泰國樂團 FORD TRIO 由結他手/主音 Ford、貝斯手 Smith、及鼓手 Jame 於2017年組成。從藍調、放克、迷幻音樂，到跨國合作與儀式化現場演出，他們在「Neo Thai Funk」的旗幟下不斷重塑自我。在這次專訪中，我們與 FORD TRIO 一起回顧他們迄今為止的旅程——探索創作歷程與靈感、以及持續推動他們前進的願景。
Formed in 2017 by guitarist/vocalist Ford, bassist Smith, and drummer Jame, Thai trio FORD TRIO have been carving out their own sonic path. From blues, funk, and psychedelia to cross-border collaborations and ritual-driven live performances, the band has continually reshaped their identity under the banner of “Neo Thai Funk.”In this interview, we look back with FORD TRIO on their journey so far — exploring their creative process, inspirations, and the vision that continues to drive them forward.
採訪撰文＆中文翻譯 Interview by Bloody Mary (2025.08)
Q：可否簡單介紹一下樂團的組成過程？「FORD TRIO」這個團名背後有什麼特別含義嗎？
FORD TRIO 是由同班的三位音樂系學生 —— Ford、Jame 與 Smith —— 組成的一個計劃，旨在一起演奏他們所熱愛的音樂風格。團名的由來，源自於當時主要的靈感來源—— John Mayer Trio。這個樂團最初是為了巡演並證明 John 身為音樂人的價值而組成。當時我們很喜歡這個樂團的概念，因此當我們決定共同創作時，便抱著一種戲謔的想法——因為我們同樣是三人編制，音樂風格亦相近，於是就決定用 Ford 的名字作為樂團名稱的前半部分。
我們從未想過這個樂團能維持這麼久。直到今天，這個名字依然提醒著我們當初那份能量，以及不斷想要證明自己的渴望。
Q：Could you briefly introduce how the band was formed? Is there any special meaning behind the name “FORD TRIO"?
FORD TRIO is a project formed by three music students from the same class—Ford, Jame, and Smith—in order to play music in the style they love. The origin of the name came from the main inspiration at that time, which was the band John Mayer Trio, formed to go on tour and prove John’s worth as a musician. At that time, we also liked the concept of this band, and when we decided to make music together, combined with a playful parody-like idea that we were also three members with a similar music style, we decided to use Ford’s name as the first part of the name for this trio band.
We never expected that we would continue this band for so long. Today, the name still reminds us of the energy from that day and the constant desire to prove ourselves.
Q：能否分享一下全新 EP《YANT》的創作靈感與概念？希望透過這張作品傳遞怎樣的情感或訊息？
“YANT”，或稱“yantra”，是 FORD TRIO 當前的音樂符印。
在泰國文化中，這個詞通常與「Sak Yant」有關 —— 即在身體上紋刻帶有神聖符號、文字或咒語的紋身，以祈求避邪、招福，或進行黑魔法相關的儀式。進行紋身的師父必須擁有代代相傳的神聖知識與力量，而接受紋身的人亦需做好心理準備，並對所選的咒語深信不疑，因為這將會成為無法磨滅的永久印記。
在音樂領域中，我們過去的作品大多在進行實驗 —— 尋找新聲音並向聽眾呈現不同風格，尤其是前兩張專輯中。但在這張專輯中，我們不再只是在實驗。我們的決定、準備與確定性，讓我們能夠替 FORD TRIO 鐫刻一個永恆的音樂符印 —— 一段蘊含力量與神聖性的咒語，封存在《YANT》專輯的音軌之中。
Q：Can you share the inspiration and concept behind your latest EP《YANT》? What kind of emotions or messages are you hoping to convey through this release?
YANT, or yantra, is the current musical pattern of FORD TRIO.
In Thai culture, this word is often associated with sak yant—the tattooing of sacred symbols, letters, and spells onto the body for protection against danger, to attract good fortune, or for practices related to black magic. The master who performs the tattoo must possess sacred knowledge and powers passed down through generations. Those receiving the tattoo must prepare themselves mentally and be certain about the spell they choose, as it will become a permanent mark on their body—a design that cannot be erased.
In the realm of music, our past works have always involved experimentation—seeking out new sounds and presenting different styles to our listeners, especially in our previous two albums. But with this album, we can say that we are no longer experimenting. The decisions, the readiness, and the certainty have allowed us to engrave a permanent musical pattern for FORD TRIO—an incantation of power and sacredness—sealed into the audio files of the YANT album.
Q：歌曲〈MUJINA〉靈感來自日本民間傳說中的生物，並邀請了日本樂團 TAMTAM 的 Kuro 參與。這次跨國合作是如何促成的？創作過程中有什麼特別難忘的時刻嗎？
在日本沖繩 Music Lane 的巡演中，我們與 TAMTAM 同台演出，觀看了彼此的表演。這讓我們想要一起做些什麼，因為我們互相欣賞對方的風格。在開始製作這張專輯時，我們提出了互相交換歌曲進行創作的想法。整個過程是在線上完成的——我們創作一首曲目並發送給對方進行即興演奏，Kuro 和 TAMTAM 錄製了他們的樂器部分。TAMTAM 還提出了一個將電子音樂與延展的 BPM 融入其中的想法，最終的成果是雙方都非常滿意的。
Q：The track “MUJINA” draws inspiration from a Japanese folklore creature and features Kuro from the Japanese band TAMTAM. Could you tell us how this international collaboration came about and share any memorable moments from the creative process?
From our tour at Music Lane in Okinawa, Japan, we were in the same lineup and got to watch each other’s shows. That made us want to do something together because we admired each other’s styles. When we started working on this album, we came up with the idea of a project where we would exchange songs to work on. The process was done online—creating a track and sending it over for them to jam on, with Kuro and the band TAMTAM recording their instruments. TAMTAM also brought in an idea using electronic music with a stretched BPM, and the end result was something both sides really loved.
Q：在專輯《LET THEM KIDS SEE》中，你們探索了泰國傳統旋律與70年代泰式放克元素。你們是如何在復古美學與現代音樂語言之間取得平衡？
我們選擇使用的復古美學是我們從小就熟悉的東西——旋律、節奏、泰式趣味，以及諷刺社會趨勢的歌詞。而現代音樂語言則來自我們成長過程中逐漸感興趣的事物——通過在大學學習音樂獲得的知識和經歷。事實上，現今音樂的潮流已經在於回溯舊的聲音。因此，回歸我們自己的根源成為一個既真實又現代的選擇，無需強行尋找平衡。
Q：In your album 《LET THEM KIDS SEE》, you explored Thai traditional melodies and 70s Thai funk elements. How did you find a balance between vintage aesthetics and a modern musical language?
We see the vintage aesthetic we chose to use as something we’ve been familiar with since childhood—melodies, rhythms, Thai-style fun, as well as satirical lyrics that poke fun at social trends. The modern language, on the other hand, comes from the things we’ve grown interested in as we’ve grown up—through experiences and the knowledge we gained from studying music at university. And in fact, the trend in modern music right now is already about bringing back old sounds. So returning to our own roots became a choice that feels both genuine and contemporary, without the need to force a balance.
Q： “PLUK-SEK SERVICE” 是一個充滿儀式感的表演概念，這個想法是如何誕生的？若將演出視為一場「儀式」，希望觀眾能帶走什麼樣的體驗？
其實，“PLUK-SEK SERVICE” 的想法是最後才出現的。一開始我們只有《YANT》這張專輯，目標是讓觀眾與專輯產生聯繫。我們集思廣益，思考如何打造一個與以往不同的現場演出。過去，我們的現場演出只是舞台表演的視頻錄製。但對於這張專輯，我們希望在情緒、基調和藝術方向上更加用心。既然有了名為《YANT》的專輯，自然應該有一個神聖的儀式——這就是 “PLUK-SEK SESSION”，一個帶來力量與祝福的儀式表演。
在完成那場現場演出後，我們進一步思考如何將其搬上舞台。我們更深入地研究了燈光、視覺效果和舞者等元素，來幫助講述故事，構建一個世界，為觀眾帶來全新的體驗。我們對觀眾的唯一期望很簡單：相信我們創造的世界，並在這一小時內盡情享受。
Q： “PLUK-SEK SERVICE” is a performance concept rich with ritualistic elements. How was this idea conceived? If you see your live show as a kind of “ceremony," what kind of emotional experience or takeaway do you hope the audience will receive?
Actually, the idea for PLUK-SEK SERVICE came last. At first, we only had the album YANT, which was about connecting the audience to the album. We brainstormed on how to create a live session that would be different from what we had done before. Normally, our live sessions were simply video recordings of our stage shows. But for this album, we wanted to be more intentional with the mood, tone, and art direction. Since we had an album called YANT, it felt natural that there should also be a ritual of consecration—and that became the PLUK-SEK SESSION, a ceremonial performance to bring power and blessings.
After finishing that live session, we thought further about how to take it onto the stage. We worked more deeply on the elements—lighting, visuals, and dancers to help tell the story, building a world and a new experience for the audience. Our only expectation for the audience is simple: to believe in the world we’ve created and to come enjoy themselves in it for one hour.
Q：你們如何解讀「Neo Thai Funk」這個概念？這種音樂風格對你們而言具有怎樣的意義？
2023 年，我發現了一隊日本樂團 Nagakumo，他們自稱為「Neo-Shibuya Kei」。我在日本巡演時看過他們現場演出，很喜歡他們用這個獨特標籤賦予自己音樂上的自由——因為之前沒人真正使用過這個詞彙。
在《Let Them Kids See》時期，我們介紹自己為 Thai Funk，但隨著時間推移，我們的歌曲漸漸與大眾印象中的 Thai Funk 脫節。後來我與 Mong Tong 的 Hom Yu 討論了這一點，他建議我們乾脆創造自己的流派。於是我決定稱之為「Neo Thai Funk」。
在這種風格下，我們感到可以自由探索和實驗，這促成了我們的 EP《YANT》——融入了新影響、更複雜的節奏和高保真聲音。我們相信擁有自己的風格和空間，將為我們未來帶來更多有趣的音樂。
Q：How do you interpret the term “Neo Thai Funk”? What does this musical style mean to you personally or culturally?
In 2023, I discovered a Japanese band called Nagakumo, who describe themselves as “Neo-Shibuya Kei.” I saw them live during our tour in Japan and loved how, with that unique label, they have the freedom to do whatever they want musically—since no one had really used that term before.
During our Let Them Kids See era, we introduced ourselves as Thai Funk, but over time our songs started feeling disconnected from what most people imagine as Thai Funk. I talked about this with Hom Yu from Mong Tong, and he suggested we create our own genre. So I went with Neo-Thai Funk.
With that genre, we’ve felt free to explore and experiment, which led to our EP Yant—featuring new influences, more complex rhythms, and a more hi-fi sound. We believe having our own genre and space will open the door to even more interesting music from us in the future.
Q：2024 年你們與台灣樂團 Mong Tong 合作推出了 EP《Khun Pra! 東福》。你們第一次聽到 Mong Tong 的音樂時有什麼印象？這次跨文化合作帶來了怎樣的化學反應？
感謝 lemme 發起了這個項目，不斷給我發送 Mong Tong 的歌曲。個人而言，我一直喜歡帶有詭譎氣質的樂隊——迷幻結他無縫流淌在歌曲中。總體來說，Mong Tong 的聲音獨一無二，傳遞著其他樂隊無法給予的情感。他們的呈現方式、樂隊身份、概念藝術和專輯封面都經過深思熟慮的設計。因此，當 lemme 問我是否對與 Mong Tong 合作感興趣時，我立刻答應了。
通過一起製作專輯、巡演和同台演出，我學會了如何在未知中流動——進入我們從未涉足的領域，進行實驗，與不確定性共存。例如，第一次演奏泰國傳統民間樂器，並即興創作直到成為一首歌。由於 Ford Trio 和 Mong Tong 的結構非常不同，我們先從建立關係開始——先彼此了解。Mong Tong 的成員甚至飛到泰國一起製作聯合專輯，這成為建立友誼、信任和相互尊重的重要部分。這給了我們一起在《Khun Pra!》中實驗的勇氣！
Q：In 2024, you collaborated with Taiwanese band Mong Tong on the joint EP《Khun Pra!》. What was your first impression when you heard Mong Tong’s music? What kind of chemistry emerged from this cross-cultural collaboration?
Credit goes to lemme, who initiated this project by constantly sending me songs from Mong Tong. Personally, I’ve always enjoyed bands with a haunting quality in their music—psychedelic guitars flowing seamlessly through the songs. Overall, Mong Tong’s sound is unique, delivering feelings no other band can give. Their presentation, band identity, concept art, and album covers are all crafted with sharp thought. So when lemme asked me if I was interested in collaborating with Mong Tong, I immediately said yes.
What I’ve learned from making an album together, touring, and sharing the stage is how to flow with the unknown—entering spaces we’ve never been, experimenting, and living with uncertainty. For example, playing traditional Thai folk instruments for the first time and jamming until it became a song. Since the structures of Ford Trio and Mong Tong are very different, we began by building a relationship—getting to know each other first. The members of Mong Tong even flew to Thailand to work on the joint album, which became a crucial part of building friendship, trust, and mutual respect. That’s what gave us the courage to experiment together in the work Khun Pra!
Q：近年來，泰國音樂場景變得愈加多元，出現了更多不同的聲音。你們如何看待當前的泰國音樂生態？泰國觀眾對於新風格的接受度如何？
泰國的地下和另類音樂場景目前充滿了頂尖的音樂人——才華橫溢的藝術家和優秀的歌曲層出不窮。然而，聽眾群體的增長速度尚未跟上。現有的聽眾是那些真正熱衷於尋找新音樂的人，與其他娛樂形式相比，這仍然是一個小眾場景。不過，這群觀眾的支持一直存在，社群也在緩慢但穩定地擴展。
泰國政府機構的支持幫助很大，例如 CEA 的 Music Exchange 計劃為泰國藝術家提供國際舞台演出的資金。這樣的機會讓我們能夠擴展泰國以外的觀眾群。
Q：In recent years, Thailand’s music scene has become increasingly diverse, with more varied sounds emerging. How do you view the current state of the local scene? How open are Thai audiences to new styles?
The market for underground and alternative music in Thailand is currently full of top-notch players—talented artists and great songs are emerging in abundance. However, the audience base hasn’t quite grown at the same pace. The listeners who do exist are those who genuinely enjoy seeking out new music, which, compared to other forms of entertainment, makes this more of a niche scene. Still, the support from this audience is consistently present, and the community continues to expand slowly but steadily.
What has helped a lot is the support from Thai government agencies, which have created programs to assist local artists. For example, the Music Exchange by CEA program provides funding for Thai artists to perform on international stages. Opportunities like this allow us to expand our audience outside of Thailand.
Q：如今在泰國創作音樂最大的挑戰是什麼？另一方面，你們對於音樂創作最引以為傲或最享受的部分又是什麼？
對我來說，維持音樂事業是一場持久戰。它需要堅定的心、耐心、不斷的自我發展，以及家人、團隊和同伴的強大支持。這種生活方式容易讓人失去焦點，我們常常會反覆質疑自己做的事情。但我提到的這些因素幫助我們回到正軌。因此，不斷管理和維護每段關係，同時努力做好每個角色而不忽略任何一方非常重要。
我目前最引以為傲的是 “PLUK-SEK Service” 演出——一個從一開始就將音樂、燈光、視覺效果和表演藝術融為一體的儀式主題表演。我們在曼谷首次亮相，觀眾的反應超出了預期。這讓我感到非常幸運，因為我們仍生活在一個有空間創造這樣作品的國家。
Q：What are the biggest challenges of creating music in Thailand today? On the flip side, what are you most proud of or find most enjoyable about making music there?
Sustaining a career in the music industry, to me, is a long game. It requires a steady heart, patience, continuous self-development, and strong support from family, the team, and fellow companions. Living this kind of life comes with many chances to lose focus. We often find ourselves questioning what we do over and over. But the things I mentioned above help bring us back on track. That’s why it’s important to constantly manage and maintain every relationship, while trying to fulfill every role without leaving anything neglected.
What I’m most proud of right now is the PLUK-SEK Service show—a ritual-themed performance created through the integration of many elements, with music, lighting, visuals, and performance art all conceptualized together from the very beginning. We debuted it in Bangkok, and the audience’s response exceeded expectations. It made me feel truly fortunate that we are still in a country where there is space to create something like this.
Q：展望未來，你們是否有想探索的音樂風格、概念主題，或是夢想中的合作對象？
我們決心專注於「Neo Thai Funk」這個風格，進一步發展，同時加強我們的理念，讓觀眾更了解我們。同時，我們希望找到新的方式，為觀眾創造新鮮的體驗——以我們真正想要呈現的形式和風格。
Q：Looking to the future, are there any musical genres, conceptual themes, or dream collaborations that you would like to explore?
We are determined to focus on the term Neo Thai Funk as the genre we want to further develop, while also strengthening our concept so that audiences can get to know us more. At the same time, we aim to find new ways to create fresh experiences for the audience—in the form and style that we truly want to present.
訪問 & 編輯 & 排版設計 :
Interview & Editing & Layout Design :
Bloody Mary
香港人。獨立音樂、電影、文學愛好者。藝術行政工作者。
Hong Konger. Enthusiast of indie music, films, and literature. An Arts administrator.
鳴謝 Thanks :
Bloody Mary 