Eric Nam

Eric Nam

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K-Pop Phenom Eric Nam Talks New Mini-Album 'The Other Side' And Life As One Of Korea's Biggest Stars

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The breakout Korean-American singer tells GRAMMY.com about the challenges he faced in writing and creating his newest project in the middle of a pandemic: "It was not easy"
Natasha Mulenga
GRAMMYs
Aug 13, 2020 - 11:40 am

Eric Nam's journey into K-pop stardom is a fairy-tale-like story that almost didn't happen.

Born and reared in Atlanta, Ga., the breakout Korean-American singer had hopes of being a performer. (His parents, on the other hand, did not share his vision.) As a kid, he took up several music-centric extracurricular activities as a means of getting into a good university: He trained as a member of the Atlanta Boy Choir and played in his high school orchestra.

After graduating from Boston College, where he majored in international studies and minored in Asian studies, in 2011, he began a career path that initially took him in the opposite direction of his dreams. He landed a consultant job at Deloitte, the multinational business advisory and accounting firm, which he ultimately deferred to follow nonprofit initiatives in India. Life as a world-class singer was put on pause.

Things began to change, however, while he was in India. His YouTube videos of him singing K-pop covers landed him a spot on "Star Audition: Birth Of A Great Star 2," South Korea's answer to "American Idol." He placed in the top five in the show's 2011 season, and his journey into music took flight.

Nam has since worked his way to become one of the most recognized names and faces in Korea's mammoth entertainment industry today. Over the course of nine years, he's released four EPs and one English-language album, 2019's Before We Begin. 

His latest mini-album, The Other Side, released in late July, is a melting pot of playful, upbeat sounds that combines elements of pop and house music. Largely written during the coronavirus pandemic, the album contains a message of freedom, as heard on the lead track, "Paradise."

"It was not easy," Nam tells GRAMMY.com about the making of The Other Side. "Luckily, two or three of the songs we had already written prior to the pandemic. We did a lot of Zoom calls. But I also found it challenging in terms of content, because the only thing that was on my mind is everybody being locked down and the realities that we're living in. So I was a little stressed about that, but then I realised this is something that everybody is feeling right now. The frustration, the heartbreak, the pent-up energy—whatever it may be, let's write to that. That's kind of how 'Paradise' and 'How You Been' came to life."

Outside of his music career, Nam has hosted multiple TV shows in South Korea, including "KCON:TACT" and "After School Club," as well as the podcast, "K-Pop Daebak w/ Eric Nam." As South Korea's go-to host for Hollywood stars, he's interviewed Lupita Nyong'o, Benedict Cumberbatch, Will Smith and many others. It's no wonder he was declared one of GQ Korea's Men Of The Year in 2016 and featured in Forbes' 30 Under 30 Asia list in 2017. 

GRAMMY.com spoke with Eric Nam about his new mini-album, The Other Side, his double life as a host to Hollywood's elite stars and the urgent need for dialogue and social change within the entertainment world and beyond.

You're a singer, songwriter, TV personality and host. Was this always your dream growing up?

Not really. I fell into it in many ways. It was a dream to be a singer/performer, but I never thought I had a chance or had a real shot; I never thought I was good enough. And I think a big part of it was [that] I never saw an Asian face on TV or doing music, particularly in the U.S. where I was born and raised. So it was never a realistic possibility for me, but I think it's fascinating that I am doing it, and I'm very thankful.

Did you have a backup plan? Did you say to yourself, "I'm going to give myself X amount of years in Korea"? Or was it success as a singer and nothing else?

I think it was the former. I said, "Let's give it two to three years. And within three years, if it's not going to work out, then let's not waste valuable time in my 20s." And for me, the backup plan [was] to go back to consulting or finding another job. 

Watch: Get To Know K-Pop Kings BTS | For The Record

What are the differences between your new mini-album, The Other Side, and your last album, Before We Begin?

I think Before We Begin may have been a little more understated and mature in the musicality. I think this one is a little more playful, a little more upbeat, a little brighter. And I think that draws more from the K-pop side.

Why did you pick "Paradise" as the lead single?

I really wanted to experiment with sounds in a way that I hadn't done before. I wanted something that hasn't often been heard, particularly in the K-pop world. A lot of my peers, be seniors or juniors, they'll text me or they'll call me and they'll say, "Thank you for doing the music that you do because it pushes the genre forward in different ways." It's a very rewarding thing to hear.

How was the process of making an album during the pandemic?

It was not easy. Luckily, two or three of the songs we had already written prior to the pandemic. We did a lot of Zoom calls. But I also found it challenging in terms of content, because the only thing that was on my mind is everybody being locked down and the realities that we're living in. So I was a little stressed about that, but then I realized this is something that everybody is feeling right now. The frustration, the heartbreak, the pent-up energy—whatever it may be, let's write to that. That's kind of how "Paradise" and "How You Been" came to life. 

Young K from DAY6 wrote four out of the five songs on the mini-album. How did that collaboration happen?

I'd worked with him in the past on some songs that haven't been released, but he's a great lyricist. I was in California and I texted him, "Hey, I have a bunch of songs. I need lyrics. Would you be down to work on these with me?" And he quickly responded "yes" on them all. And then we just started the process of collaborating. 

You've worked with some amazing producers in the past, including Timbaland. Are there any other producers you would like to work with in the future?

Oh man, so many. Ryan Tedder, Max Martin, Jack Antonoff. Lauv, [with whom] I've worked with, but not directly. I'd love to work with him again, and Michael Pollack.

2020 has seen some real shifts in social dynamics: racism against East Asians in the U.S., the killing of George Floyd, the Black Lives Matter movement. Do you think those social dynamics are going to impact the Korean music industry?

I really don't know how it's going to affect the Korean industry, because I feel like in Korea, people feel very far-removed from the realities that are going on outside of Korea. So I'm sure while people may be more sensitive to it, and maybe more cognizant to what's going on, I don't know exactly how that will change the industry itself. Does that make sense? 

It does.

The one thing that we strive for—not as a Korean artist or not as somebody working [or] living in Korea, just as humans, as a citizen of the world—is for more dialogue and for social change. I think it's something that's needed. I think it's something that's way overdue. I can't wait for somebody to say, "OK, let's open up dialogue and have public discourse in a healthy manner so that we can all learn from these experiences that we're having."

If there were any three songs in the entire history of music that you wish you could have written, what three songs would they be?

Adele's "Someone Like You". I think that was a song that truly captivated the entire world. And it was a song that anyone and everybody could relate to globally. "Blackbird" by The Beatles. And I'm going to go with a collaboration: Alicia Keys and Usher, "My Boo." I love that song: two of my most favorite artists growing up in one song together.

What was the moment in your career where you wanted to pick up the phone and say, "Mom, I made it"?

I feel like I have an imposter syndrome where I'm like, "Why am I here?" You think about it, like, I was this kid from Atlanta, Ga. I can barely speak Korean. I'm the one of the few active people from three seasons of that one TV show. But I think it's the tours. It's so wild to be able to say that I can do shows in front of thousands of people and have them sing my songs in Korean and in English—that is wild to me. 

How did you become the go-to person in South Korea for A-list Hollywood interviews?

I had to do all these different TV shows all the time. They were putting me on TV to become a reporter for international people coming in. That really kick-started my career, because for the first time in Korea, I was asking very straightforward questions. One of my first interviews was Robert Downey Jr. for Iron Man. Then the movie houses started calling: "Hey, we'll fly you out to London to meet with the cast of Justice League. We'll fly you out to Hong Kong to meet with Benedict Cumberbatch. And that's kind of how it happened. 

Is there anything else about The Other Side you'd like to share?

I think this is an album that is, hopefully, just going to continue to help progress my music. But my hope is that in the next year or two, I can really start to make bigger moves on a more international level, in the States and Europe [and] in Latin America, that are interesting. Fight for acceptance, fight for representation, but also at its core, great music and content. 

BTS Talk New Album 'Map Of The Soul: 7': "The Genre Is BTS"

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TOMORROW X TOGETHER

TOMORROW X TOGETHER

Photo Courtesy of Big Hit Entertainment

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TOMORROW X TOGETHER On How Their New 'minisode1 : Blue Hour' EP Marks The Beginning Of A New Era

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GRAMMY.com caught up with TXT to discuss how they've "changed and grown" on their new EP and what it means to them to be one of the leading K-pop acts of the next generation
Ashlee Mitchell
GRAMMYs
Oct 26, 2020 - 7:38 am

If there's any music act that can capture the multifaceted nature of youth, it's TOMORROW X TOGETHER (TXT). From the minds of Big Hit Entertainment, the parent company behind the international breakout success of BTS, TXT emerged last year as the first group to debut under the company since 2013. With such large shoes to fill, TXT have refreshingly forged a path distinctly their own, finding a unique voice along the way. 

The five-piece K-pop group, composed of members SOOBIN, YEONJUN, BEOMGYU, TAEHYUN and HUENINGKAI, has since emerged as one of the biggest and most promising acts in K-pop—all in less than two years. They've won several accolades in Korea and abroad, topped the iTunes World Albums chart in 50 regions, received nominations for Best K-Pop act at the 2019 and 2020 MTV Video Music Awards, featured on the July 2020 cover of Teen Vogue and clutched the Radio Disney 2020 Song of the Summer title for their single, "Can't You See Me?" 

TXT debuted last year with The Dream Chapter series: The Dream Chapter: STAR, their debut EP, in March 2019; The Dream Chapter: Magic, their debut album, in October 2019; and the concluding The Dream Chapter: Eternity EP this past May. 

Their new five-track EP, minisode1 : Blue Hour, released today (Oct. 26), is the beginning of a new era for the group. A fitting next chapter, the EP dips into various genres new to TXT, including disco, dancehall, nu gaze, future R&B and pop-rock, while telling a story about boys who are forced to stand at the brink of the real world during the blue hour. 

Throughout Blue Hour, a sort of pitstop on their next journey, TXT expertly address the conflicts of reality and reflect on the current need for a pause in real life. The EP's title track, "Blue Hour," follows the footsteps of BTS' chart-topping disco hit, "Dynamite," colored with TXT's unique spin. The EP also includes the COVID-19 themed "We Lost The Summer," which has the creative touch of Charli XCX. The TXT boys also wrote lyrics for some of the songs on the EP, including "Ghosting" and "Wishlist," proving their artistic growth and telling an authentic story for teens facing the pandemic. The EP's last song, "Way Home," is a future R&B track showcasing the vocal ability of the group while emphasizing a need for companionship. 

GRAMMY.com caught up with TOMORROW X TOGETHER to discuss their new minisode1 : Blue Hour EP, how they created meaningful art despite the pandemic and what it means to them to be one of the leading K-pop acts of the next generation.

You guys are a youth-oriented group. As Gen Z artists, how do you aim to connect with audiences in a meaningful way?

HUENINGKAI: We've always actively tried to incorporate the thoughts and emotions that youth have into our music and lyrics. For example, our track "We Lost The Summer," from our newest EP, is about the loss of our daily and routine lives due to the COVID-19 pandemic. "Way Home" is about a boy's walk back home after school; the path feels off and even a little lonely in comparison to before, but he believes that as long as we remember one another, we will always be together no matter what. "Wishlist" is also quite relatable. It's about trying to figure out what gift to give to someone—someone very special. It can be a struggle if they don't let you know what it is they want. In such ways, we try to include a wide range of emotions and topics that are relevant for youths today, and we also try to stay connected with our fans by communicating these messages.

Blue Hour is the beginning of a new era now that you've closed off The Dream Chapter series, presenting the opportunity for new storylines and themes. What will stay consistent about TXT and what will change? What can we expect from this new era with Blue Hour?

SOOBIN: minisode1 : Blue Hour is our pitstop as we prepare to move onto our next series. It's about the feeling of unfamiliarity that can sometimes hit us all when our relationships with our friends undergo a change. What we've really tried to do through this EP was to deliver a story that only we can tell. It's our take on the experiences of unforeseen circumstances, such as the COVID-19 pandemic, and we have tried to tell it through our own sound and fresh energy.

BEOMGYU: You'll be able to see how much we've changed and grown as TOMORROW X TOGETHER by taking a look at the EP as a whole, but our choreography in particular. Our choreography used to be group-centric the majority of the time, but our newest performance actually includes solo dance sections for each member. We also had chances to work with dancers this time round, so it's all very new, refreshing and different. This EP dives into many genres and shows new and different sides of ourselves. I hope our fans, MOA, will like it!

Watch: Get To Know K-Pop Kings BTS | For The Record

The members actively wrote lyrics on this release, which was created during the pandemic. What were your thoughts and hopes while creating this album under such unique circumstances? How was your process different?

HUENINGKAI: We tried to reflect the sentiments of the current times in this album. Our goal was to make music that was relevant and relatable for many. For example, "We Lost The Summer" is about teenagers who are experiencing a completely changed world due to the pandemic. Everyone has lost the old norms of their lives, and as we were wondering how we could represent such a circumstance, our producer, Bang Si-Hyuk, was actually the one who came up with the idea from "Arcade" by Han's Band, a song that pictures Korea's financial crisis in the late 90s from a young [person's] perspective.

YEONJUN: We've been participating with the album's creatives by writing lyrics from the beginning of this EP's cycle. Not every idea was adopted, but the process allowed us to key in more ideas and lyrics for the accompanying tracks. We all put in a lot of effort; I worked on the pop-rock track, "Wishlist," with HUENINGKAI and TAEHYUN.

TAEHYUN: I worked on "Wishlist" and also "Ghosting" with SOOBIN. The lyrics for "Ghosting" reflect the disoriented emotional state of a boy who has been detached and cut off from the world. I think that the experience of working on this track has made me feel more hunger for future song- and lyric-writing opportunities.

I noticed the lead single, "Blue Hour," is a disco-oriented track, and your labelmates BTS also released a successful disco-themed song, "Dynamite." What is the attraction to disco for TXT? Why do you think it is a fitting soundtrack for right now?

SOOBIN: Disco/retro is a universal trend right now, not just in music but in culture as a whole. The disco we interpreted through "Blue Hour" is very boyish and also refreshing, which makes it perfect for this album. We also think it'll be very easy to enjoy and relate to for a lot of people. 2020 is a different year for everyone. We think it's a time for bright and energetic music, and "Blue Hour" is hopefully the dose of joy and vigor we all need.

Read: SuperM Talk 'Super One' & Finding Unity In The Covid Era

The EP features five songs that include diverse genres such as dancehall, future R&B and pop-rock. Do you each have a favorite song on the EP? Which songs are you most excited to perform?

YEONJUN: "We Lost The Summer"!

SOOBIN: I would have to say our lead single, "Blue Hour."

BEOMGYU: My favorite is "Ghosting," but I am especially excited to perform "Blue Hour" because we get to utilize props and costumes, and we'll be working with many dancers.

TAEHYUN: We've worked on "Blue Hour" for a long time, so I am very attached to it. I can't wait!

HUENINGKAI: I've never tried disco before, so my choice is "Blue Hour." I am super excited to perform this song in particular because there are so many standout dance moves.

What genres are you interested in trying in the future?

YEONJUN: I'd like to work on more future R&B as well as rap and hip-hop.

SOOBIN: I want to try a cappella.

BEOMGYU: I think it'd be amazing to do some acoustic tracks.

TAEHYUN: I would say soul.

HUENINGKAI: Piano rock! I think it would be really cool to play the piano at a concert someday. 

Read: BLACKPINK Talk 'The Album': "The Spotlight Shed On K-Pop Is Just The Beginning"

The visual elements of your music have always stood out, and this time we're seeing bright colors and homestyle photoshoots. What is the inspiration behind the styling for this comeback?

BEOMGYU: The goal for the visual aspects of this album was to reflect the development of the online space as our hub of communication and togetherness while physically being home. It's become much more natural now to meet people and spend time with one another online; it's a change in our culture and the definition of the "space" we share with our friends. The visual elements are intended to represent the happiness and joy that we can still feel when connected with one another through online and virtual spaces. The bright and vivid colors represent our personal spaces.

What do you hope fans gain from listening to this new album?

YEONJUN: Through our album, we wish to share with our fans hope and positive energy.

SOOBIN: Nothing but joy and happiness.

BEOMGYU: Above all, I want our fans to know that regardless of any distance that sets us apart, we are all connected heart-to-heart. I also hope that they'll be able to watch us and gain some energy.

TAEHYUN: It's about the times, so I hope they'll be able to listen to it and relate based on their own personal experiences. As for the title track, it's disco, so I hope they'll enjoy it.

HUENINGKAI: Everyone's going through a rough time, so I hope we can cheer up and uplift altogether. It's what I want most.

TOMORROW X TOGETHER

TOMORROW X TOGETHER | Photo Courtesy of Big Hit Entertainment

As a leading fourth-gen K-pop group in a world that is increasingly paying more attention to the genre, how do you think you stand out from others in the industry?

YEONJUN: We're always working very hard to show our best in every aspect. I think that our forte is that we work with a diverse range of genres and try to put on a perfect performance for each and every one. We also aim to show progress as artists with every project.

Dreams and youthful elements are fitting for right now as everyone would rather be in a dreamlike state. You guys have consistently incorporated these elements into your music and message. Why do you find these themes important for your music? 

YEONJUN: We are Gen Z artists, so we wanted to deal with emotions that our peers experience. "Dreams" and "youth" are key elements. Our Dream Chapter series dealt with stories of meeting friends for the first time, getting up to a bit of mischief together, as well as meeting conflicts with reality that tries to wedge apart our friendships. These stories are one continuous narrative of growth and change, which I hope has been and will continue to be relatable and comforting for fans and further audiences. It's what we strive for as artists: to grow and to be able to console and empathize.

TAEHYUN: We've always told our story in our albums. We've addressed concepts of dreams and youth in our albums because they're very important values and moments for anyone, including ourselves. We've told stories of being excited and making friends, dabbling together in a bit of teenage deviance and encountering a bit of discord within our friendships; thankfully, many people have let us know that they have had or were now undergoing similar situations. I think we've shown a lot of growth through our Dream Chapter series, and we really endeavor to grow further into artists who can provide understanding and consolation through music. Therefore, it was important for us to talk about the values that matter to us in our music. For us, that was dreams and youth.

Read: BTS Talk New Album 'Map Of The Soul: 7': "The Genre Is BTS"

How have you guys been coping with not being able to tour or promote like usual? What have you been doing to make life better?

BEOMGYU: We've been putting our all into rehearsals for this EP because we really want to deliver quality music and performances to our fans. We've also tried our best to consistently stay in touch with our fans through Weverse and Twitter.

TAEHYUN: We participated in various performance opportunities such as KCON. They were all very memorable moments.

You guys debuted in 2019 and have since experienced success both in Korea and abroad. How have you grown as a group since your debut and how has your dynamic changed? What has been the most surprising thing about your journey so far? 

YEONJUN: I think I'm more relaxed and at ease on stage. I also like to think that I've matured a little in the way I think and carry myself.

SOOBIN: I can feel and recognize my own growth and can clearly see that our members are growing as well. It makes me proud.

BEOMGYU: I reckon the most surprising and amazing thing is that we have our fans, MOA: people who encourage and support us whenever, wherever.

TAEHYUN: The fact that we can share our music with and be loved by so many people in the world is something I'm still very thankful for and surprised at.

HUENINGKAI: Our lovely MOA have been so consistent with their love and support to us. I'm extremely grateful.

Read: K-Pop Superstar Baekhyun On His Sweet Solo Single "Candy" & Delightful Second Mini Album

What are your goals, both personally and professionally, for the future?

YEONJUN: Personally, I'd like to be able to share a mixtape or single that I've created from start to back. Professionally, I can't wait until the day we'll be able to host our own concert.

SOOBIN: I want to be someone whom my fans will be able to love and appreciate. As a person, I want to mature into a good adult.

BEOMGYU: I want to keep putting in my best efforts as I do now. I want to become an artist who can be a source of strength for somebody.

TAEHYUN: No matter how long it takes, I want TOMORROW X TOGETHER to become a great team that can mark down its name in K-pop history. Personally, I want to stay healthy and happy.

HUENINGKAI: Like YEONJUN, I'm also really eager for our first solo concert. In the future, I want to be able to go on a world tour and meet our MOA all over the world face-to-face.

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ARASHI

ARASHI

Photo Courtesy of J Storm

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J-Pop Legends ARASHI Talk New Single "Whenever You Call," Working With Bruno Mars And The Exploding Asian Entertainment Industry

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ARASHI's Jun Matsumoto tells GRAMMY.com about the group's expansion into the U.S. and Western markets and the "mini-reinventions" that have evolved the band for more than 20 years
John Ochoa
GRAMMYs
Sep 25, 2020 - 12:00 am

In their native homeland of Japan, ARASHI are chart-topping, stadium-headlining, genre-defining pop stars. Counting more than 50 No. 1 singles on the Japanese charts and millions upon millions of albums sold worldwide, the J-pop legends are one of the country's biggest and best-selling artists of all time. After conquering the Land of the Rising Sun time and time again, the group is now setting it sights on the West. 

In August, ARASHI released "IN THE SUMMER," the band's debut single with U.S. audiences and the first track they are actively working in the American market in their two-decade-long career together. The track, produced by superproducer Rami (Lady Gaga, Ariana Grande, Selena Gomez, Britney Spears), follows another significant first for the group: In late 2019, ARASHI launched their first-ever official YouTube channel and social media accounts—a full 20 years after they first formed in 1999. 

So why now?

"The decision to enter the U.S. market was really a byproduct of just the overall evolution of … the group getting involved in digital," original ARASHI member Jun Matsumoto tells GRAMMY.com via a video call from Tokyo. "As you may or may not know, physical CDs still sell extremely well in Japan … But the thing is, we have seen that things are starting to change, and it's part of how we want to make sure that even in the future, when even Japanese people are no longer listening to CDs as much, we want to make sure that our legacy [as ARASHI] stays with our fans, and people are able to enjoy our music years in the future when nobody listens to CDs. That seems to be more and more—the idea of leaving a digital legacy behind." 

"IN THE SUMMER" is part of a series of strategic moves and releases that sees ARASHI expanding their musical footprint across international borders. 

Next up: The group's latest single, "Whenever You Call," released earlier this month, is ARASHI's full-on blitz into Western markets. Produced by Bruno Mars, the song is also the band's first single sung entirely in English.

A soaring pop ballad about the cosmic power of love and connection, "Whenever You Call," which comes ahead of the group's forthcoming hiatus at the end of this year, has taken a new meaning in the COVID-19 era, Matsumoto says.

"While this was certainly not planned originally, I actually am really touched by the fact that ... not only is it a song for us and the story of us going on hiatus, saying that we'll still be with our fans," Matsumoto says, "but [it] also really speaks to what is happening right now—the fact that people aren't able to get together, people aren't able to meet, family is not able to come together for important celebrations, etcetera, due to what COVID is doing to everybody.

"So the song actually really speaks well to people who are stuck in those situations that, no matter what, there is a way to transcend those barriers, transcend physical distance, transcend racial divides and all of the things that are troubling people around the world. The spirit of togetherness and the spirit of being willing to actually come together is something that is universal. I'm very happy that the song can actually help communicate that message to people—not just in Japan, but around the world."

GRAMMY.com spoke with ARASHI's Jun Matsumoto about the group's expansion into the U.S. and Western markets, the exploding Asian entertainment scene around the world and the "mini-reinventions" that have evolved the band for more than 20 years. 

This interview was edited for clarity and brevity. An interpreter translated all answers from Jun Matsumoto.

Your recent song, "IN THE SUMMER," marked your debut with U.S. audiences. How has the reaction been so far? Are your Japanese fans and U.S. fans reacting similarly or differently to the track?

The Japanese fans and the American fans have both had really positive reactions so far, at least from what we've noticed. We've been able to see these sorts of things [by reading] as many of the comments on our YouTube channel and our Instagram pages as we can, both the ones that are posted in Japanese and in English. One of the things that's really inspiring, actually, is that in these divisive times, people can all come together to just enjoy music and enjoy fun performances and that sort of thing. And it's really inspiring that these sorts of entertainment contents can bring people together in this way. It's really struck us that despite our differences, all people are really the same, and that's something that's really inspiring in this day and age.

I love that. So speaking about online comments, you launched the band's official social media channels for the first time ever last year—20 years into your career as a group. Why now? Do you feel like you missed out on the conversation by not "being online" all those years?

I don't feel that we've lost really anything. Cultural differences being what they are, we were able to do a lot in the span of time [when] we didn't really have any participation in social media, and not just us, but a lot of the other people who were represented by [Japanese talent agency Johnny & Associates]. So there was so much that we were able to do in the sense of actual physical connections with people and actually bringing a value to things that are not digital, to the point that there wasn't really any sense of loss by not having [social media]. Now that we are on this, it's a sense of just being able to do so much more than what we were able to do before, but in the sense of just our overall growth and evolution as a group.

"IN THE SUMMER" is the first time you're actively working a single in the U.S. during your 20-year career. Why did you decide to enter the U.S. market now?

The decision to enter the U.S. market was really a byproduct of just the overall evolution of what I mentioned before about the group getting involved in digital. As you may or may not know, physical CDs still sell extremely well in Japan. And it's part of the overall culture that not only us, but a lot of Japanese artists have to really deliver something of perceived value to their fans, kind of like delivering presents; the idea of something physical, having value, having something special and really making sure that it has lots of fun elements and really special features and that sort of thing, to really make sure that there's a sense of enjoyment in the product as well as the experience of listening to the music.

But the thing is, we have seen that things are starting to change, and it's part of how we want to make sure that even in the future, when even Japanese people are no longer listening to CDs as much, we want to make sure that our legacy [as ARASHI] stays with our fans, and people are able to enjoy our music years in the future when nobody listens to CDs. That seems to be more and more—the idea of leaving a digital legacy behind. Not only was that the impetus of opening our digital channels, which obviously then opened up the idea of how other countries and other markets around the world are consuming music, and the value that digital has in order to enjoy good music around the world, including but not limited to the United States.

Read: BTS Talk Inspiration Behind "Dynamite," New 2020 Album, Gratitude For ARMY & More

In 2019, we were actually permitted to attend the GRAMMY Awards ceremony. What was really, really striking to us was the fact that there were artists who were winning GRAMMY awards and who had never actually sold a CD before, that the GRAMMYs were being evaluated now based on streams and that people were really enjoying in massive, massive numbers the music of people who were putting digital first. That really spoke to us in a way that in order to really make sure that our music is heard and enjoyed and that people who want to listen to us, but maybe don't have the resources for CDs or aren't in markets where CDs are as common can still actually partake and enjoy ARASHI's music. 

I want to give thanks and a shout-out to the GRAMMYs for having awoken that sort of awareness in us and really held us towards all that's happened and all that we've been able to do this year.

Why did you choose "IN THE SUMMER" as your debut U.S. single? What is it about this track that you thought would speak to U.S. audiences and international audiences at large?

The idea of our debut U.S. single probably should be counted a little bit earlier than ["IN THE SUMMER."] Last year, corresponding to the [launch] of our digital channels, we released a song that did really, really well called "Turning Up." And since then, we've actually remixed a lot of our classic songs with the help of major mix artists and other American stars in order to give our songs that have been such hits in Japan a little bit more of a Western flavor, all of which have been posted to our YouTube channel.

But for "IN THE SUMMER" specifically, this was actually a mixed blessing in a sense. Because even before we opened our digital channels, we had been to Los Angeles and actually met [producer] Rami and really liked what he was able to do for other super-popular U.S. artists; we wanted to be able to work with him in order to help bridge the cultural gap, so to speak, between [us] having grown up in J-pop and then wanting to maybe appeal to a broader global audience.

Rami was very enthusiastic with the idea, and so we collaborated on this. Then of course, due to everything that has happened in this year, it's been really nice to have a little bit of a fun, lighthearted summer song in order to help people take their minds off of everything else that is going on in 2020 …

Based on all the experience we've had, not only with "Turning Up" as well as the other Reborn series remixes for our other songs, we've been able to actually continue that evolution of being able to feel out what works for more Western audiences and from a Western tastes perspective; that's something that's been really fun to work on.

Read: SuperM Talk 'Super One' & Finding Unity In The Covid Era

What does the group want to gain or learn from entering the U.S. market so actively?

Originally, the ultimate goal would be [for us] to actually try to see the United States and maybe do a concert there or something like that, just to be able to take our music on the road. We've had such a vibrant and long and successful career here in Japan, and having the awareness, especially having opened the social channels, just to the level of our popularity outside of the islands of Japan—we were really looking forward to the opportunity to actually see those fans and actually share our music directly with them in the way that we would having a concert here.

Unfortunately, 2020 being what it is, that hasn't really been able to happen. But nonetheless, we have had a lot of fun still working with major U.S. musicians, such as Rami with "IN THE SUMMER" [and] Bruno Mars with "Whenever You Call," and being able to actually collaborate with such global personalities to be able to cross the borders, per se, still, even though we can't actually be there physically [and] be able to help spread our music and still be able to enable our fans to have something of our music in this year, especially with everything else going on.

Speaking of your new track, "Whenever You Call," when and where did the group record the song?

We were able to record [the song] last month. Originally, the plan was to actually go to Los Angeles and record at Bruno's studio directly with him. But unfortunately, due to COVID-19, those plans fell through. But instead, despite the fact that we still managed to record the song here in Japan at our own studios, we were able to share the song with him and get his support and advice and direction through the various recordings that we did. He was very kind to be able to give some of the advice and support and fine-tune the song based on his deep and thorough knowledge of what we were able to bring to the song and the vision that he had that we would be able to bring to the song that was the inspiration of why he wrote the song in the first place.

What is "Whenever You Call" about? What does the song mean to the group?

When I first heard it, I was actually a little surprised. Based on my own personal fandom of Bruno … my image of what Bruno was all about [and] what Bruno would be able to bring to the table—when we actually heard the first song as a medium ballad sort of style, I was actually quite surprised. But the more that I heard it, the more that I felt this actually spoke to Bruno's skill to be able to really capture ARASHI's image, and also what this particular year means to not only us but also our fans, especially given that at the end of this year, we're going to be going on hiatus.

The idea [within the song] really spoke to me, that this song is really a perfect way to close out the year. The theme ... [that] despite the distance and no matter what may seem, we and our fans are always going to be connected, that we as a group will always be connected. I have a lot of admiration for what Bruno was able to foresee in terms of what the song would actually become and how it would be a perfect fit for what ARASHI was doing in this year.

The song itself really shows how much Bruno is aware. Not only did Bruno, before writing the song, know that we were going on hiatus, but also he clearly had seen a lot of our performances, had listened to a lot of our music, and was able to tailor his own skills ... to what would be good for ARASHI and what would be really enjoyed by our fans. I definitely can't thank Bruno enough for everything that he did in putting the song together and really lending his own skills to one of our last songs for 2020.

While this was certainly not planned originally, I actually am really touched by the fact that ... not only is it a song for us and the story of us going on hiatus, saying that we'll still be with our fans, but [it] also really speaks to what is happening right now—the fact that people aren't able to get together, people aren't able to meet, family is not able to come together for important celebrations, etcetera, due to what COVID is doing to everybody.

So the song actually really speaks well to people who are stuck in those situations that, no matter what, there is a way to transcend those barriers, transcend physical distance, transcend racial divides and all of the things that are troubling people around the world. The spirit of togetherness and the spirit of being willing to actually come together is something that is universal. I'm very happy that the song can actually help communicate that message to people—not just in Japan, but around the world.

Read: K-Pop Sensation Stray Kids On Their New LP, 'Go Live': "We Wanted To Show Everyone What Our True Colors Were"

With films like Parasite and groups like BTS catching major attention and support in the U.S. and across the world, K-pop and Korean music and pop culture have become true global cultural phenomena. In your experience, has this growth in K-pop increased or impacted the popularity of J-pop? Are you seeing new fans discovering your music and J-pop music and culture through their exploration of K-pop?

I don't really feel that there's necessarily a level of influence that K-pop is having on J-pop, per se. I mean, obviously I listen to K-pop and have been really impressed by certain groups' level of skills, both [in] music and dance. But the thing is, more so than what specifically is happening now, I've really been almost inspired by being part of the legacy that has led to all of that. Being represented by Johnny & Associates—[founder and talent manager] Johnny [Kitagawa] has been producing boy bands that have danced and sang for over 50 years. 

It's actually more touching that the legacy of everything that Johnny built up within the Asian entertainment scene is now taking off in other spaces as well. Not just Korea, but also around the world, people are all able to enjoy the kinds of things that, really, Johnny set in motion. It makes me very proud to have been part of that legacy and to see it continuing beyond. [There's] not really any sort of influence or rivalry between [J-pop and K-pop], but rather being connected to the overall whole that I can feel and see personally having been raised in this organization.

Last year, ARASHI celebrated its 20-year anniversary together as a band. How have you kept your interest in music alive throughout the years? What keeps you coming back, either as a group or an individual artist, year after year throughout the decades?

We've been doing this for now going on over 20 years. Despite the fact that it might seem [like] a routine by now, and doing "the same thing every year," one of the things that has really kept us going and really helped our adaption and evolution throughout this time has been the idea of just always trying to give our audience and our fans something new. Every year, we go through a mini-reinvention of sorts in order to ensure that not only are we staying fresh and relevant, but we're reacting to what new fans want and what the changing tastes of our fans are going to really adapt to. 

Entering into the 21st year [as a group], what we just want to be able to do is really make some kind of music that can really transcend barriers of all types, whether it be reaching outside from Japan to the world, or from traditional to digital, or those sorts of transcendental elements to being able to actually create something new and really be able to touch people in new and exciting ways despite having done this for so long. It's really something that has taken the forefront focus of recent years, especially this year.

In an interview with The World, your bandmate Sho Sakurai spoke about the group's evolution from a "boy band" to a "man band" throughout the decades. Do you evaluate and adapt the ARASHI sound as the group and its individual members get older? How does age impact your music — what you sing about, what you write about, what you want your music to sound like?

For me, as I've gotten older and as the years start to pass by, what I've really been able to do is just get more out of my own experience and enjoyment of music. The melodies and the phrases that are used in various songs start to actually mean more just based on all of the experiences that I've had in my life and being able to put together different experiences that I've had in order to get more out of the experience of listening to music.

This really speaks to just what we as a group really want to be able to do ... what we've seen our music mean to so many legions of Japanese fans. We want to be able to pass that experience on to a new audience, a new generation of people, and really leave our mark behind in terms of everything that has meant so much to us, everything that has meant so much to our fans, and being able to allow for other people to be able to enjoy that as well; [that] has been really at the forefront of what we want to do with whatever comes next.

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TWICE

TWICE

 

Photo Courtesy of JYP Entertainment

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K-Pop Superstars TWICE Talk New Album 'Eyes wide open,' Growing Together And Staying Close With Their Fans

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The nine-member girl group chats with GRAMMY.com about their expansive new album, their monumental career over the past five years and how they've kept in touch with their global ONCE fan base during these trying times
Tássia Assis
GRAMMYs
Jan 12, 2021 - 11:03 am

TWICE don't need to ask for attention. With their striking looks and coordinated fashion, the nine-member K-pop ensemble is a sight that's impossible to miss. Backed by their vast discography, a cornucopia of catchy hooks, and synchronized, head-turning performances, the group stays in your mind long after they exit the stage.

Formed in 2015 through JYP Entertainment's reality survival show, "Sixteen," in South Korea, TWICE are a record-breaking, show-stealing, eye-magnet juggernaut. They have more than 10 million cumulative album sales, sold-out tours in Asia and America, including last year's Twicelights at The Forum in Los Angeles and Prudential Center in New Jersey, and an array of releases that regularly top the Korean and Japanese charts. 

But ultimately, it's TWICE's individual charms that pull the listener into their world: the brightness of Nayeon's bunny smile, Momo's killer dance moves, Sana's natural sweetness. It's Dahyun's charismatic sense of humor complementing Chaeyoung's bold creativity, Jeongyeon's sultry allure pairing with Jihyo's unrelenting energy, Mina's graceful resilience matching with Tzuyu's elegance and sensitivity. Like a kaleidoscope slowly revealing different shapes and colors, TWICE shine in beautiful detail the more you get to know them as individuals and as a collective unit. 

Still, the best phrase to define the group may come from the ladies themselves: TWICE is "[touching people's hearts] once through the ears and once through the eyes," Tzuyu told GRAMMY.com over a Zoom call, followed by cheers and laughter from the other members. The commotion-causing motto is well known for both the group and their fans, known as ONCE. First used by JYP Entertainment founder J. Y. Park, the phrase has since become a defining staple in the TWICE universe. But Momo hesitates. According to her, "it's hard to express TWICE into words, because it's through our performances that people can really get to know us."

Yet, an aversion to their peppy beginnings (see "Cheer Up," "Knock Knock") and the general perception of K-pop as an assembly-line production still keep several eyes shut to their talents. It's not that TWICE feel the need to change or that they care about impressing the unamused. But they do recognize the benefits of exploring new challenges—and therefore earning second thoughts.

In the past few years, the group has explored maturing sounds and visuals and has amplified their participation in writing lyrics and choosing visual concepts. The bittersweet pop of "Feel Special" (2019) reflects the pressures of being one of the biggest girl groups in the industry, while the '80s-infused "I Can't Stop Me" (2020) plays with the temptations of desire. Their latest release, "Cry For Me," released last month (Dec. 18), is a special single for ONCE and builds on yet another novel theme for the group: throbbing revenge underlined by a dramatic instrumental.

Their latest album, Eyes wide open, released Oct. 26 by JYP Entertainment and Republic Records, further signals the band's global success. Charting on the Billboard 200, and peaking at No. 2 on the World Albums chart in the U.S., the 13-track LP showcases a group at their peak. From '80s retro ("I Can't Stop Me," "Up No More") to Japanese city pop ("Say Something") to EDM anthems ("Do What We Like," "Believer"), Eyes wide open is a testament to TWICE's growth, artistry and versatility.

GRAMMY.com caught up with TWICE—minus Jeongyeon, who is currently on hiatus for health reasons—to learn more about their newest album, Eyes wide open, their ever-developing style and their future goals.

This interview was edited for clarity and brevity. An interpreter translated all answers from the group.

Congratulations, the group celebrated five years together in 2020. How have you been celebrating this landmark in your career?

Dahyun: These five years have been long, but also short when I look back at it. We made a lot of good memories with ONCE, and we also had our online concert this year. It's really sad we couldn't do our fifth-anniversary fan-meet in person, but I hope that next year we can meet offline. I'm also very thankful to the other members, ONCE and all JYP staff.

You recently released a special surprise single, "Cry For Me." Can you talk a bit about this song and how you prepared for it?

Jihyo: Since we haven't had the chance to meet ONCE in person, we discussed for a long time whether to release this song. We weren't thinking about it, but ever since we decided to, we have been practicing a lot to give this special present [to] ONCE.

Mina: Heize wrote the lyrics for us, and we really love that it approaches a new and interesting topic for TWICE.

Sana: We had many concepts in the past, but I personally think that since "More & More," we have been exploring more vibrant, active styles. "Cry For Me" is the completion of TWICE's 2020 story—this is an important point to enjoy the song.

So was it also a surprise for you to release the song?

Sana: It was a surprise performance for fans, but we thought their reaction was so good; we weren't expecting it. So we decided to release it fully, in hopes that fans will love it even more.

Since Sana mentioned that "Cry For Me" completes this new chapter for TWICE in 2020, how do you view the development of your musical style?

Chaeyoung: We have tried various concepts through our five years together and, most recently, concepts we hadn't tried before. First and foremost, TWICE is bright and energetic, and we know ONCE like that, so we can always go back to this image. But our aim now is to show that TWICE can also have all these different sides, too. We are putting our opinions in our comebacks a lot, and there are many other challenges we want to try. 

Read More: Meet ENHYPEN, K-Pop's Latest Breakout Boy Group

This year, you also recorded English versions of your singles "More & More" and "I Can't Stop Me." How was that experience? Why is it important for you to release English versions of your songs?

Nayeon: When we were recording, we focused on pronouncing the words well so people could understand [them] when listening. Our lyricists also tried to make a natural translation of the meanings from Korean to English.

Momo: The reason why English versions are important for us is because TWICE has gained a lot of attention internationally, so expressing our songs in English means we can be closer to our global ONCE. And since we can't travel overseas now, we are able to meet them through these songs.

Despite the pandemic, you've had a really busy year with promotions in Korea and also overseas, albeit virtually. How have you managed that? What has changed in your schedules?

Tzuyu: Before COVID-19, we were able to meet fans directly in person. There were a lot of performances, concerts and fan meetings. But since now it's a dangerous time, we have done a lot of online events and concerts. At least we can meet with ONCE that way, but we can't wait to do these activities in person again.

What has changed since your debut five years ago? What has stayed the same?

Chaeyoung: Since our debut, we can't walk around anymore because people recognize us. I also don't feel like I'm getting older. I still feel like I'm 18 years old. [Laughs.]

Jihyo: The familiarity and how close we are has stayed the same.

Momo: I agree. We became much closer since [our] debut.

Dahyun: Our musical performance has grown and changed. While our debut was bright and cute, we reorganized our composition as nine members to show a cooler image—one that many people thought we couldn't. They might listen to "Cry For Me" and think, "How could TWICE do that?" But we are doing it now. A thing that hasn't changed is how much we love our fans and how hard we work for them.

Mina: Many people tell me that they can see our members are really close to each other through our performances, and I think that's a point that hasn't changed since [our] debut.

More K-Pop: BTS Talk Inspiration Behind "Dynamite," New 2020 Album, Gratitude For ARMY & More

Do you feel any pressure in keeping up with all your accomplishments so far?

Jihyo: Numbers and records are important, but I think the most important thing is to live as artists, enjoying our music with our fans.

Nayeon: How many albums we sell and records we break is important, yes. But what kind of tracks we release, how we prepare for them and how we show our artistic abilities is the most important thing for me.

Sana: Debuting was our main goal when we started. But so far, we have gained a lot of awards, fans and attention, so I'm grateful for everything fans have done for TWICE.

Besides meeting ONCE, what are you looking forward to in 2021?

Mina: That the [pandemic] situation gets better.

Momo: Travel overseas.

Jihyo: I want us to perform as nine [members] together again.

Nayeon: We haven't performed our English songs yet, so I want to do that next year.

Sana: I want the same as the other members.

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ENHYPEN

ENHYPEN

 

Photo Courtesy of Belift Lab

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Meet ENHYPEN, K-Pop's Latest Breakout Boy Group

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The emerging global act tells GRAMMY.com about their debut mini-album, 'BORDER : DAY ONE,' and their plans to take over the worldwide K-pop industry
Ashlee Mitchell
GRAMMYs
Jan 7, 2021 - 2:49 pm

One of the most exciting K-pop debuts in recent years came at the end of 2020: ENHYPEN. The seven members of the group were selected by fans worldwide after they competed on Mnet's "I-LAND," a South Korean survival reality show. Featuring members who were former trainees under Big Hit Entertainment, the masterminds behind BTS and TOMORROW X TOGETHER, and from various backgrounds, ENHYPEN are now spreading the K-pop agenda worldwide. 

After wrapping up "I-LAND'' in September, the septet immediately began preparing their highly anticipated debut: BORDER : DAY ONE, released last November on Belift Lab, a joint venture between Big Hit and South Korean entertainment company CJ ENM. (Belift Lab are the creators of "I-LAND.")

On BORDER : DAY ONE, ENHYPEN explore a wide range of genres while grappling with their new status as an emerging global act. The album's lead single, "Given-Taken," is a high-energy pop song showcasing the guys' youthful vocals and doubling as a dark power anthem; the song's lyrics tackle the complex question of whether they have earned their coveted spots in the group, or taken them. 

Elsewhere, "Intro: Walk The Line" takes on alternative hip-hop, "Let Me In (20 CUBE)," produced by Big Hit's FRANTS and "Hitman" Bang, mixes reggae with hip-hop, and closer "Outro: Cross The Line" wraps up the album in an eerie, waltz style.

Since debuting in November, ENHYPEN have taken the international K-pop world by storm. Their debut mini-album broke the record for highest first-week sales in Korea among rookies who debuted in 2020, and they won the Next Leader award, aka rookie of the year, at the Fact Music Awards within 12 days of their debut. Their exploding social media presence also reflects their ability to connect with global fans: They currently have more than 1 million followers on Twitter and more than 3 million followers on TikTok.

Beyond the numbers game, the guys come from diverse backgrounds that align with their goals for world domination: Sunghoon, who gave up a successful career as a competitive figure skater to become an "idol," Sunoo, Heeseung and Jungwon are Korean; Jay is from the U.S.; Jake is Australian; and Ni-ki, the group's youngest member, is Japanese. 

Surrounded by some of the best minds in the industry, ENHYPEN have a promising future ahead of them. With young members who are eager to learn and grow, the group is ready for the burgeoning worldwide success that's on their horizon. Despite debuting in a pandemic, which has caused them to rely on the power of social media to connect with ENGENES, their so-called fan base, all eyes are now on ENHYPEN. 

GRAMMY.com checked in with ENHYPEN to talk about their debut mini-album, BORDER : DAY ONE, and their plans to take over the worldwide K-pop industry. 

First off, you're making your debut not long after ending "I-LAND." What has the process been like preparing for your debut? Has it been difficult or more demanding than training on the show?

Jake: We did our best to prepare, wanting to meet our fans as soon as possible. We helped each other out and received help from our staff as well, so the preparation process was pretty smooth.

There are huge expectations for your group, with many considering you guys the most anticipated rookie debut. How does it feel to have so much support already? How do you deal with the pressure, if any?

ENHYPEN: We are thankful for all this support, and it motivates us to do even better. We try to take all this as a good energy that fuels us to work hard to show our fans the best version of ENHYPEN. 

Read: BTS Talk Inspiration Behind "Dynamite," New 2020 Album, Gratitude For ARMY & More

A lot of new acts debut in the K-pop industry every year. What do you hope to bring that is new and different from other artists? In your opinion, what makes ENHYPEN special?

ENHYPEN: ENHYPEN's forte is music that is rooted in our own stories and performance and the chemistry between the seven of us … Our teamwork has been getting better and better as we've been together throughout "I-LAND" as well as the process that led to [our] debut. 

Out of the six tracks on your debut EP, do you each have a song that resonates with you most or that you're most excited to perform?

Jungwon: "Given-Taken" resonated the most because the lyrics reflect our current situation. I'm most excited to perform "Given-Taken" and "10 Months." The latter is a very sweet song. The performance and gestures are more relaxed, and I just really like the song. 

Heeseung: I can't wait to show "10 Months" because it puts a spotlight on ENHYPEN's vocals, dance and charms all at once. The song especially highlights the vocals, so we want to perform it really well. 

Jay: It's "Given-Taken." The lyrics encapsulate the complex emotions that I'm feeling right now, and I want to deliver a genuine performance. 

Jake: "Let Me In (20 CUBE)." This song shows a more groovy side to ourselves, and a performance with all of us in perfect synchronization. 

Sunghoon: It's "Given-Taken" for me. I relate to this song the most because it talks about the complicated emotions of seven boys who have finally achieved their dream of [debuting] and are at the borderline of a new beginning. The performance radiates a dark and powerful energy. 

Sunoo: I like "Let Me In (20 CUBE)" because of its catchiness, but "10 Months" resonated with me the most, because the lyrics [say] that despite looks of a grown-up, we have a lot more room to grow emotionally and mentally mirror ourselves. Also, the cute performance allows us to show fans various facets of ENHYPEN. 

Ni-ki: For me, it's "Let Me In (20 CUBE)." I personally like up-tempo melodies, and I also think this song underscores ENHYPEN's charms really well. 

More K-Pop: TOMORROW X TOGETHER On How Their New 'minisode1 : Blue Hour' EP Marks The Beginning Of A New Era

The lead single, "Given-Taken," addresses the complex emotions you face as you're starting a new beginning, which is fitting for your journey and relatable for a diverse audience. What about your group do you hope resonates most with audiences?

ENHYPEN: "Given-Taken" is a song that we can do at this moment as it captures our current situation. We're really at the beginning right now, so we hope that these complex emotions one has at the verge of a new start resonates with many people. 

You've been working with Big Hit's well-known producers on your EP. Is there anything you have learned about producing or songwriting through the process? How do you hope to make your music your own?

Heeseung: The process of making this album taught me how to polish my rhythm and groove into a final output and about the importance of a good delivery. I will take all this into account for the recording that will come hereafter and make good music. 

Jungwon, as the leader of ENHYPEN, what do you think makes you a good frontman? How would you describe your group's chemistry?

Jungwon: I think the most important thing is communication, so I try to listen to our members' opinions as much as possible. ENHYPEN's chemistry is really solid! 

It must be tough to debut during a pandemic, where you can't perform in front of fans in person. Despite that, you're part of the "digital native" generation that regularly utilizes social media. How do you hope to grow the fan-artist bond you have created for the time being? Is there anything you're looking forward to doing for your fans in person when time allows?

Sunoo: We connected with our fans via socials and livestreams. To keep this connection strong, we want to show them various aspects of ENHYPEN [that] we haven't revealed yet! 

You're obviously very busy, but outside of your recent debut, what have you guys been doing to pass the time? What are your hobbies outside of music and performing?

Ni-ki: We usually watch choreography videos during breaktime or at our dorm because those videos point out what we lack. I personally like soccer clips and movies. We don't have much downtime these days, but I want to go [watch] movies and soccer games with our members soon. 

This is a really exciting time for all of you, and you're getting ready to build your own legacy after various years of training. What are you most excited about for the near future, and what career or debut goals do each of you have? What are some of your biggest dreams?

Jay: My career goal is to become a versatile artist not limited to a certain specialty. And throughout all that process, to be close to our fans. As for now, I wish we could perform on the global stage with the costumes I created or took part in designing. 

Lastly, for those unfamiliar with your stint on "I-LAND," what is the most important thing people should know about ENHYPEN going forward?

Sunghoon: ENHYPEN grows together by connecting one another. Our group's goal is to connect worlds and people through our music.

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