I wasn't exactly smitten with Canto-pop when I first arrived in Hong Kong in the mid-1990s. Perhaps it was the stars' overly manufactured images, the saccharine-sweet lyrics or their overriding pretence of innocence. Something about the whole scene felt quite jarring after touching down from Australia where a live show at the time usually involved a bunch of hairy, unkempt men playing loud guitars and yelling at the audience inside sweaty pubs with sticky carpet. But fate was to intervene just a few years later in the form of one of the Four Heavenly Kings. My then-girlfriend bought a mobile phone and was given two free tickets (as one often is in Hong Kong) to a show at the Coliseum by Aaron Kwok Fu-shing. Although she wasn't a huge fan herself, we decided we had nothing to lose by attending. We took our seats, surrounded mostly by females of all ages holding home-made signs proclaiming their love for the Heavenly King in question and, with few expectations, waited for the show to start. The lights went out. Coloured spotlights danced over the crowd. And Kwok suddenly emerged from beneath the stage engulfed in a plume of neon-pink smoke and wearing a ridiculously flamboyant outfit. Over the next two hours, the Canto-pop king constantly bought the capacity crowd of 12,500 people to its feet as he ran through his back catalogue of hits and countless costume changes while his hot dancers executed a string of meticulously choreographed routines. It was hard not to be impressed by the theatrics or be swept away by Kwok's consummate showmanship, and I walked away at the end of that night with a new-found respect for Canto-pop. If you're a fan of the genre, or open to a mini-conversion similar to mine, you should note that the Canto-pop concert season is now in full swing. The latest season was kicked off by singer-actress Miriam Yeung Chin-wah's five-night run which ended at the Coliseum on Monday and big shows will be staged regularly in the city through to Lunar New Year in February. Tomorrow night, veteran Canto-pop singers including Adam Cheng Siu-chow, Liza Wang Ming-chun and Sandra Lang will perform at the Crown Golden Songs Macau Concert at the Venetian Macao's Cotai Arena, which, since it opened in 2007, has played host to the largest Canto-pop concerts in the region. This Saturday and Sunday nights, Janice Vidal - whose career has continued to soar while that of equally talented twin sister Jill has stagnated since her drugs arrest in Japan last year - will perform at large-scale concerts at the Coliseum, the true Mecca of Canto-pop in Hong Kong. She may not be from Hong Kong, but Taiwanese singer-songwriter Cheer Chen enjoys huge respect among the Canto-pop crowd, and will bring her folk-oriented rock to Hitec in Kowloon Bay for three concerts from tomorrow night through to Sunday night. The focus will shift back to the Cotai Arena next month for two massive concerts by two of the biggest names in the business. Firstly, Priscilla Chan Wai-han - who was immensely popular in the 1980s and has made several comebacks since her 'retirement' in 1989 - will be on stage at the cavernous arena on November 6. And then on November 13, the arena will play host to yet another return of the Twins, the duo of Charlene Choi Cheuk-yin and Gillian Chung Yan-tung who embodied Canto-pop innocence until Chung was caught up in the Edison Chen sex photo scandal in 2008. But the scene's biggest upcoming event is undoubtedly the Unforgettable series of 18 concerts by Andy Lau Tak-wah (pictured) at the Coliseum from December 20 to January 6. These shows are likely to be as grand and wonderfully over the top as the Aaron Kwok concert I attended all those years ago, and Going Out challenges any hipster music fan not to come away even slightly impressed.