The Evolution of Taiwanese Hokkien Songs: From "Old Man's Music" to Indie Darling

30-Second Overview

Taiwanese Hokkien songs have journeyed from the post-war nakashi culture and the golden era of "kings of song" such as Hung I-feng and Wen Xia, through the dominant reign of Jody Chiang, to the innovative reinterpretations by new-generation bands like Eggplant Egg, Sorry Youth, and Collage. Hokkien-language music has successfully shed its stereotypical image as "old man's music" and been reborn as a favorite of indie-culture youth. The establishment of the Best Hokkien Album category at the Golden Melody Awards has provided institutional support for this evolution.

Keywords: Hokkien popular music, generational inheritance, musical innovation, cultural identity, mother-tongue revival

Why It Matters

The evolution of Taiwanese Hokkien songs reflects Taiwan's political transformations, shifts in cultural identity, and the impact of language policy. From marginalization to renewed recognition, the revival of Hokkien music mirrors the reconstruction of Taiwan's indigenous cultural self-confidence. The rise of new-generation Hokkien music demonstrates that mother-tongue culture can still find its own audience in the age of globalization.

Grassroots Origins: Nakashi and the Busking Culture (1945–1970)

Post-War Popular Music

In the early post-war period, Taiwan faced economic hardship and social upheaval, yet music remained an irreplaceable comfort in people's lives. The term "nakashi" (那卡西), borrowed from Japanese, referred to itinerant performers who carried simple instruments and sang for audiences in nightclubs, teahouses, and street corners.

The nakashi culture was defined by its improvisational and interactive nature. Performers had to adjust their repertoire based on the atmosphere of the venue and the demands of the audience, drawing from a diverse catalog that ranged from Taiwanese-language adaptations of Japanese songs to locally composed ballads. Although mainstream society dismissed this form of performance as "low-class," it was in fact the most crucial incubator for Hokkien songs.

The Hardships of Busking Artists

The lives of busking performers were full of challenges. They needed keen powers of observation and deep life experience to win the empathy of their audiences in any setting. Many later-famous Hokkien singers, such as Hung I-feng and Yeh Chi-tian, had backgrounds in busking — experiences that infused their singing with an authentic sense of lived reality.

The busking culture also cultivated the distinctive vocal style characteristic of Hokkien songs: emotionally intense, technically unadorned, and close to everyday life. This style later became the core feature that set Hokkien songs apart from Mandarin pop music.

The Era of Song Kings: The Golden Age of Hung I-feng and Wen Xia (1960–1980)

Hung I-feng: The Rise of the Hokkien Song King

Hung I-feng is revered as the "Hokkien Song King." His emergence marked the transition of Hokkien songs from the streets to the formal music industry. His 1957 release The One I Long For (思慕的人) became a classic in the history of Hokkien music, its beautiful melody and deeply emotional lyrics showcasing the artistic heights Hokkien songs could reach.

Hung I-feng's success lay not only in his outstanding vocal technique but also in his ability to capture the collective emotions of the Taiwanese people. His songs often depicted the joys and sorrows of ordinary people, expressing the most profound feelings in the most unadorned language, creating a powerful resonance with listeners.

Wen Xia: Pioneer of the Singer-Songwriter

Wen Xia was another song king who left an indelible mark on the Hokkien music scene — both an exceptional performer and a prolific composer. His signature works, including Mother, Please Take Care of Yourself (媽媽請你也保重) and Hometown at Dusk (黃昏的故鄉), remain widely sung to this day.¹

Wen Xia's compositional style blended traditional Taiwanese folk elements with modern pop sensibilities, preserving the indigenous character of Hokkien songs while giving them a contemporary feel. His success proved that Hokkien songs could achieve the highest artistic standards, setting a model for later Hokkien musicians.

The Development of the Record Industry

During this period, Hokkien songs began entering the formal record industry system. Labels such as Haishan Records and Sihai Records specialized in Hokkien releases, establishing production, distribution, and promotion infrastructure. Though modest in scale, these companies provided the critical industrial foundation for the development of Hokkien music.

Political Suppression and Underground Resilience (1970–1990)

The Impact of Language Policy

Beginning in the 1970s, the Nationalist government promoted the "Mandarin Language Movement," restricting the use of dialects in the media. Hokkien songs on television and radio were drastically reduced, severely compressing the space available for Hokkien singers to develop. This policy had a profound impact on the growth of Hokkien music, and many talented creators were forced to shift to Mandarin-language songwriting.

The Resilience of Underground Activity

Yet Hokkien songs did not disappear under political oppression. At private occasions — weddings, funerals, temple fairs, and social gatherings — Hokkien songs remained a constant presence. This "underground" activity preserved the chain of transmission for Hokkien songs and sustained the lifeblood of Hokkien music.

Many Hokkien singers of this era turned to non-mainstream performance formats such as "electronic flower truck" (電子花車) shows and busking. Though these performers held low social status, they maintained the vitality of Hokkien songs. These entertainers often possessed powerful stage presence and improvisational skills, preserving a precious performance tradition for Hokkien music.

The Jody Chiang Era: The Glory of the Hokkien Song Queen (1980–2015)

The Rise of "Second Sister" Jody Chiang

The late 1980s saw the emergence of Jody Chiang, who brought Hokkien songs to a new peak. Her unique voice, masterful vocal technique, and deeply felt emotional interpretations brought Hokkien music back into the spotlight, earning it broad attention and recognition.

Jody Chiang's success was not solely a product of her personal talent; it also reflected the changing political climate in Taiwan. With the lifting of martial law and the rise of indigenous consciousness, Hokkien culture began to receive greater recognition and support. Jody Chiang seized this historic opportunity, becoming the most representative voice of Hokkien music's post-martial-law resurgence.²

Cross-Generational Influence

Jody Chiang's influence transcended generational boundaries. Her songs were beloved not only by middle-aged and older listeners but also attracted many younger fans. This cross-generational appeal proved that excellent Hokkien songs possess universal emotional value and do not lose their charm because of language barriers.

Jody Chiang's concerts were perpetually sold out, a testament to the important position Hokkien songs hold in Taiwan's music market. Her success also encouraged more musicians to devote themselves to the creation and performance of Hokkien music.

The Rise of a New Generation: From "Old Man's Music" to Indie Darling (2010–Present)

Eggplant Egg: A Rock-and-Roll Interpretation of Hokkien

The emergence of Eggplant Egg marked the entry of Hokkien songs into an entirely new era. The band pairs rock arrangements with Hokkien lyrics, creating a unique musical style. Their signature hit Wayward Son Returns (浪子回頭) went viral online, leading many young people to rediscover the appeal of Hokkien songs.

Eggplant Egg's success lies in their ability to interpret Hokkien songs through a musical language familiar to young people, breaking down the language barrier. Their lyrics are full of colloquial, life-like expressions, paired with solid arrangements, giving Hokkien songs an unprecedented sense of modernity.

Sorry Youth: An Indie Aesthetic in Hokkien Practice

The band Sorry Youth brings a whole new dimension to Hokkien songs through their refined musical taste and indie sensibility. Their music fuses elements of indie rock, folk, and electronics, with poetic lyrics that reveal the literary potential of Hokkien songs.

Sorry Youth's audience consists primarily of highly educated young people. Their embrace of Hokkien songs demonstrates the resurgence of mother-tongue music among the intellectual class. This phenomenon has been described as the "indie-ization" (文青化) of Hokkien songs, representing an elevation of Hokkien music's social status.

Collage: A Hokkien Voice from a Female Perspective

Collage broadens the creative boundaries of Hokkien songs with a distinctive female perspective and an experimental musical style. Her work does not confine itself to the traditional framework of Hokkien songs; she boldly experiments with diverse musical elements, demonstrating the creative flexibility of Hokkien music.³

Collage's songs often focus on women's experiences and social issues, using Hokkien to express the thoughts and feelings of modern women. This creative direction has opened up new thematic territory for Hokkien songs and attracted young listeners who care about social issues.

The Golden Melody Award for Best Hokkien Album: An Institutional Milestone

The Significance of Official Recognition

In 2005 (the 16th Golden Melody Awards), the "Best Hokkien Album" category was established — an institutional milestone in the history of Hokkien song development.⁴ The creation of this award signified that Hokkien songs had received formal official recognition and provided Hokkien musicians with a platform for release and a stage for competition.

The selection criteria for the Golden Melody Award for Best Hokkien Album emphasize musical quality and innovation, encouraging musicians to preserve the distinctive character of Hokkien while daring to experiment with new musical languages. This evaluative orientation has had a substantive driving effect on the development of Hokkien songs.

A Trend Toward Diversification

The Golden Melody Award winners for Best Hokkien Album over the years have demonstrated the diversified development of Hokkien songs. From traditional enka-style ballads to modern rock, folk, and electronic music, the range of genres within Hokkien music has grown increasingly rich. This diversification proves the expressive richness of Hokkien as a musical language.

Cultural Significance and Social Impact

The Reconstruction of Linguistic Identity

The rise of new-generation Hokkien songs is not merely a musical phenomenon — it is also an expression of linguistic identity reconstruction. Under the impact of globalization, many young people once felt alienated from their mother tongue, but outstanding Hokkien musical works have led them to rediscover the expressive power of Hokkien.

A Bridge for Intergenerational Communication

Hokkien songs have become a bridge for communication between generations. Young musicians interpret Hokkien songs through a modern musical language, allowing older listeners to feel the new vitality of traditional culture. At the same time, excellent Hokkien songs enable younger listeners to understand and appreciate the value of traditional culture.

The Rise of Cultural Confidence

The transformation of Hokkien songs from "old man's music" to "indie darling" reflects the elevation of cultural self-confidence in Taiwanese society. People no longer view using their mother tongue as a sign of being "outdated"; instead, they see it as an important resource for cultural identity and creative expression.

Contemporary Challenges and Future Outlook

The Pressure of Market Competition

Although Hokkien songs have gained more attention, they still face challenges in the fiercely competitive music market. How to expand the audience while preserving their distinctive character is an important question Hokkien musicians must consider.

Balancing Innovation and Tradition

New-generation Hokkien musicians face the challenge of balancing innovation and tradition. Excessive innovation may cause Hokkien songs to lose their distinctive character, but excessive conservatism may cause the form to lose its vitality. Successful Hokkien musicians often find a skillful balance between the two.

The Possibility of Internationalization

As Taiwan's soft power grows and the international community places greater value on cultural diversity, Hokkien songs also have the potential to reach a global audience. Some Hokkien songs have already gained attention within overseas Taiwanese communities, and there is potential to expand into broader international markets in the future.

Retribalization in the Streaming Era

Streaming platforms such as Spotify and KKBOX have allowed Hokkien songs to break through the geographic limitations of traditional radio and record stores. Algorithmic playlist logic has unexpectedly made it easy for Hokkien-speaking overseas listeners to find Eggplant Egg or WONFU, while young people on Taiwan island "rediscover" Lim Giong or Hung I-feng through recommendation lists.

Streaming data has also made the audience profile of Hokkien songs quantifiable for the first time: how many plays a song receives in which age group has become a reference for record labels planning new releases. Since the 2020s, some labels have begun using streaming response data to decide whether to release Hokkien-language or bilingual versions. Producing Hokkien versions is no longer merely a cultural gesture — it is a market decision backed by data.

References

• Jian Shang-ren, Legends of Taiwanese Ballads, Taipei: Nongxue Society
• Zhuang Yongming, Taiwanese Ballads and Local Sentiment, Taipei: China Times Publishing
• Golden Melody Awards Hokkien Album Winners List and Jury Records: https://gma.tavis.tw/
• Hung I-feng Music and Culture Association Database
• Jody Chiang Official Performance Records and Media Coverage Compilation
• Eggplant Egg Official Website: https://eggnoodleband.com/
• Sorry Youth Band: https://sorryyouth.bandcamp.com/
• Collage Official Music Platform Information
• Hokkien Music Culture Research Society Conference Proceedings
• A History of Hokkien Song Development, published by the National Museum of Taiwan Literature
• Hakka TV Hokkien Music Program Database
• Chinese Musicians Exchange Association Hokkien Music Special Research