Vietnamese musicians created a musical bridge across political divides, transforming the pain of a fractured nation into melodies that still resonate with both homeland and diasporic Vietnamese 50 years after the war's end.
Two years ago, I was on an airplane bound for Canada to pursue my doctoral studies and, potentially, begin a new life. Though I had traveled abroad before, this journey was different. In the past 50 years, millions of Vietnamese have left their homeland seeking new beginnings in North America through various means. Many of these journeys were far from easy. Thousands perished along the way. As the course of history unfolded and living conditions improved, my own departure came with relative comfort: a 30-hour journey rather than the days or months many before me endured.
Looking out the window as we departed, tears welled in my eyes. Everything I loved, lived for, and would probably die for grew smaller until it became merely a speck of light on the horizon. Hanoi, where I was born, raised, and had spent most of my life with my family, seemed insignificant against the vast expanse of earth below. I couldn't help but wonder: how did they feel when they left home decades ago, whether from Saigon, Hải Phòng, or elsewhere? It couldn't have been pleasant.
Before arriving in Canada, my knowledge of the Vietnamese diaspora was limited to fragmented exchanges in online comment sections, either beneath contentious political Facebook posts or nostalgic nhạc vàng YouTube videos. In Toronto, I've befriended several Vietnamese Canadians of my generation or slightly older; people I've come to love and admire. We share remarkable commonalities. We grew up not with the sounds of Kalashnikovs and B-52s, but with internet memes. We all laugh when passing the Thuý Nga music store on Dundas Street because it evokes memories of wedding music or our parents' karaoke sessions. And of course, we share memories of cold weather, echoed in our parents' voices as they built careers beneath the snows of Toronto or Prague. The conversation only grows complicated when we discuss our grandparents, whose willingness to die for their respective causes stood in fundamental opposition.
‘Hai Người Lính’ (The Two Soldiers). Photo by Chu Chí Thành.
But after 50 years, does it really matter anymore? Today, their grandchildren watch the same Netflix shows, receive similar education, and navigate the liminal spaces between empires. We've all come to recognize globalization as quite bittersweet: older generations dying either for or against global capitalism, while younger generations question their identity within its remnants. What shared narratives can we, young Vietnamese, tell each other to foster understanding, healing, and to rebuild a world after older generations spent their lives at each other's throats?
In previous articles for Saigoneer, I've mentioned growing up with both nhạc đỏ and nhạc vàng, though I never truly appreciated them until I was far from home. These songs have become companions during my late-night study sessions these days. The more I listen and learn about their composers, the more I've come to question the rigid distinction between nhạc đỏ and nhạc vàng. I'm increasingly skeptical of the common belief that during wartime, North and South Vietnam represented two entirely separate cultural entities. The history of Vietnamese tân nhạc is remarkably unique: we sing about everything, from grand national ideals to the most intimate corners of the human soul. We sing despite political hardships. These songs are so nuanced. They capture human experiences that political narratives often flatten or erase.
In this piece, I wish to explore some of these nuances in Vietnamese music through the works of Phạm Duy, Phạm Đình Chương, Trịnh Công Sơn, and Trần Quang Lộc — musicians whose art transcended rigid political boundaries. Many of these compositions began as poems written by communist writers like Hữu Loan or Quang Dũng before being adapted into songs by artists from the Republic of Vietnam, creating an inadvertent artistic dialogue across the divide.
‘Bà Mẹ Gio Linh’ | Phạm Duy
‘Bà Mẹ Gio Linh’ (The Mother of Gio Linh) stands as one of Phạm Duy’s greatest compositions. It captures the grief and resilience of Vietnamese mothers during the First Indochina War. Composed in 1949, the song was inspired by a harrowing real-life event in Gio Linh, Quảng Trị province, where two local men, commune head Nguyễn Đức Kỳ and teacher Nguyễn Phi, were executed by French Union forces. Their severed heads were displayed publicly to intimidate villagers supporting the Việt Minh resistance. Phạm Duy (1921–2013), then a member of the Việt Minh’s cultural cadre, was deeply moved by the stoic dignity of one bereaved mother, whose silent sorrow became the emotional core of the song.
Choked with emotion, she says not a word
Packs her bundle to retrieve the head
According to American musicologist Jason Gibbs, the song notably avoids hatred and vengeance, even though it has a clear enemy. Instead, it focuses on the mother's humane and brave act of retrieving her son’s remains without uttering a word of resentment. Phạm Duy’s lyrical restraint gave the song its emotional resonance. As one admirer and former Viet Minh member put it, “anyone who listens must cry.” But these tears weren’t ones of surrender; rather, they were tears of empathy, solidarity, and motivation. Despite its popularity, the Viet Minh criticized the original lyrics as “negative” because they lacked overt revolutionary zeal. To ensure the song aligned with the movement’s ideological goals, changes were made to insert themes of struggle and class solidarity.
Thái Thanh's recording of ‘Bà Mẹ Gio Linh.’ Video via Diễm Xưa Productions YouTube page.
Phạm Duy’s trajectory mirrors the complex relationship between art and politics in wartime Vietnam. A former Việt Minh cultural cadre, in 1951, he left the resistance in disillusionment over its censorship of creative expression. He moved to Saigon and became a central figure in South Vietnam’s musical renaissance.
Phạm Duy reflects in his memoirs that when he later abandoned Việt Minh and returned to Hanoi, he had to write a new version titled ‘Bà Mẹ Nuôi’ to avoid political persecution. The original lyrics, if sung in French-controlled territories at that time, could have led to his imprisonment. Yet, he remained deeply proud of the melody, inspired by Central Vietnamese folk music, and considered ‘Bà Mẹ Gio Linh’ one of the most glorious achievements of his life.
Phạm Duy (left) and his wife, Thái Hằng (right).
In the later years of his life, after decades in exile, Phạm Duy made the momentous decision to return to Vietnam. This homecoming in 2005 was not merely personal. It signaled a quiet healing, bridging North and South, revolution and exile, past and present. Having once been blacklisted by the Vietnamese government due to his defection and the politically sensitive nature of his work, his return was made possible through gradual cultural thawing and increasing appreciation for his artistic legacy. Upon his return, Phạm Duy resumed public life and continued to engage with younger generations, reinforcing his enduring influence on Vietnamese music and cultural identity. ‘Bà Mẹ Gio Linh’ was one of Phạm Duy’s earliest works to be officially licensed for circulation in communist Vietnam on July 21, 2005.
‘Đôi Mắt Người Sơn Tây’ | Phạm Đình Chương, Quang Dũng
‘Đôi Mắt Người Sơn Tây’ (Eyes of the Sơn Tây Woman) stands as one of the most profoundly moving romantic compositions in Vietnamese tân nhạc. It was crystallized from two renowned poems by the communist writer Quang Dũng (1921–1988): ‘Đôi Bờ’ (Two Shores) and ‘Mắt Người Sơn Tây’ (Eyes of the Sơn Tây Woman). Set to music by the great composer Phạm Đình Chương (1929–1991) in South Vietnam in 1970, the song isn't merely a nostalgic love ballad. Transcending both poetry and music, it depicts the longing for homeland and the yearning for peace.
Hà Thanh's recording of ‘Đôi Mắt Người Sơn Tây.’ Video via YouTube.
The poems ‘Đôi Bờ’ and ‘Mắt Người Sơn Tây’ were written by Quang Dũng around 1948–1949, during the First Indochina War. Both pieces were dedicated to a young woman named Nhật, nicknamed Akimi, whom he had encountered in Sơn Tây. This fleeting yet incredible romance left an indelible mark on the poet's soul. It became the wellspring for his emotionally charged verses. The song's first four lines are extracted from ‘Đôi Bờ’ while the remainder comes from ‘Mắt Người Sơn Tây,’ creating a musical piece that is both cohesive and emotionally multidimensional:
Longing, oh longing, for whom do I yearn?
The distant river veiled by layers of endless rain
Your eyes, oh your eyes from days past, did they hold the sorrow of loneliness?
When autumn first arrived, when autumn first arrived one early morning
During the Nhân Văn–Giai Phẩm crackdown, however, these poems faced criticism for being petty bourgeois, overly sentimental, and inconsistent with revolutionary ideals. Quang Dũng, along with many other artists and writers, endured censorship and creative restrictions. Nevertheless, his work endured in the hearts of the public, particularly in South Vietnam, where ‘Đôi Mắt Người Sơn Tây’ received an enthusiastic reception.
A portrait of Quang Dũng.
In Saigon, the song quickly became a musical phenomenon, with Phạm Đình Chương (performing as Hoài Bắc) and vocalists Thái Thanh and Duy Trác establishing it as one of the era's most beloved compositions. ‘Đôi Mắt Người Sơn Tây’ is a symbol of love for homeland, longing, and the aspiration for peace. Despite weathering numerous historical upheavals, the song has preserved its artistic value and emotional resonance, becoming an essential piece in the treasury of Vietnamese music.
‘Áo Anh Sứt Chỉ Đường Tà’ | Phạm Duy, Hữu Loan
‘Áo Anh Sứt Chỉ Đường Tà’ (Your Shirt Is Torn at the Hem’s Seam), composed by Phạm Duy in 1971, is a poignant musical adaptation of the communist poet Hữu Loan’s 1949 poem ‘Màu Tím Hoa Sim’ (The Purple Color of Myrtle Flowers).
Hữu Loan (1916–2010) wrote the poem in 1949, during Vietnam’s anti-colonial war against France. Then a member of Việt Minh, Hữu Loan drew inspiration from the tragic death of his first wife, Lê Đỗ Thị Ninh, shortly after their marriage. The poem, written to mourn her loss, is a deeply personal elegy. Like Quang Dũng's ‘Mắt Người Sơn Tây,’ it focuses on the intimate sorrow of a soldier rather than glorifying the collective resistance.
I returned but did not find her
Mother sits beside the golden grave
The flower vase from our wedding day
Has become an incense holder
The poem’s initial circulation was informal, passed among friends and soldiers, as its personal tone clashed with Việt Minh’s preference for propaganda. Its publication was delayed until 1990, when it was included in the poet's only poetry collection ever published. The poem’s emphasis on individual emotion over political ideology made it a subtle act of resistance. It aligned with Hữu Loan’s later involvement in cultural dissent. In 1956, the poet joined Nhân Văn–Giai Phẩm. The movement’s suppression cast a long shadow over Hữu Loan’s career, but his work gained renewed appreciation after cultural reforms in 1986, when his name was quietly rehabilitated.
Elvis Phương's performance of ‘Áo Anh Sứt Chỉ Đường Tà.’ Video via Phuong Nam Phim YouTube page.
Phạm Duy adapted the piece into ‘Áo Anh Sứt Chỉ Đường Tà’ in 1971, two decades after meeting Hữu Loan in a war zone. His composition blends multiple musical elements to capture both tragedy and heroism, closely following the poem's emotional depth. First performed by Thái Thanh in 1971 for the “Shotguns 25” album, followed by Elvis Phương in “Shotguns 26,” the song became a cultural phenomenon in South Vietnam. Its popularity among youth and intellectuals stemmed from its universal themes of love and loss, offering solace in a war-weary society.
A Portrait of the Poet Hữu Loan.
The performance of ‘Áo Anh Sứt Chỉ Đường Tà’ varies significantly between Vietnam and the Vietnamese diaspora, reflecting differing political sensitivities. In Vietnam, the song is often performed with its original lyrics, including terms like “bộ đội” (North Vietnamese soldiers) and “kháng chiến” (resistance war). These terms anchor the song in its historical context, referencing the anti-colonial struggle and the soldier’s life depicted in the poem.
In the diaspora, particularly among communities that left Vietnam after reunification, performances often adapt the lyrics to avoid associations with the communist regime. For example, “bộ đội” is replaced with “quân đội” (a general term for military), and “kháng chiến” is replaced with “chiến đấu” (fighting). A notable instance is Elvis Phương’s 1993 performance on Paris by Night 19; the rendition is often praised for its emotional delivery and subtle lyric adjustments to suit diasporic audiences. These changes reflect the complex sentiments of Vietnamese abroad, many of whom harbor reservations about communism.
‘Người Con Gái Việt Nam Da Vàng’ | Trịnh Công Sơn
‘Người Con Gái Việt Nam Da Vàng’ (The Yellow-Skinned Vietnamese Girl), composed by Trịnh Công Sơn (1939–2001), is a poignant anti-war song published in the late 1960s, during the height of the war agains the US. It depicts the suffering and resilience of Vietnamese women during wartime.
A young Trịnh Công Sơn.
The song appeared in Trịnh Công Sơn’s collection “Ca Khúc Da Vàng” (Golden Skin Songs), a series of anti-war compositions. Its release coincided with escalating violence, including events like the 1968 Tết Offensive, making it a resonant cry against the war’s brutality. Frequently performed at university campuses in southern Vietnam, it faced censorship from the Republic of Vietnam for its pacifist message, which authorities viewed as subversive. Despite this, its emotional depth and universal appeal, amplified by Khánh Ly’s soulful renditions, made it a cultural touchstone.
Trịnh Công Sơn's recording of ‘Người Con Gái Việt Nam Da Vàng.’ Video via JM JM YouTube channel.
The lyrics portray a young woman who loves her homeland deeply, likened to “đồng lúa chín” (ripe rice fields), yet is burdened by sorrow, with “nước mắt lưng dòng” (tears streaming down) and a heart filled with “resentment” due to the war's devastation:
She's never known a peaceful homeland
She's never seen Vietnam as it once was
She's never sung folk songs even once
She only has a heart filled with resentment and anger
Trịnh Công Sơn, Vietnam’s most celebrated songwriter, began his career with the 1958 hit ‘Ướt Mi’ (Teary Lashes), but his anti-war songs, including ‘Người Con Gái Việt Nam Da Vàng’ and ‘Gia Tài Của Mẹ’ defined his legacy. Despite censorship from both South and post-1975 Socialist Vietnam, his music, performed by artists like Khánh Ly and later Hồng Nhung, gained widespread acclaim. His melancholic songs about love and postwar reconciliation, such as ‘Nối Vòng Tay Lớn’ (Joining Hands), sung on Saigon radio on April 30, 1975 to mark reunification from his own perspective.
‘Về Đây Nghe Em’ | Trần Quang Lộc
‘Về Đây Nghe Em’ (Come Back To Me), composed by Trần Quang Lộc (1949–2020), was crafted in the early 1970s in Saigon. Trần Quang Lộc, a young musician in his early twenties, was deeply moved by A Khuê’s poem from the 1970 collection “Vàng Bay.” Living in wartime Saigon, he earned a living playing music in tea rooms and bars, where he witnessed the stark contrast between traditional Vietnamese simplicity and the westernized urban culture. This societal shift, coupled with the poem’s evocative imagery, inspired him to set the words to music one sleepless night, creating a melody that captured both nostalgia and a yearning for cultural reconnection.
Tuấn Ngọc's performance of ‘Về Đây Nghe Em.’ Video via Thuy Nhan YouTube page.
The song’s lyrics paint a nostalgic picture of rural Vietnam. It includes images of traditional attire like áo the (a long tunic), wooden clogs, and simple staples like corn and potatoes. It urges listeners to reconnect with their heritage through “ca dao” (folk poetry), “hạt lúa mới" (newly harvested rice), and the innocence of childhood songs. The refrain “Về đây nghe em” is a heartfelt plea for cultural authenticity. It reflects a desire to preserve “Vietnam-ness” in a time of upheaval. The song’s humanistic message like “Để hận thù người người lắng xuống” (let hatred subside), resonates with a universal longing for understanding.
A portrait of Trần Quang Lộc.
Come back to me, come back to me
Come back and stand crying by the sorrowful river
Carrying people's hearts back to their homeland
Carrying souls into the cool stream
Carrying honesty into deception
And gathering flowers to express gratitude
All becomes desolate when we've finally met
While it was not explicitly a protest song, the song's call for returning to simpler, more traditional values can be seen as a subtle critique of the war’s disruption and the western cultural influences flooding Saigon. Its significance during the war lies in its ability to offer solace and a sense of identity to those grappling with loss and change.
In closing
The songs featured in this article transcend political divides and carrying the soul of Vietnam across generations and continents. They speak to universal experiences of love, loss, and longing for peace. For reconciliation to be possible, I believe we must accept that truth itself is multi-faceted. Belonging to a later generation, I wasn't born into the hatred and tragedy of the past. How should I regard the legacy of the generations before me, after years of conflict and bloodshed?
Today, as young Vietnamese from both homeland and diaspora connect through shared cultural touchstones, we inhabit this space together. These compositions aren't relics of division but bridges to understanding. I believe they are our legacy to the end of history, some of the finest sounds humanity has ever created.
