Qiu Feng Ze

A polytechnic new-media student who went to Taipei

Kenny Khoo was born in Singapore on 31 October 1988, registered as Khoo Yin Long; Qiu Feng Ze is the Mandarin reading of those characters and the name under which he has made every record. He went through Ai Tong School and Hougang Secondary School before studying new media at Republic Polytechnic — an ordinary route into Singapore's creative industries and a distinctly odd one into Taiwanese pop.

The turn came in 2012, when he entered the Guinness Live! competition, and in 2013, when he took work as a production assistant to a Singaporean record producer: the unglamorous end of the business, where a singer finds out what studio time actually costs. He moved the operation to Taipei and released his first album, Ten Storeys, on 28 April 2014. It went to number one on Taiwan's G-Music sales chart. In 2016 he took Republic of China permanent residency, which settled the question of where he was going to work.

The werewolf game

For five years after that debut he was a working Mandopop singer with a Singaporean passport and a modest profile. What changed it was television, and specifically a party game. In 2019 he appeared on the variety show 100% Entertainment playing werewolf — the social-deduction format whose entire mechanic is reading other people and misleading them — and the segments travelled a long way past the programme's usual audience. The persona that came out of it, quick and self-deprecating and comfortable being the butt of the joke, is still the one he uses on stage.

The same circle produced W0LF(S), known in Chinese as 五堅情, which he co-founded in 2019 with Nine Chen and Wayne Huang and which had expanded to five members by July 2020. In November 2020 he and Nine Chen formalised their double act as NineZe CP. The group carried its own reality series across three seasons in 2020, and he joined 100% Entertainment as a fixed host in March 2020, leaving in August 2022 for health reasons. Several years of his career were therefore spent as a broadcaster as much as a musician — which is worth knowing before watching him talk between songs, because he is far better at it than most singers.

Seven albums in eleven years

The solo catalogue is steady rather than sporadic. Ten Storeys (2014) was followed by Is Anyone Out There (2016) and Prophet (2019), the record that arrived alongside the variety-show breakout and gave him the first of the songs audiences now shout back. Eclipse (2021) and DEEP AWAKENING (2022) pushed the sound harder and darker, and DEEP AWAKENING carried a touring cycle that reached Singapore's The Star Theatre.

COlOR Free followed in 2024 and Lines in 2025, his seventh album and the one that supplies the current tour with both its title and its argument. The run of KKBOX year-end top-ten artist placings — 2022, then 2024 through 2026 — tracks that period rather than the earlier one, which is a useful corrective to the idea that the variety show made him overnight. It took another three albums after the werewolf clips before the streaming numbers caught up.

The company behind the singer

He is also, unusually for a performer at this level, his own management. Qiu co-founded the label and production company Reason Brothers (原音娛樂), which now releases his records and co-produces his shows; the Taipei Music Center listing for his 2026 date credits Reason Brothers as a producer alongside Bying Creation, with Kham Artist Management promoting. He launched the clothing line Feng Me in 2020 under the motto "Be you, wherever you are", and in 2022 opened the merchandise shop F47 with his father.

That vertical arrangement explains something about the current production. A performer who owns the label, part-owns the show and sells the shirts can afford to build a concert around a concept rather than a hit-parade running order, and can take that concept to Macau and Kuala Lumpur without asking anyone's permission.

2026: a tour that outgrew its room

Bend The Lines began on 14 March 2026 — White Day, chosen deliberately — at the Hai Music Hall inside the Kaohsiung Music Center, an expansion of the small Lines club dates that had followed the album. The Hong Kong performer Edan Lui appeared as guest, his first time on a Taiwanese concert stage. Word of mouth afterwards was strong enough that the demand fixed on a Taipei date, and a larger one than his previous rooms.

That date was announced for 22 August 2026 at the Taipei Music Center's Performance Hall, scheduled 7.30pm to 10pm, with tickets from NT$1,880 to NT$4,280; a members' pre-sale opened on 13 May and general sale on 20 May. The promoters billed the Taipei staging as an upgrade on Kaohsiung in stage scale, lighting and overall pacing, and the venue warned buyers that rear second-floor and accessible seats have partially obstructed sightlines above the main stage.

From there the production leaves Taiwan for the first time. Singapore comes on 23 October 2026 at the Esplanade Concert Hall, a 7.30pm start with tickets from S$98 to S$258 — the only date currently on sale, and a homecoming in the literal sense. Macau follows on 31 October at the Broadway Macau theatre, a 5pm show priced MOP588 to MOP1,188 and on sale from 31 July through Galaxy Ticketing and Klook, with the design reworked again for that room. Kuala Lumpur closes the run in November.

An end-of-the-world party

The concept binding all of it is a post-apocalyptic setting described by his own team as a free zone at the end of the world — a place where, in the framing used across the tour's publicity, nobody is being chased by the clock. In practice that means a full narrative arc rather than a setlist: chaptered sections, large LED work, a lighting design cued to the sequencing, and deliberate swings between the uptempo material and the ballads.

The most-shared moment from Kaohsiung was not a production cue at all. Qiu brought a member of the audience up onto a rising platform to perform Shining Star with him. Audience comments afterwards ran to the interactive sections feeling genuinely attentive and the staging being worth the ticket, with more than one calling it the best show they had seen that year — and a chorus asking him to book something bigger in Taipei, which is exactly what happened.