TUBORG X AMPLIFY
THE STATE OF PLAY
Getting under the skin of audiences and leveraging trends with authenticity is how brands are won and lost in culture.
Given how fast culture moves we know how important it is to understand the local nuances between markets, how they’re changing and where the similarities and differences are.
It’s with this in mind that we’ve put together the following cultural insight report focused on music trends and culture - in the key Tuborg markets of China, India and Vietnam.
INSIGHT #1
They don’t see music as a finished product to consume, but as a fluid, ever-changing part of culture that makes the human experience unique.
In China, Gen Z attend live music experiences not just for the music: but also for the friendships and camaraderie that often comes out of the experience
They see it as an opportunity to connect with others who share the same passions, which often results in a sense of camaraderie amongst strangers who share a common love for the genre. It’s not uncommon for these bonds to develop into lasting friendships that extend beyond the concert venue.
Apart from attending autograph sessions and meet-ups, fans also participate in the event itself – even helping to distribute souvenirs ahead of concerts and going to dinner parties after to replay their favourite moments from the concert.
Even the way they choose to dress often reflects their desire to completely blend and immerse themselves into the dynamic atmosphere of the culture (ie. hip-hop, rap).
Source: Chinadaily
In China, it’s common to see immersive music experiences that blend multiple IPs and genres together. These easily go viral through the power of video-based social networks like Bilibili.
Bilibili, China’s leading video social networking platform, hosts a New Year’s gala every year (a common occurrence in Chinese pop culture). But what makes them different is that they don’t see it as another celebrity music and dance showcase.
Instead, they consider it to be a creative opportunity to integrate new and different forces together – like symphony orchestras with cinema, anime, game franchises, pop culture references and icons etc. For example, they mix Harry Potter with Chinese traditional opera, or stage a duet between Luo Tian Yi (China’s most popular virtual idol) with veteran singer
The intention is to create a “visual concert” that delivers joy by tapping into collective memories and popular culture franchises that resonate across generations. These showcases are attended in-person and online, attracting more than 100M views, 400k real-time comments, and 135M views of social media re-enactments from viewers – all in less than 24 hours.
Vietnam – a country with one of the strongest K-Pop fandoms in the world –is also the birthplace of “K-Pop chê” culture (meaning K-Pop Parody)
In Vietnam, it’s not uncommon to see fans and creators localize foreign content for domestic consumption – especially given the number of young Vietnamese eagerly consuming cultural products from overseas.
As a country with the third most K-Pop fans in the world, it was not long before that fans would stage or share fan-made performances and content translating Korean songs into Vietnamese versions. Fans were not just consuming this music, but also eagerly participating and shaping the culture of it with other enthusiasts.
Called “K-Pop chế / parody videos”, fans and creators would creatively re-write songs and upload them onto Youtube for purposes of self-expression, but also as a way to engage with the fandom and increase the group’s exposure to more Vietnamese listeners.
Source: Saigoneer
“The ideas just come naturally and serve no other purpose than to satisfy my passion, bring laughter, and spread my idol's songs to more people,”
Gen Z listeners in India consider music to be an invaluable social glue that helps with both inter-personal & intra-personal relationships
86% of Gen Z and Millennials in India say that music helps to boost their confidence and sense of social adaptation. Whether it’s in connecting with those who share the same taste in music, or helping them feel more confident in social situations –immersive music experiences help them find their footing.
More interestingly, Youtube India recently found that 91% of Indian Gen Z individuals who identify as fans have actively participated in fan-related activities over the past year (ie. creating fan art, montages, user-generated content), using platforms like Youtube to engage with content related to their interests.
Source: JBL , Youtube India
INSIGHT #2
They
can’t be pigeonholed into one genre, artist, or fandom – instead choosing to curate what they listen to from wider sources of inspiration.
We live in an era of “music fluidity”, where individuals are less likely to conform to a single genre or artist.
In India, it’s common for artists to get catapulted into fame overnight through the power of platforms like Instagram, TikTok, and Youtube.
One example is artist Hanamunkind, who became an overnight success after his music video shot inside of an iconic “well of death” in his home state went viral on Youtube — evidence that music consumption culture is now mostly about 3 things:
digital connectedness, accessibility, and a desire for authenticity.
For listeners to engage with an artist, all that needs to happen is for the lyrics of the song and the values communicated through it (and the artist himself/ herself) to align with theirs.
Source: Free Press Journal
Gen Z artists in Vietnam say that it’s becoming rarer to create products that are purely of “one genre”
“Gen Z rarely creates products that are purely of one genre. A modern product is very difficult to determine which line they belong to, what specific genre, just call it music together.”
Minh Duc, Host / My Anh, Singer
Up-and-coming Vietnamese artists are impatient to put out more experimental types of music that will evolve Vietnam’s music landscape.
Whereas previous generations sought to conform to existing genres or styles – ballads especially in Vietnam – Gen Z want to pursue individuality. They do that by creating their personal brands on social channels like Youtube, ZingMP3, Spotify, Soundcloud – and breaking onto the scene that way.
According to Vietnamese Gen Z artists like AMEE, Wren Evans, Phung Khanh Linh, My Anh – it’s equally important to be “multitalented”. Meaning it’s not enough to be a performer, they must also know how to compose, direct, distribute, and promote.
Source: Vietnamnet , Nguyen (2023)
INSIGHT #3
They recognise music as part of their unique cultural identity and way to authentically connect with their heritage.
Resurgence of classical music amongst Indian Gen Z unveils a powerful desire for escape, cultural connection, emotional resonance, and pursuit of authenticity
“The emotions that Gen Z goes through, it’s like a roller coaster. From happiness to heartache, we’re feeling it all. That’s where the magic of Indian classical music comes in, those deep lyrics that connect with us on a real and raw level. Whether enjoying the ragas or soaking in the wisdom of the lyrics, the music is an emotional escape.”
Aksh Baghla,
Spotify data from the past 2 years indicate that Indian Gen Z are racing to embrace their roots in the face of widespread westernisation. There’s been an increase of 500% in India’s classical music consumption over the past few years, with 45% of that coming from listeners under the age of 25.
To them, they consider Indian classical music to be more “meditative” and “pure”, providing a form of refuge from digitally produced music punctuated by transient trends and distracting manipulations.
Source: EDTimes
Music becoming more accessible is also helping to bring generations together
A Vietnamese mother-son duo went viral on TikTok for posting videos of themselves singing popular Vietnamese pop songs, with some videos hitting 14M+ views. Their social media pages have over 160k followers and over 2M likes.
The mother spent her life as a farmer and working as a labourer to raise her son, and whilst she has no formal training in music, she enjoys the catchy melodies of modern music and has memorised numerous songs by famous artists the likes of Son Tung MTP, Hoang Thuy Linh, and Tang Duy Tan. She even raps some of the shorter segments.
Source: VNExpress
The increasing use of local elements and stories in Vietnamese rap is proof of its local cultural significance
Double2T, the winner of Rap Viet, gained popularity for incorporating the sound of the reed flute (traditional Vietnamese instrument) and his highland hometown’s dialect into his songs. His most popular track “A Loi” is a term used by the Tay ethnic group in Vietnam to express surprise or astonishment (akin to saying “Wow” or “Oh My”).
Whilst American hip-hop culture is largely influenced
by social discontent, rappers like CAM are amalgamating Vietnam’s popular ballad genre with rap – using the genre to tell elaborate stories and narratives instead. His songs feature stories about a dying bride and groom, and a boy who writes letters to a girl at the post office every day.
Source: Vietcetera
INSIGHT #4
They consider music as a way to collectively influence and push back on society’s rules
The
emergence of “I-Pop” in a world where Indian girl bands and pop stars making it on the world’s stage are still relatively uncommon.
For 20 years, there hasn’t been a mainstream girl band in India. Then came W.i.S.H (World Inka Stage Hai, the world is our stage), a group that spreads a positive message of sisterhood and female empowerment.
From Diljit’s Coachella performance to Sunidhi Chauhan’s “I am Home” world tour, Indian pop music is increasingly making its presence felt around the world.
Source: Elle India, BBC
In China, it’s all-too common to see state-sponsored stigma against pop & rock music as a source of leading kids astray
As China strengthens its national security agenda, a new textbook has been rolled out that cautions rock & pop music as a possible source of “colour revolution” (Beijing’s code for subversion instigated by Western forces).
According to the textbook, university students are cautioned against Western popular culture as a plot to “westernise” China’s youth. In the central government’s eyes, the most critical agenda is to groom the current generation of youth into “maintaining ideals of communism and socialism with Chinese characteristics”.
Source: Daily Excelsior
In
Vietnam, shows like Rap Viet are what keeps the local music scene fresh & exciting
Vietnam’s music — once heavily shaped by K-pop and Chinese-style ballads — is being rejuvenated with new artists and genres coming onto the scene. Shows like Rap Viet brought new stars like TLinh into prominence, who infuses multiple genres like pop, rap, hip-hop, R&B with Vietnamese sensibilities. The show is so popular that auditions see crowds of thousands lining up to try out.
In what can often feel like a rather conservative society, these young artists are also given a platform to push against outdated social views on women. Today, TLinh is one of Spotify’s most listened-to artists in Vietnam and has had the honour of getting her photo displayed on a Times Square billboard.
Source: VNExpress, PAPER
INSIGHT #5
They are looking for something different, intimate, and more meaningful – a possible side effect of over-commercialisation
Whilst major acts are selling out shows, smaller artists are finding it more difficult than ever to survive
The booming live music scene in China means major acts like Jay Chou, Mayday, and Joker Xue are easily selling out tickets. On the other hand, smaller artists are finding it more difficult than ever to make ends meet.
A livehouse show (a typical live music bar in China) is a great stage for up and coming artists, but it’s common for the band to only walk away with 10% of the amount after deducting expenses.
Typical earnings are about 200,000 yuan, and 10% of that is less than $3k USD after a night of playing.
It’s common for bands to go into a loss while playing for their fans.
Source: Sixth Tone
Locals in India are protesting the exploitative and socially-negative of over-commercialised, collective music experiences
Sunburn is Asia’s premiere EDM festival, starting in Goa — a city in India known for its culture and entertainment scene. It was initially widely celebrated as a beacon of music tourism in India, until residents began expressing their concerns over environmental degradation, increases in crime, as well as drug-related incidents.
As India’s music festival scene grows, ticket scalping is also becoming a huge social issue. When Coldplay announced they were performing 3 shows in Mumbai,
resellers were selling tickets for 5x the price – the highest being 900k rupees ($10k USD).
Many criticise that music experiences have lost their way when it becomes all about bragging rights, conforming to mainstream culture, and “being part of the scene” by giving into hype and FOMO.
Source: Herald Goa, BBC , Financial Express
Aside from major acts the likes of John Legend and BLACKPINK coming to Vietnam to perform, local bright spots are emerging as creative watering holes
Saigon (Ho Chi Minh City) has always been a creative epicentre of Asia. Besides more international music acts stopping to perform in Vietnam, a more diverse variety of street & youth culture events are popping up around town – offering a creative space for young people who are looking for alternative way to hang out.
One example is Saigon Urban Street Fest which is held in the stylish neighbourhood of Paris Commune Square, with activities ranging from live graffiti demonstrations, a collaborative doodle project, free tastings – to a performance area for live music, street dancing, and contemporary circus acts.
Source: Tuoitrenews
INSIGHT #6
They value inclusivity and believe music connects us and lets us transcend our limitations
Meet Bassbath, Shanghai’s immersive, deaf-friendly experience (that’s so much more than just a nightclub)
Bassbath is Shanghai’s first and pioneering deaf clubbing experience. Created by a curatorial collective that consists of both deaf and hearing individuals, the event is hosted at a techno club in Shanghai called Heim.
By playing music augmented with visuals and vibrations, partygoers of all hearing abilities are able to join in and enjoy the music. But on top of dancing and enjoying the music, there are also other activities offered like sign language crash courses and a sign language rap performance.
The hosts also say that there’s an “equalising” that happens when the music is booming, and partygoers have no choice but to “express themselves with body language”.
Source: Trendwatching
In some of the bigger cities like Delhi, members of the younger generation are growing disillusioned by its exclusive, superficial “party culture” and are looking for something different
The younger generation are looking for things that will enrich them, vs. enrage them. They feel tired of the clubs and bars that play the same music and serve the same drinks – flashy bottles to tables carried by Russian dancers – and refuse to believe that’s the only way of having a cool, fun night out.
It doesn’t help that a vast majority of the party culture in bigger cities like Delhi are about hitting the elite, talked-
about places to be “seen at”, where entry is often dependent on how rich or good-looking you are.
Instead of going to the same crowded bars and clubs where the music is often too loud for conversation and all people are there to do is seek validation from each other – they’re looking for places that offer a certain “vibe” or cultured experience.
Source: MensXP
Meet “Pho The Girls”, a DJ workshop for women and non-binary people to take up more space in the music, club, and nightlife industry
In Vietnam, it’s still uncommon to think that someone can earn an income by being creative or being in the music industry. That coupled with biases and stereotypes placed on women and other gender non-conforming people, the industry can feel hard to break into.
To break these barriers, Pho The Girls hosts workshops where everyone gets a chance to use gear, like CDJs and controllers, and understand the basics of DJ’ing.
More recently, the same collective and founder launched a music label which aims to promote Asian musicians, uplift Vietnamese artists and inspire more women to want to become producers.
“In Vietnam, there’s a big thing that women are called sexy DJs. So a lot of the time, they’ll just be like, ‘Oh, you’re a DJ? You’re just one of those sexy DJ’s.”
Margaret Tra, Founder of Pho the Girls & SYS Sister Sounds