Bringing together more than fifty artists for ten hours of performance in front of 60,000 spectators, Y-Concert, organized on December 20 in Hung Yên, went beyond the framework of a simple musical event. This paid mega-concert established itself as a life-size test for a new entertainment model, based on stars from game shows.
>> The Y-Concert invites great artists for a major end-of-year festival
| Photo: VNA/CVN |
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| A large crowd creating a lively atmosphere at the Y Concert. |
| Photo : VNA/CVN |
The singularity of Y-Concert is primarily due to its casting. The majority of artists come from high audience television programs such as My brother is full of thorns (Call Me by Fire) What a beautiful song (Sister Who Make Waves) or even Complete rookie (Show It All Vietnam). Accustomed to television sets and social networks, they found themselves gathered on the same stage, in front of a crowd of 60,000 people.
Compared to free concerts like Bowl in the heart (around 50,000 spectators) or at See The Light by My Tâm at the My Dinh stadium (40,000 people), Y-Concert – a paid event – constitutes a significant indicator: the public is ready to buy tickets, travel far and stay until midnight to support this generation of artists from game shows. An encouraging signal for producers.
This dynamic, however, raises a fundamental question: can the popularity acquired on television be transformed into a lasting musical career, or does it only produce fleeting waves of success?
A dramaturgy designed for the duration
The program took place from 2:00 p.m. to midnight, structured in several sequences. The opening, driven by young and energetic solo performances, aimed to quickly set the mood. The central part focused on intergenerational collaborations, integrating elements of traditional culture. The finale, finally, followed a series of rearranged popular titles, gradually increasing the intensity to keep the audience fully engaged.
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| Performance of the singer Kiêu Anh. |
| Photo : VNA/CVN |
Musical director Slim V designed a tight playlist, evenly distributing stage time so that each artist has their own highlight. The choice to limit verbal exchanges with the audience, in favor of a fluid succession of performances, made it possible to maintain a sustained rhythm – an often delicate point in very long concerts.
Despite these choices, ten hours of show remains a test, both for the organizers and for the spectators. If the accumulation of flagship titles at the end of the program helped to revive collective energy, the endurance required remains a challenge, particularly for an older audience.
One of the most notable aspects of Y-Concert lies in the place given to traditional inspirations. References to folk songs from the three regions, paddle (popular theater), at Ca Hue (Song of Huê) or there are six (ritual song of mediumship) were integrated into several numbers, revisited through modern arrangements, dynamic choreography and contemporary costumes.
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| The performance Trống cơm ((oblong tambourine) performed by “Anh trai” SOOBIN, Tự Long… |
| Photo: VNA/CVN |
In a musical landscape dominated by pop, EDM or Korean influences, the enthusiasm of tens of thousands of spectators for these heritage forms demonstrates that tradition is not incompatible with the codes of modern entertainment.
Versatile artists for a demanding audience
Beyond singing, the artists took on multiple roles: parades on stage, dance performances, visual stagings. This versatility, the result of intensive rehearsals – sometimes carried out despite fatigue or illness – corresponds to the expectations of a young audience, accustomed to rapid and varied content.
This model imposes a new standard: the contemporary artist must be able to sing, dance, stage and interact simultaneously. At Y-Concert, this approach helped enrich the overall experience and maintain attention over time.
Staging, technology and organization
Under the artistic direction of Dinh Hà Uyên Thu, the concert benefited from a clear narrative structure, alternating moments of build-up and breathing, with controlled transitions. Ten large LED screens, a sophisticated lighting system and occasional use of fireworks enhanced the festival atmosphere.
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| The current entertainment model requires artists to “multitask”: sing, dance, parade, interact with the audience… simultaneously. |
| Photo : VNA/CVN |
Aesthetically, however, Y-Concert favored a proven formula: spectacular visual effects and intense lighting during climaxes. An effective choice for a general public event, but which suggests a potential for scenographic innovation yet to be explored.
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| On a broader scale, Y-Concert is an attempt to build a real entertainment ecosystem. |
| Photo : VNA/CVN |
The logistics organization, on the other hand, was widely praised: security, medical assistance, smooth access control, as well as additional infrastructure – catering, mobile toilets – allowing the public to stay on site without excessive discomfort.
A test for the entertainment ecosystem
On a broader scale, Y-Concert is an attempt to build a real entertainment ecosystem: the public discovers artists through game shows, follows them on social networks, then finds them during concerts, meetings or offline events.
If artistic quality and innovation are there, this model could offer a solid basis to the national music market, by multiplying the stages and structuring the cultural offer. The risk, on the other hand, would be to rely solely on temporary popularity, to the detriment of a strong musical identity.
Y-Concert thus appears both as an immediate success and as a necessary reminder: the challenge is no longer just to bring together an enthusiastic crowd, but to ultimately offer cultural experiences capable of lasting and deepening.
Thao Nguyen/CVN
