'Dial Tone' seems to grapple with personal and emotional themes. Can you share more about the interplay between family tensions and the broader cultural pressures explored in the song?
The title ‘Dial Tone’ refers to a time when I refused to answer someone’s call. It hurt me to do it, but it also made me reflect on the chain of repression and aggression that passes on as a consequence of what we as a society have decided masculinity means. It’s a complicated emotion, to revoke someone’s access to you out of honour for yourself, all while navigating concurrent feelings of empathy, love and anger.
The image of a drag queen alone in a ballet studio is so evocative. What inspired this specific vision, and how does it tie into the song’s narrative?
I was inspired by a queer artist I know from Singapore, Opera Tang. I don’t know them well, but we would occasionally run into one another at events or tapings back when I was living there, and I’d always admired the way they incorporated their grandmother and traditional Teochew opera into their work. I think the weight and significance of the family unit in Asian culture makes acceptance a particularly poignant theme when it comes to identity.
You’ve mentioned repression and pressure faced by boys and men you love. How does this theme fit into the overall message of 'Dial Tone'?
The overall message of ‘Dial Tone’ is essentially: “You’re being awful to me, and still I feel for you, and still I’m going to hang up.” The verses outline the ways in which I’ve seen boys and men I love deny themselves, hurt themselves, push themselves and in doing so do the same to others.
The collaboration with Lenne Chai sounds serendipitous and heartfelt. How did reconnecting with her shape the direction of the music video?
Lenne really has such a gift for storytelling and an eye for beauty. She’s also incredibly meticulous. I had initially meant to send her work to another director friend of mine, Michelle Mei, as a reference, and mistakenly sent it off to Lenne herself. We ended up meeting in Los Feliz that very afternoon and I just played her the song, told her a bit about how I felt while writing it, and she came up with this magical vision of an elaborate Chinese wedding inside a dimsum restaurant and pulled all these amazing talents into it.
Can you tell us more about the personal photo series A337 and how it influenced the storytelling for 'Dial Tone'?
I remember seeing Lenne’s A337 years ago and feeling so moved; it’s essentially a series depicting a traditional Chinese wedding between two lesbians. Acceptance from one’s family and the privilege of participating in long-held traditions as your full, unhidden self can feel like a far-off fantasy for some, and I just thought it was such a wistful and beautiful work of art.
It felt like a similar texture of pain and yearning to 'Dial Tone' which speaks to all of us being victims to some degree, but the impossibility of precluding the very real anger and hurt that arises from that fact.
What was it like working with such a diverse and talented cast and crew, including Michele Selene Ang and Leo Sheng?
It was so wonderful. I’ve never worked with ‘real actors’ before, so it was a treat to watch everyone assume their roles with so much seriousness and honour. Almost everyone mentioned how rare it was to be part of a cast in which they didn’t feel like a token, which I was surprised about but very grateful to be able to facilitate in some way.
The video’s production seems like a confluence of many stories and backgrounds. Was there a particular moment during the shoot that felt especially meaningful or symbolic?
I’m thinking about our first rehearsal that we held at my house, where everyone met for the first time and gathered over tea and mung bean pastries. I have this massive dining table and yet, we somehow all ended up sitting on the floor cross-legged, which I thought was hilarious and sweet. It was there that we found out that Andy, who plays the disapproving father, had his own wedding 30 years ago in the exact same restaurant we were about to shoot at later that week.
You mentioned a sense of familiarity among the cast and crew despite many meeting for the first time. What do you think contributed to this connection?
Lenne did an amazing job of prioritising cast and crew members from queer and Asian communities. I can really only speak to feeling a sense of kinship from being around people with whom I suddenly didn’t have to explain or overcompensate for certain cultural nuances, which was a sweet and surprising comfort I hadn’t realised I needed, having moved to LA from Singapore just a little over a year ago.
The video explores queer expression within Asian culture, which is often underrepresented in mainstream media. What message do you hope this video sends to viewers?
I really don’t enjoy being instructive with anything I put out… my hope as always is that someone feels seen, feels their story told. I know Lenne did, and I’m so grateful that the song resonated with her and that it culminated in this beautiful film. I naturally skew introspective and look inward so much in my writing that this thing I love can often feel really indulgent and self-absorbed, so for me to be able to contribute to a cause external to myself is something I find heartening and fulfilling.
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Leo and Michele mentioned it was their first time working on a production with so many Asian cast and crew members. How do you see this representation impacting the industry?
It’s hard for me to say. I’ve had my stories told in a cultural context where I was the majority, and I’ve also experienced the inverse… I’ve always felt most irked by stories in which the attempt to represent was on the nose, and I’ve always most appreciated stories in which the representation was a byproduct of a good story. I of course hope that this is the latter.
Singapore’s cultural context often leans conservative regarding LGBTQ+ themes. Did your Singaporean heritage influence the way you approached this project?
Director Lenne Chai: Yes, definitely! Growing up queer in Singapore and later relocating to the U.S. has given me a new perspective on what I once considered "normal" or even "understandable." Experiencing greater civil liberties in LA and NY has reshaped my understanding of identity, self-expression, and the limitations I accepted back home.
The music video is set against the backdrop of a wedding, which can symbolize tradition and love but also pressure and conformity. How did you use this setting to convey the story?
Chai: In conservative Asian cultures that may appear to be liberal or accepting in day to day life, expectations tied to "saving face" and filial piety become especially pronounced during traditional events like weddings. Self-expression is often sacrificed to preserve the family's public image, and what we've depicted in our music video is an unfortunate and painful reality for some queer Singaporeans.
The locations and details, like dim sum restaurants and wedding cakes, feel incredibly intentional. How did you decide on these elements?
Chai: We aimed to authentically recreate a traditional Singaporean Chinese wedding with the help of our production designer, Zoe-Zoe Sheen. We referenced wedding photos from my old family albums and carefully followed the classic order of ceremonies, right down to the yam seng: a Cantonese toast that has become a staple at traditional Singaporean and Malaysian weddings.
With 'Dial Tone' releasing between Chinese New Year and Valentine’s Day, what do you hope people reflect on as they experience the song and video?
Family, love and the moon! My hope is that we expand to accept the coexistence of competing emotions within ourselves and others.
