Adam Fan Steps Into English-Language Hip-Hop with His Debut Album, SKYFALL
Adam Fan makes his English-language debut with SKYFALL, an eight-track album released September 16 that brings together melodic rap, trap, Rage, rock, and dance. The project introduces Fan to an English-speaking audience through a collection that gives its individual tracks room to take on different moods and production styles.
Known in China as Fan Chengcheng, Adam Fan first gained wider attention through the survival program Idol Producer before debuting as a member of NINE PERCENT. He later continued his music career as a solo artist while building a wider presence through television, film, and variety programming, including Keep Running and acting projects such as The Journey Across the Night. That background gives SKYFALL more context than a typical debut, particularly because Fan is approaching an English-language audience after already establishing himself across China's entertainment industry. The album was created with Hits Rhythm and A WW Productions and features an international songwriting and production team, including American artist Lawson, whose credits include The Weeknd and Playboi Carti's “Timeless,” as well as Puku, who produced and co-wrote “Make It Make Sense.” Rather than translating an earlier project, SKYFALL was developed specifically as an English-language album.
“Skyfall” starts the album on a surprisingly subdued note. Atmospheric production and ethereal melodies surround Fan's melodic rap as he addresses pressure, loneliness, and the difficulty of continuing forward when circumstances do not cooperate. His delivery stays measured instead of forcing the song into a larger performance, which gives the opening a sense of space and lets the production establish the mood. The “Skyfall” music video extends the song's introspective quality rather than trying to turn the album opener into a larger spectacle. The track already creates a sense of distance through its slower pace, hazy melodies, and melodic rap, and the visual presentation gives that feeling somewhere to exist.
Fan is positioned less as an entertainer performing for the camera and more as the center of a world that feels deliberately removed from everything around him. That separation fits the song's focus on pressure and loneliness, particularly because the production leaves so much open space around his voice. The video therefore works best alongside the music rather than competing with it, giving the title track a visual identity built around atmosphere and introspection. There is also something important about using “Skyfall” as the visual introduction to the album. The rest of SKYFALL becomes considerably more aggressive, moving into trap, Rage, rock, and dance, but the title track starts from a quieter place. Fan is not introduced through the loudest or most immediately confrontational side of the project. Instead, the video establishes the person underneath the confidence that appears later in tracks such as “Make It Make Sense” and “Error.” That makes “Skyfall” feel less like a traditional statement of arrival and more like a look inward before the album begins opening up into everything else Fan wants to explore.
“Make It Make Sense” changes that temperature almost immediately. Puku's trap production gives Fan a sharper foundation, and his delivery becomes more direct as he addresses distractions and outside opinions with an attitude that essentially comes down to letting the work speak for itself. The song's confidence feels understated rather than exaggerated, while the accompanying music video extends that approach through fashion and a polished hip-hop visual language. “Go Girl” takes the album somewhere lighter, built around melodic dance-rap and a more upbeat energy. Its focus on independence and female empowerment gives the record a different kind of momentum, with Fan stepping away from the darker atmosphere of the opening tracks. It is followed by “TTTM” and “Error,” where the production becomes significantly more aggressive. Both tracks lean into Rage's distorted, explosive qualities, giving Fan a harder environment for his delivery and adding some of the album's most forceful moments.
“Make It Rock” builds on that intensity by bringing rock into the mix. Guitars and heavier production give the track a rougher edge, while the rap elements keep it connected to the rest of the album. It feels less like a genre exercise and more like a track designed around impact, particularly in the way the instrumental builds its energy around Fan's delivery. “Pink” takes a different route again, using psychedelic textures and melodic writing alongside Rage-influenced production. Compared with the harder tracks that surround it, the song feels hazier and more inward-looking, giving the album a needed change in atmosphere without returning to the exact mood of “Skyfall.” It is one of the places where Fan's vocal approach becomes especially important because the production leaves more room for the melody to carry the song.
“Heard of Us” closes the album by bringing its focus back toward ambition and perseverance. Instead of trying to match the intensity of “Error” or “Make It Rock,” the track gives the project a steadier finish, fitting an album that has spent much of its runtime looking at pressure from different angles. Its position at the end also makes the opening “Skyfall” feel more connected to the rest of the record, with the album moving from uncertainty through confrontation and experimentation before landing somewhere more assured.
The strongest part of SKYFALL is the way Fan uses those production changes to bring out different sides of his delivery. He can sit comfortably over the restrained atmosphere of “Skyfall,” sharpen his presence on “Make It Make Sense,” push harder against the Rage production of “Error,” and let melody take more space on “Pink.” The album does not need every track to make the same argument, because the differences between them are what give the project its shape.
As an English-language debut, SKYFALL gives Adam Fan a broad introduction without reducing him to one particular sound. Its eight tracks move from atmospheric melodic rap to trap, dance, Rage, rock, and psychedelic production, with Fan adapting his delivery along the way. The result is a project that puts the focus on what he can do with the music rather than simply treating the language change as the story.
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