Audiotraffic

Formed in 1996, Audiotraffic emerged as a Hong Kong indie rock ensemble whose musical identity drew significant influence from British indie and Britpop movements. Their development from a short-lived teenage cover group into a recognised independent band reflects broader shifts in Hong Kong’s alternative music landscape during the late 1990s and early 2000s. Known for melodic guitar-driven arrangements, a cosmopolitan line-up, and notable international collaborations, the band became a prominent figure within the region’s live music circuit.

Formation and Early Development

Audiotraffic originated from the collaboration between musicians Adrian Da Silva and Don Cruz, who had previously performed together in a brief grunge-influenced cover band during their youth. Seeking a new artistic direction, they regrouped in 1996 to experiment with Britpop and indie styles that were beginning to resonate globally. Their early songwriting sessions led to the production of a demo recording, after which bassist Wade Bolingbroke and drummer Alex Lee joined the group.
Initially operating under the name Cry, the band secured a recording contract with Wings Music Entertainment. Their debut recording took place in 1998 under the guidance of producer Benjamin LeFevre, noted for his work with established Western acts such as Pet Shop Boys, The Rolling Stones, and Van Halen. Da Silva and Cruz travelled to London for final post-production and mixing, completing the process in an intensive eleven-day period. Shortly after the album’s completion, Bolingbroke and Lee departed for personal reasons, prompting the recruitment of Woo Joo Lee on bass and Masaki Heung on drums.

Musical Style and Influences

Audiotraffic’s sound aligned closely with contemporary British indie rock, featuring clean guitar textures, melodic hooks and introspective lyrical themes. The band’s approach blended alternative rock frameworks with the accessible structures characteristic of Britpop. Key influences included mid-1990s British groups whose emphasis on vocal clarity, rhythmic dynamism and guitar layering shaped much of the band’s stylistic evolution.
Their multicultural line-up also contributed to a distinctive regional interpretation of the genre. Members originated from Hong Kong, Malaysia, South Korea, and the Philippines, bringing a diverse set of musical backgrounds to their collaborative process.

Growth, Performances and Industry Recognition

Throughout the late 1990s and early 2000s, Audiotraffic performed extensively across Hong Kong’s venues, media platforms, and cultural events. Their visibility increased after a significant milestone in 1999, when they served as an opening act for the British band Mansun during its Hong Kong tour. The performance not only expanded their audience reach but also resulted in personal commendation from Mansun’s members, strengthening the band’s confidence and local reputation.
Additional international engagements included opening performances for Rialto, Swedish act Prime STH, and The Tears, the latter formed by Brett Anderson and Bernard Butler. By 2003, the band had separated from Wings Music Entertainment and adopted the name Audiotraffic formally, prioritising independent artistic control and broader audience engagement.
Audiotraffic also became a recurring feature at the Rockit Hong Kong Music Festival in 2003 and 2004, sharing stages with globally recognised artists such as The 5.6.7.8’s, Aqualung, Electric Eel Shock, and The Cooper Temple Clause. In 2005 they were moved to the festival’s Marquee Stage, allowing for the inclusion of emerging local bands in the main line-up.

Contributions to Film, Media and Popular Culture

Beyond live performances, Audiotraffic made notable contributions to Hong Kong’s entertainment sector. They co-wrote and recorded music for the soundtrack of the 2003 film Naked Ambition, featuring Eason Chan and Louis Koo. Their involvement underscored a growing trend of independent musicians participating in mainstream film production.
In 2004 the band appeared in Jackie Chan’s film New Police Story, further cementing their presence in the region’s pop-culture environment. Adrian Da Silva’s parallel career as a presenter on Channel V International from 1999 to 2002 added to their media visibility. During this period, Cry — their earlier incarnation — performed on the final episode of Channel V’s Top 5 at 5 programme.

Competition Success and International Touring

In 2004 Audiotraffic achieved a significant competitive milestone by winning the Hong Kong regional title in the Battle of the Bands competition. This award qualified them to represent Hong Kong at the world finals in Auckland, New Zealand, where they competed against finalists from across the Pacific Rim. Although they did not secure the top position, the judges awarded them an honourable mention for their performance.
Their participation in the event initiated a two-week tour around New Zealand, including live concerts, televised appearances and radio sessions. This exposure introduced the band to new audiences and demonstrated the viability of Hong Kong indie acts in overseas circuits.

Membership and Cultural Diversity

Audiotraffic’s membership reflected a notable diversity uncommon in most local bands of the period.Key members included:

• Adrian Da Silva (Hong Kong) – vocals and guitar
• Don Cruz (Malaysia) – guitar and songwriting
• Woo Joo Lee (South Korea) – bass
• Masaki Heung (Hong Kong) – drums
• Glenn and Ferdie (Philippines) – later members contributing to live performances and recordings

This multinational composition shaped the band’s collaborative environment and reflected Hong Kong’s wider cultural cosmopolitanism.

Discography and Releases

Audiotraffic’s published works include:

• Cry (1998) – debut EP released under the earlier band name
• Audiotraffic (2008) – a later EP marking the culmination of the band’s independent evolution