, food and environmental hygiene and electrical and mechanical services.
A venue spokeswoman said thorough checks would be carried out, including a review of all necessary documents and licences, and an engineer would inspect all mechanical equipment and installations on stage before the concert series began.
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The popular 12-member boy band kicks off its comeback concert series with 16 sold-out performances from January 15 to February 3 at the Asia-World Expo, which is managed by the Airport Authority.
With a capacity of 14,000, the Asia-World Arena is Hong Kong’s largest concert venue.
Mirror kept a low profile for several months after its last series of concerts was disrupted by the accident.
On the fourth night of what should have been a 12-show run, a large suspended screen came crashing down, injuring the two dancers, including Mo Li Kai-yin.
He suffered severe spinal injuries and is still in hospital after undergoing a series of operations and rehabilitation treatments. The other dancer, Chang Tsz-fung, sustained less serious injuries.
The rest of the shows were called off and the government launched an investigation immediately, while officials imposed interim measures to boost safety in public-owned venues.
Those who hire public venues were barred from using mid-air installations that swing, rotate or carry people, and were also required to appoint an authorised individual approved by the Leisure and Cultural Services Department to review the safety of all such installations each day of the performance.
Music Nation Productions, which rented the Hong Kong Coliseum for Mirror’s ill-fated concert, was subsequently banned from renting any government venue until all investigations and legal proceedings related to the accident were completed and its responsibility was made clear.
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The 11,620-seat Hong Kong Coliseum is the city’s largest government-owned performance venue.
Music Nation Productions and MakerVille are owned by telecoms firm PCCW, headed by billionaire tycoon Richard Li Tzar-kai, son of Li Ka-shing. Neither company was charged with wrongdoing in the wake of the incident.
An interdepartmental task force suggested in November 2022 that event organisers at government-run performance venues hire independent inspectors to check engineering work, drawing concern from several arts industry unions.
They were worried that the extra checks would be a financial burden especially on smaller productions and curb creative freedom in set design.
The Hong Kong Arts Administrators Association then revealed that authorities had proposed grading the safety risk of performances in public venues, based on the complexity of floor-mounted and suspended devices.
Performances with a simple stage design only needed to submit details of measurements, weight and construction materials to be used, while those with complex stage designs would have to engage structural engineers to carry out checks.
Organisers of shows involving suspended devices would also have to submit details of their stage design, mechanical installation and hydraulic and electrical systems to authorities.
Louis Szeto Ka-sing, a member of the task force, said the classification system supplied needed regulations that were not in place before the Mirror concert accident.
For the band’s new shows, for example, organisers were required to have an engineer check all mechanical elements of the set design daily, he noted.
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“The extra checks will add to their production costs, but this is something the organisers have to bear,” said Szeto, the former chairman of the Hong Kong Institution of Engineers’ mechanical, marine, naval architecture and chemical division.
He said he believed that after the 2022 accident, concert organisers would do their best to eliminate all potential danger, even at privately owned venues.
“They have to conduct their own risk management,” he said. “If an accident happens again, it will be a huge blow to their reputation.”
Responding to an inquiry sent by the SCMP, a department spokesman said officials were preparing a “technical guidance note for stage engineering” and had sought input from industry groups and the Hong Kong Institution of Engineers.
It expected to introduce the guidelines over the coming months and would follow up by revising the terms and conditions for hiring public venues, the spokesman added.
Mirror fan Stephanie*, 27, said implementing industry guidelines was a good start to reducing risks for all performers in Hong Kong.
“But I hope it won’t just be all talk and no action,” said the university administrative staff. “They must carry out inspections and monitor whether organisers really follow the guidelines.”
She had a ticket to watch Mirror perform in 2022, but the show was cancelled after the accident. She has exchanged her ticket for one to attend its concert on January 21.
“I don’t really care about stage design or explosive effects,” she said. “Most of all, I just want to watch them sing and dance and feel their charisma. Even if the mechanics are simpler, I will not be disappointed.”
*Name changed at interviewee’s request