While the inaugural edition of Tan Da Show brought audiences folk-inspired songs and a traditional lion dance, blending them into the Mid-Autumn Festival atmosphere through 3D mapping projection technology, the second edition, held on the evening of October 10 under the theme “Ha Noi in October”, connected melodies about the capital with the creative spirit of young artists.
From indie-inspired songs and an engaging audience interaction with singer Tuan Cry at the opening edition to performances by bands The Magma and Pink Frog, alongside an impressive appearance by singer Lynk Lee at the second, the first two editions of Tan Da Show have created a bridge between cultural memories and contemporary music.
Notably, the second edition attracted nearly 2,000 spectators, marking an increase from the around 1,000 at the first. Public interest, together with coverage of Tan Da Show in various newspapers and on social media, points to promising initial signs.
However, the appeal of these two evenings is only a starting point. The challenge now is to ensure that Tan Da Show is remembered not merely for its performers or as a well-attended event, but for developing a distinctive identity and building a loyal audience community over the long term.
For young artists, the significance of an open-air stage lies not only in the opportunity to perform, but also in its potential to bring their original work closer to the public.
Alongside its emotionally rich musical offerings, Tan Da Show also provides a space for young artists to experiment, express their individuality, and bring their music closer to audiences.
For Lynk Lee, the performance space at No.71 Hang Trong Street also offered an opportunity to share her musical journey through close interaction with the audience. Direct conversations and moments when spectators joined in singing helped narrow the gap between the stage and those enjoying the performances.
Le Quoc Minh, Member of the Party Central Committee, Editor-in-Chief of Nhan Dan Newspaper, Deputy Head of the Party Central Committee’s Commission for Publicity, and President of the Viet Nam Journalists Association, said the appeal of the first two editions is an encouraging sign. More importantly, however, the programme needs to identify areas for improvement and build on its strengths so that Tan Da Show could become a distinctive arts gathering, held regularly and delivering lasting value. For Nhan Dan Newspaper, the programme also opens a new approach and creates further opportunities for emerging artists who have had limited access to public audiences.
To realise these ambitions, Tan Da Show will continue to develop as a regular event, with each edition focusing on a clearly defined theme while maintaining an interplay between Ha Noi's cultural values and contemporary creativity.
Beyond performances, the programme could expand into arts education, collaborate with training institutions, establish platforms for discovering young talent, and develop digital content to extend the impact of each show.
A content strategy built around appropriate storytelling formats and interactive experiences could also bring the arts closer to families and future generations of audiences.
Crucially, the programme must maintain a consistent schedule, ensure artistic quality, provide a safe venue, and create meaningful opportunities for young people to develop.
From beneath the banyan tree at No.71 Hang Trong Street, Tan Da Show has the initial conditions to become a distinctive cultural meeting point. Its future will depend on its ability to turn today's interest into a defined identity, a sense of belonging, and sustainable value for the community’s artistic life in this thousand-year-old capital of culture.
