The lights dimmed, and a hushed murmur of anticipation spread through the packed crowd at Beijing's Blue Note in January. This was no ordinary concert; it was a musical reinvention.

At the heart of it all stood Liu Zichen, also known as Harry, one of the most promising new faces in the traditional Chinese music world.

With his intense gaze fixed and his fingers poised above the strings of the zhongruan, he appeared to absorb the room's energy before releasing it in a single, sweeping gesture. The opening note hung in the air, rich, resonant, and full of promise, much like the instrument itself.

The zhongruan, with its 2,000-year history, has long been a symbol of China's musical heritage. Known for its "round, deep tone, clear and bright, with a wide range and immense expressive power," it has played a pivotal role in both solo performances and ensemble works. Its roots trace back to the Qin (221-206 BC) and Han (206 BC-AD 220) dynasties, and it flourished during the Tang (618-907) and Song (960-1279) dynasties.

In the hands of 25-year-old Liu, the ancient instrument has evolved into something entirely new.

Alongside his friends — drummer Yang Yukai, bassist Peng Yuce, and pianist Huang Dongdong, all students of the Berklee College of Music — Liu pushes the boundaries of what the instrument can do. As a quartet, they fuse centuries-old melodies with the fast-paced, modern grooves of jazz. The audience feels the rhythmic twists and turns of ancient sounds merging seamlessly with contemporary jazz, creating something uniquely dynamic.

"This is a sound that carries centuries of history," Liu says in a preconcert interview. "But music doesn't belong to the past. It has to speak to the future, too. The zhongruan has a unique power, and I want to show the world just how much more it can be."

Liu's journey began much like the instrument itself: rooted deeply in tradition yet determined to chart a new path. Growing up in Beijing, he received early and intensive training in zhongruan performance. He recalls being drawn to the instrument's ancient sounds while also yearning to explore new possibilities.

After moving from Beijing to Wuhan, Hubei province, in high school, he befriended a guitarist whose influence sparked Liu's passion for electric guitar. Immersing himself in genres including blues and rock, he experimented with new musical styles. With his newfound guitar skills, Liu brought these modern ideas back to the zhongruan, developing his own chord system and playing contemporary styles on the traditional instrument.

At 18, he moved to the United States to study at the prestigious Berklee College of Music in Boston. There, his ability to blend the zhongruan's ancient sounds with jazz, rock, and electronic elements quickly set him apart. As the only Chinese performer with a dedicated video on Berklee's official YouTube channel, Liu became a symbol of the new wave of musicians pushing the boundaries of traditional Chinese instruments.

"I've always believed music is universal," he says. "The zhongruan is incredibly versatile. It can be a bridge between worlds. It can carry the elegance of ancient China and the pulse of modern jazz in a single note."

In addition to reinterpreting classic Chinese works, Liu also composes original material, such as I Don't Want to Go Nowhere Like This Until I'm 25. A devoted fan of traditional Chinese poetry, he has also written songs inspired by famous poems, such as Ding Feng Bo by Su Shi, a revered poet of the Northern Song Dynasty (960-1127).

Liu is not just the performer behind the haunting theme of Ji Xiaoman, a heroic character from the popular game Honor of Kings. He is also a versatile musician who has worked on projects ranging from virtual concerts with popular virtual idol Luo Tianyi to collaborations in pop culture. Last year, a video of Liu showcasing and teaching UK singer-songwriter Jacob Collier to play the zhongruan went viral online.

"I particularly love his piece I Don't Want to Go Nowhere Like This Until I'm 25, because it brings out new textures and rhythms from the zhongruan, showcasing a side of the instrument that's never been heard," says drummer Yang. "It wasn't just a performance; it was a musical experiment — a testament to the power of pushing creative boundaries."

"When we play music together at school, we feel proud to introduce this ancient Chinese instrument," he adds.

"Just like many other international students sharing their musical traditions, we bring our own creative approach to playing our instruments."