Listen to young people singing folk songs in the digital age.
Many new folk music projects by young people have recently been launched, making a strong impression on the public. These folk songs are no longer confined to the traditional performance spaces of wells and village courtyards, but have been given wings on modern stages. In particular, folk songs reimagined with electronic music and mixed with rap have delighted young people. This is also how young people are embracing folk music in a more modern and contemporary way.
A wide-open new road
Recently, the song "Xứ Nghệ" (Nghe An Province) - a new composition performed by singer Nguyen Thi Thanh Xuan in the 2025 "Hanoi Singing Contest" - has received much attention from the public. The song includes a section adapted from the Nghe An xẩm folk song:A vast expanse of land and water, ever-changing and majestic, has stood for millennia, connecting people and great aspirations... its sacred spirit etched into the artistic sky, shining brightly through countless vicissitudes.… was performed by Thanh Xuan in a very charming and graceful way. Although the song develops in an unconventional way with climactic high notes that have a chamber music feel, it does not lose the essence of the folk melody of anger and love that Xuan incorporated as the main theme of the song.
Xuan's performance garnered a large number of votes and received much praise for her distinctive way of singing folk songs. Thanh Xuan said: "I used to be a girl who sang folk songs and loved them passionately, so when developing my career, even though I followed the path of contemporary folk music, I always chose Nghe An folk songs as the core of my studies and training."
Going beyond the scope of competitions, recently, when Trang Nhung - a young woman in her twenties - chose folk music to perform in the Cua Lo Beach Tourism Year 2025 program, she and her team rearranged and rewrote the rap part for the song.ToneArt is making a comeback.by composer Lê Xuân Hòa.ToneArt is making a comeback.Although already famous, it now has a fresh and much more attractive new look. After the clip "The Nghe An accent returns.Trang Nhung's rap segment, posted on social media, received thousands of shares. Following this, a trend of young singers covering Trang Nhung's rap segment and arrangement emerged, showcasing their talents on various stages.
One of the musical pieces that has been widely shared on social media recently is"Anger mixed with affection"Ha Quynh Nhu and her team boldly remixed it.""Anger mixed with affection”set to electronic music. This arrangement has been highly praised by artists, the song ""Angry but loving"in EP 5 song title""Artificial Paper"The song features witty lyrics about a girl who's playfully sulking at her boyfriend. The familiar melody becomes mischievous, youthful, and fresh with catchy electronic music. The highlight of the song is Như's impromptu rap performance.
After listening to the young teacher and student perform this song, People's Artist Hong Luu commented: "This is what I've been waiting for in terms of spreading the art of folk singing in the digital age, among young people. Because in today's era, we cannot expect young people to preserve the ancient melodies and expressions of folk singing, as the traditional call-and-response and lead-singing styles are no longer suitable for the interactions of the new era."
When the folk song and the flight of birds rise...
People's Artist Hong Luu also believes that folk songs are like companions through the ups and downs of history, spreading across the vast expanse of the land, remaining steadfast and loyal despite the wind, rain, and scorching sun. Although many changes have occurred, people are still closely connected to folk songs, because folk songs have nurtured people's souls, making them purer and their character more virtuous.
In the past, the folk songs of Nghe Tinh (Nghe Tinh) reached every home on clear, breezy nights, allowing friends to socialize, appreciate literature and poetry, and showcase their improvisational talents. These songs were found by the banyan tree, by the riverbank, where young men and women exchanged vows; during harvest season, during planting and harvesting, when boats sailed upstream and downstream, when venturing out to sea, when crossing streams and hills, and during festivals and celebrations. These contexts and reasons for the songs' presence in life also prompt us to ponder that, in today's era, when these old contexts no longer exist, and people no longer live and breathe these songs in their traditional settings, new ways must be found to ensure their enduring presence.
It is a responsibility, but it is also natural to compare folk songs like the "ví" and "giặm" melodies, like a babbling stream, to life, overcoming the ups and downs and changes of the times. People's Artist An Ninh affirmed that only by finding a new direction can Nghe An folk songs truly become a cultural bridge between regions, an indispensable spiritual nourishment for the majority of people. Therefore, renewing performance spaces and diversifying ways of bringing folk songs to communities is a method that many young people are currently doing very well. A prime example is singer Thanh Phong and his "ví" and "giặm" Folk Song Club, which has found ways to bring folk songs to a wide audience both domestically and internationally. The folk song formats in the performances of the "ví" and "giặm" Folk Song Club, led by Thanh Phong, have met the needs of a large audience. Phong skillfully combines ancient melodies and folk songs from his homeland, developing them into mashups that bring listeners a sense of enjoyment.
Nghe Tinh folk songs possess many admirable, beautiful, and unique qualities, but they also have limitations, such as: the melodies are somewhat similar, the structures are simple, the music lacks youthful vibrancy, and the performances lack integration with folk songs, folk music, and folk dances... However, the vitality of folk songs must be viewed in their core essence: their expressiveness. Therefore, according to People's Artist Hong Luu, to naturally guide folk songs to the contemporary public, diversity in orchestration, staging, and choreography is necessary.
