Despite pursuing musical theater and semi-classical lyrical music with long songs, difficult-to-remember lyrics, and high technical skill, Duc Tuan still chooses to sing live when he appears - Photo: TTD
It is no coincidence that the Ho Chi Minh City Department of Culture and Sports issued a document requesting strengthened discipline and ensuring honesty in performing arts activities.
This move comes at a sensitive time when the issue of lip-syncing and pre-recorded vocals – a long-standing problem – is resurfacing as a hot topic, forcing both professionals and the public to confront a core question: What exactly are audiences hearing on a stage that is supposedly "live"?
Not just hear, but also witness.
The music stage used to be a place where the voice was at the center. A singer's voice was heard, and success or failure was decided in that very moment. No amount of technical padding was thick enough to mask off-key notes, nor any powerful tool to "save" a performance lacking power. It was this very fragility that created its allure: the audience not only listened but also witnessed.
But with the development of technology and changes in production and performance methods, today's stage is different. Lip-syncing (moving lips to a pre-recorded track) and vocal layering (singing live but based on a pre-recorded vocal layer) have gradually become "safe solutions" used every day.
In many programs, especially large events or live broadcasts, technical aspects are prioritized, and using one's real singing voice is sometimes seen as a risk.
It's worth noting that many cases of lip-syncing or using pre-recorded vocals don't entirely stem from the artist's dishonesty. The pressure of performing multiple acts—singing, dancing, and interacting simultaneously—makes maintaining vocal stability more difficult. The inconsistent sound systems in many venues also pose a significant obstacle.
In addition, there's the reality that many young singers become famous too early, being pushed onto big stages before they've had a chance to perfect their vocal skills. When standing in front of thousands of spectators, relying on technology sometimes becomes a self-defense mechanism.
Things that can be done
First and foremost, there needs to be greater transparency between professionals and the audience. Singer Duc Tuan argues that when a program uses overlay vocals or playback for technical reasons, it shouldn't necessarily be kept secret.
Conversely, disclosing the performance format can help the audience understand and make appropriate choices. "Transparency doesn't diminish the artist's value; it helps build trust," said Duc Tuan.
In addition, standards need to be re-established for different types of stage performances. For live concerts – where audiences pay to hear a singer they admire – lip-syncing is unacceptable.
After nearly 30 years of singing, the "brown-haired nightingale" has always been admired as a precious live vocalist - Photo: Provided by the artist.
In reality, artists who persevere with live performances, such as Thanh Lam, Hong Nhung, Quang Dung, My Tam, Tung Duong, Vo Ha Tram, Hoang Dung, and Phung Khanh Linh, have always held a beautiful and solid place in the hearts of their audience. This position is certainly not due to absolute perfection, but rather to genuine emotion.
Conversely, Mr. Minh Duc, music editor at VOV, argues that programs with a high level of performance and complex choreography can absolutely use vocal layering as a supporting tool, as long as the concepts of "performance" and "showcasing" are not confused.
music".
Another fundamental solution lies in training. Conductor Hoang Diep observed: "In a market where fame is increasingly rapid and easily achieved with the help of technology, investing in vocal skills is often overlooked."
However, no technology can completely replace the inherent power of the voice. Building a systematic training system, from schools to management companies, is a prerequisite if one wants to raise performance standards in the long term."
Singer My Le also shares this view, believing that singers need to undergo a certain training process to understand the strengths and weaknesses of their voices, identifying their forte and shortcomings in order to make appropriate choices in musical style and performance.
She said, "I've watched a few reality TV shows where singers are 'forced' to perform in areas where they're not good. Watching the replays of those shows, it seems fine, even quite good, but when they perform the same act at a concert... oh my god, it's a complete disaster!"
Equally important is the shift in production mindset. For years, Vietnamese music stages tended to chase visual effects: larger LED screens, more complex choreography, more extravagant staging. But if the music, the core of the experience, isn't given commensurate investment, everything else is just "the coating."
The lip-syncing issue is therefore not just the story of a few artists or a few incidents. It is a manifestation of a mismatch where technology is advancing too quickly, while professional standards have not kept pace.
Another reality is that today's audience is also changing. They are no longer easily swayed by performances that are "beautiful but fake."
The recent success of live band concerts by many young singers—such as "Museum of Regrets" by Vu, "Amidst a Thousand Tours" by Phung Khanh Linh, "Spinning Around" by Hoang Dung—shows that the need to return to true values and authentic voices still exists, and is even becoming stronger.
Ultimately, music isn't something that can be completely "assembled" using technology. A recording can be edited to perfection, but it's only a single live moment, where the vocals resonate with emotion, that will leave a lasting impression on the audience.
When a stage loses its authentic vocals, it loses not just a technical element, but its very soul. And if we want to regain the audience's trust, perhaps the first thing to do isn't to add more technology, but to bravely return to the simplest thing: singing with our voices and accepting all the risks that come with it.
It is precisely in these risks that music truly comes alive.
The world doesn't ban but categorizes.
Phung Khanh Linh, Lam, Hoang Dung - singers on their way to winning over music lovers - remain steadfast in their emotionally rich live performances - Photo: Provided by the artist.
The world is confronting this issue in a more systemic way, rather than letting it float around as a "secret agreement."
In South Korea, where the entertainment industry operates with high precision, the use of pre-recorded tracks is not prohibited but is clearly categorized. Audiences are familiar with concepts such as AR (All Recorded), MR (Music Recorded), and Live AR (a blend of live and pre-recorded vocals).
In many music programs in Korea and several other countries, the performance format is public or at least recognizable, creating a degree of transparency between the artist and the audience. However, despite technical support, the standards for vocal training remain very high, requiring artists to have a solid foundation before stepping onto the stage.
In Japan, professional discipline is highly valued. For J-pop artists, especially those pursuing a long-term performing career, singing live is almost a mandatory standard in their solo concerts.
Technology can assist, but it cannot replace. Therefore, Japanese audiences accept imperfect moments—a slight off-key note, a hurried breath—as part of the authentic experience.
Meanwhile, in the US and Europe, where the music industry has been thriving for decades, "live" is not just an option but a norm. At events like the Grammy Awards or Coachella, performing live is almost a prerequisite.
Mistakes ranging from off-key to screeching voices are not uncommon, but they are rarely seen as "failures." On the contrary, they are perceived as evidence of authenticity, something that technology cannot replicate.
Source: https://tuoitre.vn/hat-nhep-hat-de-danh-lua-khan-gia-de-qua-nen-lam-tran-lan-20260331225527312.htm
Comment (0)