Music producer SlimV and promoting ego in contemporary music

From classical to electronic music, SlimV moves seamlessly between two seemingly opposing worlds. His instinctive creativity has set him apart, making him one of the most sought-after producers in today’s music industry

He entered the profession when the title “music producer” was still unfamiliar to most audiences. Over time, he has carved out a reputation as a producer with a distinct identity. Well known within the electronic music community, few realise that SlimV was formally trained in classical music.

With an acute sensitivity to rhythm and an instinct for emerging trends, he has gradually blurred the boundaries between these two genres. His unique arrangements have brought classical music closer to a wider audience. From the EDM-infused symphonic performance of Love Song on Sao Dai Chien 2017 to Rhapsody Tay Bac, a composition for symphony and folk orchestra performed in Hoi An, SlimV’s ability to fuse old and new, classical and modern, is unparalleled.

Since winning The Remix in 2016, SlimV has become one of the most in-demand music producers, admired by both industry insiders and audiences alike. He was the first Vietnamese musician invited to perform at Korea’s Asia Song Festival and received the Best Asian Artist award at MAMA in 2016. More recently, he was the driving force behind Anh Trai Vuot Ngan Chong Gai, a reality music show praised for reigniting a passion for national culture and heritage among Vietnamese audiences.

See more: Asia's Most Influential Scientist 2024 honors outstanding Vietnamese scientists

Above Music Producer SlimV

Music Producer SlimV

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How did your journey to creating your own musical language begin?

I truly found my place when I started composing. Although I trained professionally as a pianist, my teenage years were spent reproducing other people’s works. That changed when I encountered the impressionist music of the late 19th century. The artists of this movement drew inspiration from global musical modes, which fascinated me. In particular, Claude Debussy developed his distinctive musical language from Vietnamese folk music, shaping one of the greatest musical revolutions of that era.

It struck me how the folk music of my own country had played such a pivotal role in shaping Western classical music. That realisation sparked my desire to explore folk traditions to develop my own musical identity. The first time I composed something original, I felt an overwhelming sense of happiness—that was the moment I truly fell in love with music.

Your music is a distinctive fusion of classical and modern, folk and academic, traditional and innovative. Where do these groundbreaking ideas come from?

By the end of my studies, I had already developed my own compositional style. Fortunately, it attracted attention from my school, as well as from foreign experts in France and at the Tchaikovsky Academy of Music. Initially, my focus was on artistic music, but due to personal circumstances, I was forced to change direction. That shift led me to the world of electronic and pop music—an entirely different landscape from what I had studied.

Even in contemporary music, I wanted to incorporate the foundations I had built—drawing from classical, modern, and contemporary symphonies, with folk music always at the heart of it. My aim is for listeners, even when enjoying a pop ballad, to subconsciously recognise the symphonic depth within it—something they may not even be aware of. Or to sense that traditional Vietnamese music has, in some way, shaped the styles of contemporary music worldwide.

What is your goal in making music—to create something for the public to enjoy, or to retreat into your own world and satisfy your artistic ego?

I still see myself looking outward, creating music for the audience rather than withdrawing into my own artistic world. That doesn’t mean I don’t enjoy popular music—I do, very much. But I still hold onto the hope that one day, I will return to my own musical world.

When do you think that will happen?

Perhaps when I’m… old! To be honest, for those of us who want to pursue music professionally, there are times when our artistic ego needs to be so strong that we stop caring about external opinions. It takes that kind of extremity to create works such as those by György Ligeti or John Cage. A 31-minute piece played with just one note? Or inviting an audience to sit through 4'33” in complete silence? These might seem strange and controversial, but contemporary music is built on that kind of artistic conviction.

That said, it’s entirely possible that after gaining enough experience and truly understanding the public, I’ll find a way to return to my world and approach music differently. Either way, I look forward to the day when I can share that world with everyone.

Above Music Producer SlimV

Music Producer SlimV

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Yet, elements of that world are already making an impact—such as the extraordinary moment when more than 25,000 people stood together at Anh Trai Vuot Ngan Chong Gai, singing cheo and hat boi. What are your thoughts on that?

That was beyond anything I could have imagined—and it made me incredibly happy. I consider myself lucky. Creating those musical pieces was only possible with the support and collaboration of many talented colleagues in music production: Touliver, Duy Son, Si Thu, Grvity, Javix, Ha Tra Da, Mastal, It's Charles, Kriss Ngo, Monotape… It was a collective effort, something I wouldn’t have fully grasped if I had only worked within classical music.

Was it just luck? Or was it the culmination of years of effort finally coming to fruition?

There is certainly an element of my own craft in it (laughs). But at its core, I believe music is not about intellect—it is about emotion. What endures is the feeling a piece of music evokes. If you know how to harness that, music can stand the test of time.

As for why music has this power, I can only explain it in simple terms: when sounds collide, they create both pleasant and discordant sensations. By understanding these principles, I can deliberately introduce tension and then resolve it, shaping the listener’s emotions. In a way, it’s almost like hypnosis (laughs).

As someone deeply engaged with music—through research, composition, and sharing—how do you see its role in modern life, and what do you hope to do to help others recognise that role?

For most people, music is merely entertainment. But to me, it is more than that—it has the power to reconnect people with things they have forgotten. Some are so caught up in growing up that they forget their loved ones are growing old. Others overlook the beauty in the everyday moments that surround them. When music is felt in this way, life itself becomes richer.

Do you think Vietnamese music has the potential to expand and tap into new opportunities?

In terms of entertainment music, Vietnam is evolving rapidly. The current trend favours simplicity and catchiness, and it won’t be long before the younger generation fully aligns with the global scene. But to truly stand out, we must offer something unique—something the world has yet to experience. Just as the composers I admire have done, I believe there will come a time when global pop music looks to Vietnamese folk music for inspiration. If we recognise the importance of preserving and developing our national culture, the future will be ours.

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Tatler Asia’s Most Influential celebrates the visionaries shaping our world today. Bringing together the region’s most innovative minds, industry giants, and cultural leaders, Most Influential highlights those making a lasting impact across Asia and beyond. See the full list here.

Tatler Vietnam – Nhà Tập Tinh Hoa will officially honour the individuals on Asia’s Most Influential: Vietnam 2024 at Tatler Vietnam Launch – Enter A New Kingdom on 4 December 2024.

CREDITS:

Managing Director: Hami Tran

Editor-in-Chief: Nikita Chu

Art Director: Andy Tran

Managing Editor: Sade Ho

Photographer: Vo Tran Viet Thanh

Videographer: Luan Nguyen

Producer: nakhoi

Stylist: Hasley Nguyen

Styling Assistant: KimBe

Makeup Artist: Uyen Phan

Set Designer: Lam Minh Trung