Novel Friday: From Constraints to Freedom, Embracing the World with Authentic Creation
“Hong Kong doesn’t have a music scene, only an entertainment industry.” This iconic quote from Wong Ka Kui (黃家駒) once shook countless hearts, and today, everyone may have their own definition of music. For Hong Kong rapper Novel Friday, music is more than rhythm and rhyme—it’s an outlet for genuine emotions and a journey of self-discovery.
As a rapper of half-Thai descent, Novel Friday stands out in the local hip-hop scene with his authentic lyricism, unique musical style, and bold fashion sense. He weaves heartfelt emotions and sharp urban observations into his music, telling his own story through beats and rhymes. In 2024, he set an ambitious goal for himself: to create 100 songs, a target he has now achieved, showcasing his determination to reclaim creative freedom after breaking free from the mainstream music industry.
Once, he forced himself to churn out chart-topping tracks to meet market demands, only to lose himself in the process, feeling the music industry’s overwhelming sense of powerlessness. After stepping away from the mainstream, he rediscovered authentic relationships and his original passion for creation. His song “GODSROOM” is not only a musical breakthrough but also a manifesto of freedom and self-expression through his life’s philosophy. Today, Novel Friday transforms fleeting emotions into lyrics, hoping to forge deeper connections with this city and the world through sincere music. Join us as we step into Novel Friday’s musical universe and feel how he writes his own chapter of freedom with passion and authenticity.
Q1. Please introduce yourself to FASHIONALLY’s readers?
NF: I’m Novel Friday, a musician and creator. In 2024, I set a goal to create 100 songs, and I’ve now completed it. Currently, I’m brainstorming ideas for music video shoots and slowly planning my next steps.
Q2. Describe your outfit today?
NF: Today, I’m wearing RICK OWENS x DR. MARTENS collaborative boots, paired with pants from Hong Kong local brand FOOTLOOSE TYCOON, featuring a spider pattern and icy cracked texture wash—super tactile. My top is a Hood by Air jacket, accessorised with a FIERCE necklace (shoutout to Nicole!). I’m also rocking a towel designed by my former music label, PPC (shoutout to PPC!).
Q3. What’s your favorite style of fashion?
NF: My room’s a chaotic pile of clothes, so I usually just grab whatever looks good and vibe with it. No fixed style—just go with my mood and express myself freely.
Q4. Do you keep up with Hong Kong fashion?
NF: Absolutely! Hong Kong has some amazing local brands, like FOOTLOOSE TYCOON, CHRISTIAN STONE, and YAT PIT. I might not recall every name offhand, but I’m always tuned into the local fashion scene and think the creativity here deserves more support.
Q5. How did you first step into the world of music creation?
NF: My music journey started as a student when I had no clear direction for my future but simply loved music. I met some friends who were into hip-hop, and they taught me how to use music production software. From that moment, I started writing songs, and now, nearly eight years later, I’ve been at it for over seven. I’m so grateful for this journey and feel incredibly lucky.
Early in my career, I signed with a record label where the boss and colleagues treated me well, introducing me to the mainstream music world. That period taught me a lot about how the industry works, like creating in a commercial environment. But it also brought pressure. To produce chart-friendly songs, I had to force out work to meet market demands, and I gradually lost myself. Creating felt like “squeezing toothpaste”—unnatural and uncomfortable.
After attending award ceremonies like the Ultimate Song Chart Awards, I realised the music industry can feel like an abyss. So much is out of your control: company background, budgets, output quotas, even styling and wardrobe choices. You’re packaged like a “product,” displayed at corporate galas. In that environment, comparison with others felt pointless because you’re just a cog in the machine, with no freedom.
Though that period looked glamorous, with brands and media knocking, everything changed when I left the mainstream last year. What remained were genuine relationships. Now, I create music my way, independently handling releases and royalties, saving up to bring my work to life. This freedom fills me with gratitude.
My creative process has transformed too. Before, it was “squeezing toothpaste”; now, it’s “seizing the moment,” capturing my rawest emotions. I no longer need to conform to Hong Kong’s “one-song-at-a-time” market model. Look at the Billboard Top 100—artists present entire albums with cohesive aesthetics and worldviews. In Hong Kong, music often feels like a resource-stacking game for the market. To me, that model’s outdated. I respect those still grinding in the system, but for me, I’m free and happy now.
Q6. Which single from your discography are you most proud of, and why?
NF: If I had to pick, I’d choose my entire album “在陽光底下” because it captures the happiest creative period of my life. The album’s title symbolizes emerging from the underground into the light, like a seedling seeing the world for the first time. Back then, I felt the beauty of grass, flowers, and butterflies, creating with a pure and untainted heart. Songs like “ON MY BED” and “摯愛 A Letter To...” were born in that state. But as time passed, I faced ups and downs in relationships and career, even moments of fear and loss. Those experiences led to a new creative phase, resulting in “GODSROOM”. This track marks my shift from passively receiving the world to actively building my inner universe. It’s not just a musical breakthrough but a personal awakening. So, if I must choose one, it’s “GODSROOM”—it represents my growth and self-discovery.
Q7. If you could collaborate with another creator, who would it be, and what would it look like?
NF: I have many creators I’d love to work with, but these ideas often come as fleeting inspirations, so it’s hard to pin one down now. Collaborations usually spark spontaneously, so I’m excited for future surprises!
Q8. Is there any connection between the Hong Kong brand FOOTLOOSE TYCOON and your song “footloose”?
NF: The song “footloose” was directly inspired by my part-time work with FOOTLOOSE TYCOON, a Hong Kong brand run by a couple who design and make clothes in Sham Shui Po. I admire their perseverance. We met three or four years ago through a Timberland endorsement project, and I later reached out to join their team, where I’ve been for about seven or eight months.
I’ve learned so much, from designing clothes to serving style-savvy customers and crafting a piece from concept to cut. They even opened a branch at Tsim Sha Tsui The ONE. This experience inspired “footloose”, and I hope to collaborate creatively with them in the future to shine a light on this amazing story-driven local brand.
Q9. Recommend a fun or interesting place in Hong Kong?
NF: I’d recommend my recording studio in Tsim Sha Tsui’s commercial district. To me, it’s the most “vibrant” spot in Hong Kong. Eating there. Watching people come and go, I feel the city’s pulse. Hong Kong’s fast-paced, with space, but this density creates a unique vitality, syncing you with the city’s rhythm.
My mom’s Thai, so I’m half-Thai. Back in rural Thailand, the space is vast, but it can feel lonely with fixed social circles. Hong Kong’s different—weekends are packed with events and parties, with endless choices. This chaotic charm, paired with its contradictions, makes Hong Kong special. Its convenience is unmatched; meeting friends in 30 minutes is unthinkable elsewhere. Hong Kong has its struggles, but the mix of highs and lows makes life exciting.
Q10. What’s a recent item you’re eyeing?
NF: I’m dying to get a pair of JEREMY SCOTT x ADIDAS classic wings sneakers. I miss iconic designs like those.
Q11. What’s one thing you want to do most recently?
NF: I want to “embrace”—to genuinely connect with people’s emotions. In the mainstream music world, I grew tired of “performing” myself, playing a role, and networking like I was selling a product. It felt inauthentic. I even isolated myself at times, knowing it wasn’t the real me.
Now, I’ve accepted my smallness, realising Hong Kong holds millions of perspectives, and I’m just one. I no longer chase “packaging” but instead seek to “connecting”—to embrace everyone’s true emotions. Whether through creation or interaction, I hope to feel, understand, cherish every emotional exchange, holding onto that sincerity.
