Cheeky and rebellious, the Netherlands’ own brand of ‘ludiek’ zaniness thrived in the 1960s protest era. Now, the New Dutch Naivety movement is bringing it back with songs about chocolate, good transport and no-smoking policies

Imagine a song about the noisy centre of Amsterdam turning magically into chocolate, prompting children to go wild and eat it. The edifice then melts away, once you get the train from Amsterdam Lelylaan to Haarlemmermeer. This is the story of Amsterdam is opeens van chocolade (“Amsterdam is suddenly chocolate”), a song written by the young alt-pop musician, Thor Kissing. It is an example of a cheeky and rebellious aspect of 20th-century Dutch popular culture, ludiek (“playfulness”), which may be on the rise again.

Kissing is a central figure in a new project that tries to capture what ludiek music means in the 21st century: two compilation albums called Nieuwe Nederlandse Naïviteit (“New Dutch Naivety”), promoting a disparate bunch of contemporary alternative Dutch-language pop artists. In October 2024, the first volume was launched in a spartan youth centre in an out-of-the-way Zaandam suburb. Volume two is set for release this March, in “hip” Amsterdam.

The Netherlands’ guttersnipe answer to French chanson and German schlager is as popular as ever – but has it lost its roots as the defiant voice of the working class? Our writer sways along at the Muziekfeest van het Jaar to find out

‘U doet wat, precies, meneer?’ My chic twentysomething hairdresser throws me a puzzled look: “You’re doing what, exactly, sir?” I am not behaving like an Englishman. I have just told her that I have bought tickets for the Muziekfeest van het Jaar (Music of the Year festival) in Amsterdam’s cavernous Ziggo Dome: a two-night extravaganza that is being recorded to be broadcast on New Year’s Eve as a kind of Dutch equivalent to Jools Holland’s Hootenanny, all dedicated to the brassy, sentimental, often untranslatable and still monumentally popular Dutch pop known as levenslied.

“Levenslied” roughly translates as “songs about life”, and although popular throughout the land, especially in North Brabant, it is commonly associated with Amsterdam, and specifically the formerly working-class district of the Jordaan. A social and local music, levenslied concerns itself with family, friends and close associates. Stylistically, it has a connection to the 20th-century French chanson réaliste of Edith Piaf and, when in a party mood, finds common cause with German schlager.