Not the same old song
Popular music in Cambodia has long looked backwards to the pre-Khmer Rouge ‘Golden Age’ resulting in loads of covers and imitations. But now a new generation writing their own, original songs are finally starting to make waves
On stage, Jimmy Kiss – his bushy hair in a bun – wore a grey shirt tucked into workman’s jeans and hefty hiking boots. He didn’t look like a rock star, but he gripped the mic stand passionately with two hands and, if you closed your eyes, he sure sounded like one.
Both the backing guitarist and keyboard player looked sharper, but the audience, glued to the 29-year-old singer, didn’t seem to notice. When Kiss reached the chorus, sung in a triumphant, Freddie Mercury-like roar, they erupted in gleeful whooping.
At the song’s end, the guitarist took the mic. “Original song from Jimmy Kiss!” he announced and the Apros Pub crowd went wild.
The independent songwriter chanced upon commercial success a year ago when his retro-ballad single, Baby I’m Sorry, went viral on social media. Within weeks, his videos on YouTube had garnered hundreds of thousands of views and, before he knew it, he was gigging across the country in big-budget shows sponsored by Cambodian beer and telecoms conglomerates.
Kiss’s success, won independently without a record contract, is part of what some are calling a resurgence in original songwriting in Khmer. Outside of the cookie-cutter hit-factories that have dominated the Kingdom’s music scene for years, independent artists and groups like Nikki Nikki, Laura Mam, KlapYa-Handz and the Bat’Bangers, are part of a wave of original songwriters making their mark.
“It is only now that the Khmer people are starting to write original music – before it was all copied songs,” said Lewis Pragasam, an accomplished percussionist from Malaysia who founded a popular music academy in Phnom Penh. “But they’re finally starting to now.”
But if it is a resurgence, it is still in its infancy. Songwriters say they still face major obstacles in gaining a foothold writing original music, not least of which is the problem of how to make money selling music in the age of digital downloads and YouTube.
They griped about other things too, including venues unwilling to book original bands citing a lack of demand for original tunes. Crowds, they claimed, just wanted to hear the hits: sugary pop jingles and tunes from the Cambodian “Golden Age”, a prolific period of songwriting in the 1960s and ’70s.
“I know a lot of people who are good at songwriting but just don’t think they can do it as a career,” said Kiss. Instead, he said, musicians opted to put their talents into uses that could pay the bills, like composing formulaic pop hits for the major production companies (which he used to do) and playing Golden Age covers in bars around Phnom Penh.
But, somehow, Kiss was making it work. While he didn’t want to disclose his exact earnings, he said he was making more than enough to get by.


































