The celebrations after the liberation of the Netherlands are often overlooked in Second World War publications. We all know the images of a military procession making its way through a cheering crowd of people. But in most books, post-liberation descriptions are limited to some final words of remembrance. But what did the liberation of the Netherlands sound like? How did the Dutch people find their own voice again after years of occupation? These are questions that are rarely addressed. Fortunately, Prof. Dr. Frank Mehring’s Songs of Liberation in the Netherlands changes this situation. It brings into the limelight a piece of cultural history that deserves to be passed on.

Songs of Liberation is divided in three parts. Part 1, consisting of the “Prelude” and “Suite I: Liberation Songs,” is a structured, in-depth analysis of the music in the societal context of World War II and its direct aftermath. This part is fully written by Mehring, who was born in Germany and is currently professor of American Studies at Radboud University in Nijmegen, the Netherlands. The second part is “Suite II, Soundtrack Of Freedom Then And Now”. Its chapters are about collecting the music, performing the music, and exhibiting the music, in particular for the ‘Vrijheidsmuseum’ in Groesbeek (the Netherlands). These chapters are less analytical and various people involved in these activities have contributed their experiences. The final part is “Coda: Fourteen Liberation Songs”. This part, written by Jens Barnieck, is an in-depth look at some of the songs mentioned in the book.

The main question the book tries to answer is, "What can we learn from music about the time the liberation took place?" Certainly for an academic publication, the book is very richly illustrated. The book opens with several pages of photos of the celebrations in various locations in the Netherlands. With people dancing and soldiers huddled around a piano, the tone is set. Also included are many images of the covers of sheet music. These are often decorated with the red-white-and-blue, windmills, traditional Dutch costumes, lions, and all the clichés imaginable. The chapters are usually written with great feeling for an exuberant liberation atmosphere. The descriptions allow the reader to imagine dancing and music-making as it occurred in the streets back in the day.

Most of the preserved film footage of the liberation lacks the original sound. Thus, we no longer know exactly what music was played at these events. However, jazz music was often added in post-production. And so this American music genre has become a bit of a clichéd soundtrack of liberation and new beginnings in the way we look back. However, Mehring questions the accuracy of this cliché and outlines what musical styles were prominent during the period September 1944 through the summer 1945. In doing so, he discusses a multitude of styles such as hymns, love songs, boogie-woogie, swing, foxtrot, and marching songs.

Yet, the book covers more than celebration. The introduction also immediately addresses the price of freedom and the sacrifices made, and how these have been reflected in music culture in more recent decades as well. Mehring also mentions the importance of self-expression after oppression.

An important source for the book is Hugo A. Keesing's collection of some 300 liberation songs. This collection has since been donated to the Vrijheidsmuseum in Groesbeek and contains mostly lyrics and sheet music. Most of the music in this collection has never been recorded. According to the book, it’s likely that recordings exist for fewer than 50 songs.

Of particular note is the story of the song “Lili Marlene.” Hans Leip from Hamburg wrote a poem in April 1915, fearing he was about to be sent to the front. He added two verses, and his poem was published in 1937. Music was added in 1938. “Lili Marlene” would eventually appear in 48 languages. In these translations, meanings could still differ, with parts added and others omitted. However, the remarkable thing is that it eventually became a song of great transnational significance, even though enemies were facing each other at the front.

It is also interesting when Mehring uses the songs to describe the relationship between liberators and the Dutch and especially how their relationship changed over time. First there are songs that focus on gratitude, such as Sing your song of thanks (to the Tommies and their tanks). Then there are songs about international encounters, often including bilingual lyrics such as Weet je wat een zoentje is? (“Do you know what a little kiss is?”). Then there are the songs romanticizing relationships between liberators and Dutch girls, such as Trees heeft een Canadees (“Trees [a Dutch girl’s name] has a Canadian”).

Some months after the liberation in May 1945, however, perceptions of the liberators changed. Canadians stationed in the Netherlands engaged in black marketeering, they partied wildly, their relations with Dutch women contributed to the spreading of STDs, and Dutch men could not compete with the Canadian military for female attention. So over time, an atmosphere of criticism, disillusionment and jealousy emerged which is also reflected in songs. These negative emotions were exacerbated when thousands of single mothers were left behind after the departure of the liberators. The feelings can then be heard again in Meisje let op je zaak (“Girl, mind your business”) and De Canadeesche Koorts (“The Canadian Fever”). There was also occasional criticism later on about American paternalism, as the Marshall Plan was perceived by some.

In this way, Mehring shows that music can be more than just an interesting subject of study. It can also be used to paint a picture of the times and thus be part of historical research. His book therefore includes plenty of lyrics (or fragments thereof), often with translations.

After analyzing the history of liberation songs, Songs of Liberation discusses the preservation of this cultural heritage. It includes the collection and cataloging of the Keesing collection and a variety of performances. The book refers extensively to the 2020 digital edition of the Canadian Tulip Festival performance and to related YouTube videos of some of the songs performed there. The topic of liberation songs in museums, such as the Vrijheidsmuseum in Groesbeek, is also touched upon. Unfortunately, this chapter would have benefitted from further editing: it begins with a long repetition by another writer of what was covered earlier in the book regarding Dutch women and Canadians.

Songs of Liberation in the Netherlands is engaging and well-written and also deals with a subject that is often under-researched. This originality makes it an absolute must for anyone with an interest in the social and cultural aspects of the war. To read about this history in a beautifully designed book with many full-color illustrations is a nice bonus.