A growing wave of influencers, entrepreneurs, and viral personalities stepping into the role of “singer” is placing Vietnam’s entertainment industry in an increasingly uneasy position.
Recent controversies surrounding figures such as Vo Thuy Dung, niece of late cai luong (Vietnamese traditional opera) artist Vu Linh, and Duoc Si Tien have once again exposed deeper concerns about declining artistic standards, blurred professional boundaries, and gaps in cultural management.
These cases are not isolated. From earlier Vietnamese internet phenomena such as Le Roi, Quan Kun, and Ba Tung to today’s influencers (often referred to as KOLs) and business figures, the transition from online fame to stage performance has become a recurring pattern.
While such figures often attract attention and even lucrative performance opportunities, their presence has also prompted questions about fairness toward professionally trained artists and the overall quality of the performing arts environment.
If left unchecked, a once-controversial remark - that “in Vietnam, anyone holding a microphone can become a singer” - risks becoming an unsettling reality.
Controversy beyond viral fame
Vo Thuy Dung is seen overacting on stage. Photo: FBNV
The case of Vo Thuy Dung illustrates the complexity of the issue.
Not only criticized as an internet personality entering the music scene, she has also faced backlash over unauthorized performances, lip-syncing, and stage acts deemed inappropriate or offensive.
Her controversial appearance in a classical cai luong excerpt drew particular criticism for failing to meet even basic professional standards, from vocal technique to stage expression.
Similarly, Duoc Si Tien has stirred public debate through a different approach - leveraging media attention, unconventional performances, and collaborations with established artists to position himself in the music space.
Beyond individuals, the phenomenon extends to so-called “businessman singers”, where financial capability enables access to the stage, sometimes even alongside renowned artists.
These developments raise a central question: Should the stage remain open to all, or should clearer boundaries be established?
Freedom to perform, but not without limits
Duoc Si Tien stands out for attention-grabbing media stunts. Photo: FBNV
From a legal standpoint, the answer is not as straightforward as it may seem.
Under Vietnam’s Civil Code 2015, individuals are free to engage in activities based on voluntary agreements, provided they do not violate the law or social ethics.
However, as lawyer Diem Trinh from the Ho Chi Minh City Bar Association points out, this principle does not grant unconditional freedom to perform publicly.
Artistic performances are governed by specific regulations, notably Decree 144/2020, which sets requirements for organizers, approval procedures, and prohibited content.
“Being invited to perform or paid to sing does not automatically mean one has the legal right to appear on stage,” she noted.
In other words, while the law does not require performers to be formally recognized artists, it also does not allow unrestricted access to the stage without compliance with regulatory frameworks.
The issue, therefore, is not a contradiction between freedom and control, but the absence of effective enforcement and accountability.
Opportunity should not be closed, but standards must be upheld
The daughter and niece of cai luong artist Vu Linh, though not singers, appear at the center of a ticketed show’s poster. Photo: Archive
From a cultural and social perspective, experts caution against outright exclusion.
Communication specialist Nguyen Ngoc Long argues that artistry is not defined by labels or appearances, but by inner capacity, dedication, and professional integrity.
History has shown that some viral figures can evolve into genuine artists if they possess talent and commitment. Conversely, those relying solely on novelty or controversy often fade quickly once public curiosity diminishes.
“Artistry is not a costume one can simply put on. It is a journey of proving value through both ability and character,” he said.
This suggests that the stage should not be closed to newcomers, but neither should it become a space where standards are ignored.
Toward a “blue tick” for artists
One proposed solution is the introduction of a formal recognition system - akin to a “blue tick” - issued by cultural authorities.
Such a system would not ban participation but would create a clear distinction between professionally recognized artists and self-proclaimed performers.
By combining existing criteria for honorary titles with mandatory standards from codes of conduct, authorities could establish a baseline for the official designation of “artist”.
This would serve multiple purposes: helping audiences identify credible performers, reducing confusion around self-proclaimed titles, and providing a legal basis to sanction misuse or misconduct.
More importantly, it would restore meaning to the title of “artist” - not as a label anyone can adopt, but as a profession grounded in both public recognition and institutional validation.
A question of balance
Ultimately, the issue is not whether individuals should be allowed to sing or perform.
It is about how to balance openness with responsibility, creativity with standards, and individual freedom with the collective integrity of the cultural space.
As Vietnam’s entertainment industry continues to evolve, the challenge lies in ensuring that opportunity does not come at the expense of quality - and that the stage remains a place where talent, not noise, defines success.
Vietnamnet.vn
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