Saigon Soul Revival’s ‘Chốn ta về’ Marries Vietnamese Folk Instruments with Western Genres

The Vietnamese band Saigon Soul Revival released their third full‑length album, “Chốn ta về,” this year. Critics note that the record feels more ambitious and self‑assured than their earlier work, showcasing a confident blend of many musical influences.

What makes the album stand out is its seamless fusion of local and Western sounds. Traditional instruments such as the đàn tranh, đàn bầu and sáo trúc sit alongside electric guitars, bass and drums, while the music drifts through psychedelic rock, soul, funk, blues, ska, surf rock and reggae.

Specific tracks illustrate the hybrid approach. In “Trúc xinh,” Nguyễn Thị Hải Phượng’s đàn tranh weaves around an electric guitar before the two instruments trade the lead. “Khúc tình yên vui” mixes ska and psychedelic rock with Chăm musical references, and the reggae‑infused “Lý qua dub” opens with a duet of đàn tranh and đàn bầu before a steady bass line takes over.

Guest musicians add extra colour: local virtuoso Đinh Nhật Minh plays the bamboo flute on the sole cover ‘Hoạ mi ca,’ while Vietnam’s leading jazz saxophonist Trần Mạnh Tuấn delivers a lively solo on ‘Ơ kìa, em ơi!’.

Unlike their debut album, which relied heavily on covers, “Chốn ta về” contains only one non‑original song – Mộng Long’s ‘Hoạ mi ca.’ This shift highlights the band’s growing focus on original material and their own creative voice.

The album is supported by a world tour that will visit China, Europe and several Vietnamese cities, including a September 19 show in Saigon. Physical copies feature mid‑century Vietnamese modernist graphics by Dan Ni and Phương An, adding a visual layer to the musical experiment.

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