By Henry Hsieh, Web Operation Manager of Hakka Association of New York
When the 36th Golden Melody Awards wrapped up at Taipei Arena this June, conversations weren’t just about who took home the trophies, they were also about the visibility of mother tongues on stage. In recent years, the presence of Taiwan’s native languages has grown significantly. Once confined to the home, these languages now appear on radio, streaming platforms, and even under the spotlight of the Golden Melody Awards, reaching audiences far beyond native speakers and entering popular culture.
Zooming in on the Hakka category, the momentum is clear. From Julia Peng’s crossover into Hakka album creation, to the rising visibility of nominees and winners, and the evolution of styles from traditional folk to soul, rock, and hip-hop—the Hakka music scene is undergoing a transformation, resembling a cultural renaissance in sound.
As a Hakka language enthusiast or descendant, it’s exciting to witness this shift, where songs are no longer limited to folk traditions, but also reflect contemporary issues, personal emotions, and modern storytelling.
The numbers back this up. At the 34th Golden Melody Awards in 2023, Hakka music production surged, with nine works earning a total of 19 nominations, widely regarded as a breakthrough year. By the 35th awards, Hakka TV and Hakka News highlighted fresh faces entering major categories like Best Hakka Singer and Best Hakka Album, signaling a new wave of creators. The styles of the albums reflected an expansion into more popular genres and modern production techniques.
At this year’s 36th awards, the energy peaked. According to BLOW by StreetVoice, Hakka albums and singers together earned 10 nominations, with four albums scoring “double nominations” in both singer and album categories. This showed that Hakka works weren’t just riding the trend of mother-tongue revival, they were being recognized for solid artistry and production. Beyond the awards night itself, the Hakka Affairs Council and government also co-hosted a showcase, ensuring Hakka works were visible throughout the entire Golden Melody week.
The ceremony itself produced a milestone moment. Artist Zi-Xuan Huang won both Best Hakka Singer and Best Hakka Album with New Soul (牛騷), a project that blended the cadence of Hakka with soul and funk grooves, retaining the essence of mountain songs while creating a distinctly modern “new soul.” This crossover approach highlighted that judges weren’t confining Hakka music to folk traditions, but embracing its expansion into multiple genres.
Diversity in sound was also evident among other nominees: TRAEGO’s raw rock style paired with straightforward Hakka lyrics gave voice to younger generations, while Joyin Wang’s 又係王喬尹 (It’s Me Again, Joyin Wang) infused pop rhythm into the natural speech patterns of Hakka. These works proved that success came not simply from “using Hakka,” but from skillfully embedding the language into arrangements, composition, and vocal delivery, persuading both judges and listeners with artistic integrity.
Another notable trend is the involvement of heavyweight Mandarin artists in Hakka projects. Julia Peng’s Dreams Made in the Living Room, nominated at the 34th awards, exemplified this crossover. On stage, she performed a medley switching between Mandarin and Hakka, turning language itself into an expressive tool. For audiences without a Hakka background, such performances lowered linguistic barriers and expanded the potential listener base.
Taken together, the past three years signal not isolated highlights but an industry-wide shift. Creators are more diverse, musical styles broader, and judges focus on artistry beyond language categories. With showcases, media coverage, and curated platforms working in sync, Hakka music now enjoys greater visibility, not just during awards season, but in the everyday lives and playlists of listeners.
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